This bucket’s for you and for you alone. It’s your idiosyncratic partner in knowledge work. Your second brain. Your extended memory and your better self.

Irritation: basically, without surprise or disappointment there’s no information. Both partners have to be surprised in some way to say communication takes place.

From Wikipedia I got the info about Nabokov. Jean Paul’s 1796 narration Leben des Quintus Fixlein is subtitled “aus funfzehn Zettelkästen gezogen; nebst einem Mustheil und einigen Jus de tablette” (literally: drawn from fifteen card indexes). Arno Schmidt’s so-called “book” Zettels Traum (roughly “index card’s dream”) looks like the collage it really is. You should just take a look at Zettels Traum and see for yourself! 

Dafür spricht das Credo des Literaten Walter Benjamin: Und heute schon ist das Buch, wie die aktuelle wissenschaftliche Produktionsweise lehrt, eine veraltete Vermittlung zwischen zwei verschiedenen Kartotheksystemen. Denn alles Wesentliche findet sich im Zettelkasten des Forschers, der's verfaßte, und der Gelehrte, der darin studiert, assimiliert es seiner eigenen Kartothek.

Der Josephinische Katalog enthielt am Ende inklusive eines ausgefeilten Verweissystems ca. 300.000 Zettel. Dass er aber als erster Zettelkatalog Bibliotheksgeschichte schrieb, lag eher an einem Fehler im Programm. Eigentlich hätten nämlich nach van Swietens Vorstellungen am Ende des Vorgangs alle bibliographischen Angaben von den Zetteln in einen Bandkatalog übertragen werden sollen. Der Grund für diesen Programmierfehler bestand in ökonomischem Kalkül: Der geplante Katalog hätte gut und gerne 50 bis 60 Folio-Bände umfasst und wäre doch kurz nach Fertigstellung schon wieder veraltet gewesen. Darum wurden die Wiener Zettelkästen zur ersten relationalen Suchmaschine mit Erweiterungsfunktion.

Dabei stellt die Verzettelungstechnik die vermutlich mächtigste Verwaltungstechnologie des 19. und 20. Jahrhunderts dar, die das Bürowesen ebenso revolutioniert hat wie die Bibliotheksverwaltung und als Mindmapping- und Kreativitätswerkzeug an der Wiege einiger der bedeutendsten literarischen und wissenschaftlichen Werke stand.

While not referred to specifically as Zettelkasten by their non-German speaking users, there is a tradition of keeping similar notes in a commonplace book-like tradition in other countries. American comedians Phyllis Diller (with 52,000 3x5 inch index cards)[10] [11], Joan Rivers (over a million 3x5 inch index cards)[12], Bob Hope (85,000 pages in files)[13], and George Carlin (paper notes in folders)[14] were known for keeping joke or gag files throughout their careers. They often compiled their notes from scraps of paper, receipts, laundry lists, and matchbooks which served the function of waste books.

Phyllis Diller’s groundbreaking career as a stand-up comic spanned almost 50 years. Throughout her career she used a gag file to organize her material. Diller’s gag file consists of a steel cabinet with 48 drawers (along with a 3 drawer expansion) containing over 52,000 3-by-5 inch index cards, each holding a typewritten joke or gag. These index cards are organized alphabetically by subject, ranging from accessories to world affairs and covering almost everything in between.

"I always get my jokes down on pieces of paper right away—backs of matchbos, whatever. No one is allowed to throw a piece of paper out in my house, because on the back of a laundry list there may be a joke."

For the past thirty-some years, Rivers has been filing each and every joke she's written (at this point she's amassed over a million) in a library-esque card cabinet housed in her Upper East Side apartment. The jokes—most typed up on three-by-five cards—are meticulously arranged by subject, which Rivers admits is the hardest part of organizing: "Does this one go under ugly or does it go under dumb?"

The jokes included in the final script, as well as jokes not used, were categorized by subject matter and filed in cabinets in a fire- and theft-proof walk-in vault in an office next to his residence in North Hollywood, California. Bob Hope could then consult this “Joke File,” his personal cache of comedy, to create monologs for live appearances or television and radio programs. The complete Bob Hope Joke File—more than 85,000 pages—has been digitally scanned and indexed according to the categories used by Bob Hope for presentation in the Bob Hope Gallery of American Entertainment.

Over time, Carlin formalized that system: paper scraps with words or phrases would each receive a category, usually noted in a different color at the top of the paper, and then periodically those scraps would be gathered into plastic bags by category, and then those bags would go into file folders. Though he would later begin using a computer to keep track of those ideas, the basic principle of find-ability remained. “That’s how he built this collection of independent ideas that he was able to cross-reference and start to build larger routines from,” Heftel explains.

In the documentary Joan Rivers: A Piece of Work, the comedian showed off a similar “joke bank”: For the past thirty-some years, Rivers has been filing each and every joke she’s written (at this point she’s amassed over a million) in a library-esque card cabinet housed in her Upper East Side apartment. The jokes—most typed up on three-by-five cards—are meticulously arranged by subject, which Rivers admits is the hardest part of organizing: “Does this one go under ugly or does it go under dumb?”

But it quickly began to feel, for me, like something more intense: a way to not just passively read but to fully enter a text, to collaborate with it, to mingle with an author on some kind of primary textual plane.

As a spiritual principle of order, card boxes show the inner physiognomy of their owners

Jean Paul, who can be considered the poetic father of cardboard box technology and celebrates his 250th birthday on March 21, Arno Schmidt and Walter Kempowski , Hans Blumenberg, Friedrich Kittler, Niklas Luhmann and Aby Warburg

he is focusing on the tensions that what he read causes with other things he knows and has read. He’s not just lifting things out that chime with him, but the things that cause friction. Because in that friction lies the potential of learning.

But I'm not at all confident I would have made the initial connection without the help of the software. The idea was a true collaboration, two very different kinds of intelligence playing off each other, one carbon-based, the other silicon.

Ulisse Aldrovandi, the great Bolognese natural philosopher and collector of specimens (such as the large lizards that adorn his university library museum), wrote four hundred volumes of manuscript notes. Joachim Jungius, a German professor of mathematics, medicine, logic, and natural philosophy, was famous for having produced an estimated 150,000 pages of notes. But as Blair makes clear, the vast collections of scientific notes were not simply the mad scratchings of obsessive pedants. Commonplace notes comprised the data for internationally successful scientific works, such as Jean Bodin’s Universae naturae theatrum.

“He who hasn’t lost anything in his head can’t find anything in there either,” Lichtenberg joyfully declared (a few days after praising the word ‘nonsense’ over weightier notions such as ‘chaos’ or ‘eternity’).

Hans Blumenberg carefully read Luhmann’s piece on ‘Communication with note card boxes’ in 1981. He compared their respective systems, and did not fail to record that he had “collaborated” with his own Zettelkasten for forty years, compared to Luhmann’s mere twenty-six.

Markus Krajewski reminds us that Luhmann’s choice of interlocutor has a precedent in an 1805 piece by the novelist Heinrich von Kleist (see the chapter “Paper as Passion” in this collection).

Lichtenberg’s quips: “Oh how many ideas aren’t hovering dispersed in my head! Quite a few pairs among those could provoke the greatest discovery if only they came together. But isolated from one another they lie, just like the sulphur from the city of Goslar lies isolated from East Indian nitre and from Oaksfield coal dust when jointly they could produce gunpowder!”

The novelist and storyteller Jean Paul assembled some 12,000 paper scraps over the course of his lifetime, but died in 1825, well before the advent of standardized box systems that made it convenient and easy to store such multitudes of paper slips, as well as to realize what remained a dream to Paul: the dream of a more complex order between the paper scraps than that imposed by the linear arrangement of the written page.

Arthur Schopenhauer admired Lichtenberg greatly for what he had written in his notebooks. He called him one of those who "think ... for their own instruction", who are "genuine 'thinkers for themselves' in both senses of the words".[4] Other admirers of Lichtenberg's notebooks include Friedrich Nietzsche, Sigmund Freud, Ludwig Wittgenstein and Jacques Barzun.

There are rumors Pascal wrote the Pensées on notecards, and pinned these cards to a wall, connecting related thoughts with yarn. An early example of hypertext?

I’m resisting the temptation to add bibliographical cards into the Obsidian vault. Niklas Luhmann, you may recall, had a set of cards in his zettelkasten that were source citations. I don’t get the impression from reading his descriptions of his process or Schmidt’s research into it, that these were really an active part of the network of ideas in the boxes, which seem to have been based on his digested reactions to sources.

As I was gearing up to start my PhD last fall, I received a piece of advice that made a lot of sense at the time, and continues to do so. My colleague, Inba told me to 'write while I read', meaning that I should take notes and summarize research while I read it, and not just read and underline article after article. That way, not only do I not lose my thoughts while I'm reading an article, but I am actively thinking through the arguments in the paper while I am reading it and my writing is thoroughly grounded in the literature.

An old bachelor is generally very precise and exact in his habits. He has no one but himself to look after, nothing to distract his attention from his own affairs; and Mr. Dodgson was the most precise and exact of old bachelors. He made a précis of every letter he wrote or received from the 1st of January, 1861, to the 8th of the same month, 1898. These précis were all numbered and entered in reference-books, and by an ingenious system of cross-numbering he was able to trace a whole correspondence, which might extend through several volumes. The last number entered in his book is 98,721.

Platforms like Hypothes.is, which afford social and collaborative web annotation, demonstrate the ease with which authors and their audience can create a sociotechnical milieu to share thinking in progress, voice wonder, and rehearse informal dispositions in service of publication.

In academia it’s critical to have a system that allows us to read and mine important ideas from papers into your vault as efficiently as possible. My method has continued to evolve and I’m finding it more efficient now. In a nutshell, I’m now adding the one-sentence summaries to highlights as I’m reading (and the tags where possible). This means I don’t need to read the source more than once; instead I’m processing them as I’m reading because that’s when I discover them as important points in the first place. I then bring them into Obsidian in a single note per paper/source. I title each note Surname, date (e.g., Smith, 2018). It’ll make sense why in a moment. Each idea within the note is structured like this: One-sentence summary of idea | Original idea in the author’s words (Reference, date, page number). T: #tags #go #here C: Any connections to other notes or ideas - not necessary to include for every idea but it’s useful to think of connections where possible If you structure all the notes this way, it means you can then add the ideas straight into your index with transclusion without needing to create any additional notes (in the past I created a new evergreen note for each idea). An example of a transcluded idea to pop into your index would be like this: ![[Smith, 2018#One-sentence summary of idea]] This allows you to see the source and the summary of the note in edit mode and just that idea transcluded from your note page in the preview mode. I have another approach for actually turning those ideas into publications, but this is the main approach for processing notes into my index. There may be even more efficient ways to do this. The key I think is being able to process ideas into your vault as quickly as possible while still tagging and making connections to help with later retrieval of ideas. Since changing to this approach I’ve written a couple of book chapters with very little cognitive strain and I’m reading more than in the past (it’s addictive because every paper has the potential to be used to level up your knowledge base). Hope this is somewhat helpful to others. The evolution will undoubtedly continue. I know there are awesome examples of how to do all kinds of things in Obsidian but all I’m really aiming for is being more productive in my academic role. The rest is all interesting but additional to my main purpose for this wonderful app.

I’m an Australian academic in the field of education. I read the How to take smart notes book and a couple of Luhmann’s articles which were translated into English. I also would recommend looking at the writing of Andy Matuschak on how to label your notes, what to include in them, and so on. Here’s the process I’ve come up with (which continues to evolve): Initial highlighting: Read journal article via Zotero. Highlight the parts that are relevant to you using the default PDF viewer on your computer. Use Zotfile to extract the highlights (and any notes) in Zotero, then paste them into Obsidian in a new note. I have a template I copy and paste to start each new highlight note with relevant details like the author names, date of publication and so on before the highlights. Refine highlights: Look through your highlights from the article and use the Obsidian highlighting feature (==like this==) to pinpoint what’s valuable in each highlight. This makes it easier to complete the next step, particularly if it’s a long paper or you have to come back to it. Skip if necessary. Process highlights into literature notes: Summarise the highlights into your own words. Add any personal insights. Each literature note should relate to one idea. I do this directly above the highlight notes using bullet points and a L - for literature notes and a H - for highlight notes. Try to write the literature note as if it was part of a journal article. Add a label to each literature note: Above each literature note, I add a label, which should be the briefest possible summary of the literature note. Have this label inside double square brackets. Avoid labels like “Definition of X”. Instead, write “X is y and z”. Try to be specific. I mainly use the bracket links in this way. An example label might be [[E - X is y and z]]. I use E - because it will soon be an evergreen note. Add each label to an index: The index will be a long list of all your literature note labels. Categorise the labels in a logical manner. Create evergreen notes: Click the label (which is a link to a new note) and copy/paste the literature note text (which will be quite short) into this new evergreen note. Add connections to other notes categorised in the same place in your index plus any other relevant evergreen notes. Add relevant tags. The index may not be overly important in the long run, but it definitely helps at this point with connection making. I also add the reference details at the bottom of each evergreen note. Next it’s time to create your paper. 7a. (Top down approach) Create journal article outline: Create an outline for your article, chapter, application, or whatever you’re working on. You can make a quick template with the relevant stages of the genre (e.g. introduction, literature review, and so on). Then, drag relevant evergreen notes into the sections. You’ll need to massage the gaps between notes to make it cohesive. If you use a note, add a tag to say so. You’ll need to reword the note if you use it again in another paper to avoid self-plagiarism. 7b. (Bottom up approach) Add evergreen notes to papers: Instead of starting with a paper outline, you might look at your notes in the index and consider what kind of interesting questions they might help you answer, then build your paper from there. I hope someone out there finds all this useful. One of the best things I’ve done is create a note called master production line which includes these numbered steps as headings, and then I can add my highlight notes as they’re created and move them down the production line as they’re processed. I also organise them in certain steps (like 2 and 3) as high, medium and low priority. It means you never lose track of notes and there’s always something you could be working on. The bit I’m still figuring out is the last step: how to go from evergreen notes to paper drafts as efficiently as possible. I’m a little old fashioned, so I’ll probably so the final edit in Word once everything else is done in Obsidian. The multiple window support in Obsidian is great, but still a bit janky, and this method requires multiple windows to be open at a time. Hopefully a future update keeps the windows in the one spot.

When I meet with any thing, that I think fit to put into my common-place-book, I first find a proper head. Suppose for example that the head be EPISTOLA, I look unto the index for the first letter and the following vowel which in this instance are E. i. if in the space marked E. i. there is any number that directs me to the page designed for words that begin with an E and whose first vowel after the initial letter is I, I must then write under the word Epistola in that page what I have to remark.

Luhmann actually had two slip-boxes: the first was the “bibliographical” slip-box, which contained brief notes on the content of the literature he read along with a citation of the source; the second “main” slip-box contained the ideas and theories he developed based on those sources. Both were wooden boxes containing paper index cards. 

The 8 Steps of Taking Smart Notes Ahrens recommends the following 8 steps for taking notes: Make fleeting notes Make literature notes Make permanent notes Now add your new permanent notes to the slip-box Develop your topics, questions and research projects bottom up from within the slip-box Decide on a topic to write about from within the slip-box Turn your notes into a rough draft Edit and proofread your manuscript

Luhmann’s slip-box grew to become an equal thinking partner in his work. He described his system as his secondary memory (zweitgedächtnis), alter ego, or reading memory (lesegedächtnis).

If you’d like to differentiate between the various functions a paragraph in a text can have, look out for signal words. For example, the following literal devices may indicate that the function is to build a mental model: schema, allegory, analogy, hypothesis, metaphor, representation, simile, theory. Put a corresponding “model” mark next to these.

The students in Raphael Folsom’s Spanish Borderlands course read primary sources on a weekly basis. Rather than taking notes on 3×5 index cards as we did when I was a kid, the students take the same type of note in the Drupal system. They fill out some basic bibliographic information about the source, write a short summary of the source, and then take a note about an interesting facet of the text.

Obsidian is a powerful knowledge base that works on top of a local folder of plain text Markdown files.

Luhmann didn’t only write a lot and developed the most complex of all theoretical bodies in the social sciences. He was known for his vast knowledge and deep thinking. He didn’t run to his Zettelkasten when you asked him something. This is because he practiced thinking through writing and processing in the context of the Zettelkasten.

The Barbell Method takes this into account by integrating your reading habit into your knowledge work with two steps: Read the book. Read swiftly but don’t skip any parts unless they make you vomit or put you to sleep. Mark all the passages that stand out and contain useful, interesting or inspiring information. Read the book a second time. But now you read the marked parts only. This time you make notes, connect them to past notes (Zettelkasten Method!) and think about what you’ve read. Make mindmaps, drawings, bullet points – everything that helps you to think more clearly.

I’ll construct two forms of a Zettel: The Outer Form The Inner Form The outer form refers to entities that are necessary for its existence. The inner form refers to entities that compose its inner structure.

collections can only ease access to texts. They don’t add anything to our knowledge.

Breaking the card into more atomic pieces turned a question he routinely got wrong into two questions he routinely got right.

You can translate “Folgezettel” (literally: “subsequent note”) as “note sequence”.

Our brain can only hold to so much information at a time.

I want to extract a reusable piece out of it in a way that it can be connected to many different things eventually. I want to make a home page for this idea or fact. My hub for thinking about this.

Zettelkasten Unique Identifiers

The tags for objects are much more precise and reveal real connections. They narrow down the search way more which is hugely important if your archive grows. They only give you what you want, and not the topic which also contains what you want.

In mnemotechnic,brevitasrefers to the creating ofsuch ‘‘rich’’ if necessarily ‘‘brief ’’ units. Because there is in principle no limiton the number ofdivisionesa person may have in memory, readers could beencouraged to make ‘‘brief and compendious’’ summaries of materials theyhad learned.

Storyspace has an always-visible Toolbar and Menu to aid students. The Toolbar (Figure 2) provides, top-left to right and down: a Writing Space tool (to create writing areas), the Arrow tool (already familiar to Macintosh users) for routine selecting and clicking, the Note tool (the star) for attaching notes to text, and the Navigation tool (double-headed arrow) for creating and following text links. The Magnify tool (three windows) decreases or enlarges the size of windows. The Linking tool (boxes connected by line) enables linking of one text to other text areas. The Tunnel tool (box within a box) permits linking over widely separated writing spaces. The Compass (four directional arrows) is used to move quickly through levels of the chart, outline, or windows.

Luhmann also described his system as his secondary memory (Zweitgedächtnis), alter ego, or his reading memory or (Lesegedächtnis).

Now, if I notice a moment in a past Are.na conversation that highlights the topic, I add it to the topic's channel. Now the text block sits in the middle of a Venn diagram — both part of a chat log and part of a curated selection from conversations I have.