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  1. Jan 2023
    1. I still recall as a child being very impressed by an interview withthe Sufi writer Idries Shah, who remarked how curious it was that somany intelligent and decent human beings in Europe and Americaspent so much of their time in protest marches chanting the namesand waving pictures of people that they hated (“Hey hey, LBJ, howmany kids did you kill today?”). Didn’t they realize, he remarked, howincredibly gratifying that was to the politicians they weredenouncing? It was remarks like that, I think, that eventually causedme to reject a politics of protest and embrace one of direct action.

      Reject politics of protest and embrace one of direct action.

      Graeber provides in interesting example here of why direct action is more important than protest. This seems particularly apt for Donald Trump who seems only to want attention of any sort as long as it's directed at him.

    2. But the blanketcondemnation of Enlightenment thought is in its own way rather odd,when one considers that this was perhaps the first historically knownintellectual movement organized largely by women, outside of officialinstitutions like universities, with the express aim of undermining allexisting structures of authority.
    1. reply to u/stjeromeslibido at https://www.reddit.com/r/antinet/comments/10nlu4l/comment/j6dhx2t/?utm_source=reddit&utm_medium=web2x&context=3

      It's relatively easy since it's all hiding in my notes. lt may become a book one of these days, I'm just not sure how to approach it quite yet, though I'm getting close to the philosophy I think is missing from the bigger space. I find it somewhat useful to use my notes to create longer responses in spaces like this that I expect I'll reuse in a book.

      One can find utility in asking questions of their own note box, but why not also leverage the utility of a broader audience asking questions of it as well?!

      I've seen that same copy of Webb's book floating around in various places. In fact, it's the exact same fingerprinted version of the .pdf that I originally read, which can be seen by appending https://via.hypothes.is/ to the URL like this https://via.hypothes.is/http://digamoo.free.fr/webb1926.pdf which will quickly reveal my own notes in the margins. (It may help some to find the small portions outside of Appendix C which relate to note making. 😀)

      If you want to follow me down the rabbit hole on some of the intellectual history and examples, try: https://boffosocko.com/research/zettelkasten-commonplace-books-and-note-taking-collection/ which I try to keep updated with new pieces as they arrive.

    2. My plan is to make some sort of physical timeline eventually, but while analog does feel a little "fixed" for this purpose, I want the shear size and the speed of cards.Do you happen to know what historians used to do before computers?

      reply to u/stjeromeslibido at https://www.reddit.com/r/antinet/comments/10nlu4l/comment/j6bdgma/?utm_source=reddit&utm_medium=web2x&context=3

      I've used data from my own cards to create timelines before using the Knightlab's TimelineJS tool: https://cdn.knightlab.com/libs/timeline3/latest/embed/index.html?source=18QD2-Kx0WdFBzqDv1sTkQWOJLGHGXsvr4NBLYNiX9FA&font=Default&lang=en&initial_zoom=2&height=650%27%20width=%27100%%27%20height=%27650%27%20webkitallowfullscreen%20mozallowfullscreen%20allowfullscreen%20frameborder=%270%27

      You'll note that it's got a fun card-like flavor to its design. 🤩

      Historically, while they had certainly done so much earlier, historians began doubling down on slip-based research work flows in the late 1800's. Many in the late nineteenth and early twentieth centuries were heavily influenced by the idea of "historical method" or the German "Wissenschaftlichen Arbeitens". Primary sources going back over a century have included:

      • Bernheim, Ernst. Lehrbuch der historischen Methode und der Geschichtsphilosophie : mit Nachweis der wichtigsten Quellen und Hilfsmittelzum Studium der Geschichte ... völlig neu bearbeitete und vermehrte Auflage. 1889. Reprint, Leipzig : Duncker, 1903. http://archive.org/details/lehrbuchderhisto00bernuoft.
      • Langlois, Charles Victor, and Charles Seignobos. Introduction to the Study of History. Translated by George Godfrey Berry. First. New York: Henry Holt and company, 1898. http://archive.org/details/cu31924027810286.
      • Dow, Earle Wilbur. Principles of a Note-System for Historical Studies. New York: Century Company, 1924.
      • Barzun, Jacques, and Henry F. Graff. The Modern Researcher. New York, Harcourt, Brace, 1957. http://archive.org/details/modernreseracher0000unse.
      • Eco, Umberto. How to Write a Thesis. Translated by Caterina Mongiat Farina and Geoff Farina. 1977. Reprint, Cambridge, MA, USA: MIT Press, 2015. https://mitpress.mit.edu/books/how-write-thesis.

      A few prime examples of historians practicing this sort of card index method (though not necessarily in the same form as Niklas Luhmann) include:

      Margolin's short video is particularly lovely for its incredible depth despite its brevity.

      Beyond this there is also a very rich history of sociologists, anthropologists, philosophers, linguists, and others in the humanities using similar methods.

      Beatrice Webb has a fairly good description of how she created her "scientific notes" in the late 1880/1890s in a database-like fashion in the appendix to her memoir My Apprenticeship and expanded on some of the ideas in a more specific text a few years later.

      • Webb, Beatrice. My Apprenticeship. First Edition. New York: Longmans, Green & Co., 1926.
      • Webb, Sidney, and Beatrice Webb. Methods of Social Study. London; New York: Longmans, Green & Co., 1932. http://archive.org/details/b31357891.
    1. Interested in seeing what others’ reference/bib notes look like .t3_10m3abl._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } share + showcaseNothing more than that, just curious how other people structure/write their reference/bib notecards

      reply to u/m_t_rv_s__n at https://www.reddit.com/r/Zettelkasten/comments/10m3abl/interested_in_seeing_what_others_referencebib/

      An example of my digital "bib notes" for: Sayers, Dorothy L. The Lost Tools of Learning. E. T. Heron, 1948.

      https://hypothes.is/users/chrisaldrich?q=url%3Aurn%3Ax-pdf%3A13447fd092edd947b775ba269de28ee6


      There are some other good anecdotal examples here too.

    1. Re"...what is it like? How does it manifest?"For me, the idea that my zettelkasten becomes an entity outside myself is most often (and most obviously) felt in two situations (tho there are probably others):When I'm importing new ideas and a connection arises that I hadn't thought of previouslyWhen following trains of thought and connections arise that I didn't overtly intend to makeIn the first instance, I come across ideas I had forgotten about, and although it's not the direction I assumed the new idea would go, it becomes an exciting and possibly more lucrative way to take it.In the second instance, where I might be tracing a thought line to develop an article, I might, for example, zoom in on the graph view in Obsidian and see an idea that, while not formally connected to the ones I'm following, happens to be in close proximity spatially, and so it triggers a new direction I might want to take the article. (You can see this happen IRL in this video: https://www.youtube.com/watch?v=9OUn2-h6oVc&)In both cases, my zk feels like it's offering me more than what I would have gotten had I not been communicating with it. There is a sense that I and it are working together. I import new ideas with a rough sense of how they should connect. It shows alternatives to my thinking on the matter.Obviously, in both cases, all the ideas are my own. So, the zk is not necessarily developing ideas for me. But, because of the way in which the ideas are handled—non-hierarchically, rhizomatic, cross-categorical, cross-theme, etc.—non-habituated connections come to light, connections that are less conditioned by my own conventional ways of thinking.

      A good description from Bob Doto.

    1. I've decided I don't care (too much) where new notes go .t3_10mjwq9._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; }

      reply to u/jackbaty at https://www.reddit.com/r/antinet/comments/10mjwq9/ive_decided_i_dont_care_too_much_where_new_notes/

      u/jackbaty, If it doesn't make sense for you (yet, or for your specific needs), you can always follow in the footsteps of the hundreds of thousands who used a topical subject heading method of the commonplace book before Luhmann's example shifted the space over the last decade. If it worked for Francis Bacon, you'll probably be alright too... (See: https://boffosocko.com/2022/06/10/reframing-and-simplifying-the-idea-of-how-to-keep-a-zettelkasten/)

      I find that sometimes, it is useful to bank up a few dozen cards before filing/linking them together. Other times I'll file them by category in a commonplace book like system to ruminate a bit only later to move them to a separate Luhmann-esque zettelkasten area where they're more tightly linked with the ideas around them. After you've been doing it a while, it will be easier to more tightly integrate the three-way conversation or argument you're having between yourself, your card index, and the sources you're thinking about (or reading, watching, listening to). You mention that "my brain needs at least some level of structure", and I totally get it, as most of us (myself included) are programmed to work that way. I've written some thoughts on this recently which may help provide some motivation to get you around it: https://boffosocko.com/2023/01/19/on-the-interdisciplinarity-of-zettelkasten-card-numbering-topical-headings-and-indices/

      It helps to have a pointed reason for why you're doing all this in the first place and that reason will dramatically help to shape your practice and its ultimate structure.

    1. Link to the planner in the video, FREE on github: https://github.com/kudrykv/latex-year... + generated planners from 2022-2032 here: https://github.com/kudrykv/latex-year... (the exact one in the video is sn_a5x.breadcrumb.dotted.default.ampm.dailycal.2022) ► A bunch of FREE Supernote templates at this link: https://supernote-templates.mostlyuse... CUSTOMIZABLE TEMPLATES ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Use these mix-and-match modules to easily make custom templates! 🛒 My shop on Etsy: https://www.etsy.com/shop/pixelleaves Layouts for the Kindle Scribe, Remarkable, Onyx Boox, and Supernote e-ink tablets available

      Custom .pdf planners and templates for the Supernote platform...

    1. reply to u/rl4215 at https://www.reddit.com/r/ObsidianMD/comments/10jhlr2/using_obsidian_in_academia_a_demotutorial_vault/

      This is an awesome start.

      Some additional resources I often recommend for folks: Obsidian has a discord with a chat room specific to #academia where folks can ask questions. https://discord.com/channels/686053708261228577/@home

      Historian and professor u/DanAllosso has some great YouTube Videos on Obsidian with respect to both his own work as well as discussion on using it to teach: https://www.youtube.com/@MakingHistory2022/search?query=obsidian Because he's into Open Educational Resources, he's naturally got a great book on note taking and writing: https://boffosocko.com/2022/08/02/how-to-make-notes-and-write-a-handbook-by-dan-allosso-and-s-f-allosso/. His YouTube channel has a series of videos in which he reads the entire book making it an audio book of sorts as well. If you dig around you'll see that he's got a book club with a shared Obsidian vault that multiple can contribute to in a wiki-like manner.

      Kathleen Fitzgerald, Director of Digital Humanities has a fairly significant Obsidian practice and has some fun material on task tracking: https://kfitz.info/tasks-matter/. It looks like you've got a good start on some of this in the example vault already.

      Archaeologist Shawn Graham has a class he's teaching with Obsidian that has some great resources some may appreciate: https://mastodon.social/@electricarchaeo@scholar.social/109509678170907504. See also: https://shawngraham.github.io/hist1900/

      I haven't run into anyone in the Library Carpentries space with Obsidian resources, but I suspect they'll show up sooner or later.

      We definitely need more of these resources to share and learn from collectively.

      Thanks again!

    1. https://github.com/rlaker/Obsidian-for-Academia/issues/1

      Perhaps I can circle back around to add in more of the specifics, both for the documentation and so people better understand what's going on and how things are dovetailed. Until then, the following two articles about setting up and using Obsidian with Zotero are fairly useful templates/walk throughs: - https://www.marianamontes.me/post/obsidian-and-zotero/ - https://nataliekraneiss.com/your-academic-reading-list-in-obsidian/

    1. The topics covered emphasize the mathematical structure of the subject, andoften intentionally avoid overlap with the material of standard physics coursesin quantum mechanics and quantum field theory, for which many excellent text-books are available. This document is best read in conjunction with such a text.

      caveat with respect to this text

    1. yeaaaaaaah I'm gonna need a link to purchase these if you got one

      reply to u/pipepistolnoscope at https://www.reddit.com/r/antinet/comments/10lqfsn/comment/j62dp7o/?utm_source=reddit&utm_medium=web2x&context=3

      These are slightly easier to find in a variety of styles, colors, and materials if you're using European A5 or A6 slip sizes. Search for 6 ring binders which usually come in A5 or A6 sizes for a variety of planners, calendars, and general notes with accessories. Franklin Covey has a variety of binders for their 4.25" x 6.75" note pages and planners which will likely work with index cards, but I haven't tried that.

      If you use US standard index cards 4 x 6" or 3 x 5", you'll want an appropriate 6 ring hole punch to pre-punch your cards as appropriate, but keep in mind the two standard sizes can be slightly off with respect to the binder you find but they're probably close enough it shouldn't be a big issue as most of the binders are slightly larger in both directions to protect the paper inside.

      I recently posted about note taking on the go, so you might find some interesting ideas, methods, modifications or even DIY options there or in the comments: https://boffosocko.com/2022/12/01/index-card-accessories-for-note-taking-on-the-go/

    2. What's this trick with the knitting needle? It sounds cool. How do you do it so you don't just run into the unpunched ones and get stopped?

      reply to u/stjeromeslibido at https://www.reddit.com/r/antinet/comments/10lqfsn/comment/j63y2k9/?utm_source=reddit&utm_medium=web2x&context=3

      Every card has holes pre-punched into it in exactly the same place (see the photo in the original post at the top) so that one might put a knitting needle (or other thin instrument) through the whole deck in each of the positions. Then one should decide on what each hole's meaning will be by position.

      As an example, imagine you're using your cards in a rolodex fashion and you want to distinguish the six categories: family, friends, service providers, neighbors, co-workers, and organizations/businesses. For family members you cut/remove the additional paper between the first hole (representing "family") and the edge of the paper. You do the same thing for all the other cards based on their respective categories. So, for example, your brother Joe who lives across the street from you and works with you at the office in the family business would have cuts removed for positions 1, 4, and 5. For an entity that fits all six categories, cuts would be made such that the sheet would no longer stay in u/I-love-teal (the original poster's) six ring binder notebook.

      At the end of the year you want to send Christmas cards to your friends, family and neighbors, so you put the knitting needles into position 1 and pull up separating your family out, then you repeat for positions 4 and 5 until you have your full list. (Pro tip: you probably wouldn't want to pull them out of the deck completely, but might rather pull them up and set them at a 90 degree angle thus preventing you from needing to do the work of refiling them all in a particular order.)

      Obviously if you have multi-row edge punches or dozens of edge notches you can discern a lot more categories or data types using basic logic. Just abstract this to your particular note card system. Herman Hollerith used this in early versions of the U.S. Census in the late 1800s and it and variations were used heavily in early computer programming applications.

      A variation of this sort of trick can also be done by coloring in (or not) the edges of parts of your cards as well. See for example the general suggestions in these photos which help to layout the idea of the "Pile of Index Card" system used back in 2006 with respect to Getting Things Done (GTD) philosophy:

      On my mathematics specific notes which I generally put on graph paper cards, I use colored edge "notches" like these to represent broad categories like theorems, proofs, definitions, corollaries, etc. or method of proof (induction, direct, contradiction, contraposition, construction, exhaustion, probabilistic, combinatorial, etc.) This makes finding specific cards a bit easier as I tip through various sections.

      A historian might use colored edges to visually label dates by decades or centuries depending on the timespan of their studies. The uses can be endless and can be specific to your field of study or needs.

      Some might also attach the idea of tags/categories to the colors of their cards, so you might use white cards for ideas which are your own, yellow cards which are quotes of others' material, blue cards which represent synopses of other's ideas, etc. One might also profitably use a multi-pen with different colored inks to represent these sorts of meta-data as well.

      The variations are endless...

    3. If you really want to go crazy you can get 6-hole punches to make your own cards.

      And if you like you can co-opt those holes in your notebox by using them for taxonomy terms and removing/or not the connective pieces to indicate membership of a group. Then by putting a knitting needle through large groups of cards, you can sort through your collection to find related items the way they used to in early computing with edge-notched cards. 😉🗃️

    1. In particular Erwin Schrödinger is said (Wigner (1981)) to have spoken of the Gruppenpest (German for “plague of group theory”) which ought to be abandoned. In his autobiography John Slater, an MIT physicist, claimed: It was at this point that Wigner, Hund, Heitler, and Weyl entered the picture with their “Gruppenpest”: the pest of the group theory… The authors of the “Gruppenpest” wrote papers which were incomprehensible to those like me who had not studied group theory, in which they applied these theoretical results to the study of the many electron problem. The practical consequences appeared to be negligible, but everyone felt that to be in the mainstream one had to learn about it. Yet there were no good texts from which one could learn group theory. It was a frustrating experience, worthy of the name of a pest. I had what I can only describe as a feeling of outrage at the turn which the subject had taken… As soon as this [Slaters] paper became known, it was obvious that a great many other physicists were as disgusted as I had been with the group-theoretical approach to the problem. As I heard later, there were remarks made such as “Slater has slain the ‘Gruppenpest’”. I believe that no other piece of work I have done was so universally popular.

      Gruppenpest, a word of German origin, which has also entered into English to mean "the plague of group theory" and group theorists (mathematicians) who were applying abstract algebra to physics and quantum mechanics in the mid-twentieth century.

      via https://ncatlab.org/nlab/show/Gruppenpest

    1. Woit does provide problems, but they are all at the back of the book. It would have been better to see them between chapters. That provides a natural break in the material and gives the student a quick check on his understanding.

      Homework problems are pedagogical devices and many (most) authors place them in the text near where they would be profitably be done. They also provide a useful break in the text to prompt more novice students to actually perform them at the end of a section.

      More advanced students, however, should have caught on eventually at the need to work out examples for themselves which are presented in a textbook, but they should also be seeking out additional problems where ever they appear in the text, not to mention seeing out any outside additional problems, making up their own, and exploring any additional questions these pose.

      In mathematics textbooks this working of problems, expanding on them and seeking out new ones is often a large part of what is lurking behind the sometimes nebulous sounding idea of "mathematical sophistication". The rest of that equation typically includes experience with the various methods and means of proofs and some basic background in logic.

    1. For a while, I forgot how fun it is to talk to users People seem to intuitively help you if you build something useful for them. And they come up with better ideas than you do.

      Peter Hagen, 2022-08-24 https://twitter.com/peterhagen_/status/1562535573134254080

      One can dramatically increase their potential combinatorial creativity not only by having their own ideas run into each other, for example in a commonplace book or card index/zettelkasten, but by putting them out into the world and allowing them to very actively interact with other people and their ideas.

      Reach, engagement and other factors may also help in the acceleration, but keep in mind that you also need to have the time and bandwidth to listen and often build context with those replies to be able to extract the ultimate real value out of those interactions.

    1. https://www.imdb.com/title/tt11534762/

      The Good Fight S4 E5 "The Gang Goes to War"

      This episode features Diane chatting with a co-star about her note taking experience. The woman indicates that she took notes incessantly and voraciously, but that she never referred back to them. The experience just caused her extreme stress so she gave it up completely as she felt it never gave her any benefit. She resorted instead to a more zen practice of drawing circles in her notebooks. She showed Diane a pile of notebooks filled with circles in various designs and colors. Later in the episode while in court the woman asked Diane about it and Diane showed her some of her new circle "note" pages.

      [Watched the episode passively sometime in the past two weeks.]

    1. The words toki pona can be translated as “the language of good”. Its purpose is to help its speakers simplify their thoughts, focus on basic things, immediate surroundings, and induce positive thoughts. According to the wikipedia page of Toki Pona, this means the language and its purpose are in accordance with the Sapir–Whorf hypothesis, which says that a language influences the way a person thinks and behaves.

      Link to https://hypothes.is/a/6Znx6MiMEeu3ljcVBsKNOw We shape our tools and thereafter they shape us.

    1. The hypothesis of linguistic relativity, also known as the Sapir–Whorf hypothesis /səˌpɪər ˈwɔːrf/, the Whorf hypothesis, or Whorfianism, is a principle suggesting that the structure of a language influences its speakers' worldview or cognition, and thus people's perceptions are relative to their spoken language.

      https://en.wikipedia.org/wiki/Linguistic_relativity


      link to Toki Pona as a conlang


      Link to https://hypothes.is/a/6Znx6MiMEeu3ljcVBsKNOw We shape our tools and thereafter they shape us.

    1. Sonia Sotomayor asked herself what new thing did she learn at the end of every day. If she couldn't think of something then she remedied the issue by reading something. (Meltzer2018)

      While it's not known if she wrote notes about what she learned, doing so may have allowed her to accumulate a heck of a zettelkasten practice. Many people mistakenly think that they need to be creating dozens of perfect permanent notes for their zettelkasten every day, but in reality, most historical practitioners only made one or two each day. It's the accumulation and links between them that turn them into a more valuable collection over time.


      Meltzer, Brad. I Am Sonia Sotomayor. Illustrated edition. New York: Dial Books, 2018.

    1. Once you somehow got your idea, there’s the task of placing and connecting your idea to your collection of existing ideas. What kind of connection am I looking for? What relationships are worthy of calling a connection? Do any connections work, or do some work better than others? Should I categorize the connections?

      Most only get so far as, what could/should I connect this to and don't get any farther.

      Some good questions for mulling over here though.

    2. In the super-nerdy space where the fine details of digital note-taking are discussed, you’ll hear a lot about the Zettelkasten Method (ZK Method), popularized by a German professor called Niklas Luhmann who was incredibly prolific and famously wrote over 90,000 notes on index cards that were linked together.

      Not so much origin myth here, but popularization myth…

    1. A. Both Robespierre and Animal are ambitious and protean members of an elite group, shifting their identities in response to changing conditions and gradually taking on increasingly extreme positions, driving both the French Revolution and the Muppet Show into what is colloquially known as “The Terror”.

      WTF! 🤣

      from: https://www.complexityexplorer.org/courses/162-foundations-applications-of-humanities-analytics/segments/15626

    1. https://www.complexityexplorer.org/courses/162-foundations-applications-of-humanities-analytics/segments/15625

      https://www.youtube.com/watch?v=vZklLt80wqg

      Looking at three broad ideas with examples of each to follow: - signals - patterns - pattern making, pattern breaking

      Proceedings of the Old Bailey, 1674-1913

      Jane Kent for witchcraft

      250 years with ~200,000 trial transcripts

      Can be viewed as: - storytelling, - history - information process of signals

      All the best trials include the words "Covent Garden".

      Example: 1163. Emma Smith and Corfe indictment for stealing.

      19:45 Norbert Elias. The Civilizing Process. (book)

      Prozhito: large-scale archive of Russian (and Soviet) diaries; 1900s - 2000s

      How do people understand the act of diary-writing?

      Diaries are:

      Leo Tolstoy

      a convenient way to evaluate the self

      Franz Kafka

      a means to see, with reassuring clarity [...] the changes which you constantly suffer.

      Virginia Woolf'

      a kindly blankfaced old confidante

      Diary entries in five categories - spirit - routine - literary - material form (talking about the diary itself) - interpersonal (people sharing diaries)

      Are there specific periods in which these emerge or how do they fluctuate? How would these change between and over cultures?

      The pattern of talking about diaries in this study are relatively stable over the century.

      pre-print available of DeDeo's work here

      Pattern making, pattern breaking

      Individuals, institutions, and innovation in the debates of the French Revolution

      • transcripts of debates in the constituent assembly

      the idea of revolution through tedium and boredom is fascinating.

      speeches broken into combinations of patterns using topic modeling

      (what would this look like on commonplace book and zettelkasten corpora?)

      emergent patterns from one speech to the next (information theory) question of novelty - hi novelty versus low novelty as predictors of leaders and followers

      Robespierre bringing in novel ideas

      How do you differentiate Robespierre versus a Muppet (like Animal)? What is the level of following after novelty?

      Four parts (2x2 grid) - high novelty, high imitation (novelty with ideas that stick) - high novelty, low imitation (new ideas ignored) - low novelty, high imitation - low novelty, low imitation (discussion killers)

      Could one analyze television scripts over time to determine the good/bad, when they'll "jump the shark"?

    1. a common technique in natural language processing is to operationalize certain semantic concepts (e.g., "synonym") in terms of syntactic structure (two words that tend to occur nearby in a sentence are more likely to be synonyms, etc). This is what word2vec does.

      Can I use some of these sorts of methods with respect to corpus linguistics over time to better identified calcified words or archaic phrases that stick with the language, but are heavily limited to narrower(ing) contexts?

    2. What it means to be a member of this or that class is a complex, interpretative matter; but tracking how many times a person has been to the opera is not. You can count the latter, and (the bargain goes) facts about those numbers may illuminate facts about the deeper concepts. For example, counting opera-going might be used to measure how immigrants move up the social class ladder across generations. Crucially, operationalization is not definition. A good operationalization does not redefine the concept of interest (it does not say "to be a member of the Russian intelligentsia is just to have gone to the opera at least once"). Rather, it makes an argument for why the concept, as best understood, may lead to certain measurable consequences, and why those measurements might provide a signal of the underlying concept.

      This is a good example of the fuzzy sorts of boundaries created by adding probabilities to individuals and putting them into (equivalence) classes. They can provide distributions of likelihoods.

      This expands on: https://hypothes.is/a/3FVi6JtXEe2Xwp_BIaCv5g

    3. Signal relationships are (usually) symmetric: if knowledge of X tells you about Y, then knowledge of Y tells you about X.

      Reframing signal relationships into probability spaces may mean that signal relationships are symmetric.

      How far can this be pressed? They'll also likely be reflexive and transitive (though the probability may be smaller here) and thus make an equivalence relation.

      How far can we press this idea of equivalence relations here with respect to our work? Presumably it would work to the level of providing at least good general distribution?

    4. Signal  When a fact X is a signal of a fact Y, we mean simply that knowing X tells us something, or reduces our uncertainty about, Y. This usage contrasts a little with the standard use, where a signal often indicates some kind of intentionality (X is about Y), or agency (a person uses X deliberately to inform you about Y), or causality (X signals Y only if, for example, X preceeds Y in time).

      A reframing of the idea of a signal within a probability setting.

    1. “She is likely our earliest Black female ethnographic filmmaker,” says Strain, who also teaches documentary history at Wesleyan University.

      Link to Robert J. Flaherty

      Where does she sit with respect to Robert J. Flaherty and Nanook of the North (1922)? Would she have been aware of his work through Boaz? How is her perspective potentially highly more authentic for such a project given her context?

    2. She undertook some of her research trips under the patronage of Charlotte Osgood Mason, a wealthy socialite and philanthropist who liked to bankroll artists of the Harlem Renaissance — under her strict conditions, which included a precise accounting of every cent.

      The "strict conditions" and "every cent" sound a bit oppressive as called out here, though most funders would/should do this sort of thing.

    1. Browsing through Walten’s notes also helped Jagersma to get to know the pamphleteer better, even though he is been dead for three hundred years. “The Memoriaelen say a lot about him. I could read how Walten did his research, follow his fascinations, and see the ideas for pieces he was not able to work out anymore. In a way, these two notebooks are a kind of self-portrait.”
    2. And the third category is for things that inspire me but that I don’t yet know exactly how to use. This category is actually the most interesting.”

      Many people collect notes that they're not sure what to do with or even where to put them. Neuroscience student and researcher Charlotte Fraza keeps her version of these notes in a category of "things that inspire me, but I don't yet know exactly how to use. She feels that compared to the other categories of actionable specific use and sources, this inspiration category is the most interesting to her.

    3. In Walten’s two notebooks, referred to as Memoriaelen, Jagersma discovered a lot of details about the pamphleteer’s life. “These notebooks look a bit like the Moleskine notebooks that we know today,” says Jagersma, “but thicker, and bound in parchment.” In the more than five hundred pages, Walten collected all kinds of information. Jagersma lists the categories: “Personal anecdotes, philosophical and theological reflections, ideas, incursions, medical recipes, accounts of alchemical experiments, but also departure and arrival dates of the trekschuit (sail- or horse-drawn boat). The notebooks also contain lists of books he still wanted to read.”
    4. Delicate and precise, neatly arranged in alphabetical lemmas. I stumbled across the manuscripts in the Special Collections of the Leiden University Library, where they were listed in the inventory as ‘Adversaria of mixed content’. Without further explanation, except that their author was Jan Wagenaar. This eighteenth-century author was a household name in his time, writing about history, theology, and politics. Now here I was, looking at the notes he had used to write all those books, sermons, and pamphlets.The four leather-bound volumes contained pages and pages of lemmas on a variety of topics, from ‘concubines’ to ‘thatched roofs in the cities of Holland’. The lemmas included excerpts from a variety of texts, including snippets in French, English and Hebrew. This was how Wagenaar tried to organise his information flows, subsequently using this information to produce new texts.

      Jan Wagenaar's four leather-bound commonplace books are housed in the Special Collections of the Leiden University Library inventoried as "Adversaria of mixed content."

      They contain excerpts in French, English, and Hebrew and are arranged by topical heading.

    5. Complaints about information overload and ‘infobesity’ are age-old phenomena, as book historian Rindert Jagersma observes. Until the invention of printing, monks and officials used to copy texts by hand, which was a slow and expensive process. But with the advent of printing presses, books and other texts became cheaper to produce and consume.

      https://www.radboudrecharge.nl/en/article/your-second-brain-from-the-seventeenth-century

    1. Cite these as Book/Book Section as appropriate. If you need to specify that it is an ebook (most citation styles don’t require this—there isn’t a real difference from a physical book), specify that in Extra like this:Medium: Kindle ebook

      https://forums.zotero.org/discussion/77941/the-best-way-to-cite-ebooks-currently

      To sub-specify an ebook as opposed to a physical book in Zotero, in the Extra section, add a note like Medium: Kindle .mobi.

    1. When I create a new note, I write and link it as usual. Then I call up a saved search in The Archive via shortcut. I then go through the notes of my favorites and see if the fresh note is usable for one of my favorites. In doing so, I make an effort to find a connection. This effort trains my divergent thinking.

      Sascha Fast juxtaposes his new notes with his own favorite problems to see if they have any connections with respect to improving on or solving them.

      This practice is somewhat similar to Marshall Kirkpatrick's conceptualization of triangle thinking, but rather than being randomly generated with respect to each other, the new things are always generated toward important questions he's actively working on or toward.

      This helps to increase the changes of forward progress in specific areas rather than undirected random progress.

    2. Richard Feynman was fond of giving the following advice on how to be a genius. You have to keep a dozen of your favorite problems constantly present in your mind, although by and large they will lie in a dormant state. Every time you hear or read a new trick or a new result, test it against each of your twelve problems to see whether it helps. Every once in a while there will be a hit, and people will say, “How did he do it? He must be a genius!”

      Gian-Carlo Rota (1997): Ten Lessons I Wish I Had Been Taught, Notices of the American Mathematical Society 1, 1997, Vol. 44, pp. 22-25.

    1. A few months ago, during an insomnia-inducing crisis of confidence about where the hell I should be going next with my writing, I suddenly remembered my journal. I hadn’t written in it for a while. Although it was 1:30 in the morning, I got out of bed, went into my study, opened up my journal, and simply began to write. I wrote about being unable to write, the things I thought were preventing me from writing, and what I thought I should do about it. The simple act of writing these thoughts down meant that I no longer felt the need to rehearse them over and over in my head, so I could return to bed and sleep the sleep of the effortlessly talented. When I woke next morning, my crisis of confidence had reduced to a mild concern. My late-night journal session had put things in perspective. It had shown me a way forward.

      Example of someone getting the crap and worries out so that their writing can begin apace. Its sort of like writers' therapy and closely akin to those who talk about morning pages.

      Also similar to teachers of young children who encourage their students to get their "wiggles out" so that they can focus on the classwork at hand.

    1. Basil Lanneau Gildersleeve, "Brief Mention," American Journal of Philology 20.1 (1899) 108-113 (at 108): With all our advance in scientific astronomy, the average modern man is not so familiar with the sky as was his antique brother, and some of the blunders in modern works of fiction that are scored from time to time in scientific journals would hardly have been possible for a ploughman of antiquity, not to say a sailor. The world needs every now and then a reminder that the modern head holds different things from the ancient brain-pan, not necessarily more.

      How painfully true this may have been in 1899, it's now much worse in 2023!


      Specialization of knowledge tends to fit the lifeways of the people who hold and maintain it. Changing lifeways means one must lose one or more domains and begin using or curating different domains of knowledge.

      In a global world of specialization, humans who specialize are forced to rely more heavily on the experience and veracity of those around them who have also specialized. One may be able to have a Ph.D. in astrophysics, but their knowledge of the state of the art in anthropology or economic policy may be therefore utterly undeveloped. As a result they will need to rely on the knowledge and help of others in maintaining those domains.

      This knowledge specialization means that politicians will need to be more open about what they think and say, yet instead politicians seem to be some of the least knowledge about almost anything.

      This is just the start of a somewhat well-formed thesis I've developed elsewhere, but not previously written out... more to come...

    1. https://www.catholic.org/saints/patron.php

      Potential patron saints of note takers, writers, knowledge workers, tools for thought, etc.

      • Apothecaries - Cosmas and Damian
      • archives - Laurent (Lawrence)
      • archivists, librarians, libraries - Catherine of Alexandria, Jerome, Laurent (Lawrence)
      • cabinetmakers - Anne, Joseph, Vincent de Paul
      • contemplatives, contemplative life - John of the Cross, Mary Magdalene
      • Craftworkers - Luke
      • Editors John Bosco, Francis de Sales
      • enlightenment - Holy Spirit, Our Lady of Good Counsel
      • file makers - Theodosius the Cenobriarch
      • Information Workers - Archangel Gabriel
      • inquisitors - Peter of Verona
      • Joiners - Joseph, Thomas, Apostle
      • knowledge - Holy Spirit
      • Learning - Ambrose, Catherine of Alexandria
      • liberal arts - Catherine of Bologna
      • linguists - Gotteschalk
      • net makers - Peter the Apostle
      • Notaries - Luke, Mark, Ivo of Kermartin
      • pencil makers - Thomas Aquinas
      • Scholars - Bridgid of Ireland, Thomas Aquinas
      • scribes - Catherine of Alexandria
      • Shorthand writers - Cassian of Imola
      • Students - Catherine of Alexandria, Thomas Aquinas, Gabriel Possenti
      • Students (examinees) - Joseph of Cupertino
    1. Note 9/8j says - "There is a note in the Zettelkasten that contains the argument that refutes the claims on every other note. But this note disappears as soon as one opens the Zettelkasten. I.e. it appropriates a different number, changes position (or: disguises itself) and is then not to be found. A joker." Is he talking about some hypothetical note? What did he mean by disappearing? Can someone please shed some light on what he really meant?

      On the Jokerzettel

      9/8j Im Zettelkasten ist ein Zettel, der das Argument enthält, das die Behauptungen auf allen anderen Zetteln widerlegt.

      Aber dieser Zettel verschwindet, sobald man den Zettelkasten aufzieht.

      D.h. er nimmt eine andere Nummer an, verstellt sich und ist dann nicht zu finden.

      Ein Joker.

      —Niklas Luhmann, ZK II: Zettel 9/8j

      Translation:

      9/8j In the slip box is a slip containing the argument that refutes the claims on all the other slips. But this slip disappears as soon as you open the slip box. That is, he assumes a different number, disguises himself and then cannot be found. A joker.

      Many have asked about the meaning of this jokerzettel over the past several years. Here's my slightly extended interpretation, based on my own practice with thousands of cards, about what Luhmann meant:

      Imagine you've spent your life making and collecting notes and ideas and placing them lovingly on index cards. You've made tens of thousands and they're a major part of your daily workflow and support your life's work. They define you and how you think. You agree with Friedrich Nietzsche's concession to Heinrich Köselitz that “You are right — our writing tools take part in the forming of our thoughts.” Your time is alive with McLuhan's idea that "The medium is the message." or in which his friend John Culkin said, "We shape our tools and thereafter they shape us."

      Eventually you're going to worry about accidentally throwing your cards away, people stealing or copying them, fires (oh! the fires), floods, or other natural disasters. You don't have the ability to do digital back ups yet. You ask yourself, can I truly trust my spouse not to destroy them?,What about accidents like dropping them all over the floor and needing to reorganize them or worse, the ghost in the machine should rear its head?

      You'll fear the worst, but the worst only grows logarithmically in proportion to your collection.

      Eventually you pass on opportunities elsewhere because you're worried about moving your ever-growing collection. What if the war should obliterate your work? Maybe you should take them into the war with you, because you can't bear to be apart?

      If you grow up at a time when Schrodinger's cat is in the zeitgeist, you're definitely going to have nightmares that what's written on your cards could horrifyingly change every time you look at them. Worse, knowing about the Heisenberg Uncertainly Principle, you're deathly afraid that there might be cards, like electrons, which are always changing position in ways you'll never be able to know or predict.

      As a systems theorist, you view your own note taking system as a input/output machine. Then you see Claude Shannon's "useless machine" (based on an idea of Marvin Minsky) whose only function is to switch itself off. You become horrified with the idea that the knowledge machine you've painstakingly built and have documented the ways it acts as an independent thought partner may somehow become self-aware and shut itself off!?!

      https://www.youtube.com/watch?v=gNa9v8Z7Rac

      And worst of all, on top of all this, all your hard work, effort, and untold hours of sweat creating thousands of cards will be wiped away by a potential unknowable single bit of information on a lone, malicious card and your only recourse is suicide, the unfortunate victim of dataism.

      Of course, if you somehow manage to overcome the hurdle of suicidal thoughts, and your collection keeps growing without bound, then you're sure to die in a torrential whirlwind avalanche of information and cards, literally done in by information overload.

      But, not wishing to admit any of this, much less all of this, you imagine a simple trickster, a joker, something silly. You write it down on yet another card and you file it away into the box, linked only to the card in front of it, the end of a short line of cards with nothing following it, because what could follow it? Put it out of your mind and hope your fears disappear away with it, lost in your box like the jokerzettel you imagined. You do this with a self-assured confidence that this way of making sense of the world works well for you, and you settle back into the methodical work of reading and writing, intent on making your next thousands of cards.

    1. He saw that her suitcase had shoved all his trays of slips over to one side of the pilot berth.They were for a book he was working on and one of the four long card-catalog-type trays wasby an edge where it could fall off. That's all he needed, he thought, about three thousand four-by-six slips of note pad paper all over the floor.He got up and adjusted the sliding rest inside each tray so that it was tight against the slipsand they couldn't fall out. Then he carefully pushed the trays back into a safer place in therear of the berth. Then he went back and sat down again.It would actually be easier to lose the boat than it would be to lose those slips. There wereabout eleven thousand of them. They'd grown out of almost four years of organizing andreorganizing and reorganizing so many times he'd become dizzy trying to fit them all together.He'd just about given up.

      Worry about dropping a tray of slips and needing to reorganize them.

    1. Around 1956: "My next task was to prepare my course. Since none of the textbooks known to me was satisfactory, I resorted to the maieutic method that Plato had attributed to Socrates. My lectures consisted essentially in questions that I distributed beforehand to the students, and an abstract of the research that they had prompted. I wrote each question on a 6 × 8 card. I had adopted this procedure a few years earlier for my own work, so I did not start from scratch. Eventually I filled several hundreds of such cards, classed them by subject, and placed them in boxes. When a box filled up, it was time to write an article or a book chapter. The boxes complemented my hanging-files cabinet, containing sketches of papers, some of them aborted, as well as some letters." (p. 129)

      This sounds somewhat similar to Mark Robertson's method of "live Roaming" (using Roam Research during his history classes) as a teaching tool on top of other prior methods.

      link to: Roland Barthes' card collection for teaching: https://hypothes.is/a/wELPGLhaEeywRnsyCfVmXQ

    1. Apologies for such a long, nerdy piece. I do hope I wasn’t, like my hero, trying to explain too much.

      Brilliant! And fantastic the way he tied the last line back into the earlier unrelated thought...

    2. It’s far more complicated than that, obviously. Different parts of this process are going on all the time. While working on one chapter, I’m also capturing and working on unrelated—for the time being at least—notes on other topics that interest me, including stuff that might well end up in future books.

      Because reading, annotating/note taking, and occasional outlining and writing can be broken down into small, concrete building blocks, each part of the process can be done separately and discretely with relatively easy ability to shift from one part of the process to another.

      Importantly, one can be working on multiple different high level projects (content production: writing, audio, video, etc.) simultaneously in a way which doesn't break the flow of one's immediate reading. While a particular note within a piece may not come to fruition within a current imagined project, it may spark an idea for a future as yet unimagined project.


      Aside: It would seem that Ryan Holiday's descriptions of his process are discrete with respect to each individual project. He's never mentioned using or reusing notes from past projects for current or future projects. He's even gone to the level that he creates custom note cards for his current project which have a title pre-printed on them.

      Does this pre-titling help to provide him with more singular focus for his specific workflow? Some who may be prone to being side-tracked or with specific ADHD issues may need or be helped by these visual and workflow cues to stay on task, and as a result be helped by them. For others it may hinder their workflows and creativity.

      This process may be different for beginning students or single project writers versus career writers (academics, journalists, fiction and non-fiction writers).


      As a concrete example of the above, I personally made a note here about Darwin and Lamarck for a separate interest in evolution which falls outside of my immediate area of interest with respect to note taking and writing output.

    3. The above is an attempt to describe how I went about writing one chapter of my book. I use the same basic approach for all my chapters, namely: make lots of linked notes about stuff I happen to find interesting;continue to develop those notes, splitting them into smaller notes when they become too wide-ranging;write Journal entries and draw mind-maps to explore what I’ve discovered;keep playing with my notes;await a lightbulb moment, when two or more notes suddenly make an unexpected new connection in my brain, and I think, “Oh, that’s interesting!”create a detailed bullet-point outline of my chapter, complete with links to supporting notes and references;write the chapter;compile the chapter references with the help of the chapter outline links;repeat until the first draft of the book is finished;then comes the fun part.

      Summary of Richard Carter's writing process from notes to product.

    4. All that remained was the small matter of actually writing the chapter. I don’t do this in Obsidian: I think it would be asking for trouble to mix notes and their end-products in the same place.

      I've not seen this explicitly laid out as advice before though in most contexts people's note taking spaces have historically been divorced from their writing spaces for publication because slips and notes are usually kept physically separate from the working spaces or finished parts, but Richard Carter specifically separates the digital spaces in which he takes his notes and then uses them for creating end products. While he could both take notes in Obsidian, his tool of choice for notes, as well as write his finished pieces there, he actively changes contexts to use a different digital app to compose his notes into final pieces.

      What affordances does this context shift provide? <br /> - blank slate may encourage reworking and expansion of original notes - is there a blank slate effect and what would it entail? - potentially moves the piece into a longer format space or tool which provides additional writing, formatting or other affordances (which? there don't seem to be any in this case aside from a potential "distraction free mode" which may tend to force one to focus only on the piece at hand rather than the thousands of other pieces (notes) hiding within the app)

      What affordances does this remove?<br /> - He's forced to repeat himself (cut & paste / DRY violation)

      Is it easier or harder (from a time/effort perspective) to provide citations with such a workflow? Carter does indicate that for him:

      Having links to original sources in my outline makes the compilation of references for the chapter far easier than it used to be.

    5. For the time being, my writing app of choice is Ulysses, but plenty of others are available—even, heaven help you, Micros✽ft W✽rd.

      Multiple interesting things going on here with the use of "Micros✽ft W✽rd".

      He's simultaneously: - Voldemorting the phrase to some extent so that it doesn't show up easily or at all in digital search. - He's visually marring the phrase to show active dislike of the software and its general use - By using the symbols, he's effectively turning the word into a form of profanity the way many have used the top row of symbols on typewriters to indicate swear words in the 20th century. Examples: sh@t, dmn, he!!, or any set of four symbols like &%^ to generally indicate a "four letter word" as many profane words typically have four letters.

    6. At around this point, as is my habit when trying to work out where I’ve got to, and to devise a basic outline, I took out my trusty Leuchtturm1917 notebook and scrawled out a rough mind-map of my potential chapter:

      To test out some potential ideas and flow of a particular chapter for which he already had a corpus of notes, Richard Carter created a mindmap outline of some of his ideas. This in combination with testing out further ideas in his writing journal "three weeks later" caused him to make some significant changes in the structure of his chapter.

    7. Among other things, I have traditionally used my Journal to think out loud to myself about my work in hand: the progress I’m making, the problems I’m encountering, and so on. Many of my best ideas have arisen by writing to myself like this.

      Richard Carter uses his writing journal practice to "think out loud" to himself. Often, laying out extended arguments helps people to refine and reshape their thinking as they're better able to see potential holes or missing pieces of arguments. It's the same sort of mechanism which is at work in rubber duck debugging of computer code: by explaining a process one is more easily able to see the missing pieces, errors, or problems with the process at hand.

      Carter's separate note taking and writing journal practice being used as a thought space or writing workshop of sorts is very similar to the process seen in my preliminary studies of Henry David Thoreau's work in which he kept commonplace books and separate (writing) journals which show evidence of his trying ideas on for size and working them before committing them to his published works.

    1. I do not care to include the epistemological status (claim, idea, quote etc) anymore as I was not actively searching for it and it was nebulous in practice, as you've found out.

      Sometimes collecting some sorts of data in one's notes (even, and particularly in digital notes) is not a useful practice as one eventually realizes that they remain unsearched and unused.

      One thing which may not come under this heading is the difference in what others say versus what you write yourself, especially as it relates to plagiarism.

    2. How do you maintain the interdisciplinarity of your zettlekasten? .t3_10f9tnk._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; }

      As humans we're good at separating things based on categories. The Dewey Decimal System systematically separates mathematics and history into disparate locations, but your zettelkasten shouldn't force this by overthinking categories. Perhaps the overlap of math and history is exactly the interdisciplinary topic you're working toward? If this is the case, just put cards into the slip box closest to their nearest related intellectual neighbor—and by this I mean nearest related to you, not to Melvil Dewey or anyone else. Over time, through growth and branching, ideas will fill in the interstitial spaces and neighboring ideas will slowly percolate and intermix. Your interests will slowly emerge into various bunches of cards in your box. Things you may have thought were important can separate away and end up on sparse branches while other areas flourish.

      If you make the (false) choice to separate math and history into different "sections" it will be much harder for them to grow and intertwine in an organic and truly disciplinary way. Universities have done this sort of separation for hundreds of years and as a result, their engineering faculty can be buildings or even entire campuses away from their medical faculty who now want to work together in new interdisciplinary ways. This creates a physical barrier to more efficient and productive innovation and creativity. It's your zettelkasten, so put those ideas right next to each other from the start so they can do the work of serendipity and surprise for you. Do not artificially separate your favorite ideas. Let them mix and mingle and see what comes out of them.

      If you feel the need to categorize and separate them in such a surgical fashion, then let your index be the place where this happens. This is what indices are for! Put the locations into the index to create the semantic separation. Math related material gets indexed under "M" and history under "H". Now those ideas can be mixed up in your box, but they're still findable. DO NOT USE OR CONSIDER YOUR NUMBERS AS TOPICAL HEADINGS!!! Don't make the fatal mistake of thinking this. The numbers are just that, numbers. They are there solely for you to be able to easily find the geographic location of individual cards quickly or perhaps recreate an order if you remove and mix a bunch for fun or (heaven forfend) accidentally tip your box out onto the floor. Each part has of the system has its job: the numbers allow you to find things where you expect them to be and the index does the work of tracking and separating topics if you need that.

      The broader zettelkasten, tools for thought, and creativity community does a terrible job of explaining the "why" portion of what is going on here with respect to Luhmann's set up. Your zettelkasten is a crucible of ideas placed in juxtaposition with each other. Traversing through them and allowing them to collide in interesting and random ways is part of what will create a pre-programmed serendipity, surprise, and combinatorial creativity for your ideas. They help you to become more fruitful, inventive, and creative.

      Broadly the same thing is happening with respect to the structure of commonplace books. There one needs to do more work of randomly reading through and revisiting portions to cause the work or serendipity and admixture, but the end results are roughly the same. With the zettelkasten, it's a bit easier for your favorite ideas to accumulate into one place (or neighborhood) for easier growth because you can move them around and juxtapose them as you add them rather than traversing from page 57 in one notebook to page 532 in another.

      If you use your numbers as topical or category headings you'll artificially create dreadful neighborhoods for your ideas to live in. You want a diversity of ideas mixing together to create new ideas. To get a sense of this visually, play the game Parable of the Polygons in which one categorizes and separates (or doesn't) triangles and squares. The game created by Vi Hart and Nicky Case based on the research of Thomas Schelling provides a solid example of the sort of statistical mechanics going on with ideas in your zettelkasten when they're categorized rigidly. If you rigidly categorize ideas and separate them, you'll drastically minimize the chance of creating the sort of useful serendipity of intermixed and innovative ideas.

      It's much harder to know what happens when you mix anthropology with complexity theory if they're in separate parts of your mental library, but if those are the things that get you going, then definitely put them right next to each other in your slip box. See what happens. If they're interesting and useful, they've got explicit numerical locators and are cross referenced in your index, so they're unlikely to get lost. Be experimental occasionally. Don't put that card on Henry David Thoreau in the section on writers, nature, or Concord, Massachusetts if those aren't interesting to you. Besides everyone has already done that. Instead put him next to your work on innovation and pencils because it's much easier to become a writer, philosopher, and intellectual when your family's successful pencil manufacturing business can pay for you to attend Harvard and your house is always full of writing instruments from a young age. Now you've got something interesting and creative. (And if you must, you can always link the card numerically to the other transcendentalists across the way.)

      In case they didn't hear it in the back, I'll shout it again: ACTIVELY WORK AGAINST YOUR NATURAL URGE TO USE YOUR ZETTELKASTEN NUMBERS AS TOPICAL HEADINGS!!!

    1. What ideas are you wrestling with this week? January 19, 2023

      Reply to Will at https://forum.zettelkasten.de/discussion/2490/what-ideas-are-you-wrestling-with-this-week-january-19-2023#latest

      There's so much great looking material here, it's almost overwhelming on where to start. I almost feel like I should be reading all this in addition to everything else I've got on my list.

      Some of the direction with respect to writing, writing practice, and even your woodworking makes me think you'd appreciate the subtle idea hiding in this old blogpost I ran into in April 2021: https://jsomers.net/blog/dictionary.

    1. Anybody using this approach to manage contacts? How?

      reply to IvanFerrero at https://forum.zettelkasten.de/discussion/1740/anybody-using-this-approach-to-manage-contacts-how#latest

      Many of the digital note taking tools that run off of text allow you to add metadata to your basic text files (as YAML headers, inline with a key:: value pair, or via #tags). Many of them have search functionality or use other programmatic means like query blocks, DataView, DataViewJS, etc. for doing queries on your files to get back lists, tables, charts, etc. of the data you're looking for.

      The DataView repository has some good examples of how this works with something like Obsidian. Fortunately if you're using simple text files you can usually put them into one or more platforms to get the data and affordances you want out of them individually.

      As an example, I have a script block in my daily note in Obsidian for birthdays in my notes that fall on today's date:

      ```dataview LIST birthday FROM "Lists/People" WHERE birthday.day = date(2023-01-18).day ```

      If I put the text birthday:: 1927-12-08 into a note about Niklas Luhmann, his name and birthday would appear in my daily note on his birthday. One can use similar functionality to create tables of books they read with titles, authors, ratings, dates read, etc. or a variety of other data input which parses through your plaintext files. Services like Obsidian, Logseq, et al. are getting better about allowing these types of programmatic searches for users without backgrounds in programming and various communities usually provide help for pre-made little snippets like the one above that one can cut and paste into their notes to get the outputs that they need. Another Obsidian based example that uses text files for tracking academic journal articles can be found at https://nataliekraneiss.com/your-academic-reading-list-in-obsidian/; I'm sure there are similar versions for other text-based platforms.

      In pre-digital times, for a manual version of a rolodex like this in paper, one could use different color cards as pseudo-tags (doctors are on yellow cards, family members on blue cards, friends on green cards, etc.) or adding edge notches or even tabs to represent different types of metadata. See for example the edge colored cards in Hawkexpress' Pile of Index Cards: https://www.flickr.com/photos/hawkexpress/albums/72157594200490122

    1. https://press.princeton.edu/series/ancient-wisdom-for-modern-readers

      This appears like Princeton University Press is publishing sections of someone's commonplace books as stand alone issues per heading where each chapter has a one or more selections (in the original language with new translations).

      This almost feels like a version of The Great Books of the Western World watered down for a modern audience?

    1. https://www.npr.org/sections/health-shots/2023/01/18/1139783203/what-makes-songs-swing-physicists-unravel-jazz-mystery

      Spaces in both language, text, and music help to create the texture of what is being communicated (and/or not).


      Link to Edward Tufte's latest book in section entitled "Spacing enhances complex meaning, encourages slow, thoughtful reading":

      <small><cite class='h-cite via'> <span class='p-author h-card'>KevinMarks</span> in #meta 2023-01-19 (<time class='dt-published'>01/19/2023 11:32:19</time>)</cite></small>


      Link to Indigenous astronomy example of negative spaces (like the Great Emu)

    1. Hints for Preparing Documents Most documents go through several versions (always more than you expected) before they are finally finished. Accordingly, you should do whatever possible to make the job of changing them easy. First, when you do the purely mechanical operations of typing, type so subsequent editing will be easy. Start each sentence on a new line. Make lines short, and break lines at natural places, such as after commas and semicolons, rather than randomly. Since most people change documents by rewriting phrases and adding, deleting and rearranging sentences, these precautions simplify any editing you have to do later. — Brian W. Kernighan, 1974

      —Brian W. Kernighan, 1974 “UNIX for Beginners” [PDF] as Bell Labs Technical Memorandum 74-1273-18 on 29 October 1974.

      For easier editing and reuse of sentences, or even portions of lines of text, one can (and should) write sentences or sentence fragments on their own lines in digital contexts.

      This way future edits or the ability to more easily cut and paste will far easier in addition to keeping your version control files simpler and easier to read and visually track your changes. (That is in many version control systems, instead of a change appearing to affect an entire paragraph, it will only show on the single line that was changed thereby making the change easier to see.)

      This particular affordance may be a particularly useful one for note takers who expect to regularly reuse their notes in other contexts. Many forms of software (including Tex, LaTeX, and even markdown) will autowrap newlines so that a sentence broken up into clauses on multiple lines will properly wrap back into a proper looking single line when printed. Take care that in many Markdown versions adding two spaces at the end of a line will automatically create a newline in your text.

    1. Lobsters have a very bad reputation among philosophers, who frequently hold them out as examples of purely unthinking, unfeeling creatures. Presumably, this is because lobsters are the only animal most philosophers have killed with their own two hands before eating. It’s unpleasant to throw a struggling creature in a pot of boiling water; one needs to be able to tell oneself that the lobster isn’t really feeling it. (The only exception to this pattern appears to be, for some reason, France, where Gérard de Nerval used to walk a pet lobster on a leash and where Jean-Paul Sartre at one point became erotically obsessed with lobsters after taking too much mescaline.)
    2. But in the new full-blown capitalist version of evolution, where the drive for accumulation had no limits, life was no longer an end in itself, but a mere instrument for the propagation of DNA sequences—and so the very existence of play was something of a scandal.

      Could refuting the idea of accumulation without limits (and thus capitalism for capitalism's sake) help give humans more focus on what is useful/valuable?

    3. To exercise one’s capacities to their fullest extent is to take pleasure in one’s own existence, and with sociable creatures, such pleasures are proportionally magnified when performed in company. From the Russian perspective, this does not need to be explained. It is simply what life is. We don’t have to explain why creatures desire to be alive. Life is an end in itself. And if what being alive actually consists of is having powers—to run, jump, fight, fly through the air—then surely the exercise of such powers as an end in itself does not have to be explained either. It’s just an extension of the same principle.

      I'm not sure I like that Graeber waves away the question "why play?" here. I don't think there's an equivalency to the "why life?" question.

      It will take some additional thinking to build something up to refute this idea however.

    4. Kropotkin’s actual argument is far more interesting. Much of it, for instance, is concerned with how animal cooperation often has nothing to do with survival or reproduction, but is a form of pleasure in itself. “To take flight in flocks merely for pleasure is quite common among all sorts of birds,” he writes. Kropotkin multiplies examples of social play: pairs of vultures wheeling about for their own entertainment, hares so keen to box with other species that they occasionally (and unwisely) approach foxes, flocks of birds performing military-style maneuvers, bands of squirrels coming together for wrestling and similar games

      Perhaps play helps to provide social lubrication, communication, and bonding between animals which may help in creating cooperation which improves survival or reproduction?

    5. We all know the eventual answer, which the discovery of genes made possible. Animals were simply trying to maximize the propagation of their own genetic codes. Curiously, this view—which eventually came to be referred to as neo-Darwinian—was developed largely by figures who considered themselves radicals of one sort or another.

      Neo-Darwinism: a modern version of Darwin's theory of evolution by natural selection, incorporating the findings of genetics.

    1. 12 “In summer 2010, seven cardboard boxes with lexicographical slips compiled by Dr. GertrudBauer were presented by Professor Peter Nagel (Bonn) to the DDGLC office, which had beenhanded over to him in the early 1990s by the late Professor Alexander Böhlig. The Gertrud-und-Alexander-Böhlig Stiftung funded the scanning and slotting of the slips into a database accord-ing to the hierarchical structure of the original compilation,” http://research.uni-leip-zig.de/ddglc/bauer/BauerIndex.pdf

      repetition of what appears on their primary web page in early 2023. the .pdf document doesn't appear to exist anymore (it redirects to https://www.geschkult.fu-berlin.de/en/e/ddglc/index.html

    2. In 1975 Gertrud Bauer10 published her “Konkordanz der nichtflektiertengriechischen Wörter im bohairischen Neuen Testament”,11 but this work was onlya part of a large collection of lexicographical slips which was produced in the1970s and 1980s for Prof. Alexander Böhlig’s loanword project at the Universityof Tübingen, Germany.

      Better reference for the Bauer collection than the website due to publishing and peer review.

    1. It is not a bad plan for two or more students to meet at stated intervals and compare their notes . The lecture can be discussed so that thepoints omitted or not fully understood can be placed correctly in the notebook against the final test . The chance for error is greatly decreased inthis way and, besides , the discussion greatly aids the memory so that thework of studying from the notes is lessened . In at least one instance wherethe speaker delivered his lecture very rapidly several students arrangedto take his points in relays ; that is, since there was scarcely time for oneman to get all, one man could take the first point, another the second, andso on. These men occupied seats close together so that an exchange ofsignals was possible. Afterwards they discussed each lecture and puttheir notes together.

      Apparently sharing/comparing notes was reasonable advice in 1910 including the idea of in-class signals for splitting up note taking amongst multiple people.

      Compare this to shared notes (Google Docs, Etherpad, etc.) in modern context with multiple people doing simultaneous notes.

    2. One even better plan is to get regular library index cards and, afterthe lecture is fairly well learned, transfer the points underlined to them, onecard to a lecture. These cards can be carried about and studied at oddmoments. One is enabled by their use to get the perspective view of thelecture which brings out the sense of values which one loses when onestudies the notes in their mass of detail only. With the skeleton in mindone has little difficulty in recalling the details .

      Here again he comes close to some of the methods and ideas of having flashcards for spaced repetition, but isn't explicitly aware of the words or techniques. Note that he also doesn't use the word flashcard. When was the word first used?

      Rewriting things as flashcards also tends to be a part of the spaced repetition itself.

      By cutting the notes up he's specifically decontextualizing them so as to make one's memory be better tested in coming up with the solutions/answers as they are more likely to appear on a test, decontextualized from the original lecture.

    3. An excellent way tomake the important points stand out is to read the entire set of notes verycarefully, underlining the more vital points in red ink. Such a method willmake them stand out from the rest and give the eye a scale of values moreeasily remembered.

      The suggestion of visual highlighting making ideas stand out, but without the idea of their location within the notes being a helpful part of the mnemonic technique.

    4. It may be an advantage to learn shorthand, as many do , and takethe notes verbatim, but there really is no necessity for taking entire lectures ; in fact lectures may be a disadvantage because they make morework to be gone over.

      Notice the advice for shorthand here in 1910. When was it a dead technology for students? Certainly by the 1980s when it was less frequently taught in schools.

      Even with the ability to do shorthand and get things verbatim, he suggests against it for the sheer volume of material to go over.

      Link to/compare with: - https://hypothes.is/a/gqSGbpVaEe2pmiuwPwm8Vw from 1892

    5. me word or expression every time the notes may be bothfull and legible. Thus "b," with date , is "born" and "d" is "died" ; "dif"is "different from" ; "lit" is "literature" ; "Shak" is " Shakspere" ; "gov"is "governor ;" "govt" is "government" ; "cal" is "calculate" ; "cur" is"current"; "org" is "organic" or "organism"; "prep" is "precipitate" ;"dec" is "decant" ; " " is "filter"; "comp" is "compound" ; " H" is"Hydrogen" ; "dyn" is " dynamo ", or "dynamic" ; "dn" is "dyne", etc. ,without end. You need not be particular about grammar or completeness .There is no limitation save clearness and accuracy. One must be able toread the notes later.
    6. Thus his notes will be legible, interesting and complete,and more than this, the process of rewriting wll fix the various points muchbetter in his mind at a time when it is most susceptible to them, than anystudy from cold notes can do .

      Rewriting one's notes soon after they are written will be easier because they are fresher in one's mind and any issues with them can be more easily remedied. There's also the space repetition effect to be had.


      Note here that Maxfield suggests the sort of value behind the idea of spaced repetition, but writing in 1910 doesn't have the word or the effect related to it yet.

    1. https://www.youtube.com/watch?v=BpvEY-2dSdU

      In this episode, I explain the memory system I created in order to expand my memory to new heights. I call it the Sirianni Method and with it, you can learn how to create an intentional photographic memory.

      Who the hell is the Sirianni this is named for, himself? (In the comments he mentions that "it's my italian grandpa's last name, I always liked it and a while back started naming things after it)

      tl;dr: He's reinvented the wheel, but certainly not the best version of it.

      What he's describing isn't remotely related to the idea of a photographic memory, so he's over-hyping the results, which is dreadful. If it were a photographic memory, he wouldn't need the spaced-repetition portion of his practice. While he mentions how he's regularly reviewing his cards he doesn't mention any of the last century+ of research and work on spaced repetition. https://super-memory.com/articles/20rules.htm is a good place to start for some of this.

      A lot of what he's doing is based on associative memory, particularly by drawing connections/links to other things he already knows. He's also taking advantage of visual memory by associating his knowledge with a specific picture.

      He highlights emotion and memory, but isn't drawing clear connections between his knowledge and any specific emotions that he's tying or associating them to.

      "Intentional" seems to be one of the few honest portions of the piece.

      Overview of his Sirianni method: pseudo-zettelkasten notes with written links to things he already knows (but without any Luhmann-esque numbering system or explicit links between cards, unless they're hiding in his connections section, which isn't well supported by the video) as well as a mnemonic image and lots of ad hoc spaced repetition.

      One would be better off mixing their note taking practice with associative mnemonic methods (method of loci, songlines, memory palaces, sketchnotes, major system, orality, etc.) all well described by Lynne Kelly (amongst hundreds before her who got smaller portions of these practices) in combination with state of the art spaced repetition.

      The description of Luhmann's note taking system here is barely passable at best. He certainly didn't invent the system which was based on several hundred years of commonplace book methodology before him. Luhmann also didn't popularize it in any sense (he actually lamented how people were unimpressed by it when he showed them). Popularization was done post-2013 generally by internet hype based on his prolific academic output.

      There is nothing new here other than that he thinks he's discovered something new and is repackaging it for the masses with a new name in a flashy video package. There's a long history of hucksters doing this sort of fabulist tale including Kevin Trudeau with Mega Memory in the 1990s and going back to at least the late 1800s with "Professor" Alphonse Loisette and the system he sold for inordinate amounts to the masses including Mark Twain.

      Most of these methods have been around for millennia and are all generally useful and well documented though the cultural West has just chosen to forget most of them. A week's worth of research and reading on these topics would have resulted in a much stronger "system" more quickly.

      Beyond this, providing a fuller range of specific options and sub-options in these areas so that individuals could pick and choose the specifics which work best for them might have been a better way to go.

      Content research: D- Production value: A+

      {syndication link](https://www.reddit.com/r/antinet/comments/10ehrbd/comment/j4u495q/?utm_source=share&utm_medium=web2x&context=3)