Royal QDL Quiet Deluxe Typewriter, Left Margin Stop, Alignment Adjustment, Repaired uneven edge by [[Phoenix Typewriter]]

How to adjust the margin stops on a Royal Quiet De Luxe and related portable models.

Notes about what you don't know (open questions), empty outline slots, red links as [[wikilinks]], and other "holes" in tools for thought provide a bookmark for where one may have quit exploring, but are an explicit breadcrumb for picking up that line of thought and continuing it at a future time.

Linear writing in one's notebooks, books they're reading, and other places doesn't always provide an explicit space which invites the reader or writer to fill them in. One has to train themselves to annotate in the margins to have a conversation with the text. Until one sees these empty spaces as inviting spaces they can be invisible to the eye.

Liquid Margins 41: Driving Engagement and Building Community, Insights from Partners on the Hypothesis Impact : Hypothesis

See also: https://quoteinvestigator.com/2019/02/27/tell/ for details on misattribution on Benjamin Franklin quote in the video.

Notes available at: https://via.hypothes.is/web.hypothes.is/event/liquid-margins-39-inclusivity-and-social-annotation-fostering-diverse-learning-environments/

Resources

Links and resources from the second half of the chat and Q&A:

• TAG Feedback Protocol via https://learninginhand.com/blog/feedbackchat
• Robin DeRosa's OER pedagogical endeavor
• Annotation Rubrics
• Faculty Focus Live - A Hyflex Course: Bridging the Gap Between Online and In-person Students
• Bringing Theories to Practice: Universal Design Principles and the Use of Social Annotation to Support Neurodiverse Students by Christian Aguiar, Fatma Elshobokshy, and Amanda Huron
• Compass Points rubric

Video

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Watch on YouTube

Liquid Margins 39 - Inclusivity and Social Annotation: Fostering Diverse Learning Environments

Attended from the halfway point onward.

https://www.youtube.com/watch?v=utW4xlL2GkM

https://web.hypothes.is/event/liquid-margins-38-hypothesis-on-chatgpt-tbd/

!- example : annotation - work by 55 authors of the US Constitution demonstrate the power of annotation on the margins

I am going to add some optional 'reading and doing' directions to my posts. Might be helpful.

1. You might listen to the poem first.
2. You might answer the question that Trethewey asks first. Maybe you can engage in the margins with it.
3. You can make all or part of your responses public or private.
4. You can start a group to consider the question.
5. You can have at it in the order presented: my intro--> Twitter thread--> my response to the thread-->check out the link-->listen to the poem.
6. Perch in the margins with the withered wild grapes and the black haw and the redbuds.
7. Join in the work of forecasting your own life.

a publisher that takes having wider margins seriously!

Poe used the book itself as his "slip box".

Followed me today after a Liquid Margins event and conversation about note taking follow up methods.

https://hypothesis.zoom.us/webinar/register/WN_vl5JoW1-RXKlENMtSny7pg

Most Medieval manuscripts specifically left wide columns of space to encourage readers to mark up their texts.

cross reference: Medieval notepads - Khan Academy

<small>Detail, London, British Library, Harley MS 3487 (13th century)—[source](http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=16790)</small>

when i was in high school just a high school in chester pennsylvania there was like english class there was also like a card game that was happening in the back of the room and no one like asked those students what they were teaching in that card game because we were like supposed to be doing worksheets in english class but that's also an intellectual practice so like ...—Christopher R. Rogers (autogenerated transcript)

I love the idea of this parable of a card game in an English class.

Moral: Don't marginalize the card game in preference for the supposed main topic as it has its own power and value, and may in fact be more valuable to the participants and their lives than the "main conversation". Value the thing for itself and not for some perceived other thing. View it in a positive framing rather than in a negative one. Simultaneously, don't attempt to subvert it either to reframe or re-capture the topic. Let it be what it is.

Truer words may have never been said.

If the margins aren't done properly, where is one to put the marginalia?

This also feels like it would create some sort of comradely between the people who live in "the city." A shared sense of belonging brings people together and makes them feel like they are a part of something greater.

This trust is so incredibly important in community. Trust between people living in proximity to each other provides a space of safety. It opens the heart to the possibility of deeper relationships. How do we build trust? What activities can we engage in to nurture this care for each other?

This idea is so fascinating! It's true! Cars are a way of carrying the private sphere wherever we go. It restricts our encounters with the other and with the public realm. They're too comfortable? And yet I do love being able to hid away in a car in the city — to come back to a safe place wherever I am. I do believe that it plays into (and is in a direct parallel with) social hierarchy. The less you have to appear in the public space, the higher you are. How can we move around this? Even the playing field?

I love this idea conceptually, but it seems difficult to put into practice. In creating an art installation, how do you cater to all the people who move through that space? How do you make the piece in line with the existing psychogeography of the space?

I love this idea. The space bonds the community through a social contract. It is something that the people have created intentionally, and therefore declared themselves (as individuals) a part of something greater (the community).

This feels like a fairly direct reference to the individualization of communities. I had never thought of time and the rhythms of a community as being so central to holding a place together. But it's true — as we move away from placing ourselves in time by noticing the pulse of our neighborhood, we lose track of that community. It separates us.

Hopefully there are no Christians in this neighborhood...

could it be true that public art through architecture is a way to sort of get around the system that prioritizes functionality and infiltrate those spaces?

so by this logic, does it matter if a space is inside or outside in the modern era? in the age zoom, does it even matter if a public space exists in the physical realm at all?

interesting to think about this intersection between capitalism and community; the desire to consume can be used to form a sense of community

who counts as the public? anyone who wants to? peoole that were born and raised there? people who have just moved there? people who's family has been there for centuries? people who just like the area?

As a result of the changes to our societal structure, there must be a decisive effort on behalf of other people (and others?)

this appears to be a comment on the era of mass consumption of material goods, some of the same themes that various art movements such as pop art have picked up on. This can even be paired with the concept of individualism and subsequent lack of community that has been increased by the consumption based, capitalist society we live in.

I don't think this is true anymore. Algorithms personalize and control everyone's internet, which asserts the point of the last paragraph, that the internet is a composite of private, self-sufficient and self-serving cities. If public can be a composite of privates, as Acconci states, then 2021 internet would still qualify as a public space, but the increased difference between individual experiences online intuitively seems like it should make it a less public space.

this is topical

How does this relate to how we look at public monuments, which tend to memorialize moments from the past? What is the relationship between time and space in those situations, and how might it be thought differently?

Is Acconci right about this? He's using the metaphor of the bar, where you have to pay a cover fee or for your drink? But are there forms of place-making that are free from such economic exchange?

But home for who? And what if you are not a member of the tribe, but an outsider or a visitor?

What are some possibilities for this "point" that Acconci mentions? He's talking about a catalyst that brings a public together and helps to give it an identity. How does this happen?

What are some of the ways that we make spaces public? Acconci mentions it happening "by force," and so this calls to mind protests and other forms of occupation. But are there other ways of turning what was non-public space into a space of publicity? Are there ways that performative bodies in space start to more carefully insinuate themselves into spaces of privacy and change the nature of that space? In short, how might performance function critically here? And is there something potent about the temporary nature of making that place public for just a period of time and then moving on?

We should pause here. What does Acconci mean? How is it that open spaces in the city are not public?

In what ways do we experience time in the neighborhood together? Could the "socializing of time" act as a mechanism for connectivity, solidarity? One way I see this is through the group of Latinx men, women, and children who play soccer most nights during the summer in the field on the NW corner of Powderhorn Park. On warms days I can clock the order of my days with their activities in parallel to mine. Knowing how they will be playing together, the children running around, is a marker on a social clock of the neighborhood and, however abstract, provides a sense of time to the social landscape we share.

this brings the question of "who is a monument for?" into play; does it have to be successful for the people it serves, and who inhabit the place where the monument exists? or in this age of globalism, does it also have to appeal to everyone else (certainly American / Western centric)?

this kind of reminds me of the John F. Kennedy Art Center in DC, which is intended to be a lively, constantly changing and growing cultural and artistic mecca rather than a static monument

and this is definitely something that changes over time

I find the collective aspect of the anti-monument's creation to be important. Though after this, the author mentions some of the creators of the work, the fact that the impetus for the work was broad-based and not singular is crucial. The idea of a from-below way of memorializing is something I want to hold on to.

See above -- is "public acceptance" a necessary precondition for its "success"? Is it not possible to have a successful monument (or any work of art) that is rejected by some portion of the public?

Flagging this with a question here. The author may get to this, but I am very curious how one would gauge "success" with respect to a public monument? Successful FOR WHOM? One person's success will be another's failure, and how are we to evaluate this or prioritize one voice over another?

Yes---they said paper thin...

This is a great way to end this piece ...

Disappointing echo of crickets.

https://youtu.be/U9c_KttvQPU

writing in the margins

Margins and boundaries are at the heart of ego. Having them makes us strong in the world, but they also render the world as more rigid, defined, and static than it really is. Korzybski's admonition that "the map is not the territory" is never more true than when we are discussing margins and boundaries. Teaching is quite a bit less than the "2+2=4" that I think Troy Hicks points to in his comment about how 30 years of work in digital writing give us some certainty. It's a collection of practices that you can try and most of which have worked more than once and, as such, are worth trying again.That's about it. No certitude there. And that should not discourage anyone who thinks of reading and writing as more art than science.