15 Matching Annotations
  1. Sep 2023
    1. Merchants and traders have a waste book (Sudelbuch, Klitterbuch in GermanI believe) in which they enter daily everything they purchase and sell,messily, without order. From this, it is transferred to their journal, whereeverything appears more systematic, and finally to a ledger, in double entryafter the Italian manner of bookkeeping, where one settles accounts witheach man, once as debtor and then as creditor. This deserves to be imitatedby scholars. First it should be entered in a book in which I record everythingas I see it or as it is given to me in my thoughts; then it may be enteredin another book in which the material is more separated and ordered, andthe ledger might then contain, in an ordered expression, the connectionsand explanations of the material that flow from it. [46]

      —Georg Christoph Lichtenberg, Notebook E, #46, 1775–1776


      In this single paragraph quote Lichtenberg, using the model of Italian bookkeepers of the 18th century, broadly outlines almost all of the note taking technique suggested by Sönke Ahrens in How to Take Smart Notes. He's got writing down and keeping fleeting notes as well as literature notes. (Keeping academic references would have been commonplace by this time.) He follows up with rewriting and expanding on the original note to create additional "explanations" and even "connections" (links) to create what Ahrens describes as permanent notes or which some would call evergreen notes.

      Lichtenberg's version calls for the permanent notes to be "separated and ordered" and while he may have kept them in book format himself, it's easy to see from Konrad Gessner's suggestion at the use of slips centuries before, that one could easily put their permanent notes on index cards ("separated") and then number and index or categorize them ("ordered"). The only serious missing piece of Luhmann's version of a zettelkasten then are the ideas of placing related ideas nearby each other, though the idea of creating connections between notes is immediately adjacent to this, and his numbering system, which was broadly based on the popularity of Melvil Dewey's decimal system.

      It may bear noticing that John Locke's indexing system for commonplace books was suggested, originally in French in 1685, and later in English in 1706. Given it's popularity, it's not unlikely that Lichtenberg would have been aware of it.

      Given Lichtenberg's very popular waste books were known to have influenced Leo Tolstoy, Albert Einstein, Andre Breton, Friedrich Nietzsche, and Ludwig Wittgenstein. (Reference: Lichtenberg, Georg Christoph (2000). The Waste Books. New York: New York Review Books Classics. ISBN 978-0940322509.) It would not be hard to imagine that Niklas Luhmann would have also been aware of them.


      Open questions: <br /> - did Lichtenberg number the entries in his own waste books? This would be early evidence toward the practice of numbering notes for future reference. Based on this text, it's obvious that the editor numbered the translated notes for this edition, were they Lichtenberg's numbering? - Is there evidence that Lichtenberg knew of Locke's indexing system? Did his waste books have an index?

  2. Feb 2023
    1. 1478-1518, Notebook of Leonardo da Vinci (''The Codex Arundel''). A collection of papers written in Italian by Leonardo da Vinci (b. 1452, d. 1519), in his characteristic left-handed mirror-writing (reading from right to left), including diagrams, drawings and brief texts, covering a broad range of topics in science and art, as well as personal notes. The core of the notebook is a collection of materials that Leonardo describes as ''a collection without order, drawn from many papers, which I have copied here, hoping to arrange them later each in its place according to the subjects of which they treat'' (f. 1r), a collection he began in the house of Piero di Braccio Martelli in Florence, in 1508. To this notebook has subsequently been added a number of other loose papers containing writing and diagrams produced by Leonardo throughout his career. Decoration: Numerous diagrams.

    1. Lustig, Jason. “‘Mere Chips from His Workshop’: Gotthard Deutsch’s Monumental Card Index of Jewish History.” History of the Human Sciences, vol. 32, no. 3, July 2019, pp. 49–75. SAGE Journals, https://doi.org/10.1177/0952695119830900

      Cross reference preliminary notes from https://journals.sagepub.com/doi/abs/10.1177/0952695119830900

      Finished reading 2023-02-21 13:04:00

      urn:x-pdf:6053dd751da0fa870cad9a71a28882ba

  3. Nov 2022
    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.

  4. Oct 2022
    1. the writer of "scissors and paste history" ;

      One cannot excerpt their way into knowledge, simply cutting and pasting one's way through life is useless. Your notes may temporarily serve you, but unless you apply judgement and reason to them to create something new, they will remain a scrapheap for future generations who will gain no wisdom or use from your efforts.

      relate to: notes about notes being only useful to their creator

    1. Goutor only mentions two potential organizational patterns for creating output with one's card index: either by chronological order or topical order. (p34) This might be typical for a historian who is likely to be more interested in chronologies and who would have likely noted down dates within their notes.

  5. Apr 2022
    1. Theories of note-taking can tell us about how memory and writingwere understood, and practices of note-taking, about the tools that proved mostuseful in managing textual information in early modern Europe.

      Historical note taking practices can tell us many things aside from just the ways in which textual information was managed. They can also tell us about how people lived, how they thought, how they used memory and writing and how these things were understood culturally.

      We do however need to be careful in how we interpret these documents historically. We need to attempt to view them exegetically and not eisegetically. We also need to be careful to look at them from a "large world" perspective and not presume that small things had large and heavy influence on things to come in the future.

  6. Dec 2021
    1. Good history comes from a combination of sources: in this case, private papers ranging from Lord Curzon’s letters to the diary of a royal tutor; from archival records in Delhi and London, not to speak of parliamentary papers; art, and not just paintings by Ravi Varma, to understand how princes projected themselves; newspaper records, which contain debates and ‘live’ commentary; scholarly material on connected themes; and, of course, anecdotal information from biographies and memoirs, which add texture.

      sources for Anecdotal writing to history fiction

  7. Jul 2021
    1. Not all the ancients are ancestors.

      I'll definitely grant this and admit that there may be independent invention or re-discovery of ideas.

      However, I'll also mention that it's far, far less likely that any of these people truly invented very much novel along the way, particularly since Western culture has been swimming in the proverbial waters of writing, rhetoric, and the commonplace book tradition for so long that we too often forget that we're actually swimming in water.

      It's incredibly easy to reinvent the wheel when everything around you is made of circles, hubs, and axles.

  8. May 2021
    1. Ideas have a history, but so do the tools that lend disembodied ideas their material shape −− most commonly, text on a page. The text is produced with the help of writing tools such as pencil, typewriter, or computer keyboard, and of note-taking tools such as ledger, notebook, or mobile phone app. These tools themselves embody the merging of often very different histories. Lichtenberg’s notebooks are a good example, drawing as they do on mercantile bookkeeping, the humanist tradition of the commonplace book, and Pietist autobiographical writing (see Petra McGillen’s detailed analysis).

      I like the thought of not only the history of thoughts and ideas, but also the history of the tools that may have helped to make them.

      I'm curious to delve into Pietist autobiographical writing as a concept.

  9. Jul 2020
    1. it’s about writing the first draft of history. “I’m writing a lot when other people aren’t necessarily putting things out there,” he says. “You can be a great academic, but if you’re not writing all the time you’re not necessarily in people’s minds as someone they would want to ask a question to.

      This* is important. I've written thoughts on a subject over time but never shared it with anyone other than friends.Even worse is I"ve thought about writing down important issues regarding Bitcoin over the years.

      Then one day I wake up and someone has a twitter thread that follows the same thought process.

  10. Nov 2019
    1. For example, take the character for east , which in the Beijingdialect has the sound “dong” (pronounced “doong,” as in Mao Ze-dong’s name). Since a Chinese character is read aloud as a single syllableand since spoken Chinese is also rather short of sounds (there are onlyabout four hundred different syllables in the whole language), it hasbeen plagued with homophones, words that sound like other words, like“soul” and “sole” or “all” and “awl” in English. It happened that thespoken word meaning “freeze” had the sound “dong.” So did a spokenword meaning a roof beam. When the Chinese went to write down thecharacter for freeze, they took the character for east and put beside itthe symbol of ice , which makes the character (“dong,” to freeze).To write down the word sounding “dong” which meant roof beam, theywrote the character east and put before it the symbol for wood mak-ing (“dong,” a roof beam).These are simple examples. Indeed, any part of the Chinese languageis simple in itself. It becomes difficult because there is so much of it to beremembered, so many meanings and allusions. When the lexicographersof later times wanted to arrange thousands of Chinese characters in adictionary, for instance, the best they could do in the absence of an al-phabet was to work out a list of 214 classifiers or “radicals,” one ofwhich was sure to be in each character in the language. These 214classifiers, for dictionary purposes, correspond to the 26 letters of our al-phabet, but are more ambiguous and less efficient. Shang writing was al-ready using “radicals” like wood, mouth, heart, hand, that indicatedcategories of meaning. From the start the governmental power of theChinese writing system was at the ruler’s disposal. Writing seems to haveemerged more in the service of lineage organization and governmentthan in the service of trade.

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  11. Jul 2019
    1. See also the author's own take.

      If the Modernists loved revision so much that they kept at it throughout the literary process, including when their work was in proofs — and one of Sullivan’s key points is that these discrete stages actually encouraged revision — then why didn’t their printers and publishers complain? ... changing work in proofs is expensive.

      That's because Modernists had the support money to revise and to experiment with the rules of revision.

      In her memoir Shakespeare & Company, Sylvia Beach recalls Joyce’s publisher warning about “a lot of extra expenses with these proofs. . . . He suggested that I call Joyce’s attention to the danger of going beyond my depth; perhaps his appetite for proofs might be curbed.”

      But Beach explains that, for her, the most important thing was that Joyce could work as diligently and obsessively as he wanted to:

      I wouldn’t hear of such a thing. Ulysses was to be as Joyce wished, in every respect. I wouldn’t advise ‘real’ publishers to follow my example, nor authors to follow Joyce’s. It would be the death of publishing. My case was different. It seemd natural to me that the efforts and sacrifices on my part should be proportionate to the greatnes of the work I was publishing.

  12. Sep 2017
  13. Aug 2017
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