Milton,for example, wrote more or less lengthy headings, or "Arguments," as he called them, for each book of Paradise Lost.

Eventually, as the cards fall into groups accordingto subject or person or chronological sequence, the pattern of mystory will emerge.

i want to begin by talking about the imagine nature which is the first of those three natures um it's really tempting when i look at a flower like a rose um a nice red rose 00:35:22 to think that the color the redness is right on the rose unless you are extremely accomplished when you look at a red rose you see the color right out there in the rose and 00:35:34 you assume that your eyes are simply detecting color that is in the rose actually that can't possibly be true color is something that emerges um as 00:35:45 john pointed out this morning through the interaction of our sense faculties and whatever is happening outside of them and the color emerges in our minds but we imagine things to exist outside of consciousness just as we perceive 00:35:58 them and that nature that we ascribe to the objects of our experience is their imagined nature it's an imagined nature because we project it out there even though on reflection we each know 00:36:11 that the redness can't possibly be painted out there in the rose footnote it's uh equally stupid to think that when we detect the redness we're detecting in inner red paint that 00:36:23 somehow um is just detected by an inner eye i assure you that when you look inside your brain you will find no such inner red paint

Built and assembled without anyparticular significance or any value, Walter de Maria's Boxes for MeaninglessWork could also be an echo of Duchamp's sound strategies. In aparallel project, Robert Morris realized Card File (1962-3), a series ofcards on which a series of hazy concepts are written and laid out alphabetically on a vertical support. Through this initial process, Morriscreated a description of the necessary stages required to achieve thework. The terms used in this file include such things as accidents,alphabets, cards, categories, conception, criticism, or decisions, dissatisfactions, durations, forms, future, interruptions, names, numbers,possibilities, prices, purchases, owners, and signature. As a result, thework had no content other than the circumstances of its execution.Through this piece, Morris also asserted that if one wished to understand and penetrate all subtleties of the work, one would have toconsider all the methods used in bringing it forth. The status of thework of art is immediately called into question, because the range ofcards can undergo a change:In a broad sense art has always been on object, static and final, eventhough structurally it may have been a depiction or existed as afragment. What is being attacked, however, is something more thanart as icon. Under attack is the rationalistic notion that art is a formof work that results in a finished product. Duchamp, of course,attacked the Marxist notion that labor was an index of value, butReadymades are traditionally iconic art objects. What art now has inits hand ismutable stuffwhich need not arrive at the point of beingfinalized with respect to either time or space. The notion thatworkis an irreversible process ending in a static icon-object no longer hasmuch relevance.25Marcel Duchamp's musical and "Dismountable approximation" illustrate this process perfectly. John Cage recalled that "for his final opus,Given: 1. The Waterfall, 2. The Illuminating Gas, exhibited in Philadelphia, [Duchamp] wrote a book [the "Dismountable approximation"]that provided a blueprint for dismantling the work and rebuilding it.26It also provided information on how to proceed, as well as the only definition of the musical notation, isn't that so? So it is a musical work ofart; because when you follow the instructions you produce sounds."27But Given: 1. The Waterfall, 2. The Illuminating Gas was never createdas a musical piece, even though it is entirely "possible to do it. . . .Andif one takes it like a musical piece, one gets the piece [that Duchamp]This content downloaded from 194.27.18.18 on Fri, 18 Dec 2015 12:35:27 UTCAll use subject to JSTOR Terms and Conditions

I failed to notice that, unlike the Whiz, which has the same distribution settings as a Scotts push spreader (i.e., settings 2 - 9 with half- and quarter-steps between) and which all products you use in a spreader, Scotts or not, conforms to in their instructions for telling you what to set the spreader at, the Whirl does NOT have these settings, meaning there's no way to follow directions on the packages of products you'll be using the Whirl spreader for, not even on the packages of products made by Scotts itself. That makes knowing what to set it at total guesswork, stabbing in the dark, which, as anyone knows who has ever burned their lawn with fertilizer knows, is very risky and potentially very costly. All Scotts gives you with the Whirl, after giving a disclaimer that you must "READ AND FOLLOW ALL LABEL DIRECTIONS OF THE PRODUCT YOU ARE APPLYING," which of course you can't do because those label directions give you a spreader setting that does NOT apply to this spreader, is generic instructions that say to set it at 1 for light seed, 3 for moderate fertilizer, and 5 for heavy ice-melt, only that's all very subjective and products, like fertilizers (even Scotts' own), don't all provide the same spreader setting by type but vary, meaning one fertalizer will tell you to set a standard spreader at 3 3/4, but another will tell you to set it at 5, while if you put any fertalizer on your lawn as heavily as you put ice-melt down, which is what the Whirl suggests for ice-melt, you'll burn your lawn.

For instance, particular insights related to the sun or the moon may be filed under the(foreign) keyword “Astronomie” [Astronomy] or under the (German) keyword “Sternkunde”[Science of the Stars]. This can happen even more easily when using just one language, e.g.when notes related to the sociological term “Bund” [Association] are not just filed under“Bund” but also under “Gemeinschaft” [Community] or “Gesellschaft” [Society]. Againstthis one can protect by using dictionaries of synonyms and then create enough referencesheets (e.g. Astronomy: cf. Science of the Stars)

Who can say whether I will actually be searchingfor e.g. the note on the relation between freedom of will and responsibility by looking at itunder the keyword “Verantwortlichkeit” [Responsibility]? What if, as is only natural, I willbe unable to remember the keyword and instead search for “Willensfreiheit” [Freedom ofWill] or “Freiheit” [Freedom], hoping to find the entry? This seems to be the biggestcomplaint about the entire system of the sheet box and its merit.

For the sheets that are filled with content on one side however, the most most importantaspect is its actual “address”, which at the same time gives it its title by which it can alwaysbe found among its comrades: the keyword belongs to the upper row of the sheet, as thegraphic shows.

So entstanden 98 Bände, hergestellt nach einem Zettelkasten-System (Verne hinterließ 25 000 Stichwort-Karten), zum größeren Teil geschrieben in dem Turm zu Amiens, den Verne innen wie ein Schiff ausgestattet hatte.

Tagsare simple yet powerful forms of categorizing used in social mediathat further organize categorical information according to user needsand preferences (Shimic, 2008). Tags help people find and situateideas, providing a mode of peripheral social collaborativeparticipation (Lave & Wenger, 2012). Tags also create flexiblesearch tools, not available with traditional annotation tools, thatsupport reading-for-writing by making the process of retrieval fasterand more straightforward.

Another prime object in making notes is tohave record in the most convenient or effectiveway of the data or “ facts ” found in sources ofinformation, or the conclusions built from suchfindings. The results reached in pursuit of thisobject may properly be called subject notes.

one can protect by using dictionaries of synonyms and then create enough referencesheets (e.g. Astronomy: cf. Science of the Stars). The only premise for this is that one knowsbeforehand the one location where the sheet belongs in the box.

Apart from a higher probability to retrieve particular note sheets, that advantage lies in thecircumstance that notes having a similar keyword will, as the box grows, find themselves atthe same location because of the alphabetical structure. That means not only an automaticcollection of content, but also a comparative review of those related note sheets, which inturn leads to new thoughts basd on the relation between the note sheets with identicalkeywords

Don’t worry about organization…at least at first. I get a lot of emails from people asking me what categories I organize my notes in. Guess what? It doesn’t matter. The information I personally find is what dictates my categories. Your search will dictate your own. Focus on finding good stuff and the themes will reveal themselves.

First, while using the previous retrieval methods, it is a good ideato keep your focus a little broad. Don’t begin and end your searchwith only the specific folder that matches your criteria.

How to Resurface and Reuse Your Past Work

Tags can overcomethis limitation by infusing your Second Brain with connections,making it easier to see cross-disciplinary themes and patterns thatdefy simple categorization.

You may prefer notebooks to cards for note taking-very well:use what you like, but invariably; it will save you time andannoyance. If you use cards , use small ones (3" x 5") so that youuse a separate card for each fact, title, or memorandum toyourself. The cards are then easily shuffled for grouping. If youuse a notebook, leave a margin for the key word, letter, or num-ber which you will insert later as an index to the contents.

11 Subject

Francis Bacon explained succinctlythat notes could be made either “by epitome or abridgement” (that is, by sum-marizing the source) or “by heads or commonplaces” (that is, by copying a pas-sage verbatim or nearly so and storing it in a notebook under a commonplaceheading for later retrieval and use). Bacon considered the latter method “of farmore profit and use,” and most note-taking advice focused on this practice of ex-cerpting.46

Lemmata from the main text are underlined in red, and the commentary is provided after.

The second reason might support positive change. The existence of tokens and decentralization means that it’s possible to build resilient open source communities where early contributors and supporters benefit handsomely over time. No one owns these communities, and we can hope that these communities will work hard to serve themselves and their users, not the capital markets or other short-term players.

Babel implements multiple variants of this proposal to help TC39 test and gather feedback from the community. As with all proposals, expect changes in the future.

(name subject to bikeshedding)

Between the first days of the European Invasion of North America and the ratification of the constitution there were both winners and losers here. List, in rank order, the most significant groups of winners and losers. What factors best explain the relative conditions of the groups on your lists? Connect causes and consequences to each. Were these outcomes inevitable? If so, why?

class SvelteSubject extends BehaviorSubject

Instead, we can use an RxJS Subject. The only problem is that the contract is a little bit different.

You can think of this as a single speaker talking at a microphone in a room full of people. Their message (the subject) is being delivered to many (multicast) people (the observers) at once.

The process of collecting and storing user consent from a technical perspective

Send one email per subject as multiple items in one email will cause delays (have to respond to everything) or misses (forgot one of the items).

If you wanted to design a statue honoring soccer dads, it could be based loosely on the famous Iwo Jima statue, except instead of courageous young Marines struggling to raise a flagpole, it would be middle-aged men wrestling with what appears to be a huge mutant bat.

But it’s my fellow dads I want to talk about here.

We’ve watched a million games from our folding chairs on the sideline. We’ve been rained on more than a Vietnamese rubber plantation. We’ve cheered our girls when they won, and we’ve hugged them when they lost

We’ve been through a lot together: We’ve driven countless miles to games and tournaments, and we’ve spent many nights in hotels with questionable hygiene standards

As years passed, Sophie’s soccer skills greatly improved

I am one.

This Father’s Day I want to sing the praises of soccer dads

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SMEs to read and respond to comments and conversation within the Social Learning framework.

I ~hould have preferred to be enveloped by speech, and carried away well beyond all possible beginnings, rather than have to begin it myself. I should have preferred to be-come aware that a nameless voice was already speaking long before me, so that I should only have needed to join in

subjectivism, which, as far as values are concerned, leads to skepticism for lack of an intersubjective criterion; or an abso-lutism founded on intuitionism.

grand disciplinary challenge

real, virtual, and authentic are becoming increasingly unstable

Additive manufacturin

Additive manufacturing poses a number of challenges to conventional understandings of materiality, including the so-called archaeological record. In particular, concepts such as real, virtual, and authentic are becoming increasingly unstable, as archaeological artefacts and assemblages can be digitalised, reiterated, extended and distributed through time and space as 3D printable entities. This paper argues that additive manufacturing represents a ‘grand disciplinary challenge’ to archaeological practice by offering a radical new generative framework within which to recontextualise and reconsider the nature of archaeological entities specifically within the domain of digital archaeology

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and that the question of which of these perceptions of the world is the more correct one is quite meaningless, for this would have to have been decided previously in accordance with the criterion of the correct perception, which means, in accordance with a criterion which is not available. But in any case it seems to me that "the correct perception"-which would mean "the adequate expression of an object in the subject"-is a contradictory impossibility.

The whole of the following sixth book is taken up with the arts for stirring the emotions and causing delight; here nothing is the property of dialectic or of rhetoric. Since rhetoric and di-alectic are general arts, they should therefore be explained in a general fashion, the one in respect to style and delivery, the other in respect to in-vention and arrangement.

But indeed I shall instead agree with Quinti-lian's opinion that rhetoric is defined as the sci-ence of speaking well, not about this or that, but about all subjects. Rhetoric therefore requires no partition of its areas of investigation

The parts of the material which belong to the art of rhetoric are only two, style and delivery

It is a remark constantly made by some that an orator must be skilled in all arts if he is to speak upon all subjects. I might reply to this in the words of Cicero, in whom I find this passage: "In my opinion, no man can become a thoroughly accomplished orator unless he shall have attained a knowledge of every subject of importance and of all the liberal arts," but for my argument, it is sufficient that an orator be acquainted with the subject on which he has to speak.

He has not a knowledge of all causes, and yet he ought to be able to speak upon all.

They speak falsely, however, in this respect likewise, for we have already shown that oratory has an end and have stated what that end is, an end which the true orator will always attain, for he will always speak well.

that any one in my house might put any question to him, and that he would answer.