In case you’re interested in understanding how to safely implement a future combinator function using stack pinning yourself, take a look at the relatively short source of the map combinator method of the futures crate and the section about projections and structural pinning of the pin documentation.

The Jesuit Francesco Sac-chini, in contrast, commended the interruption in reading that resulted fromstopping to copy a passage into one’s notebook: it slowed down reading and aidedretention.44

The first manual solely devoted to excerpting, or note-taking fromreading, was composed for students in the advanced or rhetoric class at Jesuitcolleges by Francesco Sacchini (1570–1625), professor of rhetoric at the CollegioRomano. De ratione libros cum profectu legendi libellus (A Little Book on Howto Read with Profit) was published in 1614 and in a further six editions, followedby a translation into French in 1786 (for the use of Calvinists, judging from thededication to a pastor in Geneva) and into German in 1832.34

James Boswell (1740–95) defended the state of learning in his day: “It has been maintained that this superfoetation, this teeming of the press in modern times, is prejudicial to good literature, because it obliges us to read so much of what is of inferiour value, in order to be in the fashion; so that better works are neglected for want of time, because a man will have more gratification of his vanity in conversation, from having read modern books, than from having read the best works of antiquity. But it must be con-sidered that we now have more knowledge generally diffuse; all our ladies read now, which is a great extension.”

A study of Samuel Johnson (1709–84) has identified four different kinds of reading in which Johnson described himself engaging: “hard study” for learned books read with pen in hand, “perusal” for purposeful consultation in search of information, “curious reading” for engrossment in a novel, and “mere reading” for browsing and scanning “without the fatigue of close attention.”216

More detailed work in the history of reading has cast aside the strict periodization and the suddenness of change implied in the notion of a “reading revolution.”215 Rather than sudden shifts, I trace the development and spread of new methods of reading along-side the continuation of older options. Consultation reading existed among the learned in earlier centuries, and in an unbroken line of transmission at least as far back as the thirteenth century, so the most distinctively new kind of reading in the eighteenth century was not consultation reading but rather engrossment in the novels that were a new and successful genre. Conversely, “intensive reading,” classically identified with repetitive meditation on the Bible, was also practiced in the eighteenth century, in religious circles at least, for example, among Pi-etists, Methodists, and in Catholic religious orders. (Witness the 1786 publica-tion of Sacchini’s recommendation for intensive reading, which I discuss in the next chapter.) Proficient readers engaged in different kinds of reading depending on the text and their purpose in reading it.

Even as he was critical of overabundance, Gesner exulted in it, seeking exhaustiveness in his accumulation of both themes and works from which others could choose according to their judgment and interests.

to develop concepts for thinking about how programmable attention systems can extend beyond productivity (which is where these systems are most prolific, as can be seen from above examples)

serendipity that sends the user down a rabbit hole to find new ideas and the links between them

A recommendation engine for reading that could reliably supply enjoyable inceptive experiences would be a marvel.

sometimes it's 00:55:43 not the actual information bit but in a combined order that this is what it's all about and that often makes a difference between yeah you understand it and 00:56:00 you really understand it and um so maybe that's a good reminder that when we write it's it's not so much about new information and yeah don't have to 00:56:15 be too worried about not having the new information but about making this difference to really understanding it as something that 00:56:28 a significant or makes a difference

what i don't really do 00:48:10 is having a checklist like going through possible biases i don't feel that's very helpful i think it's important to keep them in mind but i think it's more about detecting okay 00:48:25 what kind of question is [Music] the author trying to answer

give the text your reading the opportunity to tell you something new and something 00:49:02 you have not expected so i'm worried a little bit of having fixed [Music] categories to look through 00:49:16 text because it might turn every text into something that is um already fitting your categories instead of expanding them 00:49:26 or adding to them

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

Put Eidsheim 2015 and O'Callaghan 2007 in dialogue with each other.

Creative work is not complete until it is disseminated

Evaluations of the platform show that users who follow the avatar inmaking a gesture achieve more lasting learning than those who simply hear theword. Gesturing students also learn more than those who observe the gesture butdon’t enact it themselves.

Research shows that people who are asked to write on complex topics,instead of being allowed to talk and gesture about them, end up reasoning lessastutely and drawing fewer inferences.

we use theCoSP framework (Backes, Hofheinz, and Unruh, CCS 2009)

ஒரு நல்ல படைப்பை அடையாளம் கண்டுகொள்ள சில அவதானிப்புகளைச் சொல்கிறேன். முதலில், எது அதிகம் பேரால் பகிரப்படுகிறதோ அது நல்ல படைப்பாக இருக்க வாய்ப்பே இல்லை. இரண்டாவது, ஒரு நல்ல படைப்பு பெரும்பாலும் நம்மைத் தேடி வராது; அதைத்தான் நாம் தேடிச் செல்ல வேண்டும். வேறுவிதமாகச் சொல்வதானால், வாசிக்கச் சுலபமாய் இருக்கும் ஆக்கங்கள் பெரும்பாலும் குப்பைகளாகவே இருக்கும். வாசிக்கச் சிரமம் தருபவையும், பல்துறை ஞானத்தைக் கோருபவையுமே நல்ல படைப்புகளாக இருக்கும். மூன்றாவது, வாசித்து முடிந்தவுடன் மறந்து போவது நல்ல படைப்பாக இருக்க வாய்ப்பில்லை அல்லது தற்காலிக மகிழ்ச்சியைத் தருவதும் நல்ல படைப்பாக இருக்காது.

The analytical, inferential, perspective-taking reading brain with all its capacity for human consciousness, and the nimble, multifunctional, multimodal, information-integrative capacities of a digital mind-set do not need to inhabit exclusive realms

Take Smart Notes

Even though your highlights from books typically include a page or "location" number, this context is largely meaningless unless you happen to be writing a paper requiring proper citations.

consistent use of the concatenate action tag will elevate your reading practice to the next level. Analyzing a text to decide what is and isn't worth saving is a form of actively engaging with what you're reading.

when everything is highlighted, nothing is highlighted

Verbose highlights are painful to review

As you develop the habit of revisiting your highlights, you'll increasingly start to think in terms of your future self. As you highlight, for example, you might starting asking: Will my future self be able to understand what this passage is saying and why I highlighted it? To ensure your future self has enough context, you might then also take much longer highlights.

Not only does inline tagging make it easy to add keywords and categories to your highlights, consistent use will also elevate your reading practice to the next level. Distilling a highlight down to a single keyword or forging an association between a passage and something you're working on are both forms of actively engaging with what you're reading. And actively (rather than passively) reading is essential to getting more of what you want out of books

To create trails  When we are studying a text we need to take the time to understand more than just the storyline. During your second reading, any comments made during the first reading (marginal comments or summaries) will quickly give you the gist of your first reading, so that you can take advantage of your second.

But it isn’t. This is because over such a long period a message can easily be distorted or altered without this being in any way intended. (This distortion or alteration in the meaning or method of transmission of a message, whether intended or not, is called “noise.”) Languages, both written and spoken, always change. The meanings of symbols are often lost in the passage of time. In fact, most messages are bound so closely to a particular period and place that even a short time later they cannot be understood. Therefore, ensuring that a message created now can be decoded by future generations is highly problematic.

ea. It is only because there is already a well-established connection in our minds between the appearance of an apple and the idea of temptation that this fruit is used in the picture. It is this connection that makes the picture successful in terms of communicatio

semiotician,

The learner, just by clicking or hovering on a word, is always in a position to answer three questions: what does it mean, what does it sound like, and where have I seen it before.

That is, the first thing he asked of this particular object was not “How should it look?” but “What must it do?” and to that extent all good typography is modernist.

because everything about it is calculated to reveal rather than to hide the beautiful thing that it was meant to contain.

that the most important thing about printing is that it conveys thought, ideas, images, from one mind to other minds.

maudlin experiments

impudent

When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type that may work well enough, and yet keep the reader subconsciously worried by the fear of “doubling” lines, reading three words as one, and so forth.

Digital technology puts creation, production, and distribution into the hands of the designer, enabling such bold assertions of artistic presence. These acts of graphic authorship fit within a broader evolving model of collective author-ship that is fundamentally changing the producer-consumer relationship.

Today some graphic designers continue to champion ideals of neutrality and objectivity that were essential to the early formation of their field. Such designers see the client’s message as the central component of their work. They strive to communicate this message clearly, although now their post-postmodern eyes are open to the impossibility of neutrality and objectivity.

Looking back across the history of design through the minds of these influential designers, one can identify pervasive themes like those discussed in this introduction. Issues like authorship, universality, and social responsi-bility, so key to avant-garde ideology, remain crucial to contemporary critical and theoretical discussions of the field.

If you now think: “That’s ridiculous. Who would want to read andpretend to learn just for the illusion of learning and understanding?”please look up the statistics: The majority of students chooses everyday not to test themselves in any way. Instead, they apply the verymethod research has shown again (Karpicke, Butler, and Roediger2009) and again (Brown 2014, ch. 1) to be almost completelyuseless: rereading and underlining sentences for later rereading.And most of them choose that method, even if they are taught thatthey don’t work.

We face here the same choice between methods that make us feellike we learned something and methods that truly do make us learnsomething.

Reading, especially rereading, caneasily fool us into believing we understand a text. Rereading isespecially dangerous because of the mere-exposure effect: Themoment we become familiar with something, we start believing wealso understand it. On top of that, we also tend to like it more(Bornstein 1989).

Reading with a pen in yourhand is the small-scale equivalent of a lecture.

Taking smart notes is the deliberate practice ofthese skills. Mere reading, underlining sentences and hoping toremember the content is not.

Notes build up while you think, read, understand and generateideas, because you have to have a pen in your hand if you want tothink, read, understand and generate ideas properly anyway

It matters less what you read, he told me, emphasizing each word, than how you take notes.

eBook 978-1-952271-05-2 $24.99

Most of us have been taken in by the notion that speed of reading is a measure of our intelligence. T

reading, if it is active, is thinking, and thinking tends to express itself in words, spoken or written.

You know you have to read "between the lines" to get the most out of anything. I want to persuade you to do something equally important in the course of your reading. I want to persuade you to write between the lines. Unless you do, you are not likely to do the most efficient kind of reading.

Moving my (web) reading list to sticky notes because I never remember to check it on my computer.

உலக சிந்தனை வரலாற்றை எடுத்துப் பார்த்தால் இதுவரையில் எழுதப்பட்டு தலைமுறை தலைமுறையாக கைமாற்றப்பட்டு நீடிக்கும் பெரும்பாலான படைப்புகள் புனைவுகளே.

Reading "refreshes," but it must lead to writing. Neither activity should be pursued at the exclusion of the other. "Continuous writing will cast gloom over our strength, and exhaust it," while continuous reading "will make our strength watery and flabby. It is better to have recourse to them alternately, and to blend one with the other, so that the fruits of one's reading may be reduced to the concrete form by the pen" (277).

Francis Bacon, for instance, thought that "some books are to be tasted, others to be swallowed and some few to be chewed and digested; that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention."

A recent addition to the writer-editor-reader relationship is something called a “sensitivity reader,” that is someone of diverse background who can advise on dicey cultural matters whom writers are now encouraged to consult.

Serious reading will require just as much effort as it has always required.

Mr. Byers coined a term — “book-wrapt” — to describe the exhilarating comfort of a well-stocked library.

when you reach the end of a chapter, you pause for few minutes to author one or two paragraphs of text summarizing your understanding and reflections on the key concepts discussed in the previous chapter. Beyond the two paragraphs, it is also a good practice to articulate questions that come to mind, for which you will seek answers in the upcoming chapters, or that you want to research beyond the book.

Law One: The more reading you assign, the less the students will read. Law Two: The more you talk in class, the less the students will read.

If you want to be a writer, you have to be a reader first.

“Don’t feel guilty if you spend the first 90 minutes of your day drinking coffee and reading blogs,” Nate Silver once advised young journalists. “It’s your job. Your ratio of reading to writing should be high.”

Stephen King says he writes all morning and reads all afternoon.

These designers value expression over style

syntactical

Shattering the constraints of minimalism was exhilarating and far more fun than the antiseptic discipline of the classical Swiss school.

Discussion is led by an instructor, but the instructor’s job is not to give the students a more informed understanding of the texts, or to train them in methods of interpretation, which is what would happen in a typical literature- or philosophy-department course. The instructor’s job is to help the students relate the texts to their own lives.

This book, then, is an analysis of physiotherapy through the lens of the sociology of the professions. It explores what the professions are, what they do in society, what’s good about them, and what’s bad. It applies these ideas to physiotherapy so that we can better understand the issues the profession is now facing. And the book concludes with some challenging and, some might say, heretical recommendations for where physiotherapy goes next, as we all adapt to the post-professional era.

The End of Physiotherapy

with medicine being the paradigm case

A good library is filled with mostly unread books. That’s the point. Our relationship with the unknown causes the very problem Taleb is famous for contextualizing: the black swan. Because we underestimate the value of what we don’t know and overvalue what we do know, we fundamentally misunderstand the likelihood of surprises. The antidote to this overconfidence boils down to our relationship with knowledge. The anti-scholar, as Taleb refers to it, is “someone who focuses on the unread books, and makes an attempt not to treat his knowledge as a treasure, or even a possession, or even a self-esteem enhancement device — a skeptical empiricist.” My library serves as a visual reminder of what I don’t know.

article explores how annotation with digital, social tools can address digital reading challenges while also supporting writing skill development for novices in college literature classrooms. The author analyzes student work and survey responses and shows that social annotation can facilitate closer digital reading and scaffold text-anchored argumentation practices.

405

475

The Odyssey of Homer: a Close Reading

I think of the Kindle and what enormous potential that browser had to change our relationship with the internet, to push it towards a web that you read (instead of one that tries so very hard to read you).

́his historical interest is fueled not onlyby the rapid growth of the history of readingW of which the study of notetaking is an offshootW

PREPARATION FOR WORK

dichotomous

Yet most companies neglect design as a strategy tool. What they don’t realize is that design can enhance products, environments, communi-cations, and corporate identity.”

maelstrom

raison d’être

The typographer must take the greatest care to study how his work is read and ought to be read.

“Hurry up and do it before someone else does!” she told him. And so he did.

ephemera

A handful of African-American designers seemed exempt from Modernism’s influence, which may be because they didn’t work in advertising or commerce.

Time Required

Payments in Lieu of TaxesBy Nonprofits: Case Studies

Introduction

“We’ve been thoughtful,” Amazon continued, “about adding only features and experiences that preserve and enhance the reading experience.” The question of whose experience doesn’t seem to come up.

Skimming through pages, the foremost feature of the codex, remains impossible in digital books.

In other words, as far as technologies go, the book endures for very good reason. Books work.

polyphonic

primordial

La gare est à 5 minutes en voiture de la maison, 15 minutes en tramway . Elle permet de rejoindre Paris en 45 minutes de TGV, Disneyland Paris en 30 minutes.

Un parc avec des jeux pour enfants est situé à 3 minutes à pieds de la maison :)

The big thing here for me, though, is the difference between tagged content showing up in a read-only space vs. showing up in a read-and-write space.

The goal is not to read as many books as possible. The goal is to gain as much wisdom as you can.

Using models while reading can also help you get more out of the book. Here are some examples of paths they might lead you down: Confirmation bias: Which parts of this book am I ignoring? Does this book confirm my opinions? (Okay, but does it actually affirm your beliefs or are you just seeing what you want to see? If you cannot think of a single point in the book that you disagreed with, confirmation bias is likely distorting your reasoning.) Bayesian updating: What opinions should I change in light of this book? How can I update my worldview using the information in it? Keep in mind the words of John Maynard Keynes: “When the facts change, I change my mind. What do you do, sir?” Incentives: What motivates the characters or the author? What are they seeking? What is their purpose? Here’s how Kurt Vonnegut described the importance of incentives in books: “When I used to teach creative writing, I would tell the students to make their characters want something right away—even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.” Availability bias: Are the books I have recently read affecting how I perceive this one? How are my immediate past experiences shaping my reading? Am I assigning undue importance to parts of this book because they are salient and memorable? Social proof: How is social proof—the number of copies sold, bestseller status, the opinions of others—affecting my perception of this book? Is the author using social proof to manipulate readers? It is not unusual for authors to buy their way onto bestseller lists, providing social proof that then leads to substantial sales. As a result, mediocre books can end up becoming popular. It’s a classic case of the emperor having no clothes, which smart readers know to look out for. Survivorship bias: Is this (nonfiction) book a representation of reality or is the author failing to account for base rates? Survivorship bias is abundant in business, self-help, and biographical books. A particular case of a successful individual or business might be held as the rule, rather than the exception. Utility: If a book offers advice, does it have practical applications? At what point do diminishing returns set in?

Author and librarian Nancy Pearl advocates the “Rule of 50.” This entails reading the first 50 pages of a book and then deciding if it is worth finishing. The Rule of 50 has an interesting feature: once you are over the age of 50, subtract your age from 100 and read that many pages. Pearl writes: “And if, at the bottom of Page 50, all you are really interested in is who marries whom, or who the murderer is, then turn to the last page and find out. If it’s not on the last page, turn to the penultimate page, or the antepenultimate page, or however far back you have to go to discover what you want to know.…When you are 51 years of age or older, subtract your age from 100, and the resulting number (which, of course, gets smaller every year) is the number of pages you should read before you can guiltlessly give up on a book.…When you turn 100, you are authorized (by the Rule of 50) to judge a book by its cover.”

Most of us were taught as children to treat books as something sacred—no folding the page corners, and no writing in the margins, ever.

“The things you’re looking for, Montag, are in the world, but the only way the average chap will ever see ninety-nine percent of them is in a book.” —Ray Bradbury, Fahrenheit 451

“Think before you speak. Read before you think.” —Fran Lebowitz

How does the book relate to topics you’re already familiar with?

Book summary services miss the point. A lot of companies charge ridiculous prices for access to vague summaries bearing only the faintest resemblance to anything in the book. Summaries can be a useful jumping-off point to explore your curiosity, but you cannot learn from them the way you can from the original text.*

The most common and sensible location for putting down thoughts, critique or notes was the margin of the medieval book. Consider this: you wouldn’t think so looking at a medieval page, but on average only half of it was filled with the actual text. A shocking fifty to sixty percent was designed to be margin. As inefficient as this may seem, the space came in handy for the reader. As the Middle Ages progressed it became more and more common to resort to the margin for note-taking.

Dots and lines are particularly common ingredients of such footnote symbols. Interestingly, their first appearance is not as a connector of comment and text, but as an insertion mark that added an omitted line into the text.

Evidently, these two groups of bookmarks—static and dynamic—provided very different approaches to marking information—and thus to a book’s use. Readers who added clip-on or “spider” bookmarks anticipated they would need to retrieve information not from one single page but from a changing number of pages. In other words, movable bookmarks served an audience with a shifting knowledge “appetite,” while the static ones encouraged a more “ritual” use of a book. In other words, both types are telling, in their own way, about medieval reading culture.

The solution to the vanishing bookmark came in the form of what is called a “register bookmark." This type, which looks like a spider with its legs trapped, was securely fastened to the top of the binding (visible below), so it couldn’t get lost. Additionally, the bookmark allowed the reader to mark multiple locations in the book.

These carousels allowed readers to consult multiple manuscripts in a very convenient fashion, by spinning (slowly!) the top part, which moved. The oldest one I could find dates from the fourteenth century (here(Opens in a new window)), but it is possible they were in use even earlier.

there are very few medieval scenes in which someone is reading but not writing—where books are present but pens are not. In part, this has to do with medieval study practices. Readers would usually have a pen nearby even when they were just reading. After all, remarks and critiques needed to be added to the margin at the spur of the moment. “Penless” images, while rare, often show a crowded desktop.

Did you feel bad about setting down a book knowing that you’d never pick it up again? If you did feel bad, it’s not your fault. We moralize reading.