Texts are patient conversationalists always waiting for you to write your side of the conversation into the margin before they continue on with their side of the conversation. Sadly, too many readers (students especially) don't realize that there's a conversation going on.
Link to:<br /> - https://hypothes.is/a/bBwyhkN3Ee6nQNPI5xmSnQ - https://hypothes.is/a/GvRApkN3Ee6LbBPqqX-A5Q
If you have to write anyway, it is pragmatic to exploit this activity by creating a system of notes that can act as a competent communication partner.
Paris on the Amazon?: Postcolonial Interrogations of Benjamin’s European Modernism (pp. 216-245) Willi Bolle From: A Companion to the Works of Walter Benjamin, Camden House (2009) Edition: NED - New edition https://www.jstor.org/stable/10.7722/j.ctt14brv7g
...and complete but constitutes an open repertoire, always in movement, expressing and stimulating the spirit of experimentation and invention. Let us remember that Benjamin, in his early work Einbahnstraße (One-Way Street, 1923/28), argued in favor of direct communication between the “ Zettelkasten ” (card box...
communication between?! though it is 2009 and after Luhmann's reference to communication with slip boxes....
Others again were in manuscript,apparently written to add to the remarks on a particular matterpreserved in the box.
Some of the manuscript notes in Wittgenstein's zettelkasten were "apparently written to add to the remarks on a particular matter preserved in the box".ᔥ So much like Niklas Luhmann's wooden conversation partner, Wittgenstein was not only having conversations with the texts he was reading, he was creating a conversation between himself and his pre-existing notes thus extending his lines of thought within his zettelkasten.
We've also integrated a chatbot feature into the app to enable unstructured conversation about the story being written.
Presumably being used for rubber ducking?
Was it also used as research feedback for the program itself?
Are we really on the main branch here? And all of these things that Torbjörn is screaming—are they more or less generative than usual? If less, in what way can I change the way I probe the conversation to make us more generative?
How often does one meet a conversational partner that is interested in generative thought? This practice takes some work, but how could one particularly encourage it in classroom setting?
“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.