10,000 Matching Annotations
  1. Oct 2024
    1. One might think at first that it was a Universal Lawthat all Writing or Speaking should be so clear as tobe transparent. And yet, as we have seen, no readerof Carlyle can doubt that a great deal of his Forcewould be gone if one made his Writings transparent.If one took some of Carlyle's most typical works andparaphrased them in simple English, the effect wouldnot be a quarter as good as it is.

      How is this accomplished exactly? How could one imitate this effect?

      How do we break down his material and style to re-create it?

    2. In order to give the reader some chance of havinga good Collection of Headings, and less chance ofomitting the important Headings, I have offered (e.g.on pp. 83, 92) a few General Lists, which are not quitecomplete but yet approach to completeness ; two ofthese Lists will be found sufficient for most purposes.One of these is called the List of Period- Headings,such as Geography, Religion, Education, Commerce,War, etc. (see p. 83); the other is called the List ofGeneral Headings, and includes Instances, Causes andHindrances, Effects, Aims, etc. : this latter List will befound on p. 92.
    3. I shall try to give the ChiefFaults in Composition. The reader will see that thelist is long : and that, if he merely tries to write wholeEssays all at one 'sitting', he is little likely to escapethem all.S

      Attempting to escape the huge list of potential "Chief faults in composition" is a solid reason not to try to cram a paper or essay in a single night/day.

    4. Teaching is one of the best means of Learning, notonly because it forces one to prepare one's work care-fully, and to be criticised whether one wishes it or not,but also because it gives one a sense of responsibility :it reminds one that one is no longer working for selfalone.
    5. For instance, if a learner says to him ' Howshall I emphasise this idea?', the genius-writer willprobably be entirely at a loss : he will be unable tounderstand the state of mind of anyone who feels adifficulty here. He himself does the thing unconsciouslyand automatically : he ' knoweth not how '.

      It's difficult to teach when you've forgotten how you learned a thing yourself. It's hard to un-know a topic to empathize with the beginner.

    6. I often noticed that most Candidates inExaminations used to begin to write their Essays atonce. They never realised that their minds were there-by being distracted and divided among many differentprocesses, each of which is particularly hard even whentaken alone. For all at once their minds are being-called upon to Collect Ideas, to Select and decide whichare important, etc., to Arrange the Selected Ideas, andto Express them. To try all this as a single action is" most extraordinarily unscientific, even if a few brilliantgeniuses here and there have succeeded in the attempt.

      One of the major affordances of using a zettelkasten or card index for writing is that it forces the writer to break things down into their constituent parts, thereby making the entire process of writing far easier and less complex. One can separately focus their attention on the smaller steps of collecting, selecting, and arranging the material before beginning to actually write.

    7. For I do not think that the reason why so many peoplefail to write good Essays or to make good Speechesis so much that they are barren of Ideas, or that theirGrammar is bad, or even that their Expression is verybad ;

      he capitalizes five words here to emphasize their importance... I wonder what he says in his section on capitalization???

    8. The lesson surely is that to emphasise, in this way, anIdea which is felt to be important, is not an automaticprocess to most people ; it is not done instinctively, andby the light of nature. They may feel that the Ideaought to be Emphasised, but they do not know themeans.
    9. He must analysethe whole stroke, and must not attempt to do it asif it were a single unit. It is true that the bornplayer, by the light of genius, does the whole stroke asa whole stroke, and perhaps is not aware that it can feedivided into parts : he may even deny it. None theless it has often been proved that it can be divided intoparts, and that to master each part separately is a mucheasier .process than to -master the whole -at once. It is -notgoing too far to say that for average people to masterthe whole stroke at once is an absolute impossibility.

      Interesting to see this tennis analogy in writing in 1905 from a top-notch player who will win a silver metal in the 1908 Olympics...

    1. In David Gerrold's The Trouble with Tribbles: The Story Behind Star Trek's Most Popular Episode, he describes how he used a 12-pitch Selectric to type the 1967 episode. When the studio retyped it in pica (10-pitch) it came out to 90 pages and had to be cut down significantly to fit the show's running time.

      The difference amounts to approximately 3 words per page and about 50 words per page.

    1. The 2024 Phoenix Type-In by [[Joe Van Cleave]]

      Platen shrinkage

      • most typewriters are 6 lines per inch
      • 6.5 lines per inch based on actual measurement per JVC on one of his machines
      • 2mm shrinkage??
      • Per Bob/Typewriter Muse 1.1

      Bob had a machine that was supposed to be 1.27 but was measured at 1.259 when pulled off. So shrinkage of platens can be roughly fifteen hundredths of an inch (0.015" or about 0.4mm)

      Bob at Typewriter Muse custom tunes platens to the typewriter. Only place doing platens outside of JJ Short.

      JVC's partner took him to the Phoenix Type-in for her birthday.

      Bill Wahl of Mesa Typewriter Exchange

      grandfather started in the 40s<br /> bill started in 73<br /> part time help to 92 and now by himself<br /> does his benchwork after hours and chats during the day

      Ted Munk

      adding machine database consideration

      looking for service manuals for: - royal portables 50-59<br /> - skyriter 40s / 50s<br /> - sm9 service manual

      Royal Mercury manual is a clear, well-written manual. The Smith-Corona series 5 typewriter manuals are great too, though a bit more dense.

      Brian Goode and Christy organized this year's Phoenix Type-In.

    1. I’ve currently only fixed the platen and reconnected the space bar. Issue I’m having is the letters are really faint and cut off almost half way through.

      Often after you resurface a platen, it slightly changes the configuration of the platen with respect to the typeface. As a result one usually may need to do three adjustments in a specific order to get things to align properly again. These can definitely be done at home with some patience.

      Usually the order for tweaking is: * Ring and Cylinder adjustment (distance of platen from typeface; the type shouldn't touch the platen or you'll find you're imprinting on your paper, making holes in the paper and/or ribbon, which isn't good). Sometimes using a simple backing sheet can remedy a bit of this distance problem, especially on platens which have hardened or shrunk slightly over time. * On Feet adjustment (vertical adjustment so that letters are bright and clear and neither top or bottom of characters are too light/faint) Repair shops will often type /// or a variety of characters with longer ascenders/descenders to make sure that the type is clear from top to bottom. * Motion adjustment (the lower and upper case letters are at the same level with respect to each other) The best way to test this is to type a center character like HHHhhhHHH to see if they line up on the bottom (the last three Hs are usually done with the Shift Lock on to make sure that's properly set).

      You can search YouTube videos for your model (or related models) and these words which may uncover someone doing a similar repair, so you have a better idea of what you're doing and where to make the adjustments.

      Here's Joe Van Cleave describing some of it in one of his early videos: https://www.youtube.com/watch?v=C0AozF2Jfo0

      The general principles for most typewriters are roughly the same with slight variations depending on whether your machine is a segment shift or a carriage shift. You should roughly be able to puzzle out which screws to adjust on your particular model to get the general outcome you want.

      Related blogposts: * https://munk.org/typecast/2022/01/23/adjusting-ring-cylinder-on-a-brother-jp-1/<br /> * https://munk.org/typecast/2013/07/30/typewriter-repair-101-adjusting-vertical-typeface-alignment-segmentbasket-shift-typewriters/

      You might find a related repair manual for your machine with more detail and diagrams for these adjustments via the Typewriter Database or on Richard Polt's typewriter site.

      For those not mechanically inclined you may be better off taking it onto a repair shop for a quick adjustment. https://site.xavier.edu/polt/typewriters/tw-repair.html 

      Reply to u/Acethease at https://www.reddit.com/r/typewriters/comments/1d76ygx/got_a_as_a_gift_corona_3_recentlyish_and_i_need/

    1. I'm trying to find sources discussing Zettelkasten being used for research in natural sciences (for me most directly relevant is medical research). Does anyone know of any good sources or starting points? My preliminary searches haven't really resulted in anything meaningful unfortunatly (The best I've found sofar is this ZK Forum thread https://forum.zettelkasten.de/discussion/2415/zettelkaesten-in-the-fields-of-science-and-history)

      reply to Signynt at https://discord.com/channels/686053708261228577/979886299785863178/1293207926013427733

      Does Carl Linnaeus' incarnation work? Isabelle Charmantier and Staffan Müller-Wille have a number of journal articles on his "invention" and use of index cards in his research and writing work. If you dig around you'll find references to Gottfried Wilhelm von Leibniz' use of index cards and the Arca Studiorum (Krajewski, MIT, 2011); Computer scientist Gerald Weinberg wrote Gerald M. Weinberg on Writing: The Fieldstone Method. New York, N.Y: Dorset House, 2005, which might appeal; you'll also find examples in physicist Mario Bunge, and, although he had a mixed practice of notebooks and index cards, W. Ross Ashby's collection of notes on complexity can be found at https://ashby.info/. Hundreds of other scientists and mathematicians had practices, though theirs typically fall under the heading of commonplace books (Erasmus Darwin, Charles Darwin, et al.) or as in the case of Isaac Newton and others the heading of "waste books". While looking at others' examples or reading about it may feel like it's going to get you somewhere (better?), having some blind faith and proceeding with your own practice is really the better way to go. Others have certainly done it. Generally it's far rarer for mathematicians, engineers, or scientists to write about their note making/methods so you're unlikely to find direct treatises the way you would for historians, sociologists, anthropologists, humanists, etc.

      syndication link: https://discord.com/channels/686053708261228577/979886299785863178/1293663556197417082

    1. H.S.WYNKOOP.-I have beeninterestedever sinceIhave beenMr.Wynkoop.inbusiness inthe lack ofstandardization in nearly everythingwehavehadtodealwith-notmerelyinthematterofthiscardsystemusedin theshop,but eveninourletterpaperandthevarioussizesofprints ordocumentsthatrunthroughtheoffice.SomeyearsagoItook thelettersheetusedbytheEdison GeneralElectricCompanyandusedthatasastandard,andImadeeveryformintheofficewhereIwasatthetimeeitherfull letter,halfletterordoubleletter,andsoon;anditwasastonishingtoseehow,whenthe employees got usedtotheidea ofstandard-sizedforms,every-thingfittedin,andfrommyownexperience Iwouldliketosecondthat ideaheartily.Wecould standardize in nearly everythingweconstruct inthewayof forms,shopstationery,and,verylargely,inour machines.Thestandardizationofelectricmotorsisre-ceiving greatattentionatpresent.
    1. Thus if P isthe set of all sets, we can apparently form the set Q = {Ae P| A ¢ A}, leading tothe contradictory Oe Q iff O¢€ Q. This is Russell’s paradox (see Exercise 1A)and can be avoided (in our naive discussion) by agreeing that no aggregate shallbe a set which would be an element of itself.

      Russell's paradox (1901) in set theory can be stated as:

      If $$P$$ is the set of all sets, one can form the set $$Q = {A \in P | A \notin A}$$ which can lead to the contradiction $$Q \in Q$$ iff $$Q \notin Q$$.

      This can be done by dividing P into two non-empty subsets, $$P_1 = {A \in p | A \notin A}$$ and $$P_2={A \in P | A \in A}$$. We then have the contradiction $$P_1 \in P_1$$ iff $$P_1 \notin P_1$$.

      The paradox happens when we allow as sets A for which $$A \in A$$. It can be remedied by agreeing that no collection can be a set which would be an element of itself.


      Relation to Groucho Marx's quote (earliest 1949) about resigning membership of a club which would have him as a member: https://hypothes.is/a/3_zAfITjEe-H5-PlfOlK8A

    2. Cohen (Independence of the Axiomof Choice; The Independence of the Continuum Hypothesis I, I1) completed theproof of independence for each by showing neither could be deduced from theexisting axioms (by showing the negation of each could consistently be added tothe Zermelo—Fraenkel axiom scheme). See P. J. Cohen (Set Theory and theContinuum Hypothesis) for a discussion of these results and his intuition about thecontinuum hypothesis. Another expository reference is Cohen (IndependenceResults in Set Theory).

      In 1963 Paul Cohen completed the work of Gödel by proving the independence of the axiom of choice and the continuum hypothesis from the Zermelo-Fraenkel set theory axioms. He did this by showing that neither could be deduced from the existing axioms and specifically by showing that the negation of each could be added to ZF consistently.

    3. Godel (The Consistency of the Axiom of Choice and of the Generalized Con-tinuum Hypothesis with the Axioms of Set Theory) proved in 1940 that additionof either the axiom of choice or the continuum hypothesis to existing set theoreticaxioms would not produce a contradiction.

      Gödel's breakthrough in 1940 was to prove that one could extend the axioms of set theory to include the axiom of choice or the continuum hypothesis without introducing contradictions.

    4. The basis for our intuitive set theory is the Zermelo—Fraenkel set theory developedby Zermelo (Untersuchungen tiber die Grundlagen der Mengenlehre J) andstrengthened by Fraenkel (Zu den Grundlagen der Cantor—Zermeloschen Mengen-lehre). Their work rests on the researches of Cantor in the 1870’s which first putmathematics firmly on a set-theoretic base. Zermelo’s work, in particular, was adirect response to the Russell paradox.
    1. On October 20, 1949 the Hollywood columnist Erskine Johnson published the tale. This is the earliest instance located by QI:[1] 1949 October 20, Dunkirk Evening Observer, In Hollywood by Erskine Johnson, Page 22, Column 5, Dunkirk, New York. (NewspaperArchive) Groucho Marx’s letter of resignation to the Friars’ Club: “I don’t want to belong to any club that would accept me as one of its members.”

      https://quoteinvestigator.com/2011/04/18/groucho-resigns/

      ref: 1949 October 20, Dunkirk Evening Observer, In Hollywood by Erskine Johnson, Page 22, Column 5, Dunkirk, New York. (NewspaperArchive)

    1. https://www.amsterdamtypewriter.com/en-us/products/typewriter-care-kit-diy

      Amsterdam Typewriter's kit contains all the following essentials:<br /> * Brass wire brush (for cleaning the typeface) * Natural bristled brush (general cleaning purposes) * Microfiber cotton cloth (for polishing, gentle to paint) * New ribbon (black, red or black or purple color) * 3 compact cotton tissues (disposable, soak in cleaner or mild soap solution to clean typewriter) * Alcohol spray for cleaning (removes ink, oxidation, stains, surface rust) * Deodorizing spray (for disinfection and removing odor from cases and felt lining) * 10 Special cotton buds with long reach (do not leave cotton strings behind) * Our miracle polishing paste (wonderfully revives paint, also polishes on metal, paint, glass, fiberglass, plastic) * Leather rolling pouch for carrying * Comfy cotton bag for storage * Checklist for cleaning * Copy of manual with tips on cleaning of your typewriter and detailed steps

    1. Oliver Sacks Archive Heads to the New York Public Library by [[Jennifer Schuessler]]

      The voluminous papers of the celebrated neurologist include letters, notebooks, drafts and other traces of a man who couldn’t stop writing.

      You have to love the boos, notebooks, papers, fountain pen, typewriter, computer, printer, and even writing software all pictured in this... Add the glasses and it just reeks of someone who reads and writes.

    2. For Sacks, wrestling with the meaning of experience — his own, his patients’ — continued until the very end. One folder, with the jaunty title “Some Deaths I’ve Liked,” contains the wry and humorous last words of scientists and others, starting with his brother Michael, whose lifelong struggle with schizophrenia greatly affected Sacks. In his telling, Michael sat up abruptly in his hospital gurney and announced, “I’m going outside to smoke a cigarette,” before immediately falling dead.
    1. If Zettelkasten is the solution, what was the underlying problem?

      Asking my own zettelkasten this question: (responses in no particular order as individual affordances are sure to vary in usefulness by user; some framed as problems while others are framed as affordances, the difference should hopefully be clear to most):

      • information overload
      • mitigating time loss and context collapse in regularly interrupted work
        • Acts as a ratchet and pawl for thinking work
      • tool for thought, and a particularly inexpensive one
      • a catalytic surface for thought - see creativity
      • removal of cognitive bias by allowing direct juxtaposition of ideas
      • "a plan for life and not just a book"
      • creativity acceleration
      • artificial memory storage/improved memory
        • spaced repetition tool
      • improved search by indexing ideas over time
      • Clarity/specificity: it's a reminder to be specific about what you're thinking
      • a system for marshalling resources (collecting)
      • new context creation through context shifting and/or erasure
      • "slow burn" productivity
      • focusing attention
      • fun
      • serendipity generation
      • attempting to look cool by doing what the cool kids are doing (this usually results in failure modes however)
        • related: fear of missing out (FOMO)
    1. Beyond the cards mentioned above, you should also capture any hard-to-classify thoughts, questions, and areas for further inquiry on separate cards. Regularly go through these to make sure that you are covering everything and that you don’t forget something.I consider these insurance cards because they won’t get lost in some notebook or scrap of paper, or email to oneself.

      Julius Reizen in reviewing over Umberto Eco's index card system in How to Write a Thesis, defines his own "insurance card" as one which contains "hard-to-classify thoughts, questions, and areas for further inquiry". These he would keep together so that they don't otherwise get lost in the variety of other locations one might keep them

      These might be akin to Ahrens' "fleeting notes" but are ones which may not easily or even immediately be converted in to "permanent notes" for one's zettelkasten. However, given their mission critical importance, they may be some of the most important cards in one's repository.

      link this to - idea of centralizing one's note taking practice to a single location

      Is this idea in Eco's book and Reizen is the one that gives it a name since some of the other categories have names? (examples: bibliographic index cards, reading index cards (aka literature notes), cards for themes, author index cards, quote index cards, idea index cards, connection cards). Were these "officially" named and categorized by Eco?

      May be worthwhile to create a grid of these naming systems and uses amongst some of the broader note taking methods. Where are they similar, where do they differ?


      Multi-search tools that have full access to multiple trusted data stores (ostensibly personal ones across notebooks, hard drives, social media services, etc.) could potentially solve the problem of needing to remember where you noted something.

      Currently, in the social media space especially, this is not a realized service.

    1. Nevertheless, the very fact that I am going through my notes reflects a new habit I am trying to build, of setting time aside every week, and sometimes more often, deliberately to tend the oldest notes I have and the notes I created or edited in the past week. Old notes take longer, because I have to check old links and decide what to do if they have rotted away. Those notes also need to be reshaped in line with zettelkasten principles. That means deciding on primary tags, considering internal links, splitting the atoms of long notes and so on. At times it frustrates me, but when it goes well I do see structure emerging and with it new thoughts and new directions to follow.

      This is reminiscent of the idea that indigenous peoples regularly met at annual feasts to not only celebrate, but to review over their memory palaces and perform their rituals as a means of reviewing and strengthening their memories and ideas.


      Appropriate context for this: https://www.jeremycherfas.net/blog/a-garden-with-a-water-feature

    1. According to Settles & Meeder (2016) [19], spaced repetition is a method that learners can use to revise theconcepts after a specific interval that they had learned earlier

      So they've mentioned research in the 1960s, but rely on a 2016 paper for a basic definition of spaced repetition?

      I'm beginning to think that the entirety of this work is AI generated...

    2. Another study by Korolev & Lyalina (2021) [18] states that the use of the Zettelkasten method to makenotes has a significant impact on the learners as this creative approach to making notes relies upon making referencesand relationships between different ideas

      If this study actually says this, it's unlikely supported by direct research in that paper.

      Check it after reading: https://www.shs-conferences.org/articles/shsconf/abs/2021/17/shsconf_mtde2021_04008/shsconf_mtde2021_04008.html

    3. People are not aware of the phenomenally effective memorizing method known as the Spaced Interval Repetition(SIR) technique, which was mostly created in the 1960s.

      How can we take these researchers seriously if they're saying 1960s and not referencing Ebbinghaus?

      They're dropping random references at the drop of a hat without any seriousness, where's their references from the 1960s?

    4. dditionally, Zettelkasten is also referred to as a knowledge management system, which acts as aframework for organizing thoughts, ideas, and information [11].

      Why are they referencing this third party source that doesn't use the phrase "knowledge management"? It also only mentions zettelkasten once and references Ahrens which may have been a better reference here. Otherwise, why cite this line at all?

    5. However, studies suggest that theimpact of these methods of making notes is not very effective in learning as they do not help people connect with ideas.

      Which studies? Where?

    6. The Zettelkasten technique has been found to be more efficient and effective than note-making [6–8].

      I'll have to look closer at these, but they don't generally appear to be supported by research to back up this claim.

    7. The Zettelkasten technique is a unique, strategic way for individuals to think and write. It may be best characterizedas an organization system that assists people in organizing their information while working, making it one of the mostefficient knowledge management strategies (studying or researching) [2].

      A more solid definition of the form and structure of such a system is required here. I'm not sure what of these first two sentences they're referencing Helbig for here?

      I'm already highly suspicious of this paper now.

    1. Not that it couldn't be done, but I'll suggest that following the structure/order of a Luhmann-artig zettelkasten may be a bit more limiting or difficult for creating fiction.

      There's a rich history of researching, outlining, and writing with card indexes as part of the creative process. Perhaps looking briefly at some examples particularly focusing on fiction may be helpful? Once you've done this, you can pick and choose the portions and affordances that work best for your preferred way of thinking and working.

      Some quick examples:

      Perhaps querying my digital zettelkasten may be helpful for you? Start with: https://hypothes.is/users/chrisaldrich?q=tag%3A%27card+index+for+writing%27

      Ultimately, you can only spend so much time going down the rabbit hole of how you ought to do this work and taking suggestions or reading about how others have done it. The more difficult but more fruitful portion is to pick a method which seems like it will work for you and experiment with it by actually using or evolving it for yourself. How you start may not necessarily be how you end, but you won't know what's best for you if you don't start. Practice, practice, practice will get you much farther faster.

      reply to u/Atreides_Lion at https://reddit.com/r/Zettelkasten/comments/1ft4r3z/a_very_important_matter_for_me/

    1. Sam Harris speaks with Barton Gellman about election integrity and the safeguarding of American democracy. They discuss the war games he's run to test our response to an authoritarian president, using federal troops against American citizens, the difference between laws and norms, state powers to resist the federal government, voter identification and election integrity, political control over election certifications, the Bush-Gore election, the Electoral Count Reform Act, the prospect of public unrest after the November election, January 6th, George Soros, the "good people on both sides" calumny against Trump, what happens to Trump and Trumpism if Harris wins in November, the presidential debate with Harris, the authoritarian potential of a second Trump term, Project 2025, and other topics.

      Stress Testing Our Democracy: A Conversation with Barton Gellman<br /> Episode 384 of Sam Harris podcast<br /> https://www.samharris.org/podcasts/making-sense-episodes/384-stress-testing-our-democracy

      Suggested by Flancian at FoTL

  2. Sep 2024
    1. He gives due honor to Frank & George7 I should like to keep it a few days to read your life. When this monument has been erected to Dr. D you should set about erecting your own in the shape of a really handsome Edition of the Origin that a gentleman could read8 EAD

      Footnote 8:

      The last edition of Origin published during CD’s lifetime was the 1876 reprint of Origin 6th ed., and had some corrections and additions to the text (Freeman 1977). This edition was produced in a cheaper form than previous ones, with small type and a relatively small page; a ‘gentleman’s’ edition usually had larger type and page size, with wider margins.

      Ref: Darwin Correspondence Project, “Letter no. 11918,” accessed on 30 September 2024, https://www.darwinproject.ac.uk/letter/?docId=letters/DCP-LETT-11918.xml


      ᔥ[[Richard Carter]] in Mastodon at Sep 23, 2024, 08:20 AM (accessed:: 2024-09-30 01:34:36)

    1. The axiom o f choice. Suppose {Si}, i E I, is a family of nonemptysets. Then there is a function / from I into U / Si such that f(i) E Sifor each i e I.

      For any collection of non-empty sets, one can create a set by choosing one element from each set in the given collection.

      There are a variety of other equivalent ways to state this as well as names. One variation is Zorn's lemma.

    2. Geometrically, topologywas the study of properties preserved by a certain group of transformations, the homeomorphisms. Geometry itself can be considered as thestudy of properties preserved by certain types of functions; e.g., Euclideanmetric geometry is the study of properties preserved by rigid (that is,distance-preserving) transformations (known sometimes as congruences).(Of course, as with topology, it is somewhat unfair to try to define geometry as the study of one particular thing.)
    1. For the next hour and a half, he signed 141 copies with blue Sharpie pens, fortified by a mug of coffee that a museum staff member placed in front of him. The mug, which the museum sells for $19.95, boasts in all caps: “I Finished The Power Broker.”Caro usually dislikes cracks about the book’s length. But he seemed delighted by the mug.“Did you see this?” he asked, holding up his coffee.“I’m not supposed to say this,” he said, “but I kind of like it.”

      https://shop.nyhistory.org/products/mug-power-broker

    1. I twist together two lengths of kevlar fishing line that's 0.4mm diameter and rated for 29kg, so combined roughly 0.8mm diameter and ~58kg pull. This is about the sweet spot imo in terms of thickness, slim enough to fit in small routing holes on mainspring housings and thick enough to get a good sized knot when you tie it. It's also pretty close to the thickness of old sinew drawbands I've replaced. The rated strength is definitely overkill but better over than under. In practise a drawband shouldn't experience more than 750g-1,5kg of pull under normal use.

      u/Koponewt aka Pelicram's advice for using fishing line to replace drawbands.

    1. A business in agreement with Dul is Kibbitznest Books, Brews & Blarney on Clybourn in Sheffield Neighbors, which strives to be unplugged and WiFi free. The cafe, bar, bookstore, and venue has five typewriters provided by Kibbitznest, Inc., the nonprofit associated with the business, although only one typewriter is currently in working order and available to use by customers. Annie Kostiner founded both the nonprofit and business aspects of Kibbitznest (the for-profit cafe is now run by Paige Hoffman).
    2. That desire for a “digital detox” is frequently brought up amongst typewriter aficionados—it’s an escape from pop-up ads, spyware, AI-generated content, doomscrolling, deepfakes, obnoxious comments sections, and all the other headaches that hit you at Internet speed. A piece of paper in a typewriter, on the other hand, is a simpler connection of your thoughts tapped out letter by letter, mistakes and all.
    1. Looking for a keyboarded writing device without harsh screen lights...

      Since you're asking in r/typewriters, here's a list of what some well known playwrights, screenwriters, and directors used and would likely have recommended for writing tools without harsh screens. Personally I'm in Tom Hank's camp and would recommend a Smith-Corona Clipper.

      • Edward Albee: Remington 17 or KMC
      • Ray Bradbury: Underwood (no. 5?), 1947 Royal KMM #3756210, IBM Selectric, IBM Wheelwriter, Silver-Seiko ultraportable (likely branded as Royal)
      • Bertolt Brecht: Erika
      • Mikhail Bulgakov: Olympia 8 (photo from Bulgakov museum)
      • Paddy Chayefsky (playwright, May 1954): Underwood Standard Model 6, ca. 1946; Royal HH; Olympia SG3
      • William Goldman: Olympia SM9
      • Matt Groening: Hermes Rocket
      • Alfred Hitchcock: '30s black Underwood Champion portable
      • Sidney Howard (screenwriter, Gone With the Wind): Remington Noiseless Portable #N49669
      • John Hughes (director): Olympia SM3
      • Buster Keaton: Blickensderfer no. 5
      • Stanley Kubrick: Adler Tippa S
      • Ring Lardner: L. C. Smith
      • Ernest Lehman: Royal Electress
      • David Mamet: Smith-Corona portable, Olympia SM4, Olympia SM9, IBM Selectric
      • Arthur Miller bought a used Smith-Corona portable in the late '30s (for one anonymous contest, he submitted a play that he said was "by Corona."). Later he used a '50s Smith-Corona Silent Super and a Royal KMG (1955 photo, another photo). He wrote his later plays on an IBM desktop computer. (Arthur Miller: His Life and Work, by Martin Gottfried, p. 26, 112, and 381.)
      • F. W. Murnau: Remington portable no. 2 (1931 photo)
      • Clifford Odets (1962): Royal Quiet DeLuxe, ca. 1957
      • Rod Serling: Royal KMG (photo 1, photo 2)
      • Neil Simon: Olympia SM9
      • Steven Spielberg: Smith-Corona Coronamatic 2200 (photo 1, photo 2)
      • James Thurber: Underwood no. 5
      • John Waters: ca. 1950 Underwood (1961 photo), IBM A or B
      • Orson Welles: 1926 woodgrain Underwood portable #4B73700 (Welles typing on it), ’30s Underwood Noiseless Portable, Smith-Corona (?)
      • Tennessee Williams: Remington portable no. 2, 1936 Corona Junior #1F9874J (formerly in Steve Soboroff's collection), mid-1940s Corona Sterling, Royal KMM, Hermes Baby (gift from Margo Jones, 1947, according to John Lahr, Tennessee Williams: Mad Pilgrimage of the Flesh, Bloomsbury, 2014), Olivetti Studio 44 (picture 1, picture 2, picture 3, picture 4 1955), Remington portable #5 flat top, Remington Standard M, Olympia SM8. (This man loved to have himself photographed with his writing machines!)

      If you need some other recommendations from novelists and others, you could try: https://site.xavier.edu/polt/typewriters/typers.html

      If you like Scrivener, but want to get away from screens, you can look back to Frank Daniels' method with index cards which he taught to thousands of screenwriters including David Lynch. Variations can be seen at https://www.youtube.com/watch?v=vrvawtrRxsw and https://www.youtube.com/watch?v=mwKjuBvNi40. Vladimir Nabokov used a very similar method for his novels which is fairly well documented: https://www.openculture.com/2014/02/the-notecards-on-which-vladimir-nabokov-wrote-lolita.html

    1. Caro has never revealed who his Simon & Schuster editor was, and when I ask him point-blank, he smiles firmly. “I’d rather not say. I’ve promised myself I’m not going to go down that road, and I never have.” (Gottlieb, in his memoir, was less discreet. It was Richard Kluger, who in 1973 quit editing to write books of his own, including the Pulitzer-winning Ashes to Ashes, a critical history of the tobacco business.)
    2. This particular shed was a floor sample, bought because he wanted it delivered right away. The business’s owner demurred. “So I said the following thing, which is always the magic words with people who work: ‘I can’t lose the days.’ She gets up, sort of pads back around the corner, and I hear her calling someone … and she comes back and she says, ‘You can have it tomorrow.’”

      "I can't lose the days." is a tremendous philosophy.

    1. What do you mean with Zettelkasten ratchet? I am too unfamiliar with the word ratchet to really understand the meaning.[9:46 AM] Or if someone else has an idea and can help me out

      The additional "hidden context" is that the rachet/gear seen in many of these diagrams is usually attached to a radial spring (or some other device) which, as it is wound, stores energy which is later used by the bigger device in which the rachet and pawl are encased. Examples include the stem of watches, which when wound, store energy which the watch later uses to run as it counts the seconds. Another example is the mainspring of a typewriter which is attached to a ratchet/pawl set up; when you push the carriage to the right, the spring gets wound up and stores energy which is slowly expended by the escapement a space or a letter at a time as you type. In the zettelkasten analogy, the box and numbered cards placed in it act as the pawl (the wedge that prevents backward movement), as you add more and more information, you're storing/building up "potential energy" in small bits. This "stored energy" can be spent at a later time by allowing you to more easily write an article, paper, book, etc. In some sense, the zettelkasten (as most tools do) allows you a "mechanical advantage" in the writing process over trying to remember everything you've ever read and then relying on your ability to spit it all back out in a well-ordered manner.


      reply to Muhammed Ali at https://discord.com/channels/992400632390615070/992400632776507447/1286577013439594497

      continuation of https://hypothes.is/a/GTPIPnYiEe-GTUu4YcdeAQ

    2. I enjoyed this podcast but got the feeling they see PKM as a kind of grueling Fordist production line. The process in your book seems a lot less like a grind and a lot more like fun!

      Zettelkasten is a method for creating "slow productivity" against a sea of information overload

      Some of the framing goes back to using the card index as a means of overcoming the eternal problem of "information overload" [see A. Blair, Yale University Press, 2010]. I ran into an example the other day in David Blight's DeVane Lectures at Yale in which he simultaneously shrugged at the problem while talking about (perhaps unknown to him) the actual remedy: https://boffosocko.com/2024/09/16/paul-conkins-zettelkasten-advice/

      It's also seen in Luhmann claiming he only worked on things he found easy/fun. The secret is that while you're doing this, your zettelkasten is functioning as a pawl against the ratchet of ideas so that as you proceed, you don't lose your place in your train of thought (folgezettel) even if it's months since you thought of something last. This allows you to always be building something of interest to you even (especially) if the pace is slow and you don't know where you're going as you proceed. It's definitely a form of advanced productivity, but not in the sort of "give-me-results-right-now" way that most have come to expect in a post-Industrial Revolution world. This distinction is what is usually lost on those coming from a productivity first perspective and causes friction because it's not the sort of productivity they've come to expect.


      In reply to writingslowly and Bob Doto at https://discord.com/channels/992400632390615070/992400632776507447/1285175583877103749<br /> Conversation/context not for direct attribution

    1. Typewriters? In 2024? Are You Nuts? by Jesse M. Slater for [[Raconteur Press]]

      A short, but relatively solid typewriter 101 story for someone looking for a distraction-free writing machine. Certainly not completist, but enough to get your toes wet.

      Slater uses his typewriter for a first draft, then edits the second draft as he re-types it into his computer to have a digital copy for further editing and distribution.

    1. If you want to make an educational technologist’s eyes sparkle, just mention “The Young Lady’s Illustrated Primer”. It’s a futuristic interactive schoolbook, described in Neal Stephenson’s The Diamond Age, where it lifts a young girl out of poverty and into sovereign power.

      Perhaps telling of the educational technology spaces I have hung out in, I've not heard mention of this book ever.

    1. reply to u/NoDoctor4602 at https://old.reddit.com/r/typewriters/comments/1fjrjns/ive_spent_a_few_days_searching_for_any_concrete/

      In the mid to late-1950's and after several typewriter manufacturers made limited runs of gold plated typewriters for special anniversaries or for bonuses to salespeople. They're uncommon, but not rare. I've seen at least 6 or seven pop up on auction sites in the last 6 months. If you really want one, watch the lower end of Facebook Marketplace, ShopGoodwill, Craigslist, et al. where one will assuredly pop up for a much more reasonable price. I'm not sure if it was this one or another I've seen since April, but one of these went up for sale on ShopGoodwill.com recently and sold for about $600. A week later it was listed on eBay for several thousand just like this one. Given the timeframe, I doubt they spent any time cleaning, oiling, or adjusting it in any fashion—it was a pure flip. I've also seen this recently with Royal typewriters with a less common, but highly collectible Vogue typeface: a Royal P sold for about $900 there and was listed on eBay shortly after for over $1,500 with no indication that it was cleaned or adjusted. (If you watch some of the sites carefully, you can pick up a Vogue machine for under $100 easily enough depending on the type and condition.)

      In my mind, as a collector, I'd try to find one in the wild and clean it up or I'd want it in stunning restored condition for over $2k. You might be just as well off picking up a working model for $100-$150 and gold plating the pieces yourself. It would probably be cheaper in the long run and you'd have a better machine in better condition. Some sucker with money to burn will eventually buy a Gold Olympia SM3 for over $2,000.

      Here's a vew posts/videos as examples of gold plated machines:<br /> - A video of another Gold Olympia: https://www.youtube.com/watch?v=JnUHgyABjw0<br /> - Royal QDL https://typespec.com/weve-got-gold-in-them-thar-hills/<br /> - https://www.huffpost.com/entry/kasbah-mod-typewriters_n_1453776

      If you're looking for something great that you'll use, I recommend visiting a repair shop that has some stock to try out some machines to see if you'd like their touch/fee/aesthetics first. Visiting a type-in or two might give you some experience with a wide variety of typewriter models as well. Then try to find a rare or exceptional version that's worth putting some money into. Why put so much into an Olympia if it turns out you're an Olivetti, Royal, or Smith-Corona person? https://site.xavier.edu/polt/typewriters/tw-repair.html (I desperately love Royals, but Smith-Coronas and Remingtons are much more forgiving of my mediocre typing technique, a fact which pains me dearly and cost a few hundred dollars and some sweat equity in cleaning and tuning machines to discover). Incidentally, I'll mention that for about $2,000 you could easily purchase a wide variety of about two dozen machines (even with shipping) and be able to get something truly exceptional in terms of condition and function.

      Incidentally, the higher prices of $250-600 for repaired/refurbished/restored machines being sold by repair shops are usually what Harry Beercan is using as a pricing guide when he's selling his grandmother's musty, broken, old typewriter online not knowing that several hundred dollars in labor and parts has been calculated into the selling price.

    1. Calling attention to the importance of "social forgetting", historian Guy Beiner has argued that "there is an evident need for major historical studies of lieux d’oubli to counterbalance the studies of lieux de mémoire."[11]

      What about the idea of "social ignorance" or maybe "social blindness" as American seems to have done with slavery in the post-Civil War to roughly the early 1990s?

    2. A lieu de mémoire (French for "site of memory" or memory space) is a physical place or object which acts as container of memory.[1] They are thus a form of memorialisation related to collective memory, stating that certain places, objects or events can have special significance related to group's remembrance.

      This feels like it's tangential to memory palaces, but I'll have to read more of Nora to discern if he had any experience here or if he's simply stumbled upon a related idea, but one which wasn't taken to it's logical extreme.

    1. University of Wisconsin—Madison, Madison, professor of history, 1967-76, Merle Curti Professor of History, beginning 1976;

      Paul Conkin taught at University of Wisconsin-Madison from 1967-1979 after which he moved to Vanderbilt.

      David Blight received his Master of Arts degree in American history from Michigan State in 1976 and a Doctor of Philosophy degree in the discipline from the University of Wisconsin–Madison in 1985.

      Presuming a '76-'85 range for his Ph.D., the two would have overlapped at Wisconsin-Madison from '76-'79.

      crossreference: https://youtu.be/A-8NnmWPNJk?si=xwHLBxLOR9-WBXdK&t=1079 and Conkin's notes