Careful attention to Shank’s explanation of the value and role of stories is recognition that it is not the stories alone that are important, but the combination of indices and stories. The combination is important, but in addition, it is personalized through the imposition of an indexing approach that creates this productive system. Perhaps thinking about experiences searching for understanding can be translated as indexing.

Thinking involves indexing. Shank proposed that a useful memory combines specific experiences and indices or labels. The more indices the better. Shank spent a great deal of effort identifying what indices people used proposing that locations, attitudes, challenges, decisions, conclusions, and other labels are used as indices.

He proposes that an expert is an individual who has a great number of stories relevant to a given area and has these stories indexed so that he/she can tell a useful story at the right time.

If you look at George Ellis’s Google Scholar, it’s clear that he has gone down the deep end a while ago. What is it with these cosmologists? (Ahem, Penrose). Suddenly they discover quantum physics and it’s the solution to consciousness. Or gravity makes wavefunctions collapse.

Should I use zettelkasten? .t3_172ujnk._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } questionI am a student in college in the UK studying A levels (Advanced levels), this includes mathematics, biology, chemistry and physics. I dont really take notes for mathematics so I wont be using any type of note taking system for that but for the sciences IDK what to do.

Are links still better than search in the age of semantic search? .t3_175a6tr._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } questionHi, I am a beginner Zettelkasten practitioner and also a software engineer, and I just read "Why You Should Set Links Manually and Not Rely on Search Alone" https://zettelkasten.de/posts/search-alone-is-not-enough/.Search capabilities have improved drastically since 2015 though. We can use text embeddings to find the most relevant other Zettels for any particular Zettel (see https://www.deepset.ai/blog/the-beginners-guide-to-text-embeddings)For example, even if you don't use the same keywords in your writing today as you did a year ago, you'll still find the relevant notes with semantic search, because semantic search handles synonyms with a breeze.Does this mean that with modern search tools, we can spend less time building "infrastructure" links, and rely more on (improved) search?Or am I wrong in my analysis here, does the advance in technology not matter?

Father emptied a card le for Margot and me and lled it withindex cards that are blank on one side. This is to become ourreading le, in which Margot and I are supposed to note down thebooks we’ve read, the author and the date.

card le

Father emptied a card le for Margot and me and lled it withindex cards that are blank on one side. This is to become ourreading le, in which Margot and I are supposed to note down thebooks we’ve read, the author and the date. I’ve learned two newwords: “brothel” and “coquette.” I’ve bought a separate notebookfor new words.

Father emptied a card le for Margot and me and lled it withindex cards that are blank on one side. This is to become ourreading le, in which Margot and I are supposed to note down thebooks we’ve read, the author and the date.

MONDAY, NOVEMBER 2, 1942Dear Kitty,Bep stayed with us Friday evening. It was fun, but she didn’t sleepvery well because she’d drunk some wine. For the rest, there’snothing special to report. I had an awful headache yesterday andwent to bed early. Margot’s being exasperating again.This morning I began sorting out an index card le from theoce, because it’d fallen over and gotten all mixed up. Before long Iwas going nuts. I asked Margot and Peter to help, but they were toolazy, so I put it away. I’m not crazy enough to do it all by myself!Anne Frank

Envisioning the next wave of emergent AI

He depicts some of the most important figures in 20th-century science as haunted men, driven to madness by their pursuit of total knowledge.

The narrative technique owes a good deal to W. G. Sebald, who loved to ruminate on strange and troubling episodes from history, blurring the boundary between fact and fiction.

Hans Bethe, who won the Nobel Prize in Physics in 1967, remarked: “I have sometimes wondered whether a brain like von Neumann’s does not indicate a species superior to that of man.”

Posted byu/IamOkei8 hours agoWhy are people paying thousand of dollars on Zettelkasten courses? It’s freaking stupid! .t3_1728f1n._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } questionThese course creators have no real life achievements other than being a sophist…..And you are paying them so that they can brag that they are super rich and don’t need to work

I like paper with "weird" rulings. What's your favorite notebook/company that produces unique/niche paper organization rulings?

concupiscence

Penelope’s is opaque. (Her name means “veil over the face.”)

Wilson’s translations are the first in English to jettison slurs or euphemisms that mask the abjection of women in a society where a goal of war, according to the Iliad, was to rob men of their women, and where female captives of every rank were trafficked for sex and domestic labor.

The Wilsons lived in poisonous silence, beneath a veneer of civility. (“We had a fatal gift for politeness,” as Andrew put it.)

Stallings said, “Does Emily’s clarity betray that element of the epic register that Matthew Arnold calls ‘nobility’? Some critics think a certain grandeur is missing. But every translation is a compromise, even a great one.”

her younger sister Bee Wilson, the noted British food writer

And with that puerile quarrel between stubborn warlords over the right to own and to rape a girl, Western literature begins.

Homer introduces him with the adjective polytropos—literally, “of many turns.” Previous translators have called him “shifty,” “cunning,” and a hundred other things. After grappling with the alternatives, Wilson chose “complicated,” hoping also to convey the sense of “problematic.” Her first sentence—“Tell me about a complicated man”—instantly makes him our familiar: that charismatic prince who’s too impossible to live with and too desirable to live without.

The opening of Robert Fagles’s widely admired Odyssey, she points out, uses two English words for every Greek one.

I'm not so much saying Adler and Van Doren were trying to prevent readers from coming to grips with the unresolved issues of American history illustrated in this example. But I am suggesting that the idea that there's a "message" in these foundational texts and they know what it is and our job is to find out, is flawed. Too deterministic, too hierarchical, too supportive of a master narrative that needs to be challenged so truth can be appreciated in its complexity.

They then spent a couple of pages on the history of elementary education, followed by a discussion of the stages of instruction, beginning with "reading readiness" and continuing through "sight words" and "context clues", to mature skills that allow the reader to compare the views of different writers.

Aunity can be variously stated

"This," says Aristotle, "is the essence of the plot; the rest isepisode."

You have not graspeda complex unity if all you know about it is how it is one. Youmust also know how it is many, not a many that consists of alot of separate things, but an organized many. If the partswere not organically related, the whole that they composedwould not be one. Strictly speaking, there would be no wholeat all but merely a collection.

If it requires too many words, you have not seen theunity but a multiplicity.

Youmust apprehend the unity with definiteness. There is only oneway to know that you have succeeded. You must be able totell yourself or anybody else what the unity is, and in a fewwords. ( If it requires too many words, you have not seen theunity but a multiplicity. ) Do not be satisfied with "feeling theunity" that you cannot express. The reader who says, "I knowwhat it is, but I just can't say it," probably does not even foolhimself.

RULE 2. STATE THE UNITY OF THE WHOLE BOOK

just as there is a difference in the art of teaching indifferent fields, so there is a reciprocal difference in the art ofbeing taught.

They are all complex unities.

RuLE 3. SETFORTH THE MAJOR PARTS OF THE BOOK, AND SHOW HOW THESEARE ORGANIZED INTO A WHOLE, BY BEING ORDERED TO ONE .(\NOTHER AND TO THE UNITY OF THE WHOLE,

RULE 2. STATE THE UNITY OF THE WHOLE BOOK IN A

Analytical reading is preeminently for thesake of understanding.

The rules of such learningconstitute the art of unaided discovery.

The unity of a novel is not the sameas the unity of a treatise on politics; nor are the parts of thesame sort, or ordered in the same way. But every book without exception that is worth reading at all has a unity and anorganization of parts.

the philosopher by pointing to experiences that are common to all.

The distinction proposed here is popularly recognizedwhen we say that science is experimental or depends uponelaborate observational researches, whereas philosophy ismerely armchair thinking

James' Principles of Psychology is both a scientific and a philosophical work, although it is primarily scientific.

Natural Philosophy

Since titles and subject-matter names are not likely to helpus determine whether a book is philosophical or scientific, howcan we tell? There is one criterion that we think always works,although you may have to read a certain amount of the bookbefore you can apply it. If a theoretical book emphasizesthings that lie outside the scope of your normal, routine, dailyexperience, it is a scientific work. If not, it is philosophical.

than

story is chronotopic. Chronos is the Greek word fortime, topos the Greek word for place.

although understanding is primarily and usually a theoretical matter, there are books ( mostof them are terrible ) that purport to teach you ''how to think."

hortatory

books of normative philosophy concern themselvesprimarily with the goals all men ought to seek-goals such asleading a good life or instituting a good society-and, unlikecookbooks and driving manuals, they go no further than prescribing in the most universal terms the means that ought tobe employed in order to achieve these goals.

This book is practical, not theoretical. Any guidebook isa practical book. Any book that tells you either what youshould do or how to do it is practical. Thus you see that theclass of practical books includes all expositions of arts to belearned, all manuals of practice in any field, such as engineering or medicine or cooking, and all treatises that are conveniently classified as moral, such as books on economic,ethical, or political problems. We will later explain why thislast group of books, properly called "normative," constitutes avery special category of practical books.

To make knowledge practical we must convert it intorules of operation. We must pass from knowing what is thecase to knowing what to do about it if we wish to get somewhere. This can be summarized in the distinction betweenknowing that and knowing how. Theoretical books teach youthat something is the case. Practical books teach you how todo something you want to do or think you should do.

Fagles opts for midriff, which once meant “diaphragm” in English but today makes it sound like Sarpedon was speared somewhere between his low-rise jean shorts and his crop top.

When she is given a chance to coin a new and unusual phrase and free into English a word hitherto trapped in the amber of Greek, she unfailingly chooses the ordinary and imperfect English word.

The critic Guy Davenport, in a pan of Lattimore, wrote that translation is a game of two languages, and that “the translator is in constant danger of inventing a third that lies between.”

McCarthy’s tenure atop the House—the briefest in nearly 150 years—was as historic as it was short-lived: He won the office after fighting through more ballots than any speaker in a century, and he was the first to be removed in the middle of a term by a vote of the House.

I just try to catch ideas—andsometimes I fall in love with one and then I know what I want to do. Ithas nothing to do with money; just with translating that idea.

But you’re also expandingthe container of that knowledge.

Softer than the flower where kindness is concerned,Stronger than the thunder where principles are at stake.VEDIC DESCRIPTION OF THE ENLIGHTENED

Just bychanging something, the desire often gets fulfilled.

You become familiar with the process of catching an idea andtranslating that idea. You understand the tools and the lighting. Youunderstand the whole process—you’ve been through it before.

It’s interesting to seehow these unrelated things live together. And it gets your mindworking. How do these things relate when they seem so far apart? Itconjures up a third thing that almost unifies those first two. It’s astruggle to see how this unity in the midst of diversity could go towork.The ocean is the unity and these things float on it.

If you don’t have a setup, there are many times when you get theinspiration, the idea, but you have no tools, no place to put ittogether. And the idea just sits there and festers. Over time, it will goaway. You didn’t fulfill it—and that’s just a heartache.

It’s crucial to have a setup, so that, at any givenmoment, when you get an idea, you have the place and the tools tomake it happen.

You get in close and the textures are wonderful.

THE BOX AND THE KEYI don’t have a clue what those are.

Now, you don’t use meditation to catch ideas. You’re expandingthe container, and you come out very refreshed, filled with energy,and raring to go out and catch ideas afterward.

And we found this greatpsychology term—“psychogenic fugue”—describing an event wherethe mind tricks itself to escape some horror. So, in a way, LostHighway is about that. And also the fact that nothing can stay hiddenforever.

Because these religions are old, though, and they’vebeen fiddled with, possibly, I feel some of the original keys from themasters have been lost.

You’ve got to be able to catch ideas.

New ideas can come along during the process, too. And a film isn’tfinished until it’s finished, so you’re always on guard. Sometimesthose happy accidents occur. They may even be the last pieces ofthe puzzle that allow it all to come together. And you feel so thankful:How in the world did this happen?

The idea is the whole thing. If you stay true to the idea, it tells youeverything you need to know, really. You just keep working to make itlook like that idea looked, feel like it felt, sound like it sounded, andbe the way it was. And it’s weird, because when you veer off, yousort of know it. You know when you’re doing something that is notcorrect because it feels incorrect. It says, “No, no; this isn’t like theidea said it was.” And when you’re getting into it the correct way, itfeels correct. It’s an intuition: You feel-think your way through. Youstart one place, and as you go, it gets more and more finely tuned.But all along it’s the idea talking. At some point, it feels correct toyou. And you hope that it feels somewhat correct to others.

When we were shooting the pilot for Twin Peaks, we had a setdresser named Frank Silva. Frank was never destined to be in TwinPeaks, never in a million years.

But I’m always trying to gather what I call“firewood.” So I have piles of things I can go to and see if they’llwork.

But it wasn’t always that way. When I made Dune, I didn’t havefinal cut. It was a huge, huge sadness, because I felt I had sold out,and on top of that, the film was a failure at the box office. If you dowhat you believe in and have a failure, that’s one thing: you can stilllive with yourself. But if you don’t, it’s like dying twice. It’s very, verypainful.

There’s a safety in thinking in a diner. You can have your coffee oryour milk shake, and you can go off into strange dark areas, andalways come back to the safety of the diner.

You can catch ideas at a deeper level. And creativity really flows. Itmakes life more like a fantastic game.

Desire for an idea is like bait.When you’re fishing, you have to havepatience. You bait your hook, and then you wait.The desire is thebait that pulls those fish in—those ideas.The beautiful thing is that when you catch one fish that you love,even if it’s a little fish—a fragment of an idea—that fish will draw inother fish, and they’ll hook onto it.Then you’re on your way. Soonthere are more and more and more fragments, and the whole thingemerges. But it starts with desire.

An idea is a thought. It’s a thought that holds more than you think itdoes when you receive it. But in that first moment there is a spark. Ina comic strip, if someone gets an idea, a lightbulb goes on. Ithappens in an instant, just as in life.It would be great if the entire film came all at once. But it comes,for me, in fragments. That first fragment is like the Rosetta Stone. It’sthe piece of the puzzle that indicates the rest. It’s a hopeful puzzlepiece.

You fall in love with the first idea, that little tiny piece. And onceyou’ve got it, the rest will come in time.

You have to be able to catch ideas.

Ideas are like fish.If you want to catch little fish, you can stay in the shallow water.But if you want to catch the big fish, you’ve got to go deeper.Down deep, the fish are more powerful and more pure.They’rehuge and abstract. And they’re very beautiful.I look for a certain kind of fish that is important to me, one that cantranslate to cinema. But there are all kinds of fish swimming downthere. There are fish for business, fish for sports.There are fish foreverything.

LYNCH: Well, for me, ideas—even a fragment—convey everything. In a spark you see images, youhear sounds, you feel a mood. And it becomescomplete, even if it is a fragment. The original ideacomes with a lot of power, and you have to keepchecking back all the way through the process tosee if you are being true to it.

LYNCH: Well, I could say that Dino De Laurentiis cutmy salary and cut the budget, and then gave mefinal cut. So he was into cutting! (

I haven’t caughtthe next idea, either through a book or from theocean of ideas.

LYNCH: No. The whole thing has to make sense toyou, and it has to feel correct. And—but again, it’sbased on these ideas that have been forming andarranging and finally showing you what it is. Andit’s just focusing on those through the process.And if it makes sense, no matter how abstract asense, again it goes back to intuition rather thanjust pure intellect, and something that can be soeasily translated into words by, you know,everyone. Those are beautiful things to me,abstractions. And life is filled with them, andcinema can do abstractions.

LYNCH: No. I think a film is digested ideas andprocesses. If you take from things that have gonethrough that process, you’re further away from thesource. Ideas are the most important things. Andthey seem to be lying there in an ocean andavailable. So if you could go in and get your ownidea—now, it may have similarities to many thingsthat have gone before, but you feel it’s yours, andyou fall in love with it. And that’s a very goodfeeling.

YNCH: No. What happens is, when you getfragments, the whole is not revealed. It’s just thefragments. And then the fragments seem to want toarrange themselves. And a little bit further down theline you begin to see what is forming. And it’s asmuch a surprise to you as to anybody else.

LYNCH: I know we were doing that, but lookingback, it’s a magical process because you can’t tellwhere ideas come from, and it seems like it’s justboth of us focusing on something. And it was acouple of ideas that were fragments, and thosefragments focus you. And it seems that theyrelease a little lock on a door and the door opensand more fragments start coming in—drawn by thefirst fragments. It’s strange, because if any of youhave ever written anything, you know that one dayit’s not there and then a month later or two monthslater it’s there. And it’s two people tuning into thesame place, I think.

LYNCH: Well, I think it’s everyone’s experience thatno matter what, things come to us in fragments.

SCHWARTZ: You’ve said that Frank Daniel at AFIwas one of your first film teachers—he said that inorder to make a feature film you should takeseventy index cards and have a scene for eachindex card, and then you have a feature film.

frank danielle at the 1:29 american film institute 1:30 who was dean of the school uh center for 1:33 advanced film studies 1:34 and he taught a way to do it 1:39 um you get yourself a pack of three by 1:42 five cards 1:44 and you write a scene 1:47 on each card and when you have 70 scenes 1:52 you have uh a feature film 1:56 so on each card you write the heading of 1:58 the scene 1:59 and then the next card the second scene 2:00 the third scene four scenes so you have 2:03 70 cards 2:04 each with the name of the scene then you 2:07 flesh out each of the cards 2:09 and walk away you got a script

3D scans of runestones enable researchers to gain a close-up view of traces of the carving process. This means they can tell the carving technique of the different rune stones apart. Every experienced stonemason holds his chisel at a certain angle and strikes the hammer with a specific force: this is visible in the angle of the traces of the carving and the distance between them. The motor function developed in such work is individual.

@chrisaldrich thank you for this detailed response about your use of Obsidian and organization for digital Zettelkasten. I am not sure if this is the current forum or discussion to ask this but I would be curious to see how you have integrated or coordinated your analog Zettelkasten and notetaking with what you describe here. I've followed your posts about the use of index cards for a long time. I'd love to see how you use the very different affordances of these environments together.

How to get started with ZK and Obsidian .t3_16wgq4l._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; }

The move to academization inthe UK has happened apace. At the beginning of the 2010s only around 5 percent of English secondary schools were academy schools. By 2018, the figurewas over 70 per cent.

vouchers

Friedman called such benefits ‘neighbourhoodeffects’—the benefits that come from services that aren’t paid for.

economist Milton Friedman, and especially in hisideas on education. Back in 1955 Friedman had turned his attention to educationand written The Role of Government in Education. Education intrigued himbecause of its strange and, for the market model, rather irritating position in themarketplace. It didn’t quite fit into a neat demand-and-supply framework withchoice at the centre.

A Nation at Risk?,the Reagan administration’s analysis of what was supposedly going wrong inschools, which bemoaned the ‘rising tide of mediocrity’

pamphlets such as the Black Papers arguedfor a return to the selective system

selective system and the introduction of comprehensive schools

The author made visible efforts to put everything down on one page,leaving a generous left- hand margin, presumably to facilitate surveyingand expanding the content. He equipped the page with a circledheading in the upper left corner and hence in an easily identifiable spotthat allowed for efficient retrieval. In this way, he turned his notes intomobile textual units—an excerpt from a historical source, a newspaperclipping, the sketch of a literary character, a part of a dialogue, etc.—that could then be pulled out like slips from a slip box.The archival evidence suggests that Fontane’s most important methodsfor storing his massive amounts of material were the paper sleeves, boxes,and folders, with their slip-box effect

These storage media further increasedthe flexible use of Fontane’s archival items, because they allowed allkinds of differently sized material to be kept on loose sheets in unboundform. Receptacles filled with discrete textual objects, such as note closets( Zettelschrä nke ) and slip boxes (Zettelkasten), are advantageous storagemedia for compilers, for they invite the generative process of reshufflingsources and creating textual patchwork from new combinations. 56 Infact, Fontane used his paper sleeves like a large- format slip box. Inthem, he stored material for the Wanderungen, but also for novels,novellas, and autobiographical writings on individual sheets. 57 Theexample “Figur in einer Berliner Novelle” (“Character in a BerlinNovella”), a folio sheet from Fontane’s Nachlass, provides a glimpse ofhow he formatted his material and indicates how important he found itto keep it in slip-like form (Figure 3.2).

In these instances, he could outsource partsof the work process to his personal amanuenses, his youngest children,Martha and Friedrich, who acted as scribes and copied book passagesthat he had marked.

Fontane’s most basic modes of literary production have much incommon with this textual practice. Whether he was working on a travelreport, a historical essay, a book review, or a new novel, he followed aroutine of scouring, excerpting, and rearranging. He amassed largequantities of source material—culled mostly from circulatingnewspapers and journals, but also from letters, images, historicaldocuments, and monographs—in disconnected notebook entries andon loose folio sheets. He then surveyed these textual building blocks,outlined rearrangements with the help of lists, and combined them intoa new text. This pattern of production could be surprisingly mechanical.

other “paper tools,” 3 such as cardboard boxes, file folders, andenvelopes—the book demonstrates that Fontane produced his prosefi ction, feuilleton essays, and other contributions to the press in acreative process that was the exact opposite of his self- staging as theinspired mouthpiece of the muses. Deliberate at every step, heassembled his texts from pre- mediated sources with scissors and glue,in an extraordinarily inorganic, radically intertextual, and completelyconscious manner.

To this end, the study follows Fontane into theengine room of his text production.

This coinage goes back to Ursula Klein and describes writing media that have anepistemic impact. See her essay “Paper Tools in Experimental Cultures: TheCase of Berzelian Formulas,” Studies in the History and Philosophy of Science 32( 2001 ): 265–312.

nobody ever said that reading was easy reading is is 02:25:41 very hard if it weren't hard it wouldn't be worth doing correct and the better the work that you're reading the harder the work is and therefore the more satisfying

this little discussion we're having reminds me of a lecture I once gave many years ago shortly after how to read a book was first published which which I said that I thought that solitary 02:17:34 reading was almost as much advice as solitary drinking

William Butler Yates is called sailing to Byzantium 02:13:12 and here the key word is not the last word or in the last stanza it comes right at the beginning and if you miss it and go over it too fast you have missed the meaning of the poem it's a it starts out by saying that is No Country 02:13:26 for Old Men

a uh willing suspension of disbelief as uh Coleridge called it