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    1. https://www.youtube.com/watch?v=GEXF3JgdHVY

      Fountain pen network

      ink journals for keeping track of pens, ink, and samples

      ink review formats

      swab books

      q-tip swabs

      ink sample vials and tray holders

      a bulb syringe for flushing water through to clean pens is a good idea when doing many at a time

    1. Literature, philosophy, film, music, culture, politics, history, architecture: join the circus of the arts and humanities! For readers, writers, academics or anyone wanting to follow the conversation.
    1. level 2SupremoZanneOp · 3 yr. agowell, there's always an opportunity to make new 88x31 buttons. Now since modern systems are approaching the 8K resolution, we should start making 264x93 buttons, so it's time to scale up the dimensions for modern resolutions.


    1. Natalie @natalie@hcommons.social Follow @chrisaldrichoh wow, your website is mind-blowing! i have to check this out in detail. This is what I hope my future (social) media presence is going to look like one day.A question about syndicating your posts: What happens to the syndicated copies of a post after deleting it?.. my ideal would be: I have full control over my contributions. Probably an illusion? November 27, 2022 at 1:59 AM


    1. I believe Victor Margolin when he says that he developed his own system. That's what I did in the years before people started widely discussing personal knowledge systems online. Nobody taught me how to do it when I was in college. @chrisaldrich repeatedly tries to connect everyone's knowledge practices to an ongoing tradition that stretches back to commonplace books, but he overstates it. There is such a thing as independent development of a personal knowledge system. I know it because I've lived it. It's not so difficult that it requires extraordinary genius.

      Reply to Andy https://forum.zettelkasten.de/discussion/comment/16865#Comment_16865

      Andy, I'll take you at your word. You're right that none of it requires extraordinary genius--though many who seem to exhibit extraordinary genius do have variations of these practices in their lives, and the largest proportion of them either read about them or were explicitly taught them.

      With these patterns and practices being so deeply rooted in our educational systems for so long (not to mention the heavy influences of our orality and evolved thinking apparatus even prior to literacy), it's a bit difficult for many to truly guarantee that they've done these things independently without heavy cultural and societal influence. As a result, it's not a far stretch for people to evolve their own practices to what works for them and then think that they've invented something new. The common person may not be aware of the old ideas of scala naturae or scholasticism, but they certainly feel them in their daily lives. Commonplacing is not much different.

      By analogy, Elon Musk might say he created the Tesla, but it's a far bigger stretch for him to say that he invented a new means of transportation, or a car, or the wheel when we know he's swimming in a culture rife with these items. Humans are historically far better at imitation than innovation. If people truly independently developed systems like these so many times, then in the evolutionary record of these practices we should expect to see more diversity than we do in practice. We might expect to see more innovation than just the plain vanilla adjacent possible. Given Margolin's age, time period, educational background, and areas of expertise, there is statistically very little chance that he hadn't seen or talked about versions of this practice with several dozens of his peers through his lifetime after which he took that tacit knowledge and created his own explicit version which worked for him.

      Historian Keith Thomas talks about some of these traditions which he absorbed himself without having read some of the common advice (see London Review of Books https://www.lrb.co.uk/the-paper/v32/n11/keith-thomas/diary). He also indicates that he slowly evolved to some of the often advised practices like writing only on one side of a slip, though, like many, he completely omits to state the reason why this is good advice. We can all ignore these rich histories, but we'll probably do so at our own peril and at the expense of wasting some of our time to re-evolve the benefits.

      Why are so many here (and in other fora on these topics) showing up regularly to read and talk about their experiences? They're trying to glean some wisdom from the crowds of experimenters to make improvements. In addition to the slow wait for realtime results, I've "cheated" a lot and looked at a much richer historical record of wins and losses to gain more context of our shared intellectual history. I'm reminded of one of Goethe's aphorisms from Maxims and Reflections "Inexperienced people raise questions which were answered by the wise thousands of years ago."

    1. hcommons.social is a microblogging network supporting scholars and practitioners across the humanities and around the world.


      The humanities commons has their own mastodon instance now!

    1. If more Americans were like TV Tropes’ users—that is, if they could spot the recurring motifs in purported political plots—might they also be better at separating fact from fiction?

      Perhaps EIP could partner with On the Media to produce a trope consumer handbook for elections, vaccines, and various conspiracy theory areas?

      Cross reference: https://www.wnycstudios.org/podcasts/otm/projects/breaking-news-consumers-handbook

    2. Our familiarity with these elements makes the overall story seem plausible, even—or perhaps especially—when facts and evidence are in short supply.

      Storytelling tropes play into our system one heuristics and cognitive biases by riding on the tailcoats of familiar story plotlines we've come to know and trust.

      What are the ways out of this trap? Creating lists of tropes which should trigger our system one reactions to switch into system two thinking patterns? Can we train ourselves away from these types of misinformation?

    3. “pattern language” to describe the show’s plot formulas, which they and ultimately other users would then apply to a variety of programs.

      Tropes are shorthand storytelling methods that rely on a common storytelling grammar or pattern language to quickly relay information to the viewer or listener.

    4. As part of the Election Integrity Partnership, my team at the Stanford Internet Observatory studies online rumors, and how they spread across the internet in real time.
    5. Something similar! Here it is: https://t.co/x1DPx9dm0P

      — Renee DiResta (@noUpside) November 26, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
    1. https://brainsteam.co.uk/2022/11/26/one-week-with-hypothesis/

      I too read a lot of niche papers and feel the emptiness, but because I'm most often writing for myself anyway, its alright. There are times, however, when I see a growing community of people who've left their associative trails behind before I've found a particular page.

      I've used the phrase "digital exhaust" before, but I like the more positive framing of "learning exhaust".

      If you've not found it yet, my own experimentations with the platform can largely be found here: https://boffosocko.com/tag/hypothes.is/

    1. The Storyspace map view has proven to be enormously useful and durable, letting writers express relationships by clustering as well as by linking. Other spatial hypertext systems -- especially VIKI and VKB (Cathy Marshall, then at Xerox PARC and Frank Shipman, Texas A&M) and ART (Kumiyo Nakakoji, NIST) provided inspiration and encouragement as well. The export template mechanism was sketched in a long discussion at Hypertext '98 with Marc and Jocelyn Nanard (Montpellier) and Daniel Schwabe (PUC, Brazil), and the Nanard's brilliant work on MacWeb demonstrated that Tinderbox agents were in fact viable. Elli Mylonas, David Durand, and Steve DeRose motivated the central role of XML. Mitch Kapor's Agenda was an early inspiration, and James Fallows demonstrated, in essays on Agenda and Zoot, that writers could and would use sophisticated agents.

      Inspiration for Tinderbox

    1. Mark: Cathy Marshall at Xerox PARC originally started speaking about information gardening. She developed an early tool that’s the inspiration for the Tinderbox map view, in which you would have boxes but no lines. It was a spatial hypertext system, a system for connecting things by placing them near each other rather than drawing a line between them. Very interesting abstract representational problem, but also it turned out to be tremendously useful.

      Cathy Marshall was an early digital gardener!

    2. Mark: Yeah. And I actually think the Agile revolution in software development is software development catching up to the fact that it’s a writer-ly art. Writers don’t know where they’re going or how they’re going to express it when they start out. Neither, it turns out, does software developers. They can pretend by writing it the first time in a spec language and then coding it and then, checking the specification, then finding out that they’ve written the wrong thing and writing a new specification. That was when I was getting started, the right way to write software.

      Agile software development is akin to the design of the writing process.

    3. All research… All significant research is, in some respects, bottom-up. There is no alternative. And so, the only research that you can do top-down entirely is research for which you already have the solution.

      Research, by design, is a bottom-up process.

    4. One of the first things that was discovered about building complicated technical hypertext is that you don’t know what the structure will be in advance. And as you’re adding information, you know you want to keep the information, but you frequently don’t know what the information you’re adding is. You can’t describe its type or its nature or its importance in advance. You just suspect that it’s going to be pertinent somehow. Or you see a terrific quotation that you know will be great to use, but you don’t know when that quotation will fit or even if it’ll fit in this book, or if you’ll have to save it for something else. Finding ways to say, “I think these two things are related somehow, but I don’t want to commit myself yet as to exactly how,” turns out to be quite an interesting design problem. Hypertext people started out, in fact, by inventing the outliner very early — 1968. And outliners are terrific if you already know the structure of your information space. But hierarchies are not good if you’re just guessing about how things fit together because you tend to build great elaborate structures that turn out to be wrong, and you have to unbuild them, and then you’ve got a terrible pile on your desk.

      Connecting ideas across space and time when you don't know how they'll fully relate in advance is a tough design problem.

      Outliner programs, first developed for computers in 1968, are great if you know the structure of a space in advance, but creating hierarchies by guessing about relationships in advance often turn out wrong or create other problems as one progresses.

    5. Mark: The Japanese hypertext scholar Kumiyo Nakakoji talks about amplified representational talkback, which is a general design phenomenon. An architect, an artist, or a writer puts something on paper and then looks at it. You look at it, and then it seems different from what you had in mind, and you either correct what you’ve written, or you see that what you’ve written is right and correct your bad idea. That kind of representational talkback is fundamental to all sorts of all creative processes, from the sciences to the arts.
    1. Whenever I read about the various ideas, I feel like I do not necessarily belong. Thinking about my practice, I never quite feel that it is deliberate enough.


      Sometimes the root question is "what to I want to do this for?" Having an underlying reason can be hugely motivating.

      Are you collecting examples of things for students? (seeing examples can be incredibly powerful, especially for defining spaces) for yourself? Are you using them for exploring a particular space? To clarify your thinking/thought process? To think more critically? To write an article, blog, or book? To make videos or other content?

      Your own website is a version of many of these things in itself. You read, you collect, you write, you interlink ideas and expand on them. You're doing it much more naturally than you think.

      I find that having an idea of the broader space, what various practices look like, and use cases for them provides me a lot more flexibility for what may work or not work for my particular use case. I can then pick and choose for what suits me best, knowing that I don't have to spend as much time and effort experimenting to invent a system from scratch but can evolve something pre-existing to suit my current needs best.

      It's like learning to cook. There are thousands of methods (not even counting cuisine specific portions) for cooking a variety of meals. Knowing what these are and their outcomes can be incredibly helpful for creatively coming up with new meals. By analogy students are often only learning to heat water to boil an egg, but with some additional techniques they can bake complicated French pâtissier. Often if you know a handful of cooking methods you can go much further and farther using combinations of techniques and ingredients.

      What I'm looking for in the reading, note taking, and creation space is a baseline version of Peter Hertzmann's 50 Ways to Cook a Carrot combined with Michael Ruhlman's Ratio: The Simple Codes Behind the Craft of Everyday Cooking. Generally cooking is seen as an overly complex and difficult topic, something that is emphasized on most aspirational cooking shows. But cooking schools break the material down into small pieces which makes the processes much easier and more broadly applicable. Once you've got these building blocks mastered, you can be much more creative with what you can create.

      How can we combine these small building blocks of reading and note taking practices for students in the 4th - 8th grades so that they can begin to leverage them in high school and certainly by college? Is there a way to frame them within teaching rhetoric and critical thinking to improve not only learning outcomes, but to improve lifelong learning and thinking?

    1. Post at https://www.reddit.com/r/Zettelkasten/comments/z5haa9/victor_margolins_zettelkasten_process_for_writing/

      It's not as refined or as compartmentalized as Luhmann's process, but art Historian Victor Margolin broadly outlines his note taking and writing process in reasonable detail in this excellent three minute video. (This may be one of the shortest and best produced encapsulations of these reading/note taking/writing methods I've ever seen.)


      Though he indicates it was a "process [he] developed", it is broadly similar to that of the influential "historical method" laid out by Ernst Bernheim and later Seignobos/Langlois in the late 1800s.

    1. https://www.youtube.com/watch?v=Kxyy0THLfuI

      <small><cite class='h-cite via'> <span class='p-author h-card'>Intrigue</span> in intrigue (<time class='dt-published'>08/29/2022 15:00:52</time>)</cite></small>

    2. Victor Margolin's note taking and writing process

      • Collecting materials and bibliographies in files based on categories (for chapters)
      • Reads material, excerpts/note making on 5 x 7" note cards
        • Generally with a title (based on visual in video)
        • excerpts have page number references (much like literature notes, the refinement linking and outlining happens separately later in his mapping and writing processes)
        • filed in a box with tabbed index cards by chapter number with name
        • video indicates that he does write on both sides of cards breaking the usual rule to write only on one side
      • Uses large pad of newsprint (roughly 18" x 24" based on visualization) to map out each chapter in visual form using his cards in a non-linear way. Out of the diagrams and clusters he creates a linear narrative form.
      • Tapes diagrams to wall
      • Writes in text editor on computer as he references the index cards and the visual map.

      "I've developed a way of working to make this huge project of a world history of design manageable."<br /> —Victor Margolin

      Notice here that Victor Margolin doesn't indicate that it was a process that he was taught, but rather "I've developed". Of course he was likely taught or influenced on the method, particularly as a historian, and that what he really means to communicate is that this is how he's evolved that process.

      "I begin with a large amount of information." <br /> —Victor Margolin

      "As I begin to write a story begins to emerge because, in fact, I've already rehearsed this story in several different ways by getting the information for the cards, mapping it out and of course the writing is then the third way of telling the story the one that will ultimately result in the finished chapters."<br /> —Victor Margolin

    1. Aram Saroyam and, I believe, Jackson Maclow produced something similar. MacLow's The Pronouns was super important to me back in grad school.

      reply to Bob Doto on https://www.reddit.com/r/antinet/comments/z3f8kb/comment/ixlocl7/?utm_source=reddit&utm_medium=web2x&context=3

      Do you have something particular on Saroyam for this? I found The Pronouns by Jackson Mac Low, but only tangential hits on Saroyam.

      Similar useful efforts, though not in as clear-cut card format are: * Project Zero's thinking routines: https://pz.harvard.edu/thinking-routines * Untools: https://untools.co/

    2. 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.

    1. https://untools.co/

      Tools for better thinking Collection of thinking tools and frameworks to help you solve problems, make decisions and understand systems.

      <small><cite class='h-cite via'> <span class='p-author h-card'>Howard Rheingold</span> in Howard Rheingold: "Y'all know about "Tools for …" - Mastodon (<time class='dt-published'>11/13/2022 17:33:07</time>)</cite></small>

      Looks similar to Project Zero https://pz.harvard.edu/thinking-routines

    1. Trope, trope, trope, strung into a Gish Gallop.

      One of the issues we see in the Sunday morning news analysis shows (Meet the Press, Face the Nation, et al.) is that there is usually a large amount of context collapse mixed with lack of general knowledge about the topics at hand compounded with large doses of Gish Gallop and F.U.D. (fear, uncertainty, and doubt).

    2. a more nuanced view of context.

      Almost every new technology goes through a moral panic phase where the unknown is used to spawn potential backlashes against it. Generally these disappear with time and familiarity with the technology.

      Bicycles cause insanity, for example...

      Why does medicine and vaccines not follow more of this pattern? Is it lack of science literacy in general which prevents it from becoming familiar for some?

    3. What if instead of addressing individual pieces of misinformation reactively, we instead discussed the underpinnings — preemptively?

      Perhaps we might more profitably undermine misinformation by dismantling the underlying tropes the underpin them?

    4. Journalists often emphasize that something is novel when they cover it because novelty supports something being newsworthy, and is appealing to audiences

      Journalists emphasize novelty because it underlines newsworthiness.

      Alternately, researchers underline novelty, particularly in papers, because it underlines technology that might be sold/transferred and thus patented, a legal space that specifically looks at novelty as a criterion. By saying something is novel in the research paper, it's more likely that a patent examiner will be primed to believe it.

    1. And that, perhaps, is what we might get to via prebunking. Not so much attempts to counter or fact-check misinfo on the internet, but defanging the tropes that underpin the most recurringly manipulative claims so that the public sees, recognizes, & thinks:

      And that, perhaps, is what we might get to via prebunking. Not so much attempts to counter or fact-check misinfo on the internet, but defanging the tropes that underpin the most recurringly manipulative claims so that the public sees, recognizes, & thinks:😬

      — Renee DiResta (@noUpside) June 19, 2021
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
    1. <small><cite class='h-cite via'> <span class='p-author h-card'>Renee DiResta</span> in Twittter Thread by @noUpside about tropes and misinformation - Thread Reader App (<time class='dt-published'>06/21/2021 14:22:17</time>)</cite></small>

    1. https://www.youtube.com/watch?v=zCLCIw-HSJc

      I'm curious if you knew if Nelson, Engelbart or any of their contemporaries had/maintained/used commonplace books or card indexes as precursors of their computing work? That is, those along the lines of those most commonly used by academics, for example as described by Markus Krajewski in Paper Machines (MIT Press, 2011) or even Beatrice Webb's Appendix C on Note Taking in My Apprenticeship (Longmans, 1926) in which she describes a slip (or index card)-based database method of scientific note taking. I've always felt that Vannevar Bush held things back unnecessarily by not mentioning commonplace book traditions in As We May Think.

    1. https://whatever.scalzi.com/2022/11/25/how-to-weave-the-artisan-web/

      “But Scalzi,” I hear you say, “How do we bring back that artisan, hand-crafted Web?” Well, it’s simple, really, and if you’re a writer/artist/musician/other sort of creator, it’s actually kind of essential:

    1. https://www.youtube.com/watch?v=pRc7MUybCsE

      Interview with BBC in which Brian Eno discusses the origin of his Oblique Strategies with Peter Schmidt.

    2. Changing the order in which you do things. —Brian Eno, Oblique Strategies

      This sounds like the sort of shift Walter Murch made in his sound editing by doing his first cut completely without sound. If you can't tell the story visually without sound the whole thing will fall apart. But you can use the sound, music, etc. to supplement, gild, and improve a picture.

    1. Austin Kleon made his own deck of Oblique Strategies by handwriting them onto the front of playing cards with black sharpie.

      Making my own Oblique Strategies deck. https://t.co/a1FpNifdLp pic.twitter.com/XsnRBt0GNW

      — Austin Kleon (@austinkleon) November 1, 2015
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  2. desalesuniversity-my.sharepoint.com desalesuniversity-my.sharepoint.com
    1. Kalir, Jeremiah H. “The Value of Social Annotation for Teaching and Learning: Promoting Comprehension, Collaboration and Critical Thinking with Hypothesis.” White paper. San Francisco: Hypothes.is, October 21, 2022. https://web.hypothes.is/research-white-paper/

    2. Social Annotation and Mathematics Education

      My internal mathematician wishes there was more substance in this particular portion.

      • Use of \(LaTeX\)
      • annotating the breakdown of logic in problems
      • providing missing context
      • filling in details of problems left as an exercise for the student
      • others?
    4. We find favorwith Mortimer J. Adler’s stance, from 1940,that “marking up a book is not an act ofmutilation but of love.”18


      Full ownership of a book only comes when you have made it a part of yourself, and the best way to make yourself a part of it—which comes to the same thing—is by writing in it. —Adler, Mortimer J., and Charles Van Doren. How to Read a Book. Revised and Updated edition. 1940. Reprint, New York: Simon & Schuster, 1972.

      They also suggest that due to the relative low cost of books, it's easier to justify writing in them, though they carve out an exception for the barbarism of scribbling in library books.

    5. The prevalence of annotation online is a reminderthat the web is an information fabric woven together by linked resources. Annotationincreases the thread count of that fabric.
    6. onversation among groups ofreaders over time.

      An intriguing story of influential annotations in the history of science can be seen in Gingerich's The Book Nobody Read in which he traces annotations by teachers and students of Copernicus' De revolutionibus to show spread of knowledge in early modern astronomy.

      Gingerich, Owen. The Book Nobody Read: Chasing the Revolutions of Nicolaus Copernicus. William Heinemann, 2004.

    7. Samuel Taylor Coleridge, who’scredited with the first use of the term marginalia, in 1819, coined the term as literarycriticism and to spark public dialogue.6

      6 Coleridge, S. T. (1819). Character of Sir Thomas Brown as a writer.Blackwood’s Magazine 6(32), 197.

    8. Edgar Allan Poe, who wrote in 1844, “In the marginalia, too, we talkonly to ourselves; we therefore talk freshly — boldly — originally — with abandonnement— without conceit.”1

      Poe, E. A. (1844). Marginalia. United States Magazine and Democratic Review, 15, 484, https://www.eapoe.org/works/misc/mar1144.htm

      Curious that Poe framed marginalia as a self-conversation rather than a conversation with the text itself...

  3. Nov 2022
    1. https://www.evernote.com/shard/s204/client/snv?noteGuid=5b7828b7-c4f9-4242-b62f-788eeb44c76e&noteKey=34f69bfeebbb6bca&sn=https%3A%2F%2Fwww.evernote.com%2Fshard%2Fs204%2Fsh%2F5b7828b7-c4f9-4242-b62f-788eeb44c76e%2F34f69bfeebbb6bca&title=Powerful%252C%2Bnon-judgmental%2Bquestions

      Powerful, non-judgmental questions

      • If you had to guess, what would have to be true for you to...?
      • If you did know...
      • (on tangent) ...and how does that relate to you?
      • What's not allowing you to...?
      • What prevents you from asking…?
      • Do you want to go into this?
      • What's your criteria for saying yes?
      • What would have you say yes?
      • What are the things we're lacking?
      • What's the scary question that you're not asking?
      • What are the qualities you want for [being, action, process, etc.]?
      • How would you behave if you were the best in the world at what you do?

      I'm starting a list of powerful, non-judgmental questions for coaching or just relationships in general. Here's the starting batch https://t.co/ktsYVxkQna pic.twitter.com/Dq1zQnWqAS

      — Tiago Forte (@fortelabs) January 15, 2019
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

      These questions and similar ones (work this out) could be interesting prompts to be included on a syllabus or as starts for an annotated syllabus. (eg: What do you want to get out of this class? What do you already know about these areas? How can we expand on what you know? What would you like to explore?, etc.)

    1. In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice.

      Brian Eno's experiments in generative music mirror some of the ideas of generative and experimental fiction which had been in the zeitgeist and developing for a while.

      Certainly the fictional ideas were influential to the zeitgeist here, but the technology for doing these sorts of things in the musical realm lagged the ability to do them in the word realm.

      We're just starting to see some of these sorts of experimental things in the film space and with artificial intelligence they're becoming much easier to do in all of these media spaces.

      In some of the film spaces, they exist, but may tend to be short in nature, in part given the technology and processing power required.

      see also: Deepfake TikTok of Keanu Reeves which I've recently run across (algorithmically) on Instagram: https://www.dailydot.com/debug/unreal-keanu-reeves-ai-deepfake/

      Had anyone been working on generative art? Marcel Duchamp, et al? Some children's toys can mechanically create generative art which can be subtly modified by the children using axes of color, form, etc. Etch-a-sketch, kaleidoscopes, doodling robots (eg: https://www.amazon.com/4M-Doodling-Robot-Packaging-Vary/dp/B002EWWW9O).

    2. In 1971, Eno co-formed the glam and art rock band Roxy Music. He had a chance meeting with saxophonist Andy Mackay at a train station, which led to him joining the band. Eno later said: "If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now".[24]

      How does idea density influence the rate of creativity?

      What are the thermodynamics of creativity? I've probably got enough material for a significant book chapter if not perhaps a book on this topic.

      May need a more public friendly name. Burning Creativity?

    3. At one point, Eno had to earn money as paste-up assistant for the advertisement section of a local paper for three months. He quit and became an electronics dealer by buying old speakers and making new cabinets for them before selling them to friends.[12]

      One moment this article describes Eno as eschewing conventional jobs, but then describes him going back to two different ones. The second one as an electronics dealer is at least tangential to his music/sound career and may have helped give him some tools for operating in the space which he wanted to be.

    4. Whilst at school, Eno used a tape recorder as a musical instrument[17]

      I personally did something akin to this when I was a child sometime between 9 and 12 with our family tape recorder. Did I do so because it was simply a creativity tool, which is generally how I used it, in my environment, or had Brian Eno and others' influences seeped into the culture encouraging this? Where does zeitgeist start and stop?

    5. In 1964, after earning four O-levels, including one in art and maths, Eno had developed an interest in art and music and had no interest in a "conventional job".[12]

      When did the definition of a so-called "conventional job" emerge? Presumably after the start of the industrial revolution when people began moving from traditional crafts, home work, farm work, and other general subsistence work.

      What defines a non-conventional job? Does it subsume caring work? What does David Graeber have to say about this in Bullshit Jobs?

    6. In the mid-1970s, he co-developed Oblique Strategies, a deck of cards featuring aphorisms intended to spur creative thinking.
    1. A few years ago I came up with a new word. I was fed up with the oldart-history idea of genius - the notion that gifted individuals turn up out ofnowhere and light the way for all the rest of us dummies to follow. Ibecame (and still am) more and more convinced that the importantchanges in cultural history were actually the product of very large numbers of people and circumstances conspiring to make something new. Icall this ‘scenius’ - it means ‘the intelligence and intuition of a whole cultural scene’. It is the communal form of the concept of genius. This word isnow starting to gain some currency - the philosopher James Ogilvy uses itin his most recent book.

      Book Source: Eno, Brian. A Year With Swollen Appendices: Brian Eno’s Diary. 1st edition. London: Faber & Faber, 1996. Section: A Letter to Dave Stewart, p 354

      Cross reference quote and further usage/refinement of the word from popular blog post by Kevin Kelly Scenius, or Communal Genius: https://hypothes.is/a/SgYqomnBEe2_Yaf4i1JnCg

    1. Scenius is like genius, only embedded in a scene rather than in genes. Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes”  can occasionally generate. His actual definition is:  “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.”
    1. I think that there’s also the kind of what Brian Eno called scenius, that there are times like Xerox PARC in the 1970s or Florence during the Renaissance when there are just a number of people in contact with each other, and their ideas spark each other. And again, it’s a matter of building on what has been done before.

      Definition of scenius, a portmanteau of scene and genius, meaning roughly the output of combining the ideas of zeitgeist with combinatorial creativity to create sustained output which might be considered genius level work.

      Generally it gives more credit to the people and time than is generally seen in other instances which are often frame as lone genius.

      My definition may be more complex and nuanced than that of the version coined (?) by Brian Eno.