Theribbonmaybe:(a)impregnatedthroughout,(b)surfacetreated,(c)inkedonesideonly,or (d)inkedonbothsidessimultaneously.
Typewriter ribbon can be inked in four different configurations: - impregnated throughout - surface treatment - inked on one side only - inked on both sides, usually simultaneously
Oftentheribbonsarecutfromawiderclothandtheedgesaresealed(topreventfraying) withasuitable lacquer,e.g.glue,nitrocellulose,etc.
Super Nylexnylon ribbonshavethehorizontalstrandswovenflat,buttheverticalstrandsarecrimpedtofacilitateholdingagreateramountofink.
I dissolved some oil paint in machine oil, in my first tries I used universal machine oil but it was too thick, so I tried sewing machine oil that was much thinner. That worked much better but it was still a bit too thick so I was having some trouble “making it run” along the ribbon, so I used lighter fluid as a thinner. It worked great. I eyeballed everything so I can’t give proportions of the ingredients, in a future more serious attempt I plan to take some measurements.
https://old.reddit.com/r/typewriters/comments/1j1zm4z/easy_out_typewriter_tool/
Apparently for "pulling out typebars when they get stuck"??
sk8rcruz 0 points1 point2 points 2 days ago (0 children)I’ll start by saying I love the database! This link is to my current collection but my sightings and formerly owned have been a lot of fun too.
r/sk8cruz = LaDonna Qualtieri https://typewriterdatabase.com/typewriters.php?hunter_search=6493&collection_search=My+Collection
How a Mechanical Typewriter Works by [[Animagraffs]]
Typewriter Video Series - Episode 74: Choosing Typewriter Bags by [[Joe Van Cleave]]
Late nights at his typewriter turned into blurry mornings, with little to show on paper.
His instructors there weren’t impressed with his writing. One told him, “Mr. Elbow, you continue your steady but far from headlong rise upward.” But he wasn’t dissuaded.
Professor Elbow
Looks like Peter Elbow used an early IBM Selectric I
“The free-writing principle is the principle of juice, of letting go, of garbage, of finding diamonds among the garbage: all the metaphors you can make about free writing,” he told Writing on the Edge.
As he was writing (or not writing), he jotted notes to himself.“If something happened that struck me, I would write a note — sometimes just on a little scrap of paper — and would slip these pieces of paper into a folder,” he said in the interview. “Especially if I got stuck, I would take another piece of paper and say, ‘You’re stuck on this damn paper, so write about why you got stuck.’”The idea was to just get his thoughts down.
“I made myself a rule: every time a paper was due, I had to have a draft of the same length as the paper done a week before,” he said in a 1992 interview with the academic journal Writing on the Edge. “So then I knew I had a week to play with it.”
“The free-writing principle is the principle of juice, of letting go, of garbage, of finding diamonds among the garbage,” he said.Credit...
Professor Elbow came to his conclusions out of necessity.“What got me interested in writing,” he often said, “was being unable to write.”
Poking his finger in the eye of hidebound pedagogues, Professor Elbow contended that indoctrinating freshmen to think and write in an inflexible, formulaic style — with the teacher as the only audience member — inhibited creativity and confidence at a key moment in their intellectual development.
Rosenwald, Michael S. “Peter Elbow, Professor Who Transformed Freshman Comp, Dies at 89.” The New York Times, February 27, 2025, sec. Education. https://www.nytimes.com/2025/02/27/education/peter-elbow-dead.html.
System, the Magazine of Business, volume XLII, Number 6(?), December 1922, p763 an advertisement for the Memindex
There was no office machinery at all–the typewriter was known but scarcely used. Even telephones were rarities. The card index, the filing cabinet, the loose-leaf ledger were all but unknown. Of course there were no calculating machines.
System, the Magazine of Business, volume XLII, Number 5, November 1922, p536, "What 55 Years in Business Taught Me About Managing: The first installment of the biography of John H. Patterson, founder of the National Cash Register Company and Lately Chairman of the Board" by Samuel Crowther.
Correcting Bad Typing Habits with the Smith Corona Electric Typewriter 63024 by [[PeriscopeFilm]]
Motion should happen only at the level of the fingers and not at the wrist or even the arms. Type only with your fingers and not your wrists or arms.
Allow the carriage to glide to complete the carriage return rather than wasting addition time and energy on pushing it all the way. Let the momentum do the work.
Use the paper release when removing letters to reduce wear on your rollers and prevent ripping of the paper.
Drop the paper into the top of the platen and against the paper guide to improve alignment can save time.
Setting the right hand margin will help save huge amounts of time from the transcriptionist looking back and forth to get proper margins otherwise.
Using correct typing for numerals will speed up typing numbers as well.
For the top tabulator, use your index fingers alternately instead of hitting it with your entire hand.
Hugging the keys with your fingers allows you to type faster, much like a drummer keeps the sticks closer to the drumhead when drumming quickly.
Smith Corona Manual Typewriter Shift Lock Adjustment Latch Repair Upper Case Letters by [[Phoenix Typewriter]]
Olympia SM-3 Vintage Typewriter, Repaired Adjusted Shift Lock by [[Phoenix Typewriter]]
Yankees, Typewriters, Scandals, and Cooperstown: A Baseball Memoir by Bill Madden<br /> Release date: April 1, 2025 (hardcover)
https://www.gates.com/us/en.html
Sells belts including v-belts which might be used for typewriter repair parts.
January 2025 Update by [[Joe Van Cleave]]
Joe is recovering from hip surgery in January 2025.
The Hermes 3000 repair manual has a really good section on type alignment including tools, according to Joe Van Cleave. (9:17)
For the Electra Series of Smith-Corona typewriters, the Electra 120 and 220 had 12" platens while the Electra 110 and 210 had 10" platens. Similarly the 110 and 120 had manual carriage returns while the 210 and 220 had automatic carriage returns. (00:53)
Jeweled main bearing on the escapement is what Smith-Corona is talking about in their branded "Jeweled escapements". (2:26)
Smith-Corona electric typewriters were designed to be turned on and run all day. As a result, old machines which have v-belts with odd grooves in them from sitting so long will sometimes have a recurring thump sound. This can be remedied by running the machine for several hours at which point the belt will warm up and remove the crease. Naturally, one might also remove the belt, warm it up using other means as a method of removing age-related creasing.
Smith-Corona Electra 220 Typewriter Review by [[Joe Van Cleave]]
Some details about the internal motor workings of SCM electric typewriters.
Creating on Small Typewriters by [[Joe Van Cleave]]
Portable typewriters give up a level of professionalism in one's documents for their size and ease of portability.
In particular, the slug alignments may be slightly off compared to larger machines. Ideally they allow for one to be good enough, especially for first draft documents or journaling.
Typewriter Strike Out Corrections by [[Joe Van Cleave]]
https://www.biedlers-belts.com/single-v-belts/polyflex-belts/ This is about the only place that I have been able to find the small V-Belts used to drive IBM and Smith Corona electric typewriters (among others). You can find most any belt you need on this site if you know its dimensions.
https://old.reddit.com/r/typewriters/comments/w1k8lq/vintage_typewriter_repair_resources/
Back in the day people used custom erasers for erasing. They were much harder than the softer erasers in use now, which is why modern pencil and art erasers don't work as well. For some historical methods, see these videos or here.
Secretaries also used small eraser shields to target individual letters, words, or lines. They also used larger curved shields for erasing within carbon copy packs.
Eaton used to make Ko-rec-type tabs which could be inserted for short corrections and it can still be found online as old stock.
There was also bichrome ribbon with white correction tape, but that tends to fleck off and make a mess in your machine over time. Similarly White Out is still made, but it can spill and make a mess while you wait for it to dry.
For modern typists, hand-held correction tape is probably the quickest and easiest.
This could be expanded for the widest range of history on erasing using typewriters with caveats, etc.
reply to u/Fearless_Camera_1788 at https://old.reddit.com/r/typewriters/comments/1ixmz88/how_to_erase/
Remington Rand KMC Standard Typewriter, Ring Style, Noiseless, 1/2", Install, Replace Ink Ribbon by [[Phoenix Typewriter]]
Without the Remington ribbon rings, one can utilize the slots in coordination with grommets to thread up a Remington typewriter.
Remington Standard Typewriter KMC , model 17, How to Change and Set Margin Stops, Demo<br /> by [[Phoenix Typewriter]]
You guessed it, it's the same machine, after suitable application of Scrubbing Bubbles, Pledge, steel wool, Mother's Mag and Aluminum Polish, and touch-up paint.
Highest price you’d spend
reply to u/Pope_Shady at https://old.reddit.com/r/typewriters/comments/1iwrlij/highest_price_youd_spend/
Generally my cap for typewriter purchases is in the $20-35 range. Most of my favorite machines (the standards) were acquired for $5-10 and they're so much better than the portables. At these prices I'm not too worried about the level of work required. I regularly spend 3-4 times more money on a full reel of bulk typewriter ribbon than I do on a typical typewriter.
A few of my more expensive acquisitions: * I went as high as $100 on a machine (including shipping) to get a Royal Quiet De Luxe with a Vogue typeface that turned out to be in about as stunning a condition as one could hope for. * I went to $130 on an Olympia SM3 in part for it's Congress elite typeface as well as an uncommon set of mathematical characters. I'm sure I could have gotten it for significantly less, but wanted to help out the seller and it was in solid condition except for worn bushings. * I also went to around $150 for an (uncommon in the US) early 30's Orga Privat 5 that was in solid shape. I've yet to run into another Orga in the wild in the US since.
It also bears saying that I don't mind buying "barn machines" as a large portion of the fun in collecting for me is cleaning, adjusting, and restoring them to full functionality. I've been dissapointed once to have bought a Remington Quiet-Riter once for $10 only to discover it was in near mint condition and didn't need any work at all.
I am at the point where I'm going to need to start selling machines, work at a local shop, or start my own shop if I'm going to keep up with the "hobby" and maintain a sane spouse simultaneously. If I didn't enjoy wrenching on machines so much, I would definitely be buying them from local shops for significantly more money, and I'd probably have far fewer.
It's not talked about in great length in some typewriter collector spaces, but I think some of the general pricing "game", beyond just getting a "deal", is the answer to the questions: "What am I into this space for anyway? What makes it fun and interesting?" If you don't have the time, talent, tools, or inclination to do your own cleaning and restoration work, then paying $300-$600 for a nice machine in exceptional clean/restored condition from a shop is a totally valid choice and shouldn't be dismissed. Some are in it for the discussions of typewriters. Some are in it for the bargain hunt. Some just want to write. Some want rare gems. Some want common machines from famous writers. Others just want one "good" machine while others want all the machines. It's a multi-faceted space.
https://www.vescovorestauri.it/
Alessio Vescovo looks like he does typewriter restoration and recovers platens in Europe (Italy) as well: https://www.vescovorestauri.it/laboratorio/european-typewriter-platen-recovery-service/
Found via https://typewriterdatabase.com/1956-underwood-de-luxe.24945.typewriter
Why Are Some Of Our Most Successful Leaders Mentally Ill? by [[Ian Leslie]]
suggested by ES
Fits into an earlier theory about insane leaders... where's the source?
In fact, the crucial attribute shared by Milei, Musk and Trump - along with bottomless energy, idées fixe, and relentless will - is a lack of empathy. (It’s also true, to lesser or greater degrees, of successful leaders from the past, like Thatcher and De Gaulle.) Living in a closed-off mental world is not conducive to good relationships or to happiness, and it’s often a disadvantage in politics (and business). But in certain circumstances, an empathy deficit flips into being a superpower. It turns out that if you don’t care about pleasing people, you can get very popular.
The investor-entrepreneur Peter Thiel - whose own sanity is a topic of some debate - once noted that the disproportionate success of autistic founders in Silicon Valley is no accident. Many good ideas seem crazy until they work. Good listeners tend to be too easily convinced that their potentially transformative idea will never take off. Those impervious to social pressure, for whatever neurological or psychological reason, have the tunnel vision required to blast through mountains of scepticism and inertia.
direct source for this?
In the 1960s, the psychiatrist R.D. Laing argued that insane individuals were operating according to a hidden rationality, adopting strategies forced upon them by repressive and dishonest families. Society was mad, not them. Psychotic individuals often named uncomfortable truths about their families that others were invested in denying. Laing’s theory is now discredited within psychiatry, but in the symbolic world of politics it still resonates. Only the desequilibrado have the audacity and agency to take on an unhealthy, entrenched status quo.
Where Have I Been? Antinet Updates & Insights From the Analog World by [[Scott P. Scheper]]
He is definitely not making this much from his book... subsequent to his book perhaps, but it would be a NY Times best seller if it were doing theses sorts of numbers by itself.
Which states get more federal money than they send by [[Alex Fitzpatrick]] for Axios
"States with large defense-contracting sectors and more military bases receive more federal defense spending, while federal wages are disproportionately concentrated within states with a large federal employee presence," the report notes.
Former Intelligence Officer Claims KGB Recruited Trump by [[Isabel van Brugen]]
Typewriter Algebra by [[Joe Van Cleave]]
reply to u/Sept-27 at https://old.reddit.com/r/Zettelkasten/comments/1itbduv/how_to_begin_storytelling_with_smart_notes/
Ahrens' book will likely leave you with more questions than answers and really has nothing directly to say on the practice of fictional storytelling. Doto's book does a better job of filling in these pieces but approaches writing in general rather than specifically fiction.
For fiction writers, I often recommend they don't practice putting Luhmann-artig numbers on their cards, but organize them in a more impromptu manner and allow them to shift more as you write. This allows things to shift more easily during the process and provides for a bit more creativity.
Some resources and examples for fiction with a ZK:<br /> - Vladimir Nabokov - David Lynch - take particular note of his method taught by Frank Daniel at AFI - Dustin Lance Black - Card index for fiction writing - The Zettelkasten Method for Fiction Writing
Take the inspiration these suggest, but don't go down the rabbit hole too deeply. You're going to want to evolve something that works best for you and your modes of writing, so trying to imitate someone else's system too closely will be the kiss of death.
EACH NOTE CARD SHOULD BE AS PURE AND SINGULAR AN IDEA AS POSSIBLE, BECAUSE I WANT TO BE ABLE TO MOVE ALL THE PIECES AROUND
This quote speaks to the general idea of "atomic notes" or note size and why they should be small.
It also osculates David Lynch's idea of holding onto the essence of an idea within a story. It's almost as if the adage "take care of the pennies and the pounds will take care of themselves" were applied to the fiction writing process. If you're careful with the small pieces, the bigger piece has a stronger chance of having more authenticity.
https://www.ebay.com/itm/276799504311
Two 3x5 sections of 15 drawers each for a total of 30 along with a section that has 2 writing drawers along with a top and a table leg section listed in December 2024/January 2025 for $3000 with a buy now of $5000.
Free pick up in Oconee, Illinois
cost per drawer: $100
Relistings: - https://www.ebay.com/itm/276808448650 - https://www.ebay.com/itm/276816845128 - https://www.ebay.com/itm/276825363082 - https://www.ebay.com/itm/286289360862 - etc...
https://www.ebay.com/itm/296915539728
3x5 sectional with legs in dark stain listed in January 2025 for $1500 OBO
Free pick up in Glendale, AZ
Cost per drawer: $100
Brother AX-350 by [[Sam Christy]]
The Texting Typewriter (hardware) by [[Sam Christy]]
I'm not out to shame people for their purchases, just to caution uninitiated typewriter purchasers and budding collectors who aren't carefully watching the market.
Olympia SM3s are well-touted and excellent typewriters. They've recently been selling on ShopGoodwill in unknown condition for $120-150 based only on photos.
Earlier today, an Olympia SM3 sold for $334! So what gives? Why did this go for over twice as much as the average? To the uninitiated, the seasoned collector can look at this machine carefully and realize that even without seeing a type sample or a close up photo of the slugs that this machine is quietly hiding a script typeface of some kind. This means that two bidders would have paid an almost $200 premium for a script typeface, and one of them managed to snipe it for $1 with minutes left. Generally I see script machines going for $100-150 over similar machines without script.
Sadly, the high price on this machine earlier in the day may have suckered others into thinking these machines are significantly more valuable as it seems two other Olympia SM3s right after it both went for:<br /> * $202.03 https://shopgoodwill.com/item/222707079 * $202.03 https://shopgoodwill.com/item/222546519
And they were bid over 200 by the same two people while the "smarter" money stopped with bids at $137 on both.
Of course, neither of these later two machines have a script face, but at least two bidders were potentially reeled in by the much higher sales price of the script machine earlier in the day. This means that they've overpayed at least $50 above market for each, possibly thinking that they may have gotten a great deal. Sadly they didn't, they just overpayed the market average. The person who was sniped on both managed to save themselves $100+ today because I imagine they'll be able to get equivalent machines in the coming month for closer to under $150.
Incidentally another later Olympia portable (usually in the $75-120 range) earlier in the day went for a more reasonable $232 with a stated/photographed cursive typeface: https://shopgoodwill.com/item/222546740 This one was a stronger deal in the current market as they only paid about $110 above average for that machine to get the script typeface. The tough part is that because the description stated "cursive", they didn't have the benefit of possibly picking up a script machine with less competition.
While this is an interesting microcosm example of the current (overheated?) typewriter market (at least in the US), I hope all the buyers of these machines enjoy their purchases. If they're your first Olympias, and they need some work to get back to fighting shape, I've put together a guide: https://boffosocko.com/2024/07/14/aggregated-resources-and-playlist-for-a-crash-course-on-the-olympia-sm3-portable-typewriter/
Breakfast Republic in San Diego, California
via https://www.reddit.com/r/typewriters/comments/1iqn5hs/comment/mdakb8r/
I made a template using plastic tablecloths then cut the fabric and glued it on. Not difficult but time consuming.
Just craft/tacky glue. I painted the machine with the glue and applied the fabric.
Bunny Watson: I associate many things with many things.
Mike Cutler: Bye girls. Always a pleasure to see your freshly scrubbed, smiling faces. Remember our motto: Be on time, do your work, be down in the bar at 5:30.
Peg Costello: I love Legal - it's all men!
Ruthie Saylor: What do you suppose he's doing all that measuring for? Do you think we're being redecorated?Sylvia Blair: Does he look like an interior decorator to you?Peg Costello: No! He looks like one of those men who's just suddenly switched to vodka!
Good discussion and outline of research about natural method of language acquisition over grammar-translation method of language acquisition.
Dreamt of learning Latin? Here’s how you’ll finally do it by [[Thomas V. Mirus]]
A non-specialist look at his Latin language acquisition with lots of resources around Hans Ørberg's Lingua Latin text.
Some might wonder why I recommend Lingua Latina instead of Fr. William Most’s Latin by the Natural Method series. Though Fr. Most was a friend of Catholic Culture and a brilliant theologian, after having used both books my opinion is that Most’s Latin style is significantly inferior to and less enjoyable than Ørberg’s. For example, Ørberg early on begins to acclimatize the student to the more flexible word order that makes Latin so different from English, exposure to which is essential for true reading fluency. Most’s Latin is, especially at the beginning, clunky and tedious in order to be didactic; the brilliance of Ørberg is that he manages to be didactic for the beginner while also being fluid and clever in his writing. Yet despite his greater didacticism, Fr. Most relies on English explanations of the Latin grammar, whereas Ørberg accomplishes his task entirely in Latin. Ørberg also has illustrations to teach the meaning of words without translation. Fr. Most does not include macrons to indicate vowel length, which is essential to learn correct pronunciation. He does include stress marks, which Ørberg does not, but the rules of stress are more easily learnt without stress marks than syllable length without macrons.
Thomas V. Mirus' comparison of Fr. William Most's Latin text with Hans Ørberg's.
Ranieri has an incredibly helpful playlist of videos on Latin pronunciation.
Luke Ranieri’s video “Latin by the Ranieri-Dowling Method”.
https://www.youtube.com/watch?v=_yflqUWKVVc&ab_channel=pol%C3%BDMATHY
Ryan Hammill of the Ancient Language Institute, whom I consulted in writing this article, told me that Lingua Latina is best used at college age and above, because of the speed with which it moves through concepts. For younger students, he highly recommends Picta Dicta: its Latin Primer series for older elementary, and its Latin Grammar for middle and high school.
Cleaning Typewriter Type Slugs by [[Joe Van Cleave]]
JVC recommends 91% isopropyl alcohol (IPA) for cleaning typeslugs.
Brass bristle brushes from Harbor Freight.
Sally's Beauty Supply stiff nylon brush for cleaning typeslugs.
Bergeon Rodico 6033-1 as a cleaning compound (similar to Silly Putty and other older compounds) for typeslugs.
Couple captures dramatic start of Eaton Fire in Altadena, California by Associated Press
Spirited-Poem15
Maybe it's because I have posted here before, reddit keeps recommending this forum to me when I log in, and I'm immensely frustrated by the posts asking questions about "the Zettlekasten method" and the responses. Why? Because folks are talking about different things all the time. It's like chickens taking to ducks. From my observation, people define "the Zettlekasten method" at least in two ways: (1) A paper or digital index card note system organized by folders, tags, links, tables of contents. (I don't think it's fair to give it a German name as its use can at least be dated in various cultures since the middle ages. Maybe the book authors and influencers want to lure people to think, fancy name=magic bullet?) (2) A note system "based on the principles and practices of Niklas Luhmann's zettelkasten method," as the sidebar of this forum describes. These are different concepts! (2) is a special case of (1). Anything you agree or disagree is meaningless if one of you is talking about (1) and the other is talking about (2). So what is this forum about, (1) or (2)? When you say you are attracted by "the Zettlekasten method," do you mean (1) or (2)? I don't think many people disagree with you if you mean Definition (1). Why you talk about "my zettelkasten," if you maintain a genetic index card system, you are not doing Zettlekasten in the Luhmann sense. At least, when you post, whether OP or as response, please specify which definition you are using, 1, 2, or 3, 4.
reply to u/Active-Teach6311 at https://old.reddit.com/r/Zettelkasten/comments/1ilvvnc/you_need_to_first_define_the_zettlekasten_methoda/
#1 == #2 In German contexts, zettelkasten subsumed both ideas which can easily be seen in the 2013 Marbach Exhibition: Zettelkasten: Machines of Fantasy. That exhibition featured six different Zettelkasten of which Luhmann's was but one. It wasn't until after this that sites like zettelkasten.de, this Reddit sub, or the popularity of Ahrens' book shifted the definition to a Luhmann-centric one, particularly in English language contexts which lacked a marketing term on which to latch to sell the idea. The productivity porn portion of the equation assisted in erasing the prior art and popularity of these methods.
One can easily show mathematically that there is a one-to-one and onto mapping of Luhmann's method with all the other variations. This means that they're equivalent in structure and only differ in the names you give them.
Even Ahrens suggests as much in his own book when he mentions that in digital contexts one doesn't need numbered cards in particular orders for the system to work. If Erasmus, Agricola, or Melanchthon were to magically arrive from the 15th century to the present day, they would have no difficulty recognizing their commonplacing work at play in a so-called Luhmann-artig zettelkasten.
I would suggest that Luhmann didn't write more about his method himself because it would have been generally fruitless for him as everyone around him was doing exactly the same thing. The method was both literally and figuratively commonplace! J. E. Heyde's book, from which Luhmann modeled his own system, went through 10 editions from the 1930s through the 1970s in Luhmann's own lifetime.
This suffers from a sufficient formalisation of the concept of "similarity". Everything is either so similar that characterisation as "identical", similar or different or very different, depending on the frame of reference. By pointing out some resemblense, you cannot make a justified judgement about the similarity or difference of anything. I would suggest that Luhmann didn't write more about his method himself because it would have been generally fruitless for him as everyone around him was doing exactly the same thing. I asked ca. two dozen professors at the very university about their method (btw. at the very university that Luhmann was a professor at). NONE had anything remotely resembling a Luhmann-Zettelkasten. During his lifetime there was quite some interest in his Zettelkasten, hence the visitors, hence the disappointment of the visitors (people made an effort to review his Zettelkasten): (9/8,3) Geist im Kasten? Zuschauer kommen. Sie bekommen alles zu sehen, und nichts als das – wie beim Pornofilm. Und entsprechend ist die Enttäuschung. - From his own Zettelkasten So: The statement that his practice was basically common place (or even a common place book) is not based on sound reasoning (sufficiently precise in the use of the concept "similarity") There is empirical evidence that it was very uncommon. (Which is obvious if you think about the his theoretical reasoning about his Zettelkasten as heavily informed by the very systems theory that he developed. So, a reasoning unique to him)
Reply to u/FastSascha at https://old.reddit.com/r/Zettelkasten/comments/1ilvvnc/you_need_to_first_define_the_zettlekasten_methoda/mc01tsr/
The primary and really only "innovation" for Luhmann's system was his numbering and filing scheme (which he most likely borrowed and adapted from prior sources). His particular scheme only serves to provide specific addresses for finding his notes. Regardless of doing this explicitly, everyone's notes have a physical address and can be cross referenced or linked in any variety of ways. In John Locke's commonplacing method of 1685/1706 he provided an alternate (but equivalent method) of addressing and allowing the finding of notes. Whether you address them specifically or not doesn't change their shape, only the speed by which they may be found. This may shift an affordance of using such a system, but it is invariant from the form of the system. What I'm saying is that the form and shape of Luhmann's notes is identical to the huge swath of prior art within intellectual history. He was not doing something astoundingly new or different. By analogy he was making the same Acheulean hand axe everyone else was making; it's not as if he figured out a way to lash his axe to a stick and then subsequently threw it to invent the spear.
When I say the method was commonplace at the time, I mean that a broad variety of people used it for similar reasons, for similar outputs, and in incredibly similar methods. You can find a large number of treatises on how to do these methods over time and space, see a variety of examples I've collected in Zotero which I've mentioned several times in the past. Perhaps other German professors weren't using the method(s) as they were slowly dying out over the latter half of the 20th century with the rise and ultimate ubiquity of computers which replaced many of these methods. I'll bet that if probed more deeply they were all doing something and the something they were doing (likely less efficiently and involving less physically evident means) could be seen to be equivalent to Luhmann's.
This also doesn't mean that these methods weren't actively used in a variety of equivalent forms by people as diverse as Aristotle, Cicero, Quintilian, Seneca, Boethius, Thomas Aquinas, Desiderius Erasmus, Rodolphus Agricola, Philip Melancthon, Konrad Gessner, John Locke, Carl Linnaeus, Thomas Harrison, Vincentius Placcius, Gottfried Wilhelm Leibniz, S. D. Goitein, Gotthard Deutsch, Beatrice Webb, Sir James Murray, Marcel Mauss, Claude Lévi-Strauss, Mortimer J. Adler, Niklas Luhmann, Roland Barthes, Umberto Eco, Jacques Barzun, Vladimir Nabokov, George Carlin, Twyla Tharp, Gertrud Bauer, and even Eminem to name but a few better known examples. If you need additional examples to look at, try searching my Hypothesis account for tag:"zettelkasten examples". Take a look at their examples and come back to me and tell me that beyond the idiosyncrasies of their individual use that they weren't all doing the same thing in roughly the same ways and for roughly the same purposes. While the modalities (digital or analog) and substrates (notebooks, slips, pen, pencil, electrons on silicon, other) may have differed, the thing they were doing and the forms it took are all equivalent.
Beyond this, the only thing really unique about Luhmann's notes were that he made them on subjects that he had an interest, the same way that your notes are different from mine. But broadly speaking, they all have the same sort of form, function, and general topology.
If these general methods were so uncommon, how is it that all the manuals on note taking are all so incredibly similar in their prescriptions? How is it that Marbach can do an exhibition in 2013 featuring 6 different zettelkasten, all ostensibly different, but all very much the same?
Perhaps the easier way to see it all is to call them indexed databases. Yours touches on your fiction, exercise, and nutrition; Luhmann's focuses on sociology and systems theory; mine looks at intellectual history, information theory, evolution, and mathematics; W. K. Kellogg's 640 drawer system in 1906 focused on manufacturing, distributing and selling Corn Flakes; Jonathan Edwards' focused on Christianity. They all have different contents, but at the end of the day, they're just indexed databases with the same forms and functionalities. Their time periods, modalities, substrates, and efficiencies have differed, but at their core they're all far more similar in structure than they are different.
Perhaps one day, I'll write a deeper treatise with specific definitions and clearer arguments laying out the entire thing, but in the erstwhile, anyone saying that Luhmann's instantiation is somehow more unique than all the others beyond the meaning expressed by Antoine de Saint-Exupéry in The Little Prince is fooling themselves. Instead, I suspect that by realizing you're part of a longer, tried-and-true tradition, your own practice will be far easier and more useful.
The simplicity of the system (or these multiply-named methods) allows for the rise of a tremendous amount of complexity. This resultant complexity can in turn hide the simplicity of the root system.
“To me, you are still nothing more than a little boy who is just like a hundred thousand other little boys. And I have no need of you. And you, on your part, have no need of me. To you, I am nothing more than a fox like a hundred thousand other foxes. But if you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world..."
I can only hope people choose to tame more than Luhmann.
"#1 == #2" If this were true, everyone here, or their predecessors debating and advocating one note system over others (e.g., Sertillanges, Ahrens) have all been wasting their time. LOL. Sharing similar principles doesn't make the systems identical.
reply to u/Active-Teach6311 at https://old.reddit.com/r/Zettelkasten/comments/1ilvvnc/you_need_to_first_define_the_zettlekasten_methoda/mc14p0r/
Certainly there are idiosyncracies in how each person chooses to to work with them. The primary difference I see is how much work and when each person chooses to put into a system and what outputs, if any, there are. However, at the end of the day, their similarities as systems far, far exceed their differences. Their principles may differ in slight ways, but in the end they are identical in form. If you feel differently, then I suggest you take a deeper and closer look into the variety of traditions beyond your cursory view.
As a small exercise, attempt to explain why S. D. Goitein's system allowed him to write 1/3 the notes of Luhmann and create almost 3 times the written output? Why aren't people emulating his system? Why are there still dozens of researchers actively sharing and using Goitein's notes when almost none are doing the same for Luhmann?
Another solid exercise is to look at Heyde and explain why Luhmann chose to file his cards differently than was prescribed there? Are the end results really different? Would they have been different if kept in commonplace form using John Locke's indexing method?
Explain your definition of hierarchical reference system. How is one note in his system higher, better, or more important than another? Where do you see hierarchies? Lets say Luhmann were doing something on bread. First off he has 3 notes and these end up sequenced 1,2,3. Then he does the equivelent of a block link on 1 by creating 1a=banana bread, 1b=flour bread. A good discussion (https://yannherklotz.com/zettelkasten/) If there weren't direct mappings, it should be impossible to copy & paste Luhmann's notes into Obsidian, Logseq, OneNote, Evernote, Excel, or even Wikipedia. That's not true at all. One can dump from one structure into another structure you just potentially lose structure in the mapping. Those systems don't have similar capabilities. Obsidian has folders Logseq does not. Logseq has block level linking Obsidian does not. I can't even reliable map between the first two elements of your list. Now we throw in OneNote that directly takes OLE embeds which means information linked can dynamically change after being embedded. That is say I'm tracking "current BLS inflation data" it will remain permanently current in my note. Neither Obsidian nor Logseq support that. Etc.. Excel, OneNote and Logseq allow for computations in the note (i.e. the note can contain information not directly entered) Obsidian and Wikipedia do not. We might argue about efficiencies, affordances, or speed, but at the end of the day they're all still structurally similar. We are totally disagreeing here. The OLE example being the clearest cut example.
reply to u/JeffB1517 at https://old.reddit.com/r/Zettelkasten/comments/1ilvvnc/you_need_to_first_define_the_zettlekasten_methoda/mc1y4oj/
I'm not new here: https://boffosocko.com/research/zettelkasten-commonplace-books-and-note-taking-collection/
You example of a hierarchy was not a definition. In practice Luhmann eschewed hierarchies, though one could easily modify his system to create them. This has been covered ad nauseam here in conversations on top-down and bottom-up thinking.
When "dumping" from one program to another, one can almost always easily get around a variety of affordances supplied by one and not another simply by adding additional data, text, references, links, etc. As an example, my paper system can do Logseq's block level linking by simply writing a card address down and specifying word 7, sentence 3, paragraph 4, etc. One can also do this in Obsidian in a variety of other technical means and syntaxes including embedding notes. Block level linking is a nice affordance when available but can be handled in a variety of different (and structurally similar) ways. Books as a technology have been doing block level linking for centuries; in that context it's called footnotes. In more specialized and frequently referenced settings like scholarship on Plato there is Stephanus pagination or chapter and verse numberings in biblical studies. Roam and Logseq aren't really innovating here.
Similarly your OLE example is a clever and useful affordance, but could be gotten around by providing an equation that is carried out by hand and done each time it's needed---sure it may take more time, but it's doable in every system. This may actually be useful in some contexts as then one would have the time sequences captured and logged in their files for later analysis and display. These affordances are things which may make things easier and simpler in some cases, but they generally don't change the root structure of what is happening. Digital search is an example of a great affordance, except in cases when it returns thousands of hits which then need to be subsequentlly searched. Short indexing methods with pen and paper can be done more quickly in some cases to do the same search because one's notes can provide a lot of other contextual clues (colored cards, wear on cards, physical location of cards, etc.) that a pure digital search does not. I often can do manual searches through 30,000 index cards more quickly and accurately than I can through an equivalent number of digital notes.
There is a structural equivalence between folders and tags/links in many programs. This is more easily seen in digital contexts where a folder can be programatically generated by executing a search on a string or tag which then results in a "folder" of results. These searches are a quick affordance versus actively maintaining explicit folders otherwise, but the same result could be had even in pen and paper contexts with careful indexing and manual searches (which may just take longer, but it doesn't mean that they can't be done.) Edge-notched cards were heavily used in the mid-20th century to great effect for doing these sorts of searches.
When people here are asking or talking about a variety of note taking programs, the answer almost always boils down to which one you like best because, in large part, a zettlkasten can be implemented in all of them. Some may just take more work and effort or provide fewer shortcuts or affordances.
don't think they map. For example Luhmann is fundamentally maintaining a hierarchical reference system since note length is fixed. With digital infinitely long individual notes that aspect drops out. We use a graph database today, Luhmann was keeping a very limited relational system. Backlink tracking is fundamental to Luhmann, it is automated today so no tracking. Put that together and you get multiple overlapping subject hierarchies, for example MOCs and whiteboard with the same notes organized differently, Luhmann didn't allow for this. A computer can index 100k notes in a few seconds. Luhmann would have lost a month of full-time work redoing an index. Yes I think these systems are similar. Someone who gets Obsidian gets Logseq. But what is actually being done differs.
reply to u/JeffB1517 at https://old.reddit.com/r/Zettelkasten/comments/1ilvvnc/you_need_to_first_define_the_zettlekasten_methoda/mc0f8ip/
Explain your definition of hierarchical reference system. How is one note in his system higher, better, or more important than another? Where do you see hierarchies?
Infinitely long notes can easily be excerpted down to smaller sizes and filed, so that portion of your argument doesn't track.
Luhmann had what some call "hub notes" and the ability to remove cards and rearrange them to suit his compositional needs and later refile them. This directly emulates the similar ideas of MOCs, whiteboards, and mind maps. Victor Margolin's example quickly shows how this is done in practice.
If there weren't direct mappings, it should be impossible to copy & paste Luhmann's notes into Obsidian, Logseq, OneNote, Evernote, Excel, or even Wikipedia. This is not the case. You might get slightly different personal affordances out of these tools or perhaps better speed and in other cases even less speed or worse review patterns of your notes, but in ultimate form they are identical and will ultimately allow you to accomplish all of the same end results.
We might argue about efficiencies, affordances, or speed, but at the end of the day they're all still structurally similar.
Introduction to Luhmann's Zettelkasten by [[Yann Herklotz]]
https://onlinebooks.library.upenn.edu/webbin/book/lookupid?key=olbp70294
References source: http://www.celtic-twilight.com/camelot/bruce_dictionary/index.htm which can be found on the Internet Archive (original site is dead) at.
https://www.ted.com/talks/matt_ridley_when_ideas_have_sex
Here's the reference for TB, from our discussion
https://en.wikipedia.org/wiki/S._(Dorst_novel)?
This was mentioned to me at an IndieWebCamp event today.
Seems interesting with respect to the meta portions of books.
Looks like the sort of thing that @remikalir and @anterobot may be interested in.
In Praise of (Foot- End- Etc.) Notes<br /> by [[Ross Gay]] on September 21, 2023
I’m always looking, again, for the endnotes that refuse to end, which makes citation a kind of song, all these notes that want to keep the song going.
(The poet Willie Perdomo, by the way, is the John Coltrane of acknowledgments. “Acknowledgement” as mycelial love note.)
esp. "mycelial love note"
I long for a book made of only endnotes.
I’m pretty sure the first time I realized I loved footnotes was Junot Dìaz’s book The Brief Wondrous Life of Oscar Wao, where the author pokes his head through the curtains of the novel to give crucial lessons on the history of the Dominican Republic, etc.
Jenny Boully’s book The Body, made entirely of footnotes,
When Pollan suggested that writing from a question instead of a thesis makes for more compelling writing and thinking, for reader and writer alike, eyeballs fell from heads.
["It's Friday. Have some history.
So you know Hadrian's Wall? Well for over 1000 years everyone thought it was built by someone else.
Until, in 1840, John Hodgson, an unknown Northumbrian clergyman published the LONGEST footnote in history.
Read on... /1 https://t.co/HNU4EU9qBL" / X](https://x.com/garius/status/1570771789827166208) by [[John Bull]] on Twitter
Full thread at: <br /> https://threadreaderapp.com/thread/1570771789827166208.html
Hurd, Cuthbert C., ed. Proceedings: IBM Computation Seminar December 1949. New York: Internation Buisiness Machines Corporation, 1951. http://archive.org/details/bitsavers_ibmproceedeminarDec49_14295048.
In a variety of context here the idea of "cards" could be held to be synonymous with "notes".
Collision cards (though used in a physics setting) could be a bit hilarious with the idea of "atomic notes" and the idea of "combinatorial creativity".
Inspired by https://archive.org/details/bitsavers_ibmpunched3SorterDec59_4145011/page/n23/mode/2up
The older note taking tradition of using cards of equal size became much more important in the era of edge-notched and punched cards. Standardization came to be of an even higher level of importance.
No revolutionary schemes ona large scale are advocated at present.
Bush, Vannevar, Atlantic Monthly, 176, 101-8 (July, 1945).
Interesting to see them quote Vannevar Bush right at the top here, while they're using paper-based technology to move toward the Memex.
edge-punched cards sold in theUnited States under the trademarks "Keysort," "E-Z Sort" and "Rocket"and in England as "Paramount" or "Cope-Chat" cards.
Brand names of some common edge-notched cards
discussion of the use of punched cards in linguistic analysis asapplied to ancient texts such as the Dead Sea Scrolls.
Some idea of the rapidity with which the field has grown may be gainedfrom the fact that the bibliography of uses contains 400 entries, comparedwith 276 entries in the first edition. This great increase is reflected in theextension of the Practical Applications Section (Part II) from 186 pagesin the first edition to 295 pages in the present book.
An indication of the state-of-the-art in punch card systems from 1951 to 1958, particularly with respect to practical applications.
Casey, Robert S., James W. Perry, Madeline M. Berry, and Allen Kent. Punched Cards: Their Applications To Science And Industry. 2nd ed. 1951. Reprint, New York: Reinhold Publishing Corporation, 1958. http://archive.org/details/PunchedCardsTheirApplicationsToScienceAndIndustry.
Begun, George M. “Making Your Own Punched Cards.” Journal of Chemical Education 32, no. 6 (June 1, 1955): 328. https://doi.org/10.1021/ed032p328.
George Begun used a template of "heavy galvanized iron" to drill holes into his 5 x 8" index cards to create his own edge-noted card system for use in his chemistry work. Rather than using commercially made sorting needles, he recommended the use of a ice pick with a dulled point "for safety".
Replacing the Carriage on a Royal Portable Typewriter by [[Marty Morren]]
Triumph Adler Tippa / Tippa S / Contessa De Luxe Service Manual - T.A. Vertriebs-GmbH Nürnberg<br /> by [[T.A. Vertriebs-GmbH Nürnberg]]
Typewriter Video Series - Episode 231: Petite Toy Typewriter by [[Joe Van Cleave]]
Edge-Notched Cards: A queryable database...made of paper by [[Soren Bjornstad]]
Illustration by Beppe Giacobbe
Harper's Magazine, April 2022, page 26 https://harpers.org/archive/2022/04/
Lane, Patrick, Colleen Falkenstern, and Peace Bransberger. “Knocking at the College Door: Projections of High School Graduates, 11th Edition.” Western Interstate Commission for Higher Education (WICHE), December 2024. https://www.wiche.edu/knocking/.
PDF at https://www.wiche.edu/wp-content/uploads/2024/12/2024-Knocking-at-the-College-Door-final.pdf
Maui’s post-wildfire housing crisis offers a warning for Los Angeles by [[Jack Ross]], [[Capital and Main]]
L.A. tenants have one advantage that renters in Hawaiʻi did not: a spreadsheet cataloging alleged incidents of price-gouging compiled by tenant activists with The Rent Brigade, a new collective organized by Chelsea Kirk and Philip Meyer.
Some landlords even forced out tenants to instead rent to fire refugees, who could pay more because FEMA was covering the rent — and dramatically overpaying, ProPublica and the Honolulu Civil Beat reported.
Natural disasters that destroy homes often lead to increased rents. Researchers with the Brookings Institute surveyed rental trends in major markets following natural disasters and attributed increases of between 4 percent and 6 percent directly to the disasters — an effect that “never fully went away,” one of the authors wrote. Other research found permanent rent increases too. Evictions also tend to rise.
Maui residents who lived or worked in the burn zone have seen rent increases of roughly 50 percent in the months following the disaster, according to research from the University of Hawaii. Some landlords took advantage of the crisis, evicting tenants to make way for higher-paying renters. A year later, homelessness in Hawaiʻi had nearly doubled.
Edison wants to raise rates to pay for wildfires linked to its equipment - Los Angeles Times by [[Melody Petersen]]
In 2017, there were 105 ignitions involving Edison’s equipment. That number rose to 173 ignitions in 2021. Last year, there were 90 ignitions — a 14% decline since 2017.
That wildfire mitigation work now makes up about 11% of the average bill for an Edison customer, according to the commission’s public advocates office.
Holy shit!
How much of the average bill is paying for covering past fire payouts?
As western Altadena waited hours for evacuation orders, fire commanders faced utter chaos - Los Angeles Times by [[Terry Castleman]], [[Grace Toohey]]
Of the 17 people who died, all lived west of North Lake Avenue.
When the Eaton fire erupted beneath a Southern California Edison transmission tower just after 6 p.m.,
Your car didn't escape the fire? Here's how to get rid of it - Los Angeles Times by [[Karen Garcia]]
I see a Hermes 3000 typewriter on the shelf behind AOC here. The true "Green New Deal"!
ᔥ[[BonchBomber]] in Spotted on AOC’s shelf : r/typewriters
LA Wildfires: Impacts on Altadena’s Black Community<br /> by [[UCLA Bunche Center]]
reply to u/Ill_Tear8308
Not so much that they're proprietary, but the Zephyr, Skyriter, and later Corsairs used the 1 5/8" diameter spools, which fit about 12 yards of ribbon versus the more common universal 2" spools which will hold 16 yards of ribbon.
1/2" wide ribbon should work on this. Sellers include: https://site.xavier.edu/polt/typewriters/tw-faq.html#q1
If you wind it onto pre-existing spools keep in mind that Smith-Coronas typically used eyelets in the ribbon to effect the auto-ribbon reverse, though you could certainly do it manually if you needed to.
There aren't a lot of examples of Empire-Coronas in the typewriter database, so be sure to include your example with photos:
https://typewriterdatabase.com/empire.24.typewriter-serial-number-database
https://typewriterdatabase.com/Empire.-Corona+Skyriter.24.bmys
reply to u/HenRoRo61
Earlier today, in a now-deleted post, someone had posted a question about identifying one of Helen Keller's typewriters based on this video in her archive.
Having done some initial digging, I thought I'd share some of the details I've found for those who may find it interesting.
According to researcher Richard Polt, Helen Keller was known to use both a Hammond and an L.C. Smith no. 5.
As for the Remington Noiseless, it definitely appears to be a mid-century Noiseless Standard with a tabulator. To know the year, you'd need either the specific serial number (to cross check https://typewriterdatabase.com/remington.42.typewriter-serial-number-database) or you'd need many more examples than the Typewriter Database currently has listed under the generic Remington Noiseless.
If you're careful at looking at the design choices and changes in some of the Remington Portables from that time period which would have likely tracked the design changes of their desktop standards, you might be able to extrapolate a closer dating based on the styling, but this will still only give you a dating within a year or so.
The tabulator was at the top of the keyboard by 1937, so you can probably presume it was a model from that point or thereafter until 1954. Most American typewriter manufacturers didn't make machines from '41-45 due to WWII, so you can discard those dates. Remington had moved into thicker/taller plastic keys by the early 1950s, so I would guess her machine was more likely from the late 1940s.
Looking more closely at the Remington Noiseless 10, I'd suggest that this is the most likely set of candidates, particularly in the timeframe of 1946-1947. Hers obviously had the openings in the rear and had the metal covers on the sides (as opposed to glass found on some models). Comparing hers in the film to some of these individual galleries may help to narrow things down with respect to dating.
Perhaps others with more Remington Standard experience, may be able to narrow things down here.
The appraisal of her Remington Noiseless in 1957 was $135.00.
One might find some close noiseless models in the $20-40 range + shipping (these are about 30 pounds and will cost about $35 for shipping) via ShopGoodwill.com. Here are some recent sales for comparison. Based on the video you'll want the bigger, heavier ones (25+ pounds) rather than the smaller portables with cases (usually under 20 pounds). Generally machines purchased this way are reasonably functional, but usually need some cleaning and work to be restored to full functionality.
Unless you're sure they're being sold by repair shops and have been cleaned and are fully functional, don't overspend on potential exemplars on sites like Etsy or eBay which are likely to be only marginally better (aka dusted off) than ShopGoodwill machines, but at 5-10x the price.
Hellen Keller's brailler: https://www.afb.org/HelenKellerArchive?a=d&d=A-HK08-B049-183&e=-------en-20--1--txt--typewriter------3-7-6-5-3--------------0-1
She apparently owned a \~1938 or 1939 Corona Silent as well: https://www.afb.org/HelenKellerArchive?a=d&d=A-HK08-B045-184.1.1&srpos=19&e=-------en-20--1--txt--typewriter------3-7-6-5-3--------------0-1
One might have some luck trying to find a Corona Silent typewriter from that era, but the unique color is going to put a machine like it into the $100-200 range (at a minimum and potentially going up from there depending on the condition) unless you get lucky at a garage sale somewhere.
These are the sorts of cards one would use with something like my Singer Business Card Index filing cabinet.
John Aubrey, the first person to make a serious study of stone circles, put his finger on the problem: ‘These Antiquities are so exceeding old that no Bookes doe reach them.’ He developed a more effective method. Using measurements and comparative surveys of different circles with notes ‘writt upon the spott’, he was able to work out that megalithic monuments were of distinct types and that they predated the Romans, Saxons and Danes. He thus, almost single-handedly, created the concept of prehistory and invented field archaeology.
Good, deep work. by [[Richard Polt]]
Royal Quiet De Luxe after ultrasonic cleaning, blow drying, and lubrication with mineral spirits, Blue Creeper, and a dash of gun oil.
I read this as a mixture of mineral spirits, Blue Creeper and a bit of gun oil which is applied after cleaning as a means of lubricating a typewriter.
Reclaiming the Railroad Train-Related Use of The Word 'Hump" by [[Mary Beth Klatt]]
I only tend to give my typewriters "names" once they're fully cleaned and generally restored and have used them for a bit to know their "character". An example here is my 1950 Royal KMG (Keset Magic Gray) which I call "Sterling" after the Mad Men character Roger Sterling; I also cleaned the the interior with bourbon as an homage.
Many I refer to by year of manufacture and model name ('55 Clipper or '48 Clipper, for example), particularly when I have several similar looking ones from the same time period. A few have names based on writers who I know have used the same models from roughly the same time period (so I have a '49 Royal QDL I've named "Nabokov"). My '48 Royal QDL I call "Dreyfuss" in honor of the typewriter's industrial designer who lived a few miles away from me.
Others are referred to by shorthands featuring unique characteristics, so I have one called "The Vogue" and another I call the "Math SM3" for it's unique math symbol characters. My Remington 666 is variously either "El Diablo" or "Robert Johnson", whose music I listen to while typing on it. I have a German Orga which I call the "Wonka Machine" as one of its brethren appeared in Willy Wonka's office in Charlie and The Chocolate Factory (1971).
A few I call by the first names of their prior owners as an homage to their history before I became their caretakers.
I call my Royal HH the "HHE" as that's the serial number prefix for my machine which has an elite face.
What you call your own is entirely up to you.
More on typewriters and naming: https://boffosocko.com/2024/05/25/collective-nouns-for-typewriters-and-typists/
Reply to https://old.reddit.com/r/typewriters/comments/1id4y49/how_to_refer_to_a_typewriter/ by r/ich_mag_frettchen
The Tale of Culhwch and Olwen by [[Robin Williamson]]
inode71 1 point2 points3 points 13 hours ago (1 child)Which city? I’m in LA so if it’s northern OC I’m interested.
Welsh legend supports that this happened, with stories such as Breuddwyd Macsen Wledig (English: The Dream of Emperor Maximus), where he not only marries a wondrous British woman (thus making British descendants probable), but also gives her father sovereignty over Britain (thus formally transferring authority from Rome back to the Britons themselves).
Mabinogion by [[Will Parker]]
via 
