18,755 Matching Annotations
  1. Nov 2022
    1. There’s a printed facsimile of the White Book, (Llyfr Gwyn Rhydderch) one of the two central medieval Welsh manuscripts of the Mabinogi and the other tales, all in Welsh.
    2. Checklist of Middle Welsh Particles by Professor David Klausner at the University of Toronto.
    3. If you are at all serious about Welsh mythology, you will want Rachel Bromwich’s Triodd Ynys Prydein. Bromwich has a super introduction, all the triads, in English and Welsh, and extensive notes on names. Her notes alone are worth the money.
    1. I am not particularly strict about how I organize these. The point is to be able to find them again, which I can whether it's noted in the source or as a more detailed claim.

      Konik cites Raccoon Nation on PBS which indicates that a racoon's most heightened sense is it's sense of touch, a sense which is increased when the hands are wet or under water.

      Is this tied into the popular stories of raccoons which presumably like to "wash their food?" Is it really their sense of touch and affordances which come from that that presses this impression?

    2. https://www.obsidianroundup.org/the-konik-method-for-making-notes/

      Eleanor Konik explores, in reasonable depth, how she makes notes and uses Obsidian to manage them. She doesn't talk much about the philosophy of her method in a prescriptive manner so much as she looks directly at her process.

      This isn't so much a "rules" set, but takes some pre-existing rules (unstated) and shows how she bends them to her particular needs for outputs primarily in non-academic settings.

    3. Since this can involve a lot of repetitive actions on a long file, I use this javascript code along with the QuickAdd plugin, to do it for me.
      • [ ] May be worth coming back to explore this part of the Obsidian workflow at some point for some automation. (@2022-11-08)
    4. Not every highlight needs to become a "card" — and having things in my notes that are highlighted but don't need to be turned into further notes does not mean that I have failed by "over-highlighting." Useful notes are messy, and time is valuable. A sense of completionism is nice for some things but mostly just gets in the way when it comes to learning. I read about 10% of the articles that show up in my feed. I take highlight about 50% of those, and affirmatively take notes on about 10% of those. This doesn't mean I wasted my time reading, or that I failed at notetaking because I should have done a better job of taking comprehensive notes. It means I used judgment, and used my time wisely, and focused on things that were worthwhile from a return on investment perspective.

      While there are rules and processes for taking notes, it's small personal tidbits like this that are harder fought knowledge for the beginner who generally only learns these bits through work and experience.

    5. For example, if I've left myself a note like #pkm/xref this reminds me of something the Carthage expert I like said, but I can't remember her name I will search my notes to figure out the name of the Carthage expert I like, cross-reference the highlight with things she said, and add links and update notes as appropriate. If I said something like This reminds me of the article about the guy a crane is in love with when I was taking notes on something without access to my notes, I will go find the article and link to my notes about it so that my backlinks and graph are updated.

      I'm not sure how frequent this pattern is within fleeting notes, but it's something I do myself to create at least a temporary shorthand context of how things interrelate and which can easily be cleaned up later in the longer form permanent notes.

      The tougher thing is to always capture these sorts of things which one won't remember, but which quite often create better and stronger insights down the road.

    6. My highlights are littered with notes to self and action items - it's not all pure knowledge.

      this is a good example of the personal side of note taking that isn't always outwardly seen

      each person's notes will be personal to them

    7. Inevitably, I read and highlight more articles than I have time to fully process in Obsidian. There are currently 483 files in the Readwise/Articles folder and 527 files marked as needing to be processed. I have, depending on how you count, between 3 and 5 jobs right now. I am not going to neatly format all of those files. I am going to focus on the important ones, when I have time.

      I suspect that this example of Eleanor Konik's is incredibly common among note takers. They may have vast repositories of collected material which they can reference or use, but typically don't.

      In digital contexts it's probably much more common that one will have a larger commonplace book-style collection of notes (either in folders or with tags), and a smaller subsection of more highly processed notes (a la Luhmann's practice perhaps) which are more tightly worked and interlinked.

      To a great extent this mirrors much of my own practice as well.

    8. I never want to be one of those people who who write extensively about note-writing but rarely have a serious context of use.

      She's probably right that too many" influencers" in the space don't have actual context for use.

      Love that she links to Andy Matuschak's admonishment about this...

    9. I am not an academic and don't have to worry about that, so at the individual level, I focus on the stuff I actually care about – the content of the quote.

      Even though she's very explicitly taken a pro-citation stance earlier in the essay on moral and ethical grounds, Eleanor Konik takes a less hands-on approach to her collection of citations here preferring to focus on the content of a quote rather than where it came from.


      Interesting anecdote about personal approach to citations to compare academics and non-academics.

    10. Nobody ever says rubber ducky debugging involves writing memos to your preferred duck, after all.

      Seemingly both rubber duck debugging and casual conversations with acquaintances would seem to be soft forms of diffuse thinking which may help one come to a heuristic-based decision or realization.

      These may be useful, but should also be used in combination with more logical, system two forms of decision making. (At least not in the quick, notice the problem sort of issues in which one may be debugging.)

    1. Abrams, Douglas. “Historian Barbara W. Tuchman on the ‘Art of Writing’ (Part II).” Precedent 9, no. 1 (January 1, 2015): 18–21. http://ssrn.com/abstract=2581159

      Interesting view of writing and a short collection of reasonable writing advice. Perhaps a bit too much focus on other writers given the title of the piece. Not sure it was all brought together in the nice bow it may have otherwise had, but interesting nonetheless.

    2. Justice Louis D.Brandeis instructedlawyers that “there is nosuch thing as good writ-ing. There is only goodrewriting.”23
    3. “Broadly speaking, the shortwords are the best, and the old wordswhen short are best of all,” attestedformer British Prime Minister WinstonChurchill,
    4. “Usethe smallest word that does the job,”advised essayist and journalist E. B.White.20
    5. “[T]here is always a short word for it,”Rogers said. “‘I love words but I don’tlike strange ones. You don’t under-stand them, and they don’t understandyou. Old words is like old friends– you know ‘em the minute you see‘em.”17

      17 betty roGerS, wiLL roGerS 294 (1941; new ed. 1979) (quoting Rogers).

    6. Novelists Ernest Hemingway and Wil-liam Faulkner, for example, went backand forth about the virtues of simplic-ity in writing. Faulkner once criticizedHemingway, who he said “had nocourage, never been known to use aword that might send the reader to thedictionary.” “Poor Faulkner,” Heming-way responded, “Does he really thinkbig emotions come from big words?He thinks I don’t know the ten-dollarwords. I know them all right. But thereare older and simpler and better words,and those are the ones I use.”15

      15 A.E. Hotchner , PAPA heminGwAy 69-70 (1966) (quoting Hemingway).

    7. Justice Felix Frankfurter,a prolific writer as a Harvard lawprofessor before joining the SupremeCourt, was right that “[a]nything thatis written may present a problem ofmeaning” because words “seldomattain[] more than approximate preci-sion.”12

      12 Felix Frankfurter, Some Reflections On the Reading of Statutes, 47 CoLUm . L. rev. 527, 528 (1947), reprinting Felix Frankfurter, Sixth Annual Benjamin N. Cardozo Lecture, 2 Rec. Bar Ass'n City of N.Y. (No. 6, 1947).

    8. Guy de Maupassant, was no lawyer,but his advice can help guide lawyerswho seek precision in their writing.“Whatever you want to say,” he assert-ed, “there is only one word to expressit, only one verb to give it movement,only one adjective to qualify it. Youmust search for that word, that verb,that adjective, and never be contentwith an approximation, never resortto tricks, even clever ones, and neverhave recourse to verbal sleight-of-hand to avoid a difficulty.”11

      11 Guy de Maupassant, Selected Short Sto- ries 10-11 (Roger Colet ed., 1971) (Maupassant quoting French writer Gustave Flaubert).

    1. https://www.youtube.com/watch?v=2ueMHkGljK0

      Robert Greene's method goes back to junior high school when he was practicing something similar. He doesn't say he invented it, and it may be likely that teachers modeled some of the system for him. He revised the system over time to make it work for himself.


      • [x] Revisit this for some pull quotes and fine details of his method. (Done on 2022-11-08)
    2. Origin of Robert Greene's (May 14, 1959 - ) note taking system using index cards:<br /> Greene didn't recall a specific origin of his practices, but did mention that his mom found some index cards at his house from a junior high school class. (Presuming a 12 year old 7th grader, this would be roughly from 1971.) Ultimately when he wrote 48 Laws of Power, he was worried about being overwhelmed with his notes and ideas in notebooks. He naturally navigated to note cards as a solution.

      Uses about 50 cards per chapter.

      His method starts by annotating his books as he reads them. A few weeks later, he revisits these books and notes to transfer his ideas to index cards. He places a theme on the top of each card along with a page number of the original reference.

      He has kept much the same system as he started with though it has changed a bit over time.

      You're either a prisoner of your material or a master of your material.

      This might not be the best system ever created, but it works for me.

      When looking through a corpus of cards for a project, Robert Greene is able to make note of the need to potentially reuse a card within a particular work if necessary. The fact that index cards are inherently mobile within his projects make them easy to move and reuse.

      I haven't heard in either Robert Greene or Ryan Holiday's practices evidence that they reuse notes or note cards from one specific project to the next. Based on all the evidence I've seen, they maintain individual collections for each book project for which they're developing.

      [...] like a chameleon [the index card system is] constantly changing colors or [like] something that's able to change its shape at will. This whole system can change its shape as I direct it.

    3. Robert Green appears to use a Globe-Weis/Pendaflex Fiberboard Index Card Storage Box, 4 x 6 Inches, Black Agate (94 BLA) to store his index card-based notes.

      How I Write My Books: Robert Greene Reveals His Research Methods When Writing His Latest Work, 2020. timestamp 0:00:30.

      syndication link

    4. Robert Greene: (pruriently) "You want to see my index cards?"<br /> Brian Rose: (curiously) Yeah. Can we?? ... This is epic! timestamp

    1. https://hypothes.is/search?q=tag%3A%27etc556+etcnau%27

      Randomly ran across a great tag full of education resources...

      Seems to be related to this class:<br /> ETC 556 - Contexts And Methods Of Technology In Adult Education

      Description: This course is designed for adult educators in the various contexts, including: higher education, military, non-profit, health and business settings. Through research, readings and collaborative activities, students will gain an understanding of various adult learning methods that include, but are not limited to, training, professional development, performance improvement, online and mobile learning. Letter grade only.

      https://catalog.nau.edu/Courses/course?courseId=011553&catalogYear=2223

    1. https://forum.obsidian.md/t/alternative-checkboxes-icon-bullets-copy-and-paste/35962

      A list of alternative checkboxes or icon bullets for Obsidian (and potentially other platforms). Potentially useful for search and filtering as well.


      • [ ] to-do
      • [/] incomplete
      • [x] done
      • [-] canceled
      • [>] forwarded
      • [<] scheduling
      • [?] question
      • [!] important
      • [*] star
      • ["] quote
      • [l] location
      • [b] bookmark
      • [i] information
      • [S] savings
      • [I] idea
      • [p] pros
      • [c] cons
      • [f] fire
      • [k] key
      • [w] win
      • [u] up
      • [d] down
    1. https://www.cold-takes.com/learning-by-writing/

      Meh... generic process. Nothing broadly new here. The extended example is flawed because it's a broad thesis by a top level aggregator who doesn't have their own expert level experience (seemingly). Better to start from there, but delving more deeply into the primary literature of people who may have that experience.

    1. Originally blogs were called weblogs: a log of activity that you wrote to the web. Peter Merholz jokingly split the term into two words to make it an activity: we blog. Ev Williams started to use it as a verb and a noun: to blog. And the rest is history.
    2. https://getblogging.org/

      A Ben Werdmuller joint

    1. social historian G. M. Trevelyan (1978) put theissue some time ago, ‘Education...has produced a vast population able to readbut unable to distinguish what is worth reading.’
    2. It’s a basic question—what are children and young people in school for?
    3. As the British prime minister WilliamGladstone put it at the time in the Edinburgh Review, speaking of the remarkablePrussian success in the Franco-Prussian War: ‘Undoubtedly, the conduct of thecampaign, on the German side, has given a marked triumph to the cause ofsystematic popular education.’
    4. it was clear that the European and US competitors werebenefiting from these changes to the curriculum in advances in commerce, inindustry, and even on the battlefield.

      Compulsory education and changes in curriculum in the United States and some of it's competitors in the late 19th century clearly benefitted advances in commerce, industry, and became a factor in national security.

    5. Forster’sAct in 1870, which mandated education for all children up to the age of 10 inBritain.
    6. Samuel Bowles and Herbert Gintis intheir classic Schooling in Capitalist America

      Bowles and Gintis apparently make an argument in Schooling in Capitalist America that changes in education in the late 1800s/early 1900s served the ends of capitalists rather than the people.

    7. Although Rousseau had an influence on a handful of European educators, itwould be misleading to imply that the impact on education of these new ideasabout learning through discovery was, at the time, profound.

      Did Rousseau have an influence on Maria Montessori? Where was the origin of her philosophy?

    1. See also Dan Hon’s excellent suggestion for news organizations— or universities, companies, or any organization or institution — to set up their own Mastodon servers to verify and control their users.

      Small town newspapers and libraries could set up Fediverse servers for their constituents as well.

      See also: Hometown by Darius Kazemi

    1. https://pinafore.social/

      Pinafore is a web client for Mastodon, designed for speed and simplicity.

      <small><cite class='h-cite via'> <span class='p-author h-card'>Jessica Smith</span> in Small Web - Jayeless.net (<time class='dt-published'>07/03/2021 23:34:42</time>)</cite></small>

    1. Any migration is likely to face many of the challenges previous platform migrations have faced: content loss, fragmented communities, broken social networks and shifted community norms.
    2. By asking participants about their experiences moving across these platforms – why they left, why they joined and the challenges they faced in doing so – we gained insights into factors that might drive the success and failure of platforms, as well as what negative consequences are likely to occur for a community when it relocates.
    1. And this is the art-the skill or craftthat we are talking about here.

      We don't talk about the art of reading or the art of note making often enough as a goal to which students might aspire. It's too often framed as a set of rules and an mechanical process rather than a road to producing interesting, inspiring, or insightful content that can change humanity.

    2. You cannot followrules you do not know. Nor can you acquire an artistic habitany craft or skill-without following rules. The art as something that can be taught consists of rules to be followed inoperation. The art as something learned and possessed consists of the habit that results from operating according to therules.

      This is why one has some broad general rules for keeping and maintaining a zettelkasten. It helps to have some rules to practice and make a habit.

      Unmentioned here is that true artists known all the rules and can then more profitably break those rules for expanding and improving upon their own practice. This is dramatically different from what is seen by some of those who want to have a commonplace or zettelkasten practice, but begin without any clear rules. They often begin breaking the rules to their detriment without having the benefit of long practice to see and know the affordances of such systems before going out of their way to break those rules.

      By breaking the rules before they've even practiced them, many get confused or lost and quit their practice before they see any of the benefits or affordances of them.

      Of course one should have some clear cut end reasons which answer the "why" question for having such practices, or else they'll also lose the motivation to stick with the practice, particularly when they don't see any light at the end of the tunnel. Pure hope may not be enough for most.

    3. Knowing the rules of an art is not the same as having thehabit.
    4. That is to make notes about the shape of the discussion-the discussion that is engaged in by all of the authors,even if unbeknownst to them. For reasons that will becomeclear in Part Four, we prefer to call such notes dialectical.

      Dialectical notes are made at the level of syntopical reading and entail creating a conversation not only between the reader and the author, but create a conversation of questions and answers between and among many texts and the reader.

    5. during an analytical reading, you will need to give answers to questions about the truthand significance of the book. The notes you make at this levelof reading are, therefore, not structural but conceptual.

      Conceptual notes are made during the analytical reading of a book and "give answers to questions about the truth and significance of the book."

    6. The point to recognize is that these notes primarily concern the structure of the book, and not its substance-at leastnot in detail. We therefore call this kind of note-making structural.

      Adler and Van Doren define structural note making as the sorts of questions one might ask at the level of inspectional reading including: - what kind of book is it? - what is it about? - what is the overall structure with respect to the argument the author intends to make?

    7. The Three Kinds of N o te-making
    8. There are all kinds of devices for marking a book intelligently and fruitfully

      General methods of annotating or marking a text:<br /> - underlining, circling, boxing, enclosing, or highlighting - vertical lines in margin - stars, asterisks, symbols, dogears, (implied: bookmarks) - numbers sequencing arguments - page numbers as cross references - writing in the margin: questions and answers - writing in the endpapers


      Are there other methods and marks that aren't catalogued here?

      The idea of drolleries used as mnemonics is one which quickly comes to mind.

      They do mention cross-references to page numbers within the text, but fail to mention links to ideas in other texts. (Perhaps they cover this later under syntopical reading and marking?)

    9. the front endpapers are oftenthe most important. Some people reserve them for a fancybookplate.

      Adler and Van Doren indicate that outlining the arguments and structure of a book on its endpapers is a better and higher measurement of one's ownership of a text compared to a bookplate which only indicates the lower level of "financial" ownership.

    10. The endpapers at the back ofthe book can be used to make a personal index of the author'spoints in the order of their appearance.
    11. Marking a book is literally an expression of your differences or your agreements with the author. It is the highest respect you can pay him.
    12. Reading a book should be a conversation between you andthe author.
    13. writing your reactions downhelps you to remember the thoughts of the author.
    14. Second, reading, if it is active, is thinking, and thinking tendsto express itself in words, spoken or written. The person whosays he knows what he thinks but cannot express it usually doesnot know what he thinks.

      Active reading is thinking, and thinking requires expression which can come in many forms including both spoken and written ones.


      I like that he acknowledges that expression (and thus thinking) can be done in both oral or written forms.

    15. Why is marking a book indispensable to reading it? First,it keeps you awake-not merely conscious, but wide awake.Second, reading, if it is active, is thinking, and thinking tendsto express itself in words, spoken or written. The person whosays he knows what he thinks but cannot express it usually doesnot know what he thinks. Third, writing your reactions downhelps you to remember the thoughts of the author.
    16. . Full ownership of a bookonly comes when you have made it a part of yourself, and thebest way to make yourself a part of it-which comes to thesame thing-is by writing in it.
    17. The pencil then becomes the sign of your alertness while you read.
    18. Knowing what the four questions are is not enough. Youmust remember to ask them as you read.
    19. 4. WHAT OF IT?

      This reminds me of the purpose of reading at CAA. If you tell no one about it, then it wasn't worth the effort. What new did you learn and how did you pass that on to improve your friends, colleagues, and society?

    20. 3. Is THE BOOK TRUE, IN WHOLE OR PART?
    21. 2. WHAT IS BEING SAID IN DETAIL, AND HOW?
    22. 1. WHAT IS THE BOOK ABOUT AS A WHOLE?
    23. There are four main questions youmust ask about any book.
    24. inspectional reading is always active.
    25. To use a good book as a sedative is conspicuous waste.
    26. Superficialreading is the first necessary step in the interpretation of abook's contents.
    27. Systematic skimming, in other words,anticipates the comprehension of a book's structure.

      also includes opening oneself up to open questions one might either ask themselves or those which the author proposes.

    28. A better formula is this : Every book should be readno more slowly than it deserves, and no more quickly than youcan read it with satisfaction and comprehension.
    29. the primarytask-recognized as such by all speed reading courses-is tocorrect the fixations and regressions that slow so many readersdown
    30. This is a rhetorical flourish, and it deserves what mererhetoric always deserves
    31. The tremendous pleasure that can come from readingShakespeare, for instance, was spoiled for generations of highschool students who were forced to go through Julius Caesar,As You Like It, or Hamlet, scene by scene, looking up all thestrange words in a glossary and studying all the scholarly footnotes. As a result, they never really read a Shakespearean play.
    32. The answer lies in an important and helpful rule of reading that is generally overlooked.That rule is simply this: In tackling a difficult book for the firsttime, read it through without ever stopping to look up orponder the things you do not understand right away.
    33. You will be surprised to find out howmuch time you will save, pleased to see how much more youwill grasp, and relieved to discover how much easier it all canbe than you supposed.

      The authors don't cover it, but the skimming portion of inspectional reading helps one to build some of the context which the author is attempting to relay. Preloading some of this context will decrease one's mental burden when more deeply and actively attempting to consume a text.

    34. You should also be able to placethe book even more accurately than before in your mental cardcatalogue, for further reference if the occasion should everarise.

      use of "mental card catalogue" as memory

    35. Of course, if theblurb is nothing but a puff for the book, you will ordinarily beable to discover this at a glance. But that in itself can tell yousomething about the work. Perhaps the book does not sayanything of importance-and that is why the blurb does notsay anything, either.
    36. Milton,for example, wrote more or less lengthy headings, or "Arguments," as he called them, for each book of Paradise Lost.
    37. Skimming or pre-reading is thefirst sublevel of inspectional reading.
    38. there are two types ofinspectional readin
    39. Weare on record as holding that unlimited educational opportunity-or, speaking practically, educational opportunity thatis limited only by individual desire, ability, and need-is themost valuable service that society can provide for its members.

      This broadly applies to both oral and literate societies.

      Desire, ability, and need are all tough measures however... each one losing a portion of the population along the way.

      How can we maintain high proportions across all these variables?

    Tags

    Annotators

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    1. https://forum.zettelkasten.de/discussion/848/zettelizers

      A thread about what to call those who have a zettelkasten or those who practice the method.

    2. Zettelphile

      This also has a nod to the idea of "filing". 😁

    3. Being an English only speaker I love the mystery invoked by the German term "Zettelkasten".

      Example of someone who sees "mystery" in the idea of Zettelkasten, which becomes part of the draw into using it.

    1. I've been told since the first day I started working at the Division of Hospital Medicine at @UCSF that my work doesn't bring in $ to cover my salary. It's a narrative of manufactured scarcity, a common tactic in capitalism. The CEO is making $1.85 million plus bonuses.

      — Rupa Marya, MD (@DrRupaMarya) November 4, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

      A Hospitalist’s economic value is in what we *save* the system in terms of quality-driven care and patient throughput (DC/unit time), not in how much we bring in through profees. Because of how the system is structured, you’ll only see our value when we aren’t there.

      — Rupa Marya, MD (@DrRupaMarya) November 4, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

      This sounds a lot like hospitalists fall under David Graeber's thesis in Bullshit Jobs that the more necessary and useful you are the less you're likely to get paid and be valued.


      I suspect the ability to track an employees' direct level of productivity also fits into this thesis. One can track the productivity of an Amazon warehouse worker or driver, but it's much more difficult to track the CEOs direct productivity.

    1. https://infiniteconversation.com/

      an AI generated, never-ending discussion between Werner Herzog and Slavoj Žižek. Everything you hear is fully generated by a machine. The opinions and beliefs expressed do not represent anyone. They are the hallucinations of a slab of silicon.

    1. Blake, Vernon. Relation in Art: Being a Suggested Scheme of Art Criticism, with Which Is Incorporated a Sketch of a Hypothetic Philosophy of Relation. Oxford University Press, H. Milford, 1925. https://www.google.com/books/edition/Relation_in_Art/BcAgAAAAMAAJ?hl=en

      Suggested by

      "Relation in Art" by Vernon Blake (1925), because it put art criticism on a quasi-scientific footing, articulated what was great about the art of all epochs (including the Greeks), and intelligently criticised the decline of art in the 20th century.

      — Codex OS (@codexeditor) November 5, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
    1. Even after his death, articles he had written appeared in the CTC Gazette (CTC = Cyclists' Touring Club), such as the description of a wheel with balloon tires and small gears in July 1930, which is considered the first mountain bike or its forerunner. [13] [2] [14]

      Vernon Blake, in a posthumous article in the CTC Gazette from July 1930, wrote a description of a bicycle with balloon tires and small gears, which is now considered the first mountain bike.

    1. I'm pretty much done thinking about "tools for thought". It quickly becomes an infinity of navel gazing and a complete waste of time. It's an easy topic for budding "influencers" because you don't actually need to know anything. All they need is to spend some time with a new bit of software and tell people how they should use it and the next thing you know they're selling an online course via their budding YouTube channel.

      scathing, but broadly true...

    1. https://notebookofghosts.com/2018/02/25/a-brief-guide-to-keeping-a-commonplace-book/

      very loose and hands-off on dictating others' practices

      nothing new to me really...

    2. I also suggest letting your first commonplace be a trial run.

      Because your note taking practices will grow and evolve, don't get over-involved in too many specifics up front. Start somewhere and see where it goes.

    3. This is one compiler’s approach to keeping a commonplace book.

      Commonplacing is a personal practice.

    1. A commonplace book is what a provident poet cannot subsist without, for this proverbial, reason, that "great wits have short memories;" and whereas, on the other hand, poets, being liars by profession, ought to have good memories; to reconcile these, a book of this sort, is in the nature of a supplemental memory, or a record of what occurs remarkable in every day's reading or conversation. There you enter not only your own original thoughts, (which, a hundred to one, are few and insignificant) but such of other men, as you think fit to make your own, by entering them there. For, take this for a rule, when an author is in your books, you have the same demand upon him for his wit, as a merchant has for your money, when you are in his. By these few and easy prescriptions, (with the help of a good genius) it is possible you may, in a short time, arrive at the accomplishments of a poet, and shine in that character[3].

      "Nullum numen abest si sit prudentia, is unquestionably true, with regard to every thing except poetry; and I am very sure that any man of common understanding may, by proper culture, care, attention, and labour, make himself whatever he pleases, except a good poet." Chesterfield, Letter lxxxi.

      See also: https://en.m.wikisource.org/wiki/Page:The_Works_of_the_Rev._Jonathan_Swift,_Volume_5.djvu/261 as a source


      Swift, Jonathan. The Works of the Rev. Jonathan Swift. Edited by Thomas Sheridan and John Nichols. Vol. 5. 19 vols. London: H. Baldwin and Son, 1801.

    1. http://www.shopbrodart.com/library-supplies/archival-supplies/archival-storage-boxes/Archival-Specialty-Storage-Boxes/_/Post-Card-Boxes/

      N.B. presuming the 4 1/8" H dimension is even the outer dimension, this means that one can't easily keep tab cut dividers which often go from 4 3/8" to 4 1/2" tall in these boxes with the lids on properly.

      Instead, one may prefer their slightly larger microfiche boxes which go up to 4 3/4" which should also presumably fit their microfiche divider guides for sectioning one's work.

      Another subtle difference in these two boxes is that the smaller is 60-pt paper versus 40-pt for the larger microfiche box, which means that while sturdy, isn't quite as sturdy.

    1. Mason Currey’s book “Daily Rituals: Women at Work.” It gives cheerful summaries about how some of the most prolific, successful artists managed their time.
    2. From the beginning I found myself deeply challenged and stuck — freaked out by the blank page. So I started to use my skills as a filmmaker. I note-carded it. I had the notes above my computer, and I got to do a little “X” when I finished the draft of a chapter; it was this really satisfying moment.

      Erin Lee Carr talks about using index cards to write a book about her father, but her practice sounds more like index cards with headings as a means of structuring a story and not actually writing the entire work out on cards.

    3. “Don’t buy into your myth.”

      Stanley Meyer always said, "Don't believe your own publicity."

    4. always take the meeting
    5. <small><cite class='h-cite via'> <span class='p-author h-card'>Billy Oppenheimer</span> in The Notecard System: Capture, Organize, and Use Everything You Read, Watch, and Listen To (<time class='dt-published'>11/03/2022 16:53:44</time>)</cite></small>

    1. Harvard a guy by the name of um Alfred Bushnell Hart uh Well Albert sorry Albert I always get Alfred 00:02:31 and Albert wrong um wrote a five volume set of primary sources and he was one of the first um American historians that was actually um trained in Germany by Prof you know 00:02:43 in this new kind of professional history that that they began doing at about that time
    2. primary source uh press books thing

      US History and Primary Source Anthology, volume 1<br /> https://minnstate.pressbooks.pub/ushistory1/

    1. 3/ Champion your competition’s work<br><br>With his reading list email, on podcasts, in his bookstore, Ryan promotes other books more than his own.<br><br>When asked, he’ll say:<br><br>“Authors think they’re competing with other authors. They’re not. They’re competing with people not reading.”

      — Billy Oppenheimer (@bpoppenheimer) August 24, 2022
      <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
    1. Carlin’s bags of categorized ideas, from the archives of George Carlin

      George Carlin kept his slips (miscellaneous scraps of collected paper with notes) sorted by topic name in Ziploc bags (literally that specific brand given the photo's blue/purple signature on the bag locks).

      This is similar to others, including historian Keith Thomas, who kept his in labeled envelopes.

    1. Oppenheimer, Billy. “The Notecard System: Capture, Organize, and Use Everything You Read, Watch, and Listen To.” Billy Oppenheimer (blog), August 26, 2022. https://billyoppenheimer.com/notecard-system/.

    2. Emerson is, “I cannot remember the books I’ve read any more than the meals I have eaten; even so, they have made me.”

      source?

    3. When he was coming up as a writer, the author and journalist Rex Murphy would write out longhand favorite poems and passages. He was asked, what’s that done for you? “There’s an energy attached to poetry and great prose,” Murphy said. “And when you bring it into your mind, into your living sensibility, by some weird osmosis, it lifts your style or the attempts of your mind.” When you read great writing, when you write down a great line or paragraph, Murphy continues, “somehow or another, it contaminates you in a rich way. You get something from it—from this osmotic imitation—that will only take place if you lodge it in your consciousness.”

      This writing advice from Rex Murphy sounds like the beginning portions of Benjamin Franklin's advice on writing and slowly rewriting one's way into better prose styles.

      Link to Franklin's quote

    4. David Brooks talks about what he calls the “theory of maximum taste.” It’s similar to what Murphy is saying. “Exposure to genius has the power to expand your consciousness,” Brooks writes. “If you spend a lot of time with genius, your mind will end up bigger and broader than if you [don’t].”
    5. Ronald Reagan notecard

    6. here

      this source doesn't resolve properly, but goes to the Notion page where Oppenheimer apparently wrote the article originally

      https://www.notion.so/The-Notecard-System-Capture-Organize-and-Use-Everything-You-Read-Watch-and-Listen-To-9f364f71470c4c78aadb7814596af732

    7. evolution of my processes.

      A note taking practice is almost always an evolving process with a variety of different pressures and variables in how it takes form.

      List out these variables and pressures.

    8. Tiago’s methodology is app-agnostic. He’s a systems and principles kind of thinker, so even though I use physical notecards, his work has influenced the evolution of my processes.

      Billy Oppenheimer indicates that Tiago Forte's systems and methods have influenced the evolution of his own note taking process.

    9. Robert Greene’s notecards

      Looks kind of like Billy Oppenheimer's box choice is heavily influenced by Robert Greene's.

    10. I review the cards way more than I originally thought was necessary. Almost daily, I engage with the boxes in one way or another.

      Oppenheimer interacts with his zettelkasten almost daily. He reviews them more often than he originally thought he would.

    11. Do you keep track of what cards you’ve used and haven’t used? No. If I need to, I’ll search the various places online I might have used the contents of a notecard.

      Oppenheimer doesn't have a system for tracking which cards he's used or not. When necessary he relies on manual search to find those places, but doesn't say if he still reuses them or how often.

    12. How do you make sure you don’t lose track of cards? I don’t make sure I don’t lose track of cards. As I said above and as some of the people below talk about, one of the joys of the system is when you surprise yourself, when you rediscover, when you find the perfect card while you were looking for something else.

      Oppenheimer doesn't keep track of specific cards (he didn't discuss how he files them, other than loosely together, potentially for specific projects) and finds that this creates a greater amount of surprise for him when searching for ideas within his system.

      Missing here is any sort of topic or subject headings.... double check this as it's a key to most systems.

    13. I went with a smaller box because it appears to fill up faster and that is satisfying. Also, it—along with my laptop, iPad, some pens, and a few books—fits in this Carhartt bag I take wherever I go.

      This is literally a "tool" bag (meant for hand tools): https://www.amazon.com/Carhartt-Legacy-Tool-16-Inch-Black/dp/B01BBSNZG0

    14. I never immediately read an article then make a notecard.

      By waiting some amount of time (days/weeks/a few months) between originally reading something and processing one's notes on it allows them to slowly distill into one's consciousness. It also allows one to operate on their diffuse thinking which may also help to link ideas to others in their memory.

    15. When I come across interesting information, I highlight then comment a corresponding question:

      Every studio has a slate.

      What is the source for this?

      It's highly related to having a direction in life, or the famous example of Feynman's 12 Favorite Problems that he always kept in mind to slowly be working at.

      Part of having a list of purpose dovetails to how one builds their identity too.

    16. Throughout this piece Oppenheimer provides examples of notes he wrote which eventually made it into his written output in their entirety.

      This has generally been uncommon in the literature, but is a great form of pedagogy. It's subtle, but it makes his examples and advice much stronger than others who write these sorts of essays.

    17. This reminded me of Robert Greene’s definition of creativity, which is that creativity is a function of putting in lots of tedious work. “If you put a lot of hours into thinking and researching and reading,” Robert says, “hour after hour—a very tedious process—creativity will come to you.” 

      Robert Green's definition of creativity sounds like it's related to diffuse thinking processes. read: https://billyoppenheimer.com/august-14-2022/

      Often note taking, and reviewing over those notes is more explicit in form for creating new ideas.

      Come back to explore these.

    18. On the back of the notecard, I put the book title and page number(s).

      Billy Oppenheimer has said that he puts the references for his reading notes on the reverse side of his cards, breaking the long standing rule to write only on one side of one's note cards.

    19. When I come across something that reminds me of some other story or idea or etc., I write “<=> INSERT RELATED THING” in the margin.

      He's literally drawing out bi-directional links to other ideas in his collection of notes as he creates fleeting notes so that he doesn't forget them in the future.

    20. For example, I recently read about how Lin-Manuel Miranda tells the same story dozens of times to the same person because he forgets who he already told. Once, when he finished telling his collaborator Tommy Kail a story, Kail said, “That happened to me. I told you that.” They both laughed then Kail added, “That’s why you’re cut out for theater, because you’ll tell it like it’s the first time.” So in the margin I wrote, LIKE IT’S THE FIRST TIME:

      This is interesting for itself.

      (reference: Sicker in the Head)


      It's also interesting because it's an example of regular rehearsal that actors, comedians, storytellers, performers and even salespeople often do to slowly hone and improve their performance or pitch. Each retelling and the response it gives provides subtle hints and clues as to how to improve the story or performance on the next go round, or at least until the thing is both perfected and comes out the same way every time.

    21. When I come across interesting information, I underline then write a corresponding question in the margin. So what I underlined is an answer to the question.

      This practice is quite similar to writing out good spaced repetition question/answer cards for forcing active recall and better long term memory.

    22. “There is then creative reading as well as creative writing,” Emerson said. “The discerning will read…only the authentic utterances of the oracle—all the rest he rejects.”
    23. Emerson liked to identify four classes of readers: the hourglass, the sponge, the jelly-bag, and the Golconda. The hourglass takes nothing in. The sponge holds on to nothing but a little dirt and sediment. The jelly-bag doesn’t recognize good stuff, but holds on to worthless stuff. And the Golconda (a rich mine) keeps only the pure gems.

      Where is the origin of this reading analogy?

    24. Randall Stutman, an executive advisor and prolific note-taker, says, “collecting insights is just the preamble to what really matters: reviewing, with some level of consistency, those insights. You have to routinely make those insights available to yourself.” “Wisdom is only wisdom if you can act on it,” Randall says. “In the review process, you’re making those insights available for your mind to act on.”

      Regular review through one's note cards is important for the memory portion of directly remembering your insights and received wisdom, but they're also important for helping to allow you to grow them into new ideas as well as combining them with other ideas to allow dramatic innovation.

    25. can

      typo

      (can't)

    26. The novelist and screenwriter Raymond Chandler said he avoided reading books written by someone who didn’t “take the pains” to write out the words. (It used to be common for writers to dictate into a recorder then have an assistant transcribe those words.) “You have to have that mechanical resistance,” Chandler wrote in a 1949 letter to actor/writer Alex Barris. “When you have to use your energy to put those words down, you are more apt to make them count.”
    27. If you can’t talk yourself into using your energy to write or type something out, it’s probably not worth capturing.

      Being willing to capture an idea by spending the time writing it out in full is an incredibly strong indicator that it is actually worth capturing. Often those who use cut and paste or other digital means for their note capture will over-collect because the barrier is low and simple.

      More often than not, if one doesn't have some sort of barrier for capturing notes, they will become a burden and ultimately a scrap heap of generally useless ideas.

      In the end, experience will eventually dictate one's practice as, over time, one will develop an internal gut feeling of what is really worth collecting and what isn't. Don't let your not having this at the beginning deter you. Collect and process and over time, you'll balance out what is useful.

    28.  Luhmann writes,

      The link here to Luhmann's article is a https://geniuslink.com/ which is specifically built for influencers to use for tracking and affiliate marketing.

    29. One of the big lies notetakers tell themselves is, “I will remember why I liked this quote/story/fact/etc.”

      Take notes for your most imperfect, forgetful future self. You're assuredly not only not going to remember either the thing you are taking notes for in the first place, but you're highly unlikely to remember why you thought it was interesting or intriguing or that clever thing you initially thought of at the same time.

      Capture all of this quickly in the moment, particularly the interesting links to other things in your repository of notes. These ideas will be incredibly difficult, if not impossible, for one to remember.

    30. He has a warehouse of notecards with ideas and stories and quotes and facts and bits of research, which get pulled and pieced together then proofread and revised and trimmed and inspected and packaged and then shipped.

      While the ancients thought of the commonplace as a storehouse of value or a treasury, modern knowledge workers and content creators might analogize it to a factory where one stores up ideas in a warehouse space where they can be easily accessed, put into a production line where those ideas can be assembled, revised, proofread, and then package and distributed to consumers (readers).

      (summary)

    31. And improving the quality and quantity of material available to your brain when you sit down to create something—that is why we implement The Notecard System.

      Increasing the quantity and quality of ideas and materials one has at their disposal when one desires to create something new is one of the reasons for having a note taking system.

      memory, learning, sense making, improving understanding, improved creativity, and others are also at play... any others? we should have a comprehensive list eventually.

    32. If you are like Lebron James or Paul Simon, if you were born with a gift for recall, you might not need a note-taking system.

      I would suggest that this is wholly wrong as both of the memories described are honed for specific situations and not broadly applicable.

      Even those with good natural memories as well as those with significant mnemonic practices can benefit from a structured note taking practice.

    33. “People always say of great athletes that they have a sixth sense,” Malcolm Gladwell says in Miracle and Wonder: Conversations with Paul Simon. “But it’s not a sixth sense. It’s memory.” Gladwell then analogizes James’ exacting memory to Simon’s. In the way James has precise recall of basketball game situations, Simon has it of sounds and songs. “Simon’s memory is prodigious,” Gladwell says. “There were thousands of songs in his head. And thousands more bits of songs—components—which appeared to have been broken down and stacked like cordwood in his imagination.”

      In Miracle and Wonder: Conversations with Paul Simon, Malcolm Gladwell comments on the prodigious memories of both Paul Simon with respect to sounds and Lebron James with respect to basketball game play.

      Where these sorts of situational memories built and exercised over time or were they natural gifts? Or perhaps natural gifts that were also finely tuned over time?

    34. In this article, I am going to explain my adapted version of the notecard system.

      Note that he explicitly calls out that his is an adapted version of a preexisting thing--namely a system that was taught to Ryan Holiday who was taught by Robert Greene.

      Presumably there is both some economic and street cred value for the author/influencer in claiming his precedents.

      It's worth noting that he mentions other famous users, though only the smallest fraction of them with emphasis up front on his teachers whose audience he shares financially.

    35. The Notecard System

      This is almost pitched as a product with the brand name "The Notecard System".

    Tags

    Annotators

    URL

    1. "If the Reagans' home in Palisades (Calif.) were burning," Brinkley says, "this would be one of the things Reagan would immediately drag out of the house. He carried them with him all over like a carpenter brings their tools. These were the tools for his trade."

      Another example of someone saying that if their house were to catch fire, they'd save their commonplace book (first or foremost).

    1. It's not an exaggeration: Nearly every dollar I've made in my adult life was earned first on the back or front (or both) of an index card.Everything I do, I do on index cards.
    1. https://www.instagram.com/p/CeWV6xBuZUN/?hl=en

      Ryan Holiday in the past has made custom 4 x 6" index cards for taking notes for his individual projects.

      Pictured: A custom slip with 11 light gray lines, small margins all around, and at the top the printed words: "Courage. Temperance. Justice. Wisdom."

      <small><cite class='h-cite via'> <span class='p-author h-card'>Billy Oppenheimer, research assistant to Ryan Holiday</span> in The Notecard System: Capture, Organize, and Use Everything You Read, Watch, and Listen To - Billy Oppenheimer (<time class='dt-published'>11/03/2022 16:53:44</time>)</cite></small>

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      I used to do this sort of practice before, but I used buckslips instead.