Note taking | Chris Aldrich

Victor Margolin’s zettelkasten process for note taking and writing

It’s not as refined or as compartmentalized as Niklas Luhmann’s process, but art historian Victor Margolin broadly outlines his note taking and writing process in reasonable detail in this excellent three minute video. (This may be one of the shortest and best produced encapsulations of these reading/note taking/writing methods I’ve ever seen.)

Though he indicates it was a “process [he] developed”, it is broadly similar to that of the influential “historical method” laid out by Ernst Bernheim and later Seignobos/Langlois in the late 1800s.

Victor Margolin’s note taking and writing process

Collecting materials and bibliographies in files based on categories (for chapters)
Reads material, excerpts/note making on 5 x 7″ note cards
- Generally with a title (based on visual in video)
- excerpts have page number references (much like literature notes, the refinement linking and outlining happens separately later in his mapping and writing processes)
- filed in a box with tabbed index cards by chapter number with name
- video indicates that he does write on both sides of cards breaking the usual rule to write only on one side
Uses large pad of newsprint (roughly 18″ x 24″ based on visualization) to map out each chapter in visual form using his cards in a non-linear way. Out of the diagrams and clusters he creates a linear narrative form.
Tapes diagrams to wall
Writes in text editor on computer as he references the index cards and the visual map.

I’ve developed a way of working to make this huge project of a world history of design manageable.
—Victor Margolin

Notice here that Victor Margolin doesn’t indicate that it was a process that he was taught, but rather “I’ve developed”. Of course he was likely taught or influenced on the method, particularly as a historian, and that what he really means to communicate is that this is how he’s evolved that process.

I begin with a large amount of information.
—Victor Margolin

As I begin to write a story begins to emerge because, in fact, I’ve already rehearsed this story in several different ways by getting the information for the cards, mapping it out and of course the writing is then the third way of telling the story the one that will ultimately result in the finished chapters.
—Victor Margolin

Listened to Howard Rheingold on Tools for Thought | Episode 94 • August 14, 2022 by Jorge Arango from The Informed Life

“We’re extremely powerful when it comes to making sense and finding connections, doing it visually instead of with a page.” Howard Rheingold is an eminent author, maker, and educator. His work has explored and defined key aspects of digital culture, including the use of computers as tools for mind augmentation, virtual communities, and social media literacy. In this conversation, we discuss computers as extensions for our minds, Douglas Engelbart’s unfinished revolution, basic literacies for interacting in information environments, and the resurgence of Tools for Thought.

Interesting and some useful base material here on literacies, but one can’t get very deep in 30 minutes with Rheingold on this topic. I would have rather this been 6 hours long and then multiple times that.

Listened to Mark Bernstein on Tinderbox by

Jorge Arango from The Informed Life

Mark Bernstein is chief scientist of Eastgate Systems, Inc. He’s been writing hypertexts and developing hypertext authoring software since the late 1980s. Mark is the creator of Tinderbox and other tools for thinking that “harness the power of the link.” In this conversation, we discuss thinking through connected notes.

Some subtle insights here.

representational talkback; the design of taking notes in the present when you’re not sure how they’ll connect to ideas in the (imagined) future; The Tinderbox Way; by force, all research is bottom up.

New Mastodon Instances and a Local Timeline Experiment

I’ve been tempted to join a smaller Mastodon instance to be able to appreciate the value of having a useful local timeline. Mastodon.social is so large as to have a generally un-useful local timeline because I lack the context of all the users and its generally very hit-and-miss for my discovery and serendipity needs. It’s not like I really spent a lot of time sipping from Twitter’s firehose timeline, which is a rough equivalent.

I almost jumped yesterday when Jim Groom and the Reclaim Hosting spun up a Mastodon instance focused on DS 106 at https://social.ds106.us/about. I’ve followed a large part of that community for over a decade, but didn’t have the bandwidth.

This morning I noticed that Boris Mann and gang have spun up a Mastodon instance around the idea of tools for thought which dovetails with their efforts at Tools for Thought Rocks! So I’m going to bite there to see what happens and have the experience of a smaller specific and focused timeline to watch.

I still have to figure out how to best dovetail the experience into my own IndieWeb site given potential limitations with backfeed of POSSE posts from Brid.gy. Perhaps I’ll just use it as read only to start and simply federate my content there? We’ll see. It’s solely an experiment, but some of those few already there are people I see regularly. No guarantees on how much I’ll post there, but if it’s your favorite reader/platform you can find me at @chrisaldrich@toolsforthought.rocks. Most likely anything I post to it will be more relevant to thinking.

As ever, following me directly via my own site is the best way to ensure you’re getting the best of everything.

Hypothes.is as a Digital Zettelkasten for Neologism and Word Collection for Wordnik

A little while ago, one of the followers of my Hypothes.is account where I actively mark up my reading with highlights, annotations, and notes asked me why I was tagging seemingly random sentences with “wordnik” and other odd tags that started with “hw-“. Today I thought I’d write out the explanation of the habits around one of my side hobbies of word collecting.

Some background

In the book The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary, Simon Winchester describes the pigeonhole and slip system that professor James Murray used to create the Oxford English Dictionary. The editors essentially put out a call to readers to note down interesting every day words they found in their reading along with examples sentences and references. They then collected these words alphabetically into pigeonholes and from here were able to collectively compile their magisterial dictionary. Those who are fans of the various methods of knowledge collection and management represented by the index card-based commonplace book or the zettelkasten, will appreciate this scheme as a method of collectively finding and collating knowledge. It’s akin to Paul Otlet and Henri La Fontaine’s work on creating the Mundaneum, but focused on the niche area of lexicography and historical linguistics.

The Professor and the Madman is broadly the fascinating story of Dr. W. C. Minor, an insane asylum patient, who saw the call to collect words and sentences began a written correspondence with James Murray by sending in over ten thousand slips with words from his personal reading.

Wordnik and Hypothes.is

A similar word collecting scheme is currently happening on the internet now, though perhaps with a bit more focus on interesting neologisms (and hopefully without me being cast as an insane asylum patient.) The lovely folks at the online dictionary Wordnik have been using the digital annotation tool Hypothes.is to collect examples of words as they happen in the wild. One can create a free account on the Hypothes.is service and quickly and easily begin collecting words for the effort by highlighting example sentences and tagging with “wordnik” and “hw-[InsertFoundWordHere]”.

So for example, this morning I was reading about the clever new animations in the language app Duolingo and came across a curious new word (at least to me): viseme.

To create accurate animations, we generate the speech, run it through our in-house speech recognition and pronunciation models, and get the timing for each word and phoneme (speech sound). Each sound is mapped onto a visual representation, or viseme, in a set we designed based on linguistic features.

So I clicked on my handy browser extension for Hypothes.is, highlighted the sentence with a bit of context, and tagged it with “wordnik” and “hw-viseme”. The “hw-” prefix ostensibly means “head word” which is how lexicographers refer to the words you see defined in dictionaries.

Then the fine folks at Wordnik are able to access the public annotations matching the tag Wordnik, and use Hypothes.is’ API to pull in the collections of new words for inclusion into their ever-growing corpus.

Since I’ve collected interesting new words and neologisms for ages anyway, this has been a quick and easy method of helping out other like minded word collectors along the way. In addition to the ability to help out others, a side benefit of the process is that the collected words are all publicly available for reading and using in daily life! You can not only find the public page for Wordnik words on Hypothes.is, but you can subscribe to it via RSS to see all the clever and interesting neologisms appearing in the English language as collected in real time! So if you’re the sort who enjoys touting new words at cocktail parties, a rabid cruciverbalist who refuses to be stumped by this week’s puzzle, or a budding lexicographer yourself, you’ve now got a fantastic new resource! I’ve found it to be far more entertaining and intriguing than any ten other word-of-the-day efforts I’ve seen in published or internet form.

If you like, there’s also a special Hypothes.is group you can apply to join to more easily aid in the effort. Want to know more about Wordnik and their mission, check out their informative Kickstarter page.

Some will think I’m in the pocket of #BigIndexCard, but I’m thinking it’s time to re-introduce #IndexCards to the #EdTech scene. It will dramatically personalize learning while locking out the #SurveillanceCapitalism crowd.
#CriticalPedagogy #WissenschaftlichenArbeitens #zettelkasten

I’ve already been doing the work anyway, so I’ve updated my NaNoWriMo profile to reflect the research and writing work I’m doing on a book related to note taking and its historical traditions. I’m writing it using my commonplace book and Luhmann-esque zettelkasten as tools.

Bookmarked Indxd (indxd.ink)

Filling up notebooks is great - but what happens when you need one obscure factoid that's stashed somewhere among dozens of notebooks? Searchability is Analog's Achilles heel.

Introducing Indxd
I wanted a simple, searchable index of all the topics in all my notebooks. So I built it, and you can use it too. Indxd lets you quickly enter notebooks and their topics, then search and browse everything.

INDXD is a digital, web-based index tool for your analog notebooks.

Ostensibly allows one to digitally index their paper notebooks (page numbers optional). It emails you weekly text updates, so you’ve got a back up of your data if the site/service disappears.

This could potentially be used by those who have analog zettelkasten practices, but want the digital search and some back up of their system.

ᔥ sgtstretch in @Gaby @pimoore so a good friend of mine makes INDXD which is for indexing analog notebooks and being able to find things. I don’t personally use it, but I know @patrickrhone has written about it before. (10/27/2022 17:59:32)

Thoughts on Zettelkasten numbering systems

I’ve seen variations of the beginner Zettelkasten question:

“What happens when you want to add a new note between notes 1/1 and 1/1a?”

asked at least a dozen times in the Reddit fora related to zettelkasten and note taking, on zettelkasten.de, or in other places across the web.

Dense Sets

From a mathematical perspective, these numbering or alpha-numeric systems are, by both intent and design, underpinned by the mathematical idea of dense sets. In the areas of topology and real analysis, one considers a set dense when one can choose a point as close as one likes to any other point. For both library cataloging systems and numbering schemes for ideas in Zettelkasten this means that you can always juxtapose one topic or idea in between any other two.

Part of the beauty of Melvil Dewey’s original Dewey Decimal System is that regardless of how many new topics and subtopics one wants to add to their system, one can always fit another new topic between existing ones ad infinitum.

Going back to the motivating question above, the equivalent question mathematically is “what number is between 0.11 and 0.111?” (Here we’ve converted the artificial “number” “a” to a 1 and removed the punctuation, which doesn’t create any issues and may help clarify the orderings a bit.) The answer is that there is an infinite number of numbers between these!

This is much more explicit by writing these numbers as:
0.110
0.111

Naturally 0.1101 is between them (along with an infinity of others), so one could start here as a means of inserting ideas this way if they liked. One either needs to count up sequentially (0, 1, 2, 3, …) or add additional place values.

Decimal numbering systems in practice

The problem most people face is that they’re not thinking of these numbers as decimals, but as natural numbers or integers (or broadly numbers without any decimal portions). Though of course in the realm of real numbers, numbers above 0 are dense as well, but require the use of their decimal portions to remain so.

The tough question is: what sorts of semantic meanings one might attach to their adding of additional place values or their alphabetical characters? This meaning can vary from person to person and system to system, so I won’t delve into it here.

One may find it useful to logically chunk these numbers into groups of three as is often done using commas, periods, slashes, dashes, spaces, or other punctuation. This doesn’t need to mean anything in particular, but may help to make one’s numbers more easily readable as well as usable for filing new ideas. Sometimes these indicators can be confusing in discussion, so if ever in doubt, simply remove them and the general principles mentioned here should still hold.

Depending on one’s note taking system, however, when putting cards into some semblance of a logical, sort-able order (perhaps within a folder for example), the system may choke on additional characters beyond the standard period to designate a decimal number. For example: within Obsidian, if you have a “zettelkasten” folder with lots of numbered and named files within it, you’ll want to give each number the maximum number of decimal places so that when doing an alphabetic sort within the folder, all of the numbered ideas are properly sorted. As an example if you give one file the name “0.510 Mathematics”, another “0.514 Topology” and a third “0.5141 Dense Sets” they may not sort properly unless you give the first two decimal expansions to the ten-thousands place at a minimum. If you changed them to “0.5100 Mathematics” and “0.5140 Topology, then you’re in good shape and the folder will alphabetically sort as you’d expect. Similarly some systems may or may not do well with including alphabetic characters mixed in with numbers.

If using chunked groups of three numbers, one might consider using the number 0.110.001 as the next level of idea between them and then continuing from there. This may help to spread some of the ideas out as surely one may have yet another idea to wedge in between 0.110.000 and 0.110.001?

One can naturally choose almost any any (decimal) number, so long as it is somewhat “near” the original behind which one places it. By going out further in the decimal expansion, one can always place any idea between two others and know that there will be a number that it can be given that will “work”.

Generally within numbers as we use them for mathematics, 0.100000001 is technically “closer” by distance measurement to 0.1 than 0.11, (and by quite a bit!), but somehow when using numbers for zettelkasten purposes, we tend to want to not consider them as decimals, as the Dewey Decimal System does. We also have the tendency to want to keep our numbers as short as possible when writing, so it seems more “natural” to follow 0.11 with 0.111, as it seems like we’re “counting up” rather than “counting down”.

Another subtlety that one sees in numbering systems is the proper or improper use of the whole numbers in front of the decimal portions. For example, in Niklas Luhmann’s system, he has a section of cards that start with 3.XXXX which are close to a section numbered 35.YYYY. This may seem a bit confusing, but he’s doing a bit of mental gymnastics to artificially keep his numbers smaller. What he really means is 3000.XXXX and 3500.YYYY respectively, he’s just truncating the extra zeros. Alternately in a fully “decimal system” one would write these as 0.3000.XXXX and 0.3500.YYYY, where we’ve added additional periods to the numbers to make them easier to read. Using our original example in an analog system, the user may have been using foreshortened indicators for their system and by writing 1/1a, they may have really meant something of the form 001.001/00a, but were making the number shorter in a logical manner (at least to them).

The close observer may have seen Scott Scheper adopt the slightly longer numbers in the thousands (like 3500.YYYY) as a means of remedying some of the numbering confusion many have when looking at Luhmann’s system.

Those who build their systems on top of existing ones like the Dewey Decimal Classification, or the Universal Decimal Classification may wish to keep those broad categories with three to four decimal places at the start and then add their own idea number underneath those levels.

As an example, we can use the numbering for Finsler geometry from the Dewey Decimal Classification wikipedia page shown as:

500 Natural sciences and mathematics 510 Mathematics 516 Geometry 516.3 Analytic geometries 516.37 Metric differential geometries 516.375 Finsler geometry

So in our zettelkasten, we might add our first card on the topic of Finsler geometry as “516.375.001 Definition of Finsler geometry” and continue from there with some interesting theorems and proofs on those topics.

Don’t Waste Time on Complex Classification Systems

Of course, while this is something one can do doesn’t mean that one should do it. Going too far down the rabbit holes of “official” forms of classification this way can be a massive time wasting exercise as in most private systems, you’re never going to be comparing your individual ideas with the private zettelkasten of others and in practice the sort of standardizing work for classification this way is utterly useless. Beyond this, most personal zettelkasten are unique and idiosyncratic to the user, so for example, my math section labeled 510 may have a lot more overlap with history, anthropology, and sociology hiding within it compared with others who may have all of their mathematics hiding amidst their social sciences section starting with the number 300. One of the benefits of Luhmann’s ad hoc numbering scheme, at least for him, is that it allowed his system to be much more interdisciplinary than using a more complicated Dewey Decimal oriented system which may have dictated moving some of his systems theory work out of his politics area where it may have made more sense to him in addition to being more productive on a personal level.

Of course if you’re using the older sort of commonplacing zettelkasten system that was widely in use before Luhmann’s variation, then perhaps using a Dewey-based system may be helpful to you?

A Touch of History

As both a mathematician working in the early days of real analysis and a librarian, I wouldn’t be surprised if some of these loose ideas may have occurred tangentially to Gottfried Wilhelm Leibniz (1646 – 1716), though I’m currently unaware of any specific instances within his work. One must note, however, that some of the earliest work within library card catalogs as we know and use them today stemmed from 1770s Austria where governmental conscription needs overlapped with card cataloging systems (Krajewski, 2011). It’s here that the beginnings of these sorts of numbering systems begin to come into use well before Melvil Dewey’s later work which became much more broadly adopted.

The German “file number” (aktenzeichen) is a unique identification of a file, commonly used in their court system and predecessors as well as file numbers in public administration since at least 1934. We know Niklas Luhmann studied law at the University of Freiburg from 1946 to 1949, when he obtained a law degree, before beginning a career in Lüneburg’s public administration where he stayed in civil service until 1962. Given this fact, it’s very likely that Luhmann had in-depth experience with these sorts of file numbers as location identifiers for files and documents. As a result it’s reasonably likely that a simplified version of these were at least part of the inspiration for his own numbering system. ^{[†] [‡]}

Your own practice

At the end of the day, the numbering system you choose needs to work for you within the system you’re using (analog, digital, other). I would generally recommend against using someone else’s numbering system unless it completely makes sense to you and you’re able to quickly and simply add cards to your system with out the extra work and cognitive dissonance about what number you should give it. The more you simplify these small things, the easier and happier you’ll be with your set up in the end.

References

Krajewski, Markus. Paper Machines: About Cards & Catalogs, 1548-1929. Translated by Peter Krapp. History and Foundations of Information Science. MIT Press, 2011. https://mitpress.mit.edu/books/paper-machines.

Munkres, James R. Topology. 2nd ed. 1975. Reprint, Prentice-Hall, Inc., 1999.

Featured photo by Manson Yim on Unsplash

NaNoWriMo with Zettelkasten Approach for an AcWriMo Non-Fiction Writing

Using Niklas Luhmann’s rough average of six zettels per day working full time for 8 hours a day versus writing approximately 1,667 words in an hour’s work (~28 words written per minute, which seems a reasonable average), I’ve created a zettelkasten word count equivalent for reading, research, and note making.

28 words for every minute spent reading and making fleeting notes.
415 words for every well-formed, fully written out permanent note
500 words for every well-formed, fully written out and installed permanent note (includes work to install it in the box)
84 words for every cross link created from one note to another
140 words for every bibliographic card created
56 words for every index entry created

If you’re diligently working at any or all of the above, instead of measuring all the small pieces, you could just use a 28 word/minute measure for your zettelkasten-based work.

If you’re not a full time research-only academic (without a teaching load or other administrative obligations) and for fun want to measure your NaNoWriMo for non-fiction work on a card per day basis using Niklas Luhmann as a guide/measure, then you should do the reading, research and note taking work to produce 0.75 cards per day (that is, well written permanent notes installed, indexed, and well-linked; we’re not keeping track of the indexing cards, bibliographic cards, or other fleeting notes here, which you’ll also be doing along the way) to keep pace for an equivalent 50,000 words during the month. This is about 5.25 cards per week or about 23 cards for the entire month.

The goal here is, instead of churning out raw words, to churn out reading, research, and note making towards material you can reasonably use to write journal articles, book chapters, or a full non-fiction book.

If you’re using an index card-based system for fiction writing the way Vladimir Nabokov did, then you really should do a traditional word count as that’s more closely in line with the workflow of the standard NaNoWriMo work.

N.B. This probably overshoots the mark, as the 6 cards/day number for Luhmann probably includes all cards and not just permanent notes in his entire collection over his entire lifetime’s work. It also doesn’t take into account the possibility that he carried a teaching load, administrative work, fundraising work, or other nonsense required of professors.) Of course this is is all just for fun anyway, so… quit worrying and start researching and writing a little bit every day.

Death by Zettelkasten!!

Just in time for Halloween, a haunting story about information overload featuring the most deadly zettelkasten in literary history.

Coming soon to a theater near you…

In the preface to the novel Penguin Island (L’Île des Pingouins. Calmann-Lévy, 1908) by Nobel prize laureate Anatole France, a scholar is drowned by an avalanche of index cards which formed a gigantic whirlpool streaming out of his card index (Zettelkasten)!

Translation via:
France, Anatole. Penguin Island. Translated by Arthur William Evans. 8th ed. 1908. Reprint, New York, NY, USA: Dodd, Mead & Co., 1922.

Small changes in the translation by me, comprising only adding the word “index” in front of the occurrences of card to better represent the historical idea of fiches used by scholars in the late 1800s and early 1900s, are indicated in brackets.

The walls of the study, the floor, and even the ceiling were loaded with overflowing bundles, paste board boxes swollen beyond measure, boxes in which were compressed an innumerable multitude of small [index] cards covered with writing. I beheld in admiration mingled with terror the cataracts of erudition that threatened to burst forth.
“Master,” said I in feeling tones, “I throw myself upon your kindness and your knowledge, both of which are inexhaustible. Would you consent to guide me in my arduous researches into the origins of Penguin art?”
“Sir,” answered the Master, /“I possess all art, you understand me, all art, on [index] cards classed alphabetically and in order of subjects. I consider it my duty to place at your disposal all that relates to the Penguins. Get on that ladder and take out that box you see above. You will find in it everything you require.”
I tremblingly obeyed. But scarcely had I opened the fatal box than some blue [index] cards escaped from it, and slipping through my fingers, began to rain down.
Almost immediately, acting in sympathy, the neighbouring boxes opened, and there flowed streams of pink, green, and white [index] cards, and by degrees, from all the boxes, differently coloured [index] cards were poured out murmuring like a waterfall on a mountain-side in April. In a minute they covered the floor with a thick layer of paper. Issuing from their in exhaustible reservoirs with a roar that continually grew in force, each second increased the vehemence of their torrential fall. Swamped up to the knees in cards, Fulgence Tapir observed the cataclysm with attentive nose. He recognised its cause and grew pale with fright.
“ What a mass of art! ” he exclaimed.
I called to him and leaned forward to help him mount the ladder which bent under the shower.
It was too late. Overwhelmed, desperate, pitiable, his velvet smoking-cap and his gold-mounted spectacles having fallen from him, he vainly opposed his short arms to the flood which had now mounted to his arm-pits . Suddenly a terrible spurt of [index] cards arose and enveloped him in a gigantic whirlpool. During the space of a second I could see in the gulf the shining skull and little fat hands of the scholar; then it closed up and the deluge kept on pouring over what was silence and immobility. In dread lest I in my turn should be swallowed up ladder and all I made my escape through the topmost pane of the window.

The original French:

Les murs du cabinet de travail, le plancher, le plafond même portaient des liasses débordantes, des cartons démesurément gonflés, des boîtes où se pressait une multitude innombrable de fiches, et je contemplai avec une admiration mêlée de terreur les cataractes de l’érudition prêtes à se rompre.
—Maître, fis-je d’une voix émue, j’ai recours à votre bonté et à votre savoir, tous deux inépuisables. Ne consentiriez-vous pas à me guider dans mes recherches ardues sur les origines de l’art pingouin?
—Monsieur, me répondit le maître, je possède tout l’art, vous m’entendez, tout l’art sur fiches classées alphabétiquement et par ordre de matières. Je me fais un devoir de mettre à votre disposition ce qui s’y rapporte aux Pingouins. Montez à cette échelle et tirez cette boîte que vous voyez là-haut. Vous y trouverez tout ce dont vous avez besoin.
J’obéis en tremblant. Mais à peine avais-je ouvert la fatale boîte que des fiches bleues s’en échappèrent et, glissant entre mes doigts, commencèrent à pleuvoir. Presque aussitôt, par sympathie, les boîtes voisines s’ouvrirent et il en coula des ruisseaux de fiches roses, vertes et blanches, et de proche en proche, de toutes les boîtes les fiches diversement colorées se répandirent en murmurant comme, en avril, les cascades sur le flanc des montagnes. En une minute elles couvrirent le plancher d’une couche épaisse de papier. Jaillissant de leurs inépuisables réservoirs avec un mugissement sans cesse grossi, elles précipitaient de seconde en seconde leur chute torrentielle. Baigné jusqu’aux genoux, Fulgence Tapir, d’un nez attentif, observait le cataclysme; il en reconnut la cause et pâlit d’épouvante.
—Que d’art! s’écria-t-il.
Je l’appelai, je me penchai pour l’aider à gravir l’échelle qui pliait sous l’averse. Il était trop tard. Maintenant, accablé, désespéré, lamentable, ayant perdu sa calotte de velours et ses lunettes d’or, il opposait en vain ses bras courts au flot qui lui montait jusqu’aux aisselles. Soudain une trombe effroyable de fiches s’éleva, l’enveloppant d’un tourbillon gigantesque. Je vis durant l’espace d’une seconde dans le gouffre le crâne poli du savant et ses petites mains grasses, puis l’abîme se referma, et le déluge se répandit sur le silence et l’immobilité. Menacé moi-même d’être englouti avec mon échelle, je m’enfuis à travers le plus haut carreau de la croisée.