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    1. For the average office-type chair, the sweet spot you're looking for is a tabletop about 26 inches off of the floor.

      Most modern desks have their tabletops at 28-29" off of the floor which is too high for comfortably typing on a typewriter. The larger old school typewriter desks (double and single pedestals) often had a flip top or spring loaded side compartment that brought the surface that the typewriter sat on down to a more comfortable 26" off of the floor. Similarly you'll see desk returns for these desks which are an inch or two shorter to allow for a typewriter off to the side. Many of the same tanker desks had writing drawers that pulled out to provide space over the other drawers for writing and these also make great surfaces for typewriters to be an inch or two lower than the standard height. These desks usually are heavy and take up some significant floor space.

      From the 1920s, a variety of manufacturers made stand-alone typewriter stands, typically with two drop leaves on either side and wheels to give one easy space for their typewriter that didn't take up a huge footprint and could be moved around the office or home as needed. Similar to these in the modern furniture space, you might find a variety of side tables or occasional tables with tabletops at a more comfortable 26-27" for your typing.

      For off-label use cases, you could try a counter-height stool (24-26") as a temporary typewriter stand to pair with most standard office chairs. Generally bar stools are much taller in the 36" range, so don't do this unless it's your intention to type standing up.

      I've got a 20 drawer library card catalog with a tabletop height of 36.5" that makes an excellent height for a standing desk for typing.


      reply to u/The-Wolf-Bandit at https://old.reddit.com/r/typewriters/comments/1q6e8oo/what_do_you_guys_have_your_typewriters_on/

    1. Ironically, like Roger Taney’s opining in Dred Scott, it first raises its head in a “headnote” to a case not dealing with the issue. In remarks setting the scene for their decision in Santa Clara County v. Southern Pacific Railroad (1886), the court remarked, “The court does not wish to hear argument on the question whether the provision in the Fourteenth Amendment to the Constitution, which forbids a State to deny to any person within its jurisdiction the equal protection of the laws, applies to these corporations. We are all of the opinion that it does.” This statement, that the court were “all of the opinion” that “any person” applied to the fictional entities created by state charters, precluded any formal challenge by telegraphing the outcome. Thus, in a sneaky way, the court avoided having to actually produce a decision of an actual case to establish this principle. Talk about legislating from the bench!
    1. I tell this story to illustrate the truth of the statement I heard long ago in the Army: Plans are worthless, but planning is everything. There is a very great distinction because when you are planning for an emergency you must start with this one thing: the very definition of "emergency" is that it is unexpected, therefore it is not going to happen the way you are planning. So, the first thing you do is to take all the plans off the top shelf and throw them out the window and start once more. But if you haven't been planning you can't start to work, intelligently at least. That is the reason it is so important to plan, to keep yourselves steeped in the character of the problem that you may one day be called upon to solve--or to help to solve.

      Dwight D. Eisenhower, Remarks at the National Defense Executive Reserve Conference Online by Gerhard Peters and John T. Woolley, The American Presidency Project https://www.presidency.ucsb.edu/node/233951

    1. “It is hard to overstate the importance of the ideas of Phil Anderson to the science of SFI and complexity in general," said Santa Fe Institute President David Krakauer. "His 'More is Different' article from Science in 1972 was the most important and rigorous refutation of the foolishness of reductionism for complex systems yet published. Not only did Phil articulate why confusing parts for the whole was a problem, but in the process, he explained why different fields of inquiry – from genetics to economics – needed to exist. This was a supreme act of intellectual modesty and generosity."
    1. Martin → chrisaldrich Yes, Chris, I even came across this site. Porstmanns Karteikunde was actually the publication that inspired my early Zettelkasten activities back when I was still a schoolboy, nearly half a century ago. And of course, Luhmann would have learned this kind of administrative practice in his first job, since it was widely used in offices at the time. I’ve always wondered whether he ever taught anything about it while working in Speyer.

      Martin reports having used Porstmanns Karteikunde in his youth circa 1975 when it was widely used in offices.

      Open question: Did Luhmann teach zettelkasten practices while at Speyer?

      (via https://forum.zettelkasten.de/profile/chrisaldrich)

    1. “This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one; the being a force of Nature instead of a feverish, selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy. “ “I am of the opinion that my life belongs to the whole community, and as long as I live it is my privilege to do for it whatsoever I can. I want to be thoroughly used up when I die, for the harder I work the more I live. I rejoice in life for its own sake. Life is no ‘brief candle’ for me. It is a sort of splendid torch, which I have got hold of for the moment; and I want to make it burn as brightly as possible before handing it on to future generations.” The first paragraph is from the play Man and Superman (1903) by Irish playwright, critic, and political activist George Bernard Shaw (1856-1950). It appears in the eloquent, thought-provoking (and lengthy: more than 11,400 words!) dedication, “Epistle Dedicatory to Arthur Bingham Walkley,” of the play. The second paragraph comes from one of his speeches (found in George Bernard Shaw: His Life and His Works by Archibald Henderson). Interestingly, as the Internet has a tendency to do, the first and second paragraphs are erroneously combined, as if they were one thought written by Shaw. This cobbled-together quotation, taken from two completely separate works, appears in dozens of books, all — of course — without proper attribution. American actor Jeff Goldblum is quite fond of this quote and often recites it (most recently, for example, on The Late Show with Stephen Colbert, February 15, 2019) as if it were one long paragraph, perpetuating the mistake.

      two separate quotes at the top

      https://atkinsbookshelf.wordpress.com/2019/02/16/life-belongs-to-the-whole-community-it-is-a-sort-of-splendid-torch/

    1. Just as any other good system of notes, ConnectedText will lead to what Luhmann called a "Zweitgedächtnis" or a secondary memory that might be described with Luhmann as a "chaos (Unordnung) of non-arbitrary internal structure."[14] When we consult this external or artificial memory, we will often be surprised by what we find. In fact, the more information we have fed into the system, the more we will be surprised. Luhmann, who had an interesting concept of "communication," had no problem to call this serendipitous interaction with his notes, communication.

      surprise, communication, chaos, secondary memory (Zweitgedächtnis) = combinatorial creativity

    2. The number of scholars who have used the index card method is legion, especially in sociology and anthropology, but also in many other subjects. Claude Lévy-Strauss learned their use from Marcel Mauss and others, Roland Barthes used them, Charles Sanders Peirce relied on them, and William Van Orman Quine wrote his lectures on them, etc.

      I'm pretty sure I've come across all these examples before, many from Kuehn in other contexts...

      I HAVE read this before, but Hypothes.is isn't showing the matching document. See: https://hypothes.is/users/chrisaldrich?q=url%3A%22https%3A%2F%2Fwww.connectedtext.com%2Fmanfred.php%22

    3. Beatrice Webb, the famous sociologist and political activist, reported in 1926: "'Every one agrees nowadays', observe the most noted French writers on the study of history, 'that it is advisable to collect materials on separate cards or slips of paper. . . . The advantages of this artifice are obvious; the detachability of the slips enables us to group them at will in a host of different combinations; if necessary, to change their places; it is easy to bring texts of the same kind together, and to incorporate additions, as they are acquired, in the interior of the groups to which they belong.'" [6] Relationships and classification can come in at any time, but it is not of prime importance that we observe them in note-taking, at least at first.

      I love Kuehn's reading/understanding of Webb's work here:

      "Relationships and classification can come in at any time, but it is not of prime importance that we observe them in note-taking, at least at first."

    4. It was my discovery of wiki technology some time in 2002 that ended this undirected search and constituted the other fundamental change in the way I dealt with information. What I liked about it from the beginning was that it allows of easily linking bits of information and favors the braking down of large chunks of information into smaller bits. This emphasis on the granularity of information reminded me not only of the old index card method, but it also convinced me almost immediately that it was a significant improvement over the paper-based system. I adopted this technology and I have never looked back.

      Movement from index cards to wikis in early 2002 by Manfred Kuehn.

    5. In other words, this is just a testimony in which I offer some personal reflections on the role ConnectedText plays in my own research, backed up by some reflections on the way this is related to the way in which I and many other scholars have used card indexes and journals during the precious century for keeping or making notes.

      Some observations on digital note taking with an app from someone who'd previously spent time using card indexes.

    1. Put ideas on index cards – one to a card – and then arrange them in differ-ent structures. Again, you can do this in a series of passes, using a differentcriterion each time; this will help you to identify core concepts, structuresand outliers.

      It's almost as if they're suggesting putting ideas onto index cards after-the-fact rather than from the start as older manuals would have suggested. This would seem to add a huge amount of work to the process.

    2. Mind-mapping and conceptual mapping are other useful structuring tools,whether on a whiteboard or using software. Sorting good old-fashioned indexcards (or Post-its) on the wall, table, or floor in different configurations is alsohelpful. There is usually more than one possible structure; the right one is theone that serves your question and thinking.

      Of course no mention of how the material gets onto the "good old-fashioned" index cards.

    1. The cross-referencing technique solves all organizational problems. Misplacements must be corrected by cross-referencing, not by rearranging.

      This is particularly true when other cross references on paper can't easily be found and fixed the way they might be in digital form. Creating a pointer to the correct location is the quickest and most efficient method for fixing a mis-filing on paper.

    1. chatgpt, write me a summary of the zettelkasten method that is documented extensively online so i can post it to a sub full of people who have almost certainly heard of it before, but don't use the actual term

      by u/andrewlonghofer at https://www.reddit.com/r/ObsidianMD/comments/1mbs3rd/technique_of_the_card_index_box_by_niklas_luhmann/

      This is hilarious given that the article he's commenting on is a document written by Luhmann in 1968!

  2. Dec 2025
    1. In the typewriter space, the closer you get to the people actually manufacturing typewriter ribbon, the cheaper it gets. As a result you can buy ribbon in bulk for about US$2 per spool versus $10-15. In America, I've had excellent experience with Baco and Fine Line: https://boffosocko.com/research/typewriter-collection/#Typewriter%20Ribbon

      Mostly on Amazon and similar platforms you'll find resellers selling for top dollar. If you're going to do this, then the better route is to spend the same (or possibly a bit less) and get your ribbon from a local typewriter shop which helps keep them in business for the eventual day you'll need a more serious repair or help. Try a local shop from the list at https://site.xavier.edu/polt/typewriters/tw-repair.html

      If they're close, your local shop will also help teach you how to respool ribbon and thread it properly as well as potentially other tips and tricks.

      reply to https://old.reddit.com/r/typewriters/comments/1q095fg/just_bought_a_typewriter_any_tips/

    1. reply to u/Wheather819 at https://www.reddit.com/r/typewriters/comments/1q0a17w/another_newbie_question/

      Totally a matter of preference! Just don't type directly onto your platen without any paper at all.

      Almost any paper even into the heavier card stocks will usually work in most machines. I've seen people go Jack Kerouak style and do integral rolls of paper, type on rolls of receipt paper, brown paper bags, envelopes, postcards, labels, and even scrap paper.

      For me it's often index cards.

      stacks of index cards on a library card catalog with a sandstone yellow colored Royal FP typewriter

      Searching this sub for paper will give you lots of ideas.

      If you want to go crazy, Lenore has some fun tips with specialty papers, carbon paper, and cards in her film on advanced typing: https://boffosocko.com/2025/06/06/typewriter-use-and-maintenance-for-beginning-to-intermediate-typists/#Advanced%20Typing

    1. reply to u/14Papa19 at https://reddit.com/r/typewriters/comments/1q0dt1e/new_to_us_remington_streamliner/

      Try spooling the ribbon manually in one direction or the other for a foot or so to get to ribbon that's not dried out and you may be in luck and not need to replace it right away.

      Ribbon purveyors: https://site.xavier.edu/polt/typewriters/tw-faq.html#q1

      If you've got the original Remington metal hubs (which are needed for the auto-reverse functionality), keep those as they're expensive to replace. Spool your new ribbon (1/2" wide and typically comes on 2" diameter plastic universal spools) from cheap plastic spools onto your originals.

      If you don't have the original metal hubs, you can call around to repair shops for replacements (which may be the cheapest route) https://site.xavier.edu/polt/typewriters/tw-repair.html. Ribbons Unlimited also sells these hubs with ribbon attached, but it's more expensive to do this, but once you've got them, you can buy ribbon by itself for much cheaper in the future and just wind the new ribbon onto existing spool hubs.

      Here's some useful videos which might help you out in terms of how to spool up your ribbon:<br /> - https://www.youtube.com/watch?v=iTFM54VKKc4 (Slightly different model to yours, but same spool mechanisms) - https://www.youtube.com/watch?v=xWQTa4b7jPs (This one has some advice about using a Remington without the spools.)

      If you needs some tips on color matching your typewriter to a desk or your fountain pen: https://boffosocko.com/2024/03/22/acquisition-remington-streamliner-196x-portable-typewriter-in-metallic-mint-blue/

      For more on use and maintenance: https://boffosocko.com/2025/06/06/typewriter-use-and-maintenance-for-beginning-to-intermediate-typists/

      Good luck and happy typing!

    1. p5

      GENERAL CARE-Reasonable care will insure years of satisfactory performance from your typewriter. A typewriter's principal enemy is dust. Keep typewriter covered when not in use. Clean the typefaces occаsionally with a brush to remove accumulated lint and ink.

      Do surface not clean your typewriter's with alcohol as it is injurious to the finish. Once in a while you may put a drop of oil on each of the two rails on which the carriage moves and then rub it off again. Never attempt to oil the typebars or any other part of the mechanism as this may have a tendency to gum and clog the working parts.

    1. I recently replaced the belts on my Sears Celebrity Power 12 (a Smith Corona rebrand if I understand correctly) that were shedding perished rubber with Gates 3M315 Polyflex V-Belts. The typewriter is much happier now; no more bouncing middle wheel or rattling and the impressions are much clearer. Before the smaller punctuation characters (-_.,) had about a 75% success rate, now they work great.

      https://www.reddit.com/r/typewriters/comments/1pypbrf/minimum_impression_maybe_too_heavy_on_sears/

      Gates 3M315 polyflex v-belts

    1. reply to u/rawbran30 at https://old.reddit.com/r/typewriters/comments/1py74mf/internet_hype_trendeffect_and_brand_popularity/

      Olympias were imported into the US from the 50s into the 70s and were manufactured at peak typewriter engineering and manufacturing methods before machines slowly got cheaper and cheaper in terms of materials and craftsmanship through the 60s and into the early 80s before typewriters were subsumed by the word processor market.

      Compared to Smith-Coronas and Remingtons of the 50s and early 60s (their peaks), Olympias are slightly better manufactured in terms of fit and finish. They're also slightly more modern looking in terms of body shapes and colors compared to other machines, which also helps to drive up price amongst collectors.

      Now is an Olympia SM3 or SM9 really so much better than a Smith-Corona Silent Super that they should enjoy an almost 2x jump in price for an unserviced model? Potentially not, but if this is your issue, then buy something from a professional shop that's been cleaned, oiled, and adjusted and a lot of the price differential evaporates.

    1. https://www.loc.gov/aba/publications/FreeLCGFT/freelcgft.html

      This page provides print-ready PDF files for the the Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT), as well as the Genre/Form Terms Manual, which provides guidelines and instructions for making proposals and for applying genre/form terms. LCGFT is available as part of LC's web-based subscription product, Classification Web Plus .

    1. https://www.facebook.com/groups/1794856020751839/?multi_permalinks=4308967442674005

      A reasonable sounding version of why not to use some of the commonly suggested methods for rejuvenating platens.

      If you wish to attempt to lower the Shore A hardness of your typewriter platen temporarily, I would recommend applying a more compatible mixture of xylene (non-polar solvent), Methyl Alcohol and Methyl salicylate (wintergreen oil) in a 3 to 1 to 1 ratio such as is found in the product called Rubber Renue from M.G. Chemicals. All the necessary chemicals are available on Amazon, and you can make it by the litre for pennies compared to the commercial product.

    1. In the CFL, the kicking team is awarded a rouge if the team either misses a field goal or punts the football, and the receiving team does not get the ball out of their end zone. Or, a team can score a rouge if the ball goes through the end zone and out of bounds without being touched on a missed field goal or punt.

      via https://www.sportingnews.com/us/cfl/news/cfl-rouge-explained-one-point-score-canadian-football-league/cbd1hmplzoqhhwccffvapzx1

    1. Bois is the mind behind “Scorigami,” a term he defines as “the act, and art, of producing a final score in a football game that has never happened before.” He conjured that portmanteau after a 2014 Seattle Seahawks victory over the Green Bay Packers. That game finished 36–16, the first time those two numbers had ever appeared side by side at the end of an official NFL contest.
    1. Index cards are important tools, particularly if you're going through a thousand or more a month. I tend toward the cheapest ones I can find and am always half tempted to bulk order them in pallet quantity from somewhere to get a steep discount, especially as I've got filing cabinet storage space for another 40,000 4x6 index cards readily at hand.

      I looked more closely at the Wexfords I just picked up and they are made in India. Comparatively my Staples branded cards are also made in India, while the Amazon Basics and Oxford cards are made in the United States.

      As for line quality, the most consistent I've seen are the Stockroom Cards designed in California, but made in China. Oxford has been generally solid and Amazon lines have been occasionally hit and miss.

      About a year ago, the local Amazon Fresh store had dozens of their 500 card packs listed for an overly reasonable $2.50 each (half a penny per card), so I picked up about 15,000 cards at a time when they were usually in the $12-15 range online. They're presently at a near annual best of $7.45 (about 1.5 cents per card). At $3.50 for 100, the Wexfords ran almost twice as expensive at 3.5 cents per card. I suspect tariffs are likely affecting the price of foreign cards more heavily lately.

      I've not really tried out any listed as "flashcards", so I can't comment on the prices or quantities there. Some of the ones I have seen tended to the more expensive side, so I've passed on them.

      Good luck in your continued search.

    2. I tried out some of the Wexford cards today. They're generally the same exact thickness and general quality as the Amazon Basics and the Oxford branded cards I've got. They're probably closer in quality to Amazon Basics than the Oxford which are a bit "tighter weave". I've got almost a dozen different brands, perhaps one of these days I'll set up my microscope along with a camera and do photos of the differences in paper quality.

      The Wexfords have some of the more textured feel of any I've seen out there. They have the standard red top line, but the rest of the lines seem almost grayish or nearly black compared to most other cards which have a medium to lighter blue coloring. The Wexfords also have an only very slightly thinner than usual 1/4" spacing. (It measures out to 0.2375 inches between lines rather than the typical 0.25" most American cards would have. This nets out to be a 6mm line which makes me think it's a more European/Japanese/Chinese card than an American one despite the 4x6" dimensions.)

    1. You'll notice that the links here point to much older, smaller numbers. 1013 3667. These are ideas from thousands of entries ago. ideas I'm still grappling with today. That's what I really love about my link book. The way old and new ideas collide on paper. That's where the real creative sparks happen. And that's why I say the linkbook is an innovation engine. It doesn't just store ideas. It helps them grow, interact, and evolve.<br /> —Michael Herrick [2:45](https://youtu.be/30_v2FHJ9e4?si=HclrmkAMnd6LVca_&t=165

      Michael Herrick noticing what others have seen in the past. He doesn't give the idea a new name like he's done with "Linkbook" for commonplacing or various other iterations.

    1. This is a persistent myth. Tolerance has nothing to do with it -- even in high-precision machine tools machined to within a thousandth of an inch, oil is necessary to reduce sliding friction and prevent wear. (In fact, super-flat bearing surfaces will even have deliberate channels cut to allow oil to stick.) Review some old service manuals and you'll find detailed lubrication instructions. This old Remington manual, for example, has a chart at the end specifying four different types of oil for different parts of the mechanism; this Typewriter Repair Training Course describes several methods for lubricating entire machines; and this Army manual suggests basically hosing the machine down with light oil. I suspect many people get the impression that oil is bad because very old oils, before the invention of modern synthetic oils and greases, tend to gum up into a sticky paste as they oxidize and separate over time. (Some pre-WWII greases were based on animal fat, and would go rancid!) Combine that with fifty years of cat hair and dust and the machine seizes up entirely. Modern synthetic light oils and greases should last much longer.

      u/capnrefsmmat reply to

      u/lodger238 at https://reddit.com/r/typewriters/comments/1hslx56/huh_i_thought_wd40_was_horrible_as_a_lubricant/<br /> Agree completely and to further the point; typewriters were manufactured with low tolerance in many areas just so they wouldn't need lubricating.

    1. I speak from my experience on Olympia typewriters, and my engineers degree says the same: The most inner portion is not intended to recurve. Main springs wind in one direction, all the way. In this status, it's not usable. But fear not, you can rescue it. I rescued a main spring that had the inner connector broken off. Main springs (like all springs) tend to be very tough steel. You can simply break the faulty portion off. Then, you clamp the new end in grip pliers that double as a grip and a heat sink. A vice will do the same, but will be very finicky with the narrow curvature of the spring. Let that piece of the spring that you intend to bend into your new connector peek out of the pliers. Get a blow torch and heat that tiny piece to a bright red glow, then bend it one-third of the intended bend. Heat again, bend again, and once again. And now comes the most important part, the annealing: Take the spring out of the heat sink. Carefully apply heat to the new connector and the first tiny piece of the spring with your blow torch. You want to warm the connector, the bend and approximately 5mm or ¼ inch of the untouched spring. Don't allow it to glow. It may only make slight orange traces in the flame, but no more. Pull the flame away slowly, don't let it crash cool, don't blow on it, don't put it in water. Don't burn your fingers in the process. Your main spring is shorter now, but it will work just fine. Welcome to the world of typewriter blacksmiths.

      https://www.reddit.com/r/TypewriterRepair/comments/1pbnomi/mainspring_twisted/

    1. Reply to u/banksclaud at https://reddit.com/r/typewriters/comments/1pf09vb/please_help_surprise_my_son/

      Etsy can often have people flipping machines without having any work done, so be careful on what price you're paying for what you're getting. If it's over $350, it ought to fully serviced and have some sort of guarantee. Otherwise, find something at your local repair shop: https://site.xavier.edu/polt/typewriters/tw-repair.html

      This question is asked so often, I've written up some good general advice which should apply to your child: https://boffosocko.com/2025/03/29/first-time-typewriter-purchases-with-specific-recommendations-for-writers/ For the age and your desire not to be bulky, go for a portable machine and not a larger standard or the more finnicky ultra-portables.

      Some might opt for the brighter colored typewriters for kids for the "fun" factor, but I've found, having done a few type-ins with a huge variety of machines, that it's often the adults that are drawn to the colorful machines (which tend to be less well-built and plastic-y/cheaper) while kids will respond well to the older, duller vintage machines.

      Here's a few 1950's advertisements directed at parents of kids just for fun: <br /> - https://www.youtube.com/watch?v=VTrkDa-GuSI<br /> - https://www.youtube.com/watch?v=bOIRul7pXDY

    1. Leszczyk, Marianna. 2025. “How Things Can Be Used: Aby Warburg’s Zettelkästen, Materiality, and Affordances.” The Warburg Institute. https://warburg.sas.ac.uk/news-events/blogs/how-things-can-be-used-aby-warburgs-zettelkasten-materiality-affordances (December 4, 2025).

    2. Fig. 3: View of selected dividers in ZK 19: “Religion – Myth”, “Mythology pragmatic”, “Venus and her entourage”, “Ancient Superstition Afterlife”, “Mysteries”. © Warburg Institute

      Somewhat curious of the dates/times of the creation of these tabbed cards. Surely made in the 20th century, but since Warburg was likely creating notes in the late 1800s, where does this sit with respect to the invention of the tab card in 1894 claimed by Progressive Indexing and Filing (Remington Rand, 1950, p205)?

    3. In a much cited anecdote by Fritz Saxl, Warburg’s long-term academic collaborator and first director of the Warburg Institute, we find Aby “standing tired and distressed, bent over his boxes with a packet of index cards, trying to find for each one the best place within the system”.[6]

      [6] Fritz Saxl, The History of Warburg’s Library (1886-1944) cited in Gombrich 1970, p. 329; Marchand 2023, p. 186; Steiner 2013, p. 155; Wedepohl 2014, p. 389.

      It's only in a physical card system one might worry a bit about "best place" for a card. Some of it is down to one's future self being able to find it, but cross-references could have been placed or an amanuensis might have created an exact copy for multiple copies in many locations.

      What does Ernst Bernheim have to say on the topic of filing?

    4. As Marchand elucidates, it was most likely before his research trip to Rome in autumn 1928 that Warburg had all the material in the then-existent 72 boxes stamped with a number sequence identifying each individual item by its box and its place within the order of items across all boxes (so, for instance, the index card shown in Fig. 2. would be item number 10042 in the overall sequence). This detailed indexing allowed Warburg and Gertrud Bing to assemble a new set of Zettelkästen specifically for the Rome trip without worrying about irredeemably displacing any items from their original locations. These “travelling boxes” were never dismantled as planned, however, and are still part of the Archive today, recognisable by a separate numbering sequence marked in square brackets (e.g. ZK [1]). Although the square-bracketed Zettelkasten sequence now also includes other boxes that were unnumbered at Warburg’s death, the visible difference between the two sequences remains a testimony to the mobility of the Zettelkasten corpus and its role in Warburg’s work on the famous Bilderatlas, a central part of which occurred during the abovementioned Rome trip with Bing.

      "travelling boxes" as analog "back up"