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  1. Jan 2024
    1. Noguchi Yukio 野口悠紀雄 argues that for the individual researcher, classification is an endless and fruitless task (1993, 1995, 1999, 2000), and proposes that library-type classification by subject be discarded in favor of chronological ordering (that is, ordering on the basis of what document has last been used). His method basically involves putting all material into A4 envelopes and placing the most recently used envelope at the end of the row.
    1. Christian Lawson-Perfect @christianp@mathstodon.xyz@liseo there are lots of ways of representing colours numerically. The most basic way that computers use is to use a number between 0 and 255 for each of the red, green and blue components, called RGB encoding. The problem with that is that colours that look close to each other don't necessarily have close RGB values. There are other colour spaces which try to get closer to the ideal of having similar colours close together. Oklab, which I use in this tool, is currently the best for that.

      https://mastodon.social/@christianp@mathstodon.xyz/111759984202211741

      Is there a way to mathematically encode colors, similar to RGB perhaps, such that the colors in nearby neighborhoods all have values close to each other?

    1. ( 1) The rearranging of the file, as I have already said, isone way. One simply dumps out heretofore disconnectedfolders, mixing up their contents, and then re-sorts themmany times. How often and how extensively one does thiswill of course vary with different problems and the devel-opment of their solutions. But in general the mechanics ofit are as simple as that.

      The first part of "sociological imagination" for Mills is what I term combinatorial creativity. In his instance, at varying intervals he dumps out disconnected ideas, files and resorts them to find interesting potential solutions.

  2. johnhalbrooks.substack.com johnhalbrooks.substack.com
    1. This image resonates with the earliest description of an English poet, which we find in Bede’s Ecclesiastical History of the English People, completed in the year 731. Bede, a prolific monk and scholar from the monastery of Jarrow in Northumbria, provides an account of a certain Caedmon, an illiterate brother at the abbey at Whitby, who is visited by God and taught to sing beautiful poetry. Caedmon remains an oral poet, but his literate brothers write down his poetry for him.
    2. To illustrate this liminal space between the oral and the literate, here is an illustration from the Vespasian Psalter, a manuscript from the late eighth century, that depicts King David singing the Psalms: David is accompanying himself with a harp, and there are horn players and a couple of people apparently clapping along with the beat. But there are also two scribes behind him, who are writing down his song. Here we have a representation of a culture in a transitional stage between oral and literate transmission of poetry—the oral performance of a poem and the written transmission of the same poem are both present in the image.

    3. The fire completely consumed some of them, but among the survivors, though badly singed around the edges, was a curious book known as the Nowell Codex, which formed part of a volume labeled “Cotton MS Vitellius A XV.” (Robert Cotton, who had collected the manuscripts a century before, categorized his books with the busts of Roman emperors, which sat atop his shelves—hence, “Vitellius.”)

      Robert Cotton's library had busts of Roman emperors atop his shelves, and he used their names as part of his indexing system to be able to associate books' locations to make them findable.

  3. johnhalbrooks.substack.com johnhalbrooks.substack.com
    1. I have left the word wyrd untranslated from the Old English. It means something like “fate” or “doom.” It is the ancestor of the modern English word weird. When Shakespeare refers to the witches in Macbeth as the “weird sisters,” he doesn’t mean that they are strange (though they are), but rather that they have to do with fate. Weird in its modern sense (meaning “strange” or “uncanny”) is probably connected to the mysterious or “weird” nature of fate.

      https://johnhalbrooks.substack.com/p/the-ruin-76

    1. But, to rephrase my concern, I am not really interested in creating a set of broadly shared or minimum required characteristics by which to define a Zettelkasten in general, rather I would be interested in coming to agreement on what the essential characteristics of the specific Luhmann Zettelkasten are in particular. Then, would be able to compare those essential criteria against other kasten both analog and digital to discern the differences and deficiencies.

      reply to JasperMcFly at https://forum.zettelkasten.de/discussion/comment/19282/#Comment_19282

      I've been working towards this goal for some time. The idea isn't simply delineating the characteristics of Luhmann's system and its comparison to others, but to discern what the broadest characteristics of all of these systems are and what sorts of affordances those pieces and forms provide as tools for organizing and thinking. This will allow a broader range of people with different needs and different abilities to pick and choose which characteristics and methods might work best for them to reach those particular goals. Too many are approaching zettelkasten with a surface level understanding and somehow hoping that it will magically solve all their problems. When it doesn't, "consequently," as Luhmann would say, "just like in porn movies, they leave disappointed." [ZK II note 9/8.3]

    2. JasperMcFly 10:38AM Flag I guess we need to collectively decide what the default meaning of "Zettelkasten" is. Given that Luhmann's version, and its digital variants are popular now, I would vote that the use of Zettelkasten therefore means the Luhmann version- as that is what most people are referring to at this point. Which begs the question: What are the sine qua non features of a Luhmannian Zettelkasten and related workflow? What features from his analog workflow and systematic numbering and linking and indexing must be present in hybrid or digital instantiations to qualify as a "Luhmannian Zettelkasten"?

      reply to https://forum.zettelkasten.de/discussion/comment/19278/#Comment_19278

      @JasperMcFly I'll presume that given the time differential, you may have missed my post just before yours which touches on the frivolity of the proposition of creating a single definition?

      Most on this forum are going to presume that zettelkasten is precisely a slipbox in a similar form to that of Luhmann, but in practice some here and many elsewhere aren't going to see the distinction (or care). Some will unpopularly insist that a zettelkasten cannot be digital in form, but they'll also do so while simultaneously (heterodoxically and confusingly?) suggesting that one should use Wikipedia's Academic Outline of Disciplines, an idea which didn't exist during Luhmann's life.

      You can make an attempt to force a definition, but I guarantee that it's a losing proposition as in practice people are going to use the word in almost any way they want—whatever you do, don't trust Humpty Dumpty's definition. It's the difference between prescriptive and proscriptive definitions. It can be seen in your very question if you look closely at your own phrase "beg the question", which in classic rhetoric means something very specific going back centuries, but in common use it has a dramatically different meaning. As ever, context will always be the king on these questions of definition, though some of us are still converging on a happy commonality.

      For a bit more history here, try The Two Definitions of Zettelkasten.

    1. Yong, Ed. “The Tipping Point When Minority Views Take Over.” The Atlantic (blog), June 7, 2018. https://www.theatlantic.com/science/archive/2018/06/the-tipping-point-when-minority-views-take-over/562307/.

      Centola's Experiments Suggest 25% Activists Will Tip a Population

      Relationship with @Schelling1971 work?

      Schelling, Thomas C. “Dynamic Models of Segregation.” The Journal of Mathematical Sociology 1, no. 2 (July 1, 1971): 143–86. https://doi.org/10.1080/0022250X.1971.9989794.

    2. “What I think is happening at the threshold is that there’s a pretty high probability that a noncommitted actor”—a person who can be swayed in any direction—“will encounter a majority of committed minority actors, and flip to join them,” says Pamela Oliver, a sociologist at the University of Wisconsin at Madison. “There is therefore a good probability that enough non-committed actors will all flip at the same time that the whole system will flip.”

      The key here seems to be the noncommitted actors. Who are they? Why are they noncommitted? Are there areas where noncommittment doesn't occur?

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    1. And everything that I learn, I learn for a particular task, and once it’s done, I immediately forget it, so that if ten years later, I have to – and this gives me great joy — if I have to get involved with something close to or directly within the same subject, I would have to start again from zero, except in certain very rare cases, for example Spinoza, whom I don’t forget, who is in my heart and in my mind.

      https://deleuze.cla.purdue.edu/lecture/lecture-recording-1-f/

      Gilles Deleuze: The ABC Primer / Recording 1 - A to F<br /> DECEMBER 15, 1988

    1. R-E-S-P-E-C-T, take care of T-C-B

      some may hear the mondegreen T-C-P which confusingly leaves R-E-S-E meaning nothing.

      The initials T-C-B most likely mean "Take Care of Business", which fits in with some of the other variations of Franklin's version including:

      "Ooh, your kisses, sweeter than honey<br /> And guess what? So is my money"

      which equates kisses as being on par with her earnings, for which she expects "propers" (aka props, or proper respect).

    1. Everything that I learn, I learn for a particular task, and once it’s done, I immediately forget it, so that if ten years later, I have to—and this gives me great joy—if I have to get involved with something close to or directly within the same subject, I would have to start again from zero, except in certain very rare cases... (The ABC Primer)

      I'm definitely not like this and suspect that most people are not either.

    1. reply to oxytonic on 2023-01-08 at https://hypothes.is/a/8QdgetQOEe2XG6u5i9iAHQ

      In my experience, alternating alphanumeric codes give you the "gist" of the original context. Purely with reference to my rough outline, my notecard "3516/b" implies psychology (3XXX), cognition (35XX), and memory (351X). Even the single slash implies a level of abstraction and/or specificity.

      But it's not enough because it runs the risk of locking you in. Forward links on the card (or forward links to the card!) offer comparable if not competitive recontextualization, which is most likely what Luhmann means by "multiple storage".


      Caution: My note here has some significant missing context which results from significant additional research.

      The primary issue with analog slip boxes, particularly in academic research of Luhmann's day, was one of multiple storage. No one else I'm aware of prior to his time used Luhmann's filing scheme (and very few after until about 2013). Instead most filed multiple copies of their notes under category headings like "psychology", "cognition", and "memory" (to use your example) so that those ideas would be readily available when they came to work on their ideas relating to cognition, for example. This involved a tremendous amount of copying work. (For reference, see Heyde, Johannes Erich. Technik des wissenschaftlichen Arbeitens: zeitgemässe Mittel und Verfahrungsweisen. Junker und Dünnhaupt, 1931. which is the handbook which Luhmann used to scaffold his method.) It was this copying and filing under multiple categories which was commonly referred to as multiple storage. Many academics got around it by hiring assistants or secretaries who would do this duplicative work and filing on their behalf; Luhmann didn't have this additional help and it may have been a portion of the pressure for the evolution of his method.

      Instead Luhmann used branching and cross-indexing his ideas along with regular use and familiarity of the space within his boxes. While his zettelkasten may seem on the surface to be done by category, the way you suggest, it definitely is not. Some of this appearance is suggested by editorial decisions made by the curators of his digital archive and, in larger part, by Scott Scheper who (sadly in my opinion) recommends using the Academic Outline of Disciplines as top level categories a practice which heavily belies some of what Luhmann was doing. While Luhmann was inspired by the Dewey Decimal System, he wasn't using the parts of it that equated numbers with topics, in part because he didn't need to and it would have been counterproductive to his ultimate method—specifically causing him to deal with multiple storage. Modern (digital) database theory and practice allows some note takers an easier way around this problem.

      For more on this see: - https://boffosocko.com/2022/10/27/thoughts-on-zettelkasten-numbering-systems/ - https://boffosocko.com/2023/01/19/on-the-interdisciplinarity-of-zettelkasten-card-numbering-topical-headings-and-indices/

    2. each sub-portion has its own topology. The index is decentralized in nature, while the bibliographical section/notes are all somewhat centralized in form.

      I imagine this diversity of structure is what made Luhmann's slipbox so potent. In an ecosystem, neither an arboreal root system nor a mycorrhizal network are enough to stage nutrient flow; they must intertwine with each other.—oxytonic on 2024-01-08

      Luhmann's system wasn't very unique (really only in his filing system) compared with the thousands of others in use at the time or for centuries prior. The more interesting space of intertwining is between the ideas in the box and those held in memory and worked on in coordination with the brain. Too many get wrapped up in his physically visible box and forget the work done by the by the "invisible" brain.

    1. It has been said that “it is possible to write endlessly on elliptic curves.” 2We heartily agree with this sentiment, but have attempted to resist succumb-ing to its blandishments.

      : blandishments ; a flattering or pleasing statement or action used to persuade someone gently to do something.

    2. the emphasis of this book is on number theoretic aspects ofelliptic curves, so we feel that an informal approach to the underlying geom-etry is permissible, since it allows us more rapid access to the number theory.

      The approach of the book is underpinned more by number theory rather than geometry, though the geometry is used for some basic motivations.

    1. Nori January 3 Flag I have two remarks: First, if you instead of an alphanumeric ID use a timestamp-based one, there is no need to “place” the note anywhere

      @Nori said: First, if you instead of an alphanumeric ID use a timestamp-based one, there is no need to “place” the note anywhere.

      Too often I see this generic advice to use a timestamp ID, but no one ever mentions what affordance that practice provides or any direct motivation for doing it. In this context it's suggested to remove the need to place the note anywhere, but if this is the only benefit, why bother having an ID at all? What other tangible benefits does a timestamp ID provide? (If the only benefit is having a record of creation, then why bother to put it into the title, which usually only causes confusion and problem in most digital systems? Digital systems have much better places to store date/time created, modified, etc. if you need them for search.)

      In Luhmann's case the alphanumeric ID gave direct benefits in organically creating neighborhoods of ideas in which one could easily travel and which provided concrete, findable locations for search and linking. This appears to be part of the beneficial structure for what @IvanFerrero has, so why suggest such a change @Nori?

    1. Generally speaking, plaza are public while warrens are private. Plaza are easy to expand, because people can see what is going on in the community and decide whether to join the community. On the contrary, warrens are personalized contents in social network, which makes they scale free. Therefore, communities that have a plaza-like structure are easy to expand, thus suffering more from Evaporative Cooling Effect, while communities having warren-like structure are not very scalable, but more stable. A successful social network should somehow combining those two structures, taking both scalability and stability into account.

      IndieWeb has both a big and expandable plaza space (the wiki and commons spaces) as well as warrens (individual sites interacting with each other separate from the main plaza).

    2. The Evaporative Cooling Effect describes the phenomenon that high value contributors leave a community because they cannot gain something from it, which leads to the decrease of the quality of the community. Since the people most likely to join a community are those whose quality is below the average quality of the community, these newcomers are very likely to harm the quality of the community. With the expansion of community, it is very hard to maintain the quality of the community.

      via ref to Xianhang Zhang in Social Software Sundays #2 – The Evaporative Cooling Effect « Bumblebee Labs Blog [archived] who saw it

      via [[Eliezer Yudkowsky]] in Evaporative Cooling of Group Beliefs

    1. By its very nature, moderation is a form of censorship. You, as a community, space, or platform are deciding who and what is unacceptable. In Substack’s case, for example, they don’t allow pornography but they do allow Nazis. That’s not “free speech” but rather a business decision. If you’re making moderation based on financials, fine, but say so. Then platform users can make choices appropriately.
    2. Venkatesh Rao thinks that the Nazi bar analogy is “an example of a bad metaphor contagion effect” and points to a 2010 post of his about warren vs plaza architectures. He believes that Twitter, for example, is a plaza, whereas Substack is a warren: A warren is a social environment where no participant can see beyond their little corner of a larger maze. Warrens emerge through people personalizing and customizing their individual environments with some degree of emergent collaboration. A plaza is an environment where you can easily get to a global/big picture view of the whole thing. Plazas are created by central planners who believe they know what’s best for everyone.
    1. 827Posted byu/Loose_Buy62922 years agoArchivedComments are lockedNeed to dump the Flylady .t3_qgy51n._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #edeeef; --postTitleLink-VisitedLinkColor: #6f7071; --postBodyLink-VisitedLinkColor: #6f7071; } Rant / VentI have always used the Flylady's system, until seeing her video on youtube last night, 'It's Time'. She went full-on Chriatian Nationalist Q whacko conspiracy theorist. I was SHOCKED. Praising Jim Caviesel and comparing him to Jesus, after watching his recent rant that was laced with violence and conspiracy junk. He is crazy, and she was crying over how wonderful he is. Deifying him in an uncomfortable way. It was all terrifying and overwhelming.Is there someone else who has a similar system? I don't want to support her business anymore.

      Wowzers!

    1. The book “Sidetracked Home Executives from Pigpen to Paradise” was written in 1977 by two sisters, Pam Young and Peggy Jones. This book describes a system Pam and Peggy came up with using 3 X 5 colored index cards to gain control over their housework. Over the years, Pam and Peggy’s system has evolved to include routines and a planner. FlyLady uses their system to guide you through your path of peace.

      The FlyLady's productivity method is derived from Sidetracked Home Executives.

    1. Über die Karteikartentechnik wurde sogar ein wunderbares Buch geschrieben: Karteikunde, Das Handbuch der Karteikartentechnik von Dr. Walter Porstmann.

      A wonderful book has even been written about the index card technique: Index Cardology, The Handbook of Index Card Technique by Dr. Walter Porstmann.

      Looks like there's three editions from 1928 to the 1950s: Porstmann, Walter. Kartei - Kunde: das Handbuch der Karteitechnik. Stuttgart: Verlag für Wirtschaft und Verkehr, 1928. https://search.worldcat.org/formats-editions/58666432?limit=50&offset=1&orderBy=publicationDateAsc

    1. The first time the ratio of length to width was written in a letter dated 25 October 1786. This letter was from the German Georg Christoph Lichtenberg to Johann Beckmann. He wrote here about the advantages of basing paper on a √2 ratio. Lichtenberg is known for the ratio between length and width of a surface which remains the same after the narrated halving of the surface. The result is 1:√2.

      Sourcing? Look this up.<br /> https://www.a5-size.com/history/

    1. I've come across Porstmann a few times as the "intellectual father of the A-Series", the "creator of the DIN formats", and the creator of A4 in various contexts. I saw that he wrote an interesting looking handbook in the mid-1920s and was curious if anyone has come across or even read it? It looks like it went into three editions up to the 1950s. I'm not seeing any English translations at present. I suspect it has material on using card indexes as databases and may be focused on business use, but may also have some connections to note taking practices of the time. I've also found several references to Porstmann's work and that of George Christoph Lichtenberg which makes me even more curious about the potential note taking connections.

      Porstmann, Walter. Kartei - Kunde: das Handbuch der Karteitechnik. Stuttgart: Verlag für Wirtschaft und Verkehr, 1928. https://search.worldcat.org/formats-editions/58666432?limit=50&offset=1&orderBy=publicationDateAsc


      Syndication link: https://forum.zettelkasten.de/discussion/2785/anyone-read-porstmanns-kartei-kunde-das-handbuch-der-karteitechnik/p1?new=1

    1. https://betterhumans.pub/i-built-my-own-personal-productivity-system-around-a-3-x-5-index-card-147d7a8d83de

      Melange of GTD, card index, and gamification....


      Update 2024-01-04: I knew I had heard/seen this system before, but not delved into it deeply. I hadn't seen anyone either using it or refer to it by name in the wild until yesterday. All the prior mentions were people sharing the URLs as a thing rather than as something they used.

    1. FireKing File Cabinet, 1-Hour Fire Protection, 6-Drawer, Small Document Size, 31" Deep<br /> https://www.filing.com/FireKing-Card-Check-Note-Cabinet-6-Drawer-p/6-2552-c.htm

      A modern index card catalog filing solution with locks and fireproofing offered by FireKing for $6,218.00 with shipment in 2-4 weeks. 6 Drawers with three sections each. Weighs 860 lbs.

      at 0.0072" per average card, with filing space of 25 15/16" per section with 18 sections, this should hold 64,843 index cards.

    1. What made the deal so unusual - and sparked concern among exhibitors - is that 2929 plans to distribute the projects simultaneously in the theatrical, home video and cable arenas.

      https://www.theguardian.com/film/2005/may/27/news1

      In 2005, 2929 Entertainment signed a distribution deal with Steven Soderbergh which was one of the first to suggest distributing projects simultaneously to theatrical, home video, and cable.

    1. All I had to do was just do a light edit, shuffle a few blocks of content around, and wala, a blog post is created.

      😆

      the misspelling of voilà as wala seems to be becoming more prevalent in English. This is the third or fourth time I've seen it in a month.

  4. tantek.com tantek.com
    Time to begin again: restarting my #100Days of #IndieWeb project for 2024, as a #100Posts of IndieWeb project, and congrats to the IndieWeb community on a fully completed 2023 IndieWeb Gift Calendar! Last year I completed 48 out of a planned 100 posts in my #100DaysOfIndieWeb project, for nearly 48 days (some days had multiple posts). Instead of resetting my goals accordingly, say down to 50, I’m going for 100 again, however, this time for 100 posts rather than 100 days, having learned that some days I find the time for multiple posts, and other days none at all. Looking back to the start of last year’s 100 Days project, it’s been one year since I encouraged everyone to own their own notes^1. Since then many have started, restarted, or expanded their personal sites to do so. Some have switched from a #Twitter account to a #Mastodon (or other #fediverse) account as a stopgap for short-form status posts. A step in the right direction, yet also an opportunity to take the leap this year to fully own their identity and posts on the web. In 2023 Twitter also broke all existing API clients (including my website). I did not feel it was worth my time to re-apply for an API key and rebuild/retest any necessary code for my semi-automatic #POSSE publishing, not knowing when they might break things again (since there was no rational reason for them to have broken things in the first place). I manually POSSEd a few posts after that, yet from the lack of interactions, either Twitter’s feed algorithm^2 isn’t showing my posts, or people have largely left or stopped using Twitter. Either way, when your friends stop seeing your posts on a silo, there’s no need to spend any time POSSEing to it. On the positive side, the IndieWeb community really came together in 2023, shining brightly even through the darker days of December. We, the IndieWeb community (and some beyond!) provided a gift (or often multiple) to the rest of community for every single day of December 2023^3, the first time we successfully filled out the whole month since the 2018 IndieWeb Challenge^4, and only the second time ever in the seven years of the IndieWeb Challenge-turned-Gift-Calendar. By going through the various gifts (more than 2 per day on average!), there are many interesting numbers and patterns we could surface. That deserves its own post however, as does a summary of the 48 posts^5 of my 2023 100 Days of IndieWeb attempt, so I’ll end this post here. Happy New Year to all, with an especially well deserved congratulations to the IndieWeb community and everyone who contributed to the 2023 Gift Calendar. Well done! Let’s see what else we can create & share on our personal sites in 2024 and continue setting a higher bar for the independent web by showing instead of telling. #ShowDontTell This is post 1 of #100PostsOfIndieWeb. #100Posts ← ✨ → 🔮 Post glossary: API https://indieweb.org/API POSSE https://indieweb.org/POSSE silo https://indieweb.org/silo ^1 https://tantek.com/2023/001/t1/own-your-notes ^2 https://indieweb.org/algorithmic_feed ^3 https://indieweb.org/2023-12-indieweb-gift-calendar ^4 https://indieweb.org/2018-12-indieweb-challenge ^5 https://tantek.com/2023/365/t2/no-large-language-model-llm-used - Tantek
    1
    1. Associated individuals[edit] In a New York Times editorial, Bari Weiss listed individuals associated with the intellectual dark web, including Ayaan Hirsi Ali, Sam Harris, Heather Heying, Claire Lehmann, Bill Maher, Douglas Murray, Maajid Nawaz, Camille Paglia, Jordan Peterson, Steven Pinker, Joe Rogan, Dave Rubin, Ben Shapiro, Michael Shermer, Christina Hoff Sommers, Bret Weinstein, and Eric Weinstein.

      It's somewhat interesting and potentially non-coincidental that the entirety of this list aside from Sam Harris and Camille Paglia are highlighted as anti-trans (red) by the browser extension Shinigami Eyes.

    1. David Letterman kept the Ed Sullivan Theater around 55 degrees F because the temperature keeps the audience alert.

      Apparently back in the 80s, Dave experimented with different temperatures on different shows. He tried 75 one day. 65 another day. The day he went with 55, jokes really hit and from then on that was the temperature. http://www.sandpapersuit.com/2011/07/why-letterman-keeps-his-studio-so-cool.html


      Some folks say David Letterman doesn’t want to break into a sweat during intense interviews under hot studio lights. But, according to George Clarke, Theater and Building Engineer for CBS, the cool air makes the sound crisper and keeps the audience more alert. “Crowd reaction is very important in this business, and the comedy stays fresh in the cold, too” says Clarke...

      At about 5 o’clock each week night, Clarke and his boss, Joe Soldano, Building Manager, must make sure that the temperature of the Ed Sullivan Theater is pulled down to 50° F before the audience arrives. The MULTISTACK chiller has never failed to cool things down. “The stagehands call this place ‘the refrigerator’.” In the filming rooms everyone sits around in winter coats, hats and gloves. They, too, are kept crisp and alert by the cool temperature. via http://www.multistack.com/casestudies/david_letterman.aspx

    1. https://funnyhow.substack.com/p/how-chris-rock-and-jerry-seinfeld

      Comedian Matt Ruby relates his personal experience watching Chris Rock workshopping his comedy writing in front of auciences at stress Factory in New Brunswick, New Jersey. Rock would show up unannounced and perform new material in front of small crowds to test it out. He'd read/perform material off of a yellow legal pad.

      Peter Sims included some of it in the introduction of his book Little Bets.


      This is broadly similar to my own experience seeing Rock at the Laugh Factory trying out material for the Academy Awards as well as Adam Sandler at the Improv on Melrose doing midnight sets reading straight off of a notebook.

    1. In 1941, he published "Wells, Hitler and the World State," in which he argued that Germany hewed much closer to a well-run society in which everyone thinks similarly and along scientific lines than England ever has. But it was run by a "criminal lunatic," so that didn't work out quite as Wells thought it would. Orwell also noted that patriotism, which Wells thought of as civilization-destroying, was the primary force inducing Russians and Britons to fight against Hitler.

      first referent "he" is George Orwell

      Example of a time in which patriotism and nationalism may have been beneficial.

  5. Dec 2023
    1. Nash Papyrus (MS Or.233) The Nash Papyrus is a second-century BCE fragment containing the text of the Ten Commandments followed by the Šemaʿ. Prior to the discovery of the Dead Sea Scrolls it was the oldest known manuscript containing a text from the Hebrew Bible. The manuscript was originally identified as a lectionary used in liturgical contexts, due to the juxtaposition of the Decalogue (probably reflecting a mixed tradition, a composite of Exodus 20 and Deuteronomy 5) with the Šemaʿ prayer (Deuteronomy 6:4-5), and it has been suggested that it is, in fact, from a phylactery (tefillin, used in daily prayer). Purchased from an Egyptian dealer in antiquities in 1902 by Dr Walter Llewellyn Nash and presented to the Library in 1903, the fragment was said to have come from the Fayyum.

      https://cudl.lib.cam.ac.uk/view/MS-OR-00233/1

    1. Wells attempts in this essay to help mankind "pull it's mind together" for the betterment of people and the planet. How is this supposed to happen in a modern media environment which is designed to pull our minds apart as rapidly as possible?

      How might the strength of capitalism be leveraged to push people back toward a common middle rather than split them apart?

    2. Adler & Hutchinson's Great Books of the Western World was an encyclopedia-based attempt to focus society on a shared history as their common ground. H. G. Wells in his World Encyclopedia thesis attempts to forge a new "moving" common ground based on newly evolving knowledge based on distilling truth out of science. Shared history is obviously much easier to dispense and spread about compared to constantly keeping a growing population up to date with the forefront of science.

      How could one carefully compose and juxtapose the two to have a stronger combined effect?

      How could one distribute the effects evenly?

      What does the statistical mechanics for knowledge management look like at the level of societies and nations?

      link to https://hypothes.is/a/abTT1KPDEe6nqxPx4fXggw

    3. And now I will introduce a phrase,New Encyclopedism. I want to suggestthat something which for a time I shallcall World Encyclopedia is the meanswhereby we can solve the problem ofthat jigsaw puzzle and bring all the scat-tered and ineffective mental wealth ofour world into something like a commonunderstanding and into effective reac-tion upon our political, social, and eco-nomic life.

      Is it the dramatically increased complexity of a polity so organized that prevents it from being organized in the first place? If some who believe in conspiracies or who can't come to terms with the complexity of evolution and prefer to rely on God as a motivating factor similarly can't come to terms with such a complex society, could it be formed? Many today have issues with the complexity of international trade much less more complex forms of organization.

      Might there be a way to leverage "God" sociologically to improve upon this as the motivating force instead? Could that or something similar be a solution?

    1. Now consider the World Encyclopedia from the point of view of the ordinary educated citizen—and I suppose in a really modernized state the ordinary citizen will be an educated one. From his perspective the World Encyclopedia would be

      The problem is that the material of such a World Encyclopedia would need to be believed as truth. Many in 2023 certainly don't believe in science, much less "truth". Its a complicated issue of identity, mass movements, and belief systems. Something which might be teased apart by cultural anthropologists?

    1. “I do all my own research,” she said, “though reviewers have speculatedthat I must have a band of hirelings. I like to be led by a footnote ontosomething I never thought of. I rarely photocopy research materials because, for me, note-taking is learning, distilling. That’s the whole essence ofthe business. In taking notes, you have to discard what you don’t need. If you[photocopy] it, you haven’t chewed it.”

      Sounds similar to Umberto Eco's admonition about photocopying: https://hypothes.is/a/U3Sg_r0ZEe25T2tD3U-nmw

    1. Andy 6:32AM Flag Shouldn't the title be "Chris Rock's Zettel output process" instead of "Chris Rock's Zettelkasten output process"? Wo ist der Kasten? (Where's the box?) I can see @Sascha shaking his head: "Das ist kein Zettelkasten."

      reply to Andy at https://forum.zettelkasten.de/discussion/comment/19108/#Comment_19108

      I've got no evidence for nor against the presence of a box for these or any idea what the earlier portion of his process looks like at present. The bulletin board slips pictured were held up with pins and those on the table appear to be taped down, ostensibly to prevent accidental movement. Given their temporary nature and placement in this context, and the fact that they were highly portable for at least the span of the five shows he was preparing for in the documentary, there was certainly some container (even if it was as simple as a binder clip or a simple rubber band). Having seen shows like this roll in and out of venues before, I'm reasonably sure it was in a box at some point, so only a pedant would worry about it.

      Box aside, the point here is that it shows a version of how he manufactures his output and manages his arrangement—portions of an overall process which are less frequently discussed and incredibly rarely visualized or pictured within the general community, much less in mass popular culture.

      Many have argued that Eminem didn't have a zettelkasten either, and he definitely had both slips and a box. There's obviously no winning here... I won't worry too much about it until the naysayers' own Zettelkasten can manage to help them sell out Jones Beach Theater, The Prudential Center, PNC Bank Arts Center, Barclays Center, and Madison Square Garden.

      Caveat pedanticus: Anyone talking about "Chris Rock's box" in public, might be held up to ridicule in his next sold-out tour. After Headliners Only and the Will Smith incident, I'm not taking any chances. 😜🃏🗃️

    1. Wells believed that technological advances such as microfilm could be utilized towards this end so that "any student, in any part of the world, would be able to sit with his projector in his own study at his or her convenience to examine any book, any document, in an exact replica" (p. 54).

      This sounds a lot like Vannevar Bush's Memex, n'cest pas?

    1. The purpose of entering the time is not only to ensure a chronological order, but also to give that information an absolute reference name and create a link. In order to create links between cards, it is necessary to give the material a unique name according to certain rules. The quickest way to do this is to use date + time (time stamp). The time does not need to be exact; it can be within ±5 minutes. It was 9:30 when I wrote the first one, and since I'm on the second one now, it's probably two minutes after that, so I'll leave it as loose as this. However, ensure the context between cards and the uniqueness of the time (that is, the only material with that time stamp) . It's a good idea to get into this habit when writing, not only on information cards, but also on notebooks, report sheets, Word documents, PostIts, and anything else. When creating a link, for example,  ref. 2006.03.03 03:03 (basic, card)  ref. note 2006.03.03 03:03 (note)  ref. proj.pap. 2006.03.03 03:03 (report paper) , etc. All you have to do is write it down.

      https://web.archive.org/web/20060422014759/http://that4.2ch.net/test/read.cgi/stationery/1021438965/l50

      Interesting to see people using datetime stamps as unique identifiers in 2006 to link notes together.

    2. 735: _Nen_Kumi Name______ : 2006/03/04 (Sat) 23:35:55 ​​ID:??? >>732  5×3 was used as a book search card. (Almost all electronic now) It 's a little smaller than the popular version of the productivity notebook, making it ideal for portable notes. Other purposes include memorization cards and information retrieval. However, B7 and mini 6-hole system notebooks are almost the same size, so they are being pushed out and are not widely used in Japan.   How to do it in a book called How to Write an American-style Essay. 1.Write a tentative table of contents. 2.Write out the required literature on 5x3 cards.   a Classification code in the upper right corner b Author name and book title in the middle. c Assign a serial number to the top left. d Below is where you can get information.Finally,   write down all the information necessary for the paper's citation list. (4-a) 3. Rewrite the literature cards into a list. (It's a pain twice, but he says to do it.) 4. Write the information on 5x3 cards.   a Prepare literature cards and literature. Finish your bibliography cards. (2-e)   bWrite an information card ① One memo per card, information is the golden rule ② Write it in your own words ③ When copying, enclose it in quotation marks.   ⑤ Serial number of the literature card in the upper left ⑥ Tentative table of contents and card keyword in the upper right 5. Once all the literature cards are checked, rearrange them in the order of the table of contents. Elaboration. 6. The rest is drafting, footnotes, reviewing, citing, proofreading, and finishing.

      https://web.archive.org/web/20060422014759/http://that4.2ch.net/test/read.cgi/stationery/1021438965/l50

      Apparently there is a Japanese text with the title "How to Write and American-style Essay" which recommends using classification codes in the upper right and an assigned serial number in the top left.

      How was this related (or not) to Luhmann's practice or to the practices of the Dewey Decimal System? [Update: not related at all, see: https://hypothes.is/a/bDEoiqT3Ee6lAeNajBBsjw]

    1. Ron White recommends taking notes on 3 x 5 inch index cards. One should place the Dewey Decimal or Library of Congress catalog number in the upper left of their bibliography card and in the upper right corner one should number their cards consecutively (1, 2, 3, etc.). White indicates the importance of these numbers is primarily that they are unique, presumably so one can refer to them or reorder them if they are put out of order. (p46-7)