I'm a biomedical and electrical engineer with interests in information theory, complexity, evolution, genetics, signal processing, IndieWeb, theoretical mathematics, and big history.
I'm also a talent manager-producer-publisher in the entertainment industry with expertise in representation, distribution, finance, production, content delivery, and new media.
Time: Sunday, May 7, 2023, 12:00 noon Eastern Time (US and Canada)
9 AM Pacific Time
Zoom link for the meetup: https://us02web.zoom.us/j/8850659900?pwd=ZE9ROUs1czNiK2FTTStjTUJuVkIydz09 4
Agenda
This one is going to be fun! Sönke Ahrens, the author of How to Take Smart Notes 12 will join our meetup on May 7th. Let’s start a thread on what we’d like to review with him. The meetup is not for a couple of weeks. If you have the time, I highly suggest you grab a copy and give it a read.
The Tinderbox crowd has been doing lots of solid zettelkasten related material recently.
If you use 5 x 8 inch index cards and are looking to upgrade your filing storage, this restored quartersawn oak #zettelkasten / card index file on eBay is a real beauty. I’m mentioning it because they’re rare and this one from 1914 looks to be in exceptional shape.
A lot of discussion in the Zettelkasten space has taken place on the debate between digital and analog with handwriting being the default analog option. Why not split some of the differences and opt for the mechanical typewriter option? Where’s the subreddit for that? It can’t just be me and Umberto Eco, right? 🗃️
In case some haven’t been watching, I’ll mention that Simon Winchester’s new book Knowing What We Know on knowledge to transmission was published by Harper on April 25th in North America. For zettelkasten fans, you’ll note that it has some familiar references and suggested readings including by our friends Markus Krajewski, Ann Blair, Iaian McGilchrist, Alex Wright, Anthony Grafton, Dennis Duncan, and Mortimer J. Adler to name but a few.
Many are certain to know his award winning 1998 book The Professor and the Madman which was also transformed into the eponymous 2019 film starring Sean Penn. Though he didn’t use the German word zettelkasten in the book, he tells the story of philologist James Murray’s late 1800s collaborative 6 million+ slip box collection of words and sentences which when edited into a text is better known today as the Oxford English Dictionary.
If you need some additional motivation to check out his book, I’ll use the fact that Winchester, as a writer, is one of the most talented non-linear storytellers I’ve ever come across, something which many who focus on zettelkasten output may have a keen interest in studying.
Book club anyone? (I’m sort of hoping that Dan Allosso’s group will pick it up as one of their next books after Donut Economics, but I’m game to read it with others before then.)
Book released on 4/25/2023; Book acquired on 4/26/2023
I’ve bought (yet another) card index on April 22nd. This must mean that I’m officially a collector, but if I keep this up I may have to start a museum soon.
This model is a Remington Rand Library Bureau Division 10 5/8″ x 5 5/8″ x 2″ dovetailed wooden box with steel follower and toothed sliding track. The sides of the box are 1/4″ thick and was designed for 3 x 5 inch index cards. The box has a softer brown color and wider grain typical of the mid-century Remington Rand Library Bureau Division products. Because it is short enough, it can fit inside my larger card catalog filing cabinet if necessary.
Given that Remington Rand used the Library Bureau Division brand name from its acquisition in 1927 into the 1950s and the materials and design used, I’m guessing that this model is likely from the late 40s to early 50s. This was likely used as a desktop card index or possibly as a charging tray in a library. Sadly it didn’t come with any information about provenance. With the follower all the way back it’s got 8 1/2 inches for cards which means space for about 1,200 standard index cards.
There are no nail holes on the bottom indicating that it had feet, but it does have the faint appearance that it may have either had felt feet or a felt sheet glued to the bottom to prevent it scratching one’s desktop. As I expect to use it on a glass top, I probably won’t modify it. Beyond this and a few small scuffs showing very moderate use, it’s in exceptionally fine shape.
I’d picked up an 11 inch Shaw-Walker card index recently, but I couldn’t help making a knee-jerk purchase of another vintage desktop card index. I got it used on eBay for the pittance of $16, which compared to some of the modern cardboard, plastic and metal options is honestly a steal, especially since it’s got a much nicer look and permanent feel compared to some of the more “modern” zettelkasten containers. Who wants a $20 cardboard box from Amazon when you can have a solid piece of history made of hard wood and steel on your desk?
Since my father worked in manufacturing for both Ingersoll Rand (no relation) and Remington at different points in his life, its quite a nice reminder of him sitting on my desk on a daily basis. Because it bears the name Library Bureau, it also harkens back to the early days of mass manufactured library card catalog equipment beginning with Melvil Dewey in 1876.
Of course, I ought to quit picking up these 3 x 5 inch card boxes and get some more 4 x 6 inch boxes since I primarily use those on a daily basis.
Any ideas what I ought to use this box for? Perhaps it ought to be an address card index/rolodex? I’ve already made the decision to do my “memindex” in 4 x 6″ cards and the Shaw-Walker is accumulating cards with jokes and humorous observations (jokerzettel anyone?).
Of course I now have a small voice inside saying that I need a Remington typewriter on my desk to match it.
Check-in in time for the local #zettelkasten conference at a nearby mall?! People picking up their t-shirts and signing up, presumably to learn about bibcards and zettelkasten numbering systems! 🗃️🏃🏼♂️😁
Zettelkasten for Dogs.
Seen in the wild: An actively functioning card index (zettelkasten) used to manage a local dog grooming business.
Back on April 7th on a visit to the Kinokuniya bookstore/Maido stationery shop in the Santa Anita Mall, I picked up an A6 size horizontal Flatty Works case #5460 (forest green, H4.8×W6.8×D1.4in) made by King Jim. It was listed at US$20.50+tax. The case is also available in mustard yellow, beige, teal, and a dark blue.
It’s a nice little minimalist case made with a very lightly parafin-waxed cotton canvas material and a clear plastic front so that one can see the internal contents. The sides of the flexible case fold in accordion-style when not full so it collapses to fit the space it needs. In addition to the primary internal space, the case has a thin internal pocket that would accommodate some credit cards, a handful of 4 x 6 index cards, or perhaps a Field Notes pocket notebook. Similarly on the outside back, there’s an angularly cut external pocket for a few slips of paper, or to place the cover of your A6 notebook while writing. The front has an envelope-style closure flap with a reasonably strong magnetic snap.
I purchased the case primarily to carry my 4 x 6 inch index card “notebooks” as well as a variety of loose index cards and dividers I carry regularly. It has the benefit of going reasonably well with my collection of Lochby waxed canvas holders and covers as well. I usually keep a copy of today’s schedule and priority to do list on top of the interior pocket so they’re easily visible during the day through the clear plastic front of the case.
For the curious, I’ve tried them variously and can verify that the case also comfortably fits the following (separately):
A Samsung S22 cell phone and a few Field Note notebooks
An Amazon Kindle Paperwhite and a pack of 100 4 x 6 index cards
A reasonably thick A6 sized notebook along with some additional pens or simple office supplies. A small Hobonichi would easily fit with space to spare.
The case is small enough to comfortably fit into the back pocket of my blue jeans, for walking around, but it’s not super comfortable for sitting on that way, particularly for long periods. I like its portability and the ability to take out a few cards and work on them using the reverse side as a mini-desk while moving around throughout the day. In some sense it acts like a custom made folder for filing my index cards on the go as a everyday carry. It made for a reasonably comfortable mini-office while on an airplane last week.
The inside top left corner of the case has a small loop that would allow one to attach a string, key chain, carrying handle or other loop to attach the case to a purse or other bag if necessary. This might also be convenient for those who might want to use this case as a bag in a bag, though I’ve not personally had the need for it yet.
Even with only a few index cards inside, the case is easily capable of standing upright in front of my card index/zettelkasten on my desk to take up less space than lying flat. Doing this also keeps all my immediate cards easily accessible while also being ready to travel if necessary.
Thus far, after a few weeks of use and even some airplane travel, it’s shown itself to be sturdy, convenient, useful, and a lovely addition to my daily zettelkasten workflow.
I’ve had a hollow space in my chest where a typewriter wanted to be. I’d had a few inexpensive plastic ones in my childhood before having a really spectacular Smith-Corona, but I thought that through many moves it had been long lost. Until, that is, I visited my parents on spring break this past week. While going through some old papers and boxes, I ran across a dusty, but stunning old jewel from my youth.
Hiding in a corner of memorabilia was a hard black box which I immediately recognized as my old portable typewriter! I recall my parents having purchased it at a yard sale and bringing it home for us kids to use in 1984. It took a while back then to clean it up, but I used it for a variety of school projects and papers for several years until its use for school papers was later taken over by an electronic Panasonic word processor. Despite the newer technology I still preferred that old typewriter for composing and noodling around.
Ooh, my little pretty one, my pretty one
So, what is this fantastic jewel? It’s a 1948 Smith-Corona “Clipper” 4C (serial number 4C-242370). It’s still in spectacular shape. I had to re-connect the letter “A”s linkage joint, but all the keys still work well, and it’s going to need a new ribbon. The interior is a bit dusty and needs some cleaning and oiling, but a short afternoon of tinkering should make quick work of any issues.
What’s fascinating is that all of the parts and functionalities of the machine came back to me instantaneously when I touched it. I knew all the small subtleties of sliding in a sheet of paper and aligning it to perfection. All the small niceties like the single/double space switch, the margin adjustments, the lovely bell, the ribbon direction adjustment switch, and even the centering mechanism were right there at my fingertips.
Sadly the original key wasn’t with the typewriter’s lock, but it was easily pickable. I’m reasonably sure the key will turn up as I dig through my other childhood memorabilia in the near future. At the worst, I can probably print a new key using a recipe I’ve already found online. I even unearthed a roughly contemporaneous typewriter manual for the Smith-Corona Clipper model.
And the best part is that a young 12 year old was drawn to it and immediately wanted to use it and take it home with us, so the typewriter obsession may go on for at least another generation.
I can’t wait to begin using my new (old) tool for thought in my zettelkasten practice. I’m curious to see what the slow down effect of a manual typewriter has on my writing and thinking work. Perhaps the composition of my cards at the end of the day will have the added satisfaction of punching the keys of a fantastic typewriter.
If nothing else, the Clipper does look quite nice next to my Shaw-Walker card index which is from the same era.
Ultra-luxury of the “Clipper”
Just where does the Smith-Corona “Clipper” sit in the pantheon of typewriters? A variety of writers in the 21st century still talk about their love and nostalgia of specific typewriters mentioning the design esthetic of the Olivetti, a remembrance of an old Underwood, or their fondness of a Remington, but I think Tom Hanks sums things up pretty well:
This is what I would suggest: if you wanted the perfect typewriter that will last forever that would be a great conversation piece, I’d say get the Smith-Corona Clipper. That will be as satisfying a typing experience as you will ever have.
—Tom Hanks, actor, producer, typewriter enthusiast and collector, author of Uncommon Type on CBS Sunday Morning: “Tom Hanks, Typewriter Enthusiast” [00:07:30]
Of course Hanks comes by this analysis naturally as the Clipper typewriter’s namesake is the Boeing 314 Clipper, which appears prominently on the front left panel of the typewriter’s cover. The context and history of some of this airplane have been lost to current generations. Twelve of these air yachts were built by Boeing and operated for a decade between 1938 and 1948. Nine of the airplanes were operated by Pan-Am as transoceanic “one class” ultra-luxury air travel featuring lounges, dining areas with silver service for six-course meals from four-star chefs served by white coated stewards, seats that converted to sleeping bunks for overnight accommodations, and separate male and female dressing rooms for the comfort of elite businesspeople and wealthy travelers in the mid-twentieth century. As an indicator of the exclusivity and expense at the time, a one-way ticket from San Francisco to Hong Kong on the Clipper was listed for $760, which is equivalent to about $15,000 adjusted for inflation in 2021 (Klaás, 1989, p. 20).
Pan Am’s Clipper service of the 1940s represents the romance of flight in that era in the same way Smith-Corona Clipper represents the romance of typing in the ensuing decades. Most Americans’ nostalgia for the luxury and exotic freedom of airline flight in the 1960s and 1970s was built on this early experience operating the Clipper nearly 20 years before.
While looking at a #zettelkasten on Ancient Egyptian, I just ran across an actively maintained scholarly zettelkasten with over 10 million individual slips!!! One of the largest sub-sectional topics alone has over 90,000 slips. Eat your heart out Niklas Luhmann!
I’ve been watching the secondary market for used card indexes for a while and finally caved and purchased a vintage wooden desk top Shaw-Walker 11 inch card index for 3 x 5″ index cards. It was dusty and dirty and in reasonably good shape, but with some cleaning and some wood polish, it’s in much better shape.
I removed the original tacks on the bottom which appeared to have once held down some red felt. I cut out a new rectangle of green felt and reattached the tacks so that the index won’t scratch up my desktop. The dovetails are in good shape, but it seems like in a year or two some of the joins may need to be re-glued.
In all, for a small $10.00 investment, it’s a stunning addition for my zettelkasten card collection. Compared to some of the cardboard and metal options out there, it was half the price, but is far prettier and infinitely more durable.
Of course I’ve got a strong preference for 4 x 6″, so I’ll be on the look out for something bigger, but this was just too good a deal to pass up. Perhaps I’ll use it like a Memindex or a related productivity tool?
In response to a post last week, Stephen Downes reminded me that Ludwig Wittgenstein had a zettelkasten practice. In particular there is a translated and published book Zettel from 1967 which contains 717 zettels from Wittgenstein’s Nachlass, or works left behind following his death in 1951. I’ve had a copy lying around for a bit, but finally spent some time with it. The book cleverly has a parallel text form with the German on one side of the page and the English on the facing page. I’ve also seen translations of the book in both Spanish and Italian for those who might prefer those.
In the book, the editors (one a student, the other his friend and colleague and both his literary executors) indicate that many of Wittgenstein’s zettels “were for the most part cut from extensive typescripts of his, other copies of which still exist.” Perhaps not knowing of the commonplace book or zettelkasten traditions, they may have dramatically mistaken the notes in his zettelkasten as having originated in his typescripts rather than them having originated as notes which then later made it into his typescripts! I’m left wondering what in particular about the originals may have made them think it was typescript to zettel?! They even indicate having gone so far as to edit some of the zettel using the typescripts to fill in missing material, so those reading them from the note stage forward may wish to take caution for these.
If it’s true that the two editors were unaware of his note taking habits, then it would seem obvious that Wittgenstein didn’t pass along his note taking methods to his students, given that Anscombe was close enough to have visited his deathbed and been named a literary executor. Given the mid-century timeframe, it’s likely that the card index note taking methods were already passing out of vogue at this time.
Some more digging into the actual original materials may be necessary here. Were these the only slips he left behind? Were there others? Did he dispose of his notes as works from them were published?
Based on the dating provided by Anscombe and von Wright, Wittgenstein’s slips dated from 1929 to 1948. Supposing that the notes preceded the typescripts and not the other way around as Anscombe and von Wright indicate, the majority of the notes were turned into written work (typescripts) which were dictated from 1945-1948.
Some of the manuscript notes in Wittgenstein’s zettelkasten were according to the editors “apparently written to add to the remarks on a particular matter preserved in the box”. So much like Niklas Luhmann’s wooden conversation partner, Wittgenstein was not only having conversations with the texts he was reading, he was creating a conversation between himself and his pre-existing notes thus extending his lines of thought within his zettelkasten.
However the form of these notes is structurally different from Luhmann’s. Peter Geach apparently made an arrangement of Wittgenstein’s slips which was broadly kept in the edited and published version Zettel. Fragments on the same topic were clipped together indicating that Wittgenstein’s method was most likely by “conversation”, subject, or possibly topical headings. However there were also a large number of slips “lying loose in the box.” Perhaps these were notes which he had yet to file or which some intervening archivist may have re-arranged? In any case this particular source doesn’t indicate the use of alphabetical dividers or other tabbed divisions.
In any case, Geach otherwise arranged all the materials as best as he could according to subject matter. As a result the printed book version isn’t necessarily the arrangement that Wittgenstein would have made, but the editors of the book felt that at least Geach’s arrangement made it an “instructive and readable compilation”. Many of the zettels are closely related and seem to form coherent ideas or streams of thought. Some remind me a bit of Twitter threads.
Ultimately I’m left wondering, what was Wittgenstein’s reading, note taking, and process? Was it note taking, arranging/outlining, and then dictation followed by editing? Dictating certainly would have been easier/faster if he’d already written down his cards and could simply read from them to a secretary.
For those hoping for lots of answers about his particular practice, not much is to be gleaned here except for looking directly at the collection as a whole. Most fascinating to me is seeing a softer conversational and decontextualized nature in the notes which I’ve also seen in Luhmann’s. Of course without the context and references, many are unlikely to mean much to some without some heavy reading or studying.
Puzzling out Wittgenstein’s active practice is likely going to require some more direct access to the source materials or subsequent works from other scholars who have been through them and his other materials more thoroughly.
References
Wittgenstein, Ludwig. Zettel. Edited by Gertrude Elizabeth Margaret Anscombe and Georg Henrik von Wright,. Translated by G. E. M. Anscombe. Second California Paperback Printing. 1967. Reprint, Berkeley and Los Angeles, California: University of California Press, 2007.
Zinzy Waleson Geene
