18 Matching Annotations
  1. Feb 2024
    1. If you're into music producers and creativity, Brian Eno and his collaborator Peter Schmidt created and sold a custom "zettelkasten" called "Oblique Strategies" which Eno frequently used in the recording studio during live sessions when he hit creative walls. There are various digital versions of his card set online for playing around with in your own creative work.

      Thanks for this mini-review. I've had Rubin in my reading pile for a while, specifically to see what he says with respect to the idea of combinatorial creativity. Perhaps it's time to bump him up the list?

      syndication link

  2. Nov 2023
    1. When Jimmy Buffett has an idea for a song — sometimes just a phrase — he writes it down on any available scrap of paper and stuffs it into an old sea chest. When he’s ready to write some new music, he sits down and pulls out all those scribbles, which I imagine must be torn off bar napkins and beer coasters, and sorts through them, one by one. He says many of his most popular songs marinated in his sea chest before emerging as lyrics.

      Source for this?

      Sounds very similar to Eminem's "stacking ammo".

  3. Oct 2023
    1. David Lynch's films are a personally structured output of his zettelkasten of ideas comprised of words, sounds, images, music, sound, people, and moods.

  4. Sep 2023
    1. Is the idea that you force yourself to find the link between a new idea and the existing cards? I didn't understand it that way.Example of the 4 cards I have nowone how there's a continuum between music that's easy digestable for the listener, where the creator does a lot of effort, and music that asks a lot from the listener, because the creator makes idiosyncratic music.the concept of "false consensus" in psychologylinked with that: "naive realism"one about (marching band) parades, how in some cultures/for some people it's more about choosing to enjoy and dance then about the musicians who are responsible for that. (I see a link with the first, but that's not what interests me in this one)

      reply to u/JonasanOniem at https://www.reddit.com/r/Zettelkasten/comments/16ss0yu/comment/k2buxsc/?utm_source=reddit&utm_medium=web2x&context=3

      In digital contexts it is much easier and very common to create orphaned notes that aren't connected to anything. In a paper zettelkasten, you are forced to file your note somewhere and give it a number (only to be able to find it again—it's difficult, but try not to make the mistake of conflating your number with the idea of category). The physical act of placing it in your slipbox creates an implicit link to the things around it. As a result, your four notes would all initially seem to be directly related because they're nearby, but over time, they will naturally drift apart as you intersperse new notes between and among them. Though if they're truly directly interrelated, you can write down explicit links from notes at one end of your thought space to notes which seem distant.

      In your example, you may see some sort of loose link between your first and fourth notes relating to music. While it may be a distant one, given what you have, putting marching band "next to" digestible music is really the only place to put it. Over time, you'll certainly find other notes that come between them which will tend to split them apart and separate them by physical distance, but for now, if it's what you've got, then place them into the same neighborhood by giving them addresses (numbers) to suggest they live nearby. (Some note applications like Obsidian make this much harder to do, and as a result orphaned notes will eventually become a problem.)

      This physical process is part of the ultimate value of building knowledge from the bottom up. Like most people, you've probably been heavily trained to want to create a hierarchy from the top down (folder-based systems on computers of the late 20th century are a big factor here) which is exactly why you're going to have problems like this at the start. You'll want to place that music note somewhere else, or worse, orphan it. For some people who may not be able to immediately trust the process, it can be easier to create a few dozen or a hundred notes and then come back to them later to file and arrange them. This will allow you to seed some ground from which to continually build and help to bridge the gap between the desire to move top-down in a system designed to move from bottom-up.

      Depending on one's zettelkasten application (Obsidian, Zettlr, Logseq, The Archive, et al.) some do a better job of allowing the creation of "soft links" versus the more explicit hard or direct links (usually using [[WikiLinks]]). The soft links are usually best done by providing a number that places one note into proximity with another, but not all systems work this way. As a result, it's much easier to build a traditional commonplace book with Obsidian than it is to build a Luhmann-artig zettelkasten (see: https://boffosocko.com/2022/10/22/the-two-definitions-of-zettelkasten/). The concept of tags/categories in many systems is another form of soft link that can hold ideas together, so use this affordance if your application offers it as well. But also keep in mind that if sociology is your life's work, you'll eventually amass such a huge number of digital notes tagged with "sociology" that this affordance will become useless as it won't scale well for discovery and creating links.

  5. May 2023
  6. Dec 2022
    1. https://www.youtube.com/watch?v=VFs3_COOMp8

      He opens up saying that he uses some small plastic containers for mushrooms that he got from the supermarket for storing his notes/slips! This is definitely a unique form of zettelkasten box!


      He talks about the benefits and some of the joys of using analog practices, particularly in analogy to music and arts.


      "meine kleine zettelkasten show" sounds like it ought to be a Mozart compisition like Eine Kleine Nachtmusik

    1. I'm a multi-media artist, so I have many ideas about fashion pieces, artworks, music, etc. that i'd want to make. Would I plug in these ideas as 'fleeting notes' until they're more cemented? would you recommend I keep separate my 'original' ideas and the ZK note-taking system?

      I gave some examples of uses in arts/media a while back that you might find interesting for your use case: https://www.reddit.com/r/antinet/comments/xdrb0k/comment/iofo5vv/?utm_source=reddit&utm_medium=web2x&context=3

      In particular, a more commonplace book approach or something along the lines of Chapter 6 of Twyla Tharpe's book may be more useful or productive for your use case.

    1. “I have a trick that I used in my studio, because I have these twenty-eight-hundred-odd pieces of unreleased music, and I have them all stored in iTunes,” Eno said during his talk at Red Bull. “When I’m cleaning up the studio, which I do quite often—and it’s quite a big studio—I just have it playing on random shuffle. And so, suddenly, I hear something and often I can’t even remember doing it. Or I have a very vague memory of it, because a lot of these pieces, they’re just something I started at half past eight one evening and then finished at quarter past ten, gave some kind of funny name to that doesn’t describe anything, and then completely forgot about, and then, years later, on the random shuffle, this thing comes up, and I think, Wow, I didn’t hear it when I was doing it. And I think that often happens—we don’t actually hear what we’re doing. . . . I often find pieces and I think, This is genius. Which me did that? Who was the me that did that?”

      Example of Brian Eno using ITunes as a digital music zettelkasten. He's got 2,800 pieces of unreleased music which he plays on random shuffle for serendipity, memory, and potential creativity. The experience seems to be a musical one which parallels Luhmann's ideas of serendipity and discovery with the ghost in the machine or the conversation partner he describes in his zettelkasten practice.

  7. Nov 2022
    1. https://www.reddit.com/r/antinet/comments/z3f8kb/oblique_strategies_a_custom_zettelkasten_for/

      Brian Eno and Peter Schmidt published a card index of un-numbered and purposefully unordered ideas in 1975 as a tool for increasing creativity. They called it "Oblique Strategies". Each card contained an aphorism for helping one to reframe their approach to problems or questions they faced.

      Black box with cards containing aphorisms to help increase creativity. Photo by V&A Images from the David Bowie Archive.

      Wikipedia: https://en.wikipedia.org/wiki/Oblique_Strategies<br /> Canonical site with complete list of versions: http://www.rtqe.net/ObliqueStrategies/OSintro.html

      ZK practitioners might profitably have a subsection in their box with these strategies to help themselves randomly increase their own creativity while working either inside or outside of their boxes. Potentially useful for writing, music, art, etc.

  8. Aug 2022
    1. At the time he was selling, Jay-Z was also coming up with rhymes. He normally wrote down his material in a green notebook he carried around with him — but he never took the notebook with him on the streets, he says. "I would run into the corner store, the bodega, and just grab a paper bag or buy juice — anything just to get a paper bag," he says. "And I'd write the words on the paper bag and stuff these ideas in my pocket until I got back. Then I would transfer them into the notebook. As I got further and further away from home and my notebook, I had to memorize these rhymes — longer and longer and longer. ... By the time I got to record my first album, I was 26, I didn't need pen or paper — my memory had been trained just to listen to a song, think of the words, and lay them to tape." Since his first album, he says, he's never written down any of his lyrics. "I've lost plenty of material," he says. "It's not the best way. I wouldn't advise it to anyone. I've lost a couple albums' worth of great material. ... Think about when you can't remember a word and it drives you crazy. So imagine forgetting an entire rhyme. 'What's that? I said I was the greatest something?' "

      In his youth, while selling drugs on the side, Jay-Z would write down material for lyrics into a green notebook. He never took the notebook around with him on the streets, but instead would buy anything at a corner store just for the paper bags as writing material. He would write the words onto these paper bags and stuff them into his pockets (wearable Zettelkasten anyone? or maybe Zetteltasche?) When he got home, in long standing waste book tradition, he would transfer the words to his notebook.

      Jay-Z has said he hasn't written down any lyrics since his first album, but warns, "I've lost plenty of material. It's not the best way. I wouldn't advise it to anyone. I've lost a couple albums' worth of great material."

      https://ondemand.npr.org/anon.npr-mp3/npr/fa/2010/11/20101116_fa_01.mp3

      Link to: https://hypothes.is/a/T3Z38uDUEeuFcPu2U_w_zA (Jonathan Edwards' zettelmantle)

  9. Jun 2022
    1. shelving in my work area at home, which holds my audio equipment, hundreds ofmusic CDs, and piles of musical scores, is not mere heavy-gauge industrial shelving;it’s scaffolding equipment, strong enough for painters to stand on when they’reworking on the exterior of a house. In other words, the shelves are built for hardwork. That’s a personal aesthetic choice. I want everything around me, from mydancers to my dances to my shelves, to be strong and built to last

      I like cardboard file boxes for a bunch of reasons, all willfully idiosyncratic. The

      Twyla Tharp's creative note taking system not only entails notes and ideas in boxes, but extends physically to a heavy-gauge industrial shelving which also holds her other tools for work including her "audio equipment, hundreds of music CDs, and piles of musical scores".

  10. Apr 2022
    1. it starts with 00:32:31 this one kind of thing called single finger and these are all just variations or practice styles [Music] 00:32:45 and then octave double stop skills [Music] and you know just down the list but you know these things are all developed 00:32:59 through the practice the daily practice but then once once they've been developed then i can just plug them into songs and and create so that's just i'm really excited about this form like the fiddle wrong is because

      Jason Kleinberg takes basic tunes and then has a list of variations of practice styles which he runs through with each one (eg. single-finger, octave double stops scale, old-time, polkafy, blues, etc.) and he plays those tunes in these modified styles not only to practice, but to take these "musical conversations" and translate them into his own words. This is a clever way of generating new music and potentially even new styles by mixing those which have come before. To a great sense, he's having a musical conversation with prior composers and musicians in the same way that an annotator will have a conversation in the margins with an author. It's also an example of the sort of combinatorial creativity suggested by Raymond Llull's work.

    1. Umberto Eco makes a distinction between these kind of works, which are "open" in their interpretation, to the musical works from the beginning, which are open in their structural sense.

      If Umberto Eco makes a distinction between the works which are open in interpretation and works like music which are open in their structural sense, what would he have made of viewing a work like a zettelkasten which could potentially be open in both respects?

      link to: https://hyp.is/dBTiCsDWEeyyn7dYEp3oUA/en.wikipedia.org/wiki/Open_text

  11. Mar 2022
    1. it's 00:59:37 a lot about unlearning and that is sometimes more difficult [Music] and it's probably one of these 00:59:50 simple but not easy easy things

      Using a zettelkasten is a bit about unlearning how you used to do things, but most importantly it requires the work input and following the process to get the "magical" outputs.

    2. but i i think the first couple of hundred notes are more like a collection and you look 00:34:29 for um connections and there are some but you remember them because yes the amount where it's where it doesn't surprise you 00:34:43 uh it's more you know where they are and i think the from 500 on um there's a shift um and then you need to uh figure out how to um 00:34:58 find them again so the index or some kind of system becomes more important and i think a couple of thousand notes and uh you're 00:35:12 automatically turning to your set of custom [Music] as the place where you will likely find some kind of connection

      Q: How many permanent notes did it take before you felt you had a communication partner?


      Sönke Ahrens has indicated that the first couple hundred notes are more of a static collection. Then from five hundred notes onward there is a shift and having an index becomes more important. It's only at about one thousand notes that one begins automatically turning to the zettelkasten to find connections. Perhaps it's at this point that the tool begins to look like a communication partner.


      link this to the few other examples from others.

    3. it is a tool for productivity um but i think it's a technology that forces you to [Music] engage more deeply with 00:29:06 the text you're reading

      The zettelkasten is a tool for thought that forces you to engage more deeply with what you're reading.

  12. Sep 2021
    1. Some interesting finds Josh.

      Related to some of the bullet journal (aka BuJo) and journaling space you will eventually come across the idea of "morning pages" which is a technique where you spend a block of time (usually in the morning, but ideally just before you want to do your creative thinking work) where you write for a set amount of time or number of pages. The goal of this method (and to some extent bullet journaling) is to clear the cruft and extraneous details out of your head to be able to better prioritize and focus on your creative work. There's a relatively large group of people doing this as a technique, so even knowing the phrase can help one to find the literature.

      Tangentially related to this and memory (via our old friend rhetoric), I've been doing some significant research into the commonplace book tradition and general note taking with an eye towards knowledge acquisition, creation, and spaced repetition systems. This has led into research into the areas of the zettelkasten, digital note taking, digital gardens and the like. All fascinating areas which overlap memory via rhetoric. I suspect that many mnemonists in the Renaissance used commonplace books as physical written memory palaces, though I've yet to find anything in my research that directly links them other than the relationship they have in the long tradition of rhetoric in Western culture. Since you mention music and writing lyrics, I recently noted that Eminem has a commonplace technique which he calls "stacking ammo" by which he compiles ideas for his lyrics. His method is certainly less structured than a traditional commonplace book, but the overall form traces back to our friends Aristotle, Cicero, and Quintilian.

      If you delve into some of the Bullet Journal and journaling literature you'll find a subculture of people (YouTube has hundreds of people with entire channels dedicated to the topic) who write into their daily/weekly planners and decorate them with stickers, washi tape, photos, calligraphy, drawings, etc. I've called some of this "productivity porn" before, but if you search commonplace book on Instagram or Pinterest you'll find examples of people whose journals and notes are becoming physical memory palaces where the visuals are likely helping them remember portions of their lives or what they're writing. The stickers and images to some extent are serving the purpose of drolleries seen in Medieval manuscripts as mnemonic devices.

      And finally, tangentially related to all of this is another interesting sub-genre of memory and note taking called sketchnotes which combines active listening, writing, and drawing into a mnemonic related note taking activity. I'm actually a bit surprised to find so little on the technique here on the forum. Searching for sketchnotes on social media will provide lots of examples and there are many "What are sketchnotes" short videos on YouTube that will give you an idea of what's going on. Many of these talk about a memory component, but not being mired into the sub-topic of rhetoric, they're usually not using the same framings we would (here on the forum), though the effects one might expect are the same.

      Some related richer resources for these areas, to help people from going down the rabbit hole within the performative social media spaces:

      • How to Take Smart Notes: One Simple Technique to Boost Writing, Learning and Thinking–for Students, Academics and Nonfiction Book Writers by Sönke Ahrens
        • This touches on note taking within a zettelkasten framing, but is also applicable to the commonplace book tradition
      • Sketchnote Handbook, The: the illustrated guide to visual note taking by Mike Rohde
        • This is one of the bibles in the space and gives a solid overview of what, why, how, etc.
      • A Brief History & Ethos of the Digital Garden by Maggie Appleton