Index cards provide freedom from notebook perfection

I’ve heard many people mention their issues with writing in new notebooks or coming up with ideas for what to put in their ever-growing collections of multiple brand new notebooks. Some feel like they’re just notebook collectors who appreciate the look and feel of a new notebook, pregnant with so much possibility. Others are frozen by the need for perfection and can’t bring themselves to write on a page. One writer told me that he purposely mars the first page in every new notebook, just to force himself to get over the fear of the newness and perfection—something he picked up from his dad who dinged with a hammer on day one every new car he bought to get over the preciousness of the new.

This is why I like having stacks of index cards at hand. They’re beautiful and lovely, but if you screw up or make a mistake, it’s just one card. Copy it and throw the imperfect one out if you need to. (Though I find in practice I don’t ever do this.) Because they’re not bound together, you’re also not bound by what you write on one card needing to fit in with what you write on any of the others. There’s no worrying about what subject you’re going to write on this one card tying you to something the way writing in a single subject notebook might. Did this sort of fear exist in the users of 17th century commonplace notebooks, or was it something that evolved in the 20th century with the idea of single subject school notebooks?

My nicest index cards don’t carry the same baggage as my nicest notebooks.

Zettelkasten Pedagogy Meeup? A Call for Interested Parties and Examples

I’ve been watching a growing number of teachers, professors, and researchers who have been transferring their personal note taking, zettelkasten, or personal knowledge management practices into the classroom for students from 6th or 7th grade up into college/university level. As it’s been a while since this practice was more commonplace (excuse the pun), perhaps it could be useful (and fun) to do a meetup or mini-unconference on the topic to discuss some ideas, practices, and pedagogy?

Format

Depending on everyone’s general availability, we could do something on a quiet day over the summer break? I’m thinking something in the 2-4 hour range depending on the level of interest and what folks think would be most productive. At the lower end we could do a few hours as a simple meetup/discussion if there are 10 or fewer, though if there is more interest, then I’m thinking that a BarCamp style (unconference) may be easier with 3-4 sessions of about 45 minutes each  and to which people submit various ideas at the start of “camp” and folks can decide what ideas they’re interested in supporting or exploring. (If you’ve never attended an unconference or BarCamp style event, this IndieWeb page and related pages will give you a bit of an idea of what to expect, though we’ll do a much more scaled down version. I’m also a fan of their Code of Conduct, and propose to adopt it for participants.)

Given the potential time zone differentials across Europe and the Americas across which most practitioners I know live, I’ve found that Saturday morning starts at 8:30 AM Pacific have been historically most convenient, but I’m not opposed to an weekday timeslot if that’s more preferrable with a majority of schedules.

If there’s enough interest I’m happy to help facilitate something 2-3 times a year in smaller doses. We can start small and informal and expand as necessary.

Interest?

If this is something in which you’d be interested in doing, please drop a comment on my website or send me an email (you’ll find it on my homepage). Let me know the following:

  • Range of referred dates/times along with any major vacation plans we might work around
  • Interest in leading a BarCamp session? Topics? Do you have a presentation/experience you’d like to present (even if it’s totally informal)? 
  • Your area/level of teaching (elementary, middle school, high school, undergraduate, graduate, other) and institution — schedule-wise, I’d like to give the most preference to active educators, though I’m sure we’ll attract participants interested in the broader idea of ZK/PKM.
  • Would you like to help volunteer time/resources to mounting this as an online only event?
  • Other ideas? Needs?

My goal for a first session is to be highly creative and get ideas/discussions of experiences/improvements flowing with the minimal amount of organization and work on the part of all participants. I would hope this would be more fun for the prospective group than work.

Background

I’ve been collecting examples of teachers/professors who used their zettelkasten for teaching, some of which include Mario Bunge, Frederic L. Paxson, Gotthard Deutsch, Roland Barthes, and Joachim Jungius. In more recent contexts, I’ve seen Dan Allosso (aka u/danallosso), Mark Robertson (aka @calhistorian u/calhistorian), Nick Santalucia, and Sean Graham using zettelkasten or linked notes using Obsidian, Roam, etc. for either directly teaching, teaching students how to start such a practice, or using it for OER related practices. I’ve also heard from a few who are planning on offering coursework with zettelkasten underpinned pedagogy in the near future.

Do you know of others who are practicing and implementing these methods? Those who plan to in the coming year? Please forward this along and we’ll see what we can arrange based on the level of interest.

All thoughts and feedback appreciated…

Baum-kuchen, a local and online stationery store, inspiration studio, and community space 🖋️📓

Over the weekend I had the good fortune to hear about a little stationery shop 10 minutes from my house. Baum-kuchen is a spectacular little space hiding over on Lincoln in Altadena with a warm, wabi-sabi (わびさび) charm. The business began in 2010, but opened up their physical location in 2019. Obviously not the most fortuitous time to have opened a brick and mortar location, they’re primarily still online, but have regular open hours usually from 12-5pm on Sundays. 

The space, while modest, is rich and well-appointed, as one would expect a fine stationery store to be. I spent almost as much time appreciating the small touches of hardware for merchandising purposes as I did lusting after the stationery, pens, pencils, cases, bags, washi tape, stamps, paper twine, and miscellanea. I think the first three things I asked for prices on were store fixtures. (But with a lush, rare Wabash Cabinet on display, who wouldn’t?)

If you’re looking for the corporate, completist, and cramped feel of something like Kinokuniya, this is assuredly not that. This is a place to luxuriate in stationery and spark some creativity away from the madding crowd.

A sturdy wooden four drawer 3 x 5" card index from The Wabash Cabinet Co. One drawer has been removed.

Of particular note, they’ve got one of the most beautiful, well-appointed, and fully stocked pigeonhole displays I’ve ever seen for Traveler’s Notebooks. They also offer a nice selection of The Superior Labor products to which they also offer customization touches you can easily add on to make your notebook “Truly Yours”

They seem to have a full selection of MIDORI paper products, lots of Stalogy, and  PERPANEP. Also on offer were analog planners like Jibun Techos, Roterfaden, and Nolty along with brands like Classiky, Kokuyo, Kuretake, Mizushima, Postalco, and ateliers PENELOPE among others.

I’ll take a moment to note that this was the first time I’ve ever seen Roterfaden for sale in a physical shop. They truly are lovely analog items with a high level of  tactile joy. I find myself needing more thick felt in my life beyond the large grey mat I use for shodo.

This also reminds me that the shop does a fantastic job of providing physical samples of nearly almost every product that you can open, play with, and try out (including samples of most of the notebook paper!) It’s small touches like this that will keep the stationery afficionados coming back every time.

Community

In addition to all the spectacular things I saw, I would be remiss not to mention one of the kindest touches in the whole shop. Front and center in the main room is a fantastic wooden and metal table with several fine chairs. They invite the community to come in with their journals to sit and write with each other. 

I arrived on the early side of their store hours, but just after, two people showed up who browsed for a bit, but then sat down to write and try out some of the available stamps on the table in their own journals. Wakako even invited me to feel free to bring my typewriter to sit and write for a bit in the future. Anyone up to join me? With such a nice space, why not use it on a Sunday afternoon to plan out your week or reflect on the week past?

Beyond the warm and inviting space, they keep things in stock in the store which seem to be marked as sold out in their online storefront. On first blush this could be written down as a potential accounting error or maybe delays in updating the website, but I suspect that they’re carefully holding onto stock for their local community to be able to see items and purchase things in person. 

As rare as it is to see a shop revel in the idea of analog, it’s even more refreshing and heartening to see one doing its best to strive towards kindness within its own community the way that Baum-kuchen does. 

Next time, with money in my pocket

I usually make a habit of leaving my wallet at home on first visits to nearby stationery stores. (Those inflicted with the gentle madness like me will know why.) But I’ve started a list on my pocket notebook with a few things I must have on my next visit…

A Kaweko brass Liliput fountain pen with a "sample" sticker sitting on a pen pricing sheet in the Baum-Kuchen Studio Shop

Buried Lede: Hobonichi in the United States

There are too many things to like about Baum-kuchen, and I haven’t even mentioned the pastry origins of the German-named shop. Some will scream that I’ve buried the lede in this whole story when I mention the following exciting revelation: This fall, Baum-kuchen will be carrying a wide variety of Hobonichi products!!! I’m only aware of a tiny handful of US-based stores which carry or ship Hobonichi (JetPens anyone?), but Baum-kuchen will be one of them. I’ve generally ordered these directly from Japan in the past, but it will be ever so nice to be able to place an order to a physical shop that’s just a few minutes away. I’m hoping they’ll open up the store on announcement day and have a little party to celebrate. If they do, I’m definitely baking them a homemade tree cake!

Several wood and rubber stamps, featuring one which reads Wabi-sabi, though it's written in Japanese katakana. 

The Idea File of Harold Adams Innis

I am wholly unsurprised that Harold Innis (1894-1952) maintained a card index (zettelkasten) through his research life, but I am pleased to have found that his literary estate has done some work on it and published it as The Idea File of Harold Adams Innis (University of Toronto Press, 1980). The introduction seems to have some fascinating material on the form and structure as well as decisions on how they decided to present and publish it.

For those unaware of his work, primarily as a political economist, he wrote extensively on media and communication theory including the influential works Empire and Communications (1950) and The Bias of Communication (1951). 

While I appreciate the published book nature of the work, it would be quite something to have it excerpted back down to index card form as a piece of material culture to purchase and play around with. Perhaps something in honor of the coming 75th anniversary of his passing?

The Growth of Credit Card Transaction Fee Chargebacks

I saw a sign on April 2nd next to a cash register at local mom and pop restaurant El Matador in Pasadena, CA that read, “$0.75 per (credit) card transaction”.

It reminded me of the growing number of stores, vendors, and service providers that are passing credit and debit card transaction fees back to the consumer. In my past experience credit card companies like Visa, American Express, and AmEx all vehemently insisted that their credit card fees, usually amounting to 2.0-3.9+% of a transaction would be borne by the company accepting their cards. The fine print in their agreements all indicated that their agreements would end and companies would be cut off if they didn’t swallow the fees themselves as a basic cost of doing business.

But it would seem that sometime during the pandemic and the financial turmoil that has ensued that a growing number of businesses, presumably feeling the squeeze of the economy, have begun passing these fees directly back to the consumer. 

I first began noticing it when paying for our daughter’s ballet school tuition which charged us an extra 3% credit card fee for using our credit card instead of paying by cash or check. Then her private school tuition processor began charging a 3% credit card fee. Now it seems like every small company is taking the cue and passing along credit card fees to the consumer, including the local Mexican food restaurant.

What effects does this seemingly small, yet somehow massive shift in the economy have on consumers, businesses, and the country? How does it effect inflation and its impact on consumers? How does it effect the overall banking sector?  Much the same way austerity measures within the economy ordinarily have an outsized, but “unseen” impact on women, does this additional tax on consumers hit everyone equally? What effects does this have on an increasingly cashless society that has normalized credit cards? What will potential long term changes in credit card processing will this foment? Will the tide change as interest rates decrease?

A common outlier to this pattern before the pandemic was gasoline chain ARCO which only accepted debit cards or cash and charged an automatic $0.35 fee for any debit card transactions to cover the single use banking fee that the bank charged them (though generally the debit card fee most banks charge companies has been in the $0.22 – $0.30 range; research should confirm the specific number). Sometime during the pandemic, the shift in competition/pricing apparently led ARCO to begin accepting major credit cards. However, in their case, they post different gas pricing for cash/debit transactions versus credit card transactions, typically an extra $0.10/gallon, which at about 2.0% of $4.80/gallon of regular gas at my local station in Pasadena represents a rough breakeven point for charging back the overall credit card fee, presuming they’re operating at high enough volume to get a 2% fee. What happens when gas prices go up though? Will their per gallon fee also go up to cover the credit card differential? 

I’d love to see some on-the-ground economics reportage on this growing trend. Perhaps it’s something that Marketplace might take up? 

Featured photo by Clay Banks on Unsplash

Furniture refinishing projects progress

Made some good progress on furniture refinishing projects today. The weather has finally warmed up a bit for improved painting and drying times.

Day Four on the Shaw-Walker Filing Cabinet

  • Rust mitigation, sanded, cleaned, and primed all four drawers, primarily the front faces and edges, though the full bottom on one drawer;
  • Primed the bottom of the cabinet to prevent further rusting;
  • Next steps:
    • Choose a paint color and get clear coat;
    • I’m half tempted to mount onto steel plate and add casters, otherwise felt stripping/feet to prevent scratching floors;
    • Finish cleaning hardware (not sure how much better these might get without replating) and remount

Day two on the Steelcase stick leg office chair

  • Spray painted all sides with two coats and left to dry
  • Sanded down the chair back, washed it, and spray painted with two coats and left to dry.
  • Next steps:

Some notes on Aby Warburg: Metamorphosis and Memory

I recently watched the documentary Aby Warburg: Metamorphosis and Memory (Wechsler, 2016) via Kanopy (for free using my local library’s gateway) and thought that others here interested in the ideas of memory in culture, history, and art history may appreciate it. While a broad biography of a seminal figure in the development of art history in the early 20th century, there are some interesting bits relating to art and memory as well as a mention of Frances A. Yates whose research on memory was influenced by Warburg’s library.

Of specific “note” is the fact that Aby Warburg (1866-1929) had a significant zettelkasten-based note taking practice and portions of his collection (both written as well as images) are featured within the hour long documentary. You’ll see it in the opening scenes in the background during many of the interviews, but there’s also a portion featured at the 30 minute mark which looks at a few of his zettels. Like several other zettelkasten practitioners he had a significant zettelkasten practice but did not publish much, but did lecture quite a lot and had outsized influence both during his life as well as posthumously and his zettelkasten and research remain as an archive for scholars who still study and extend his work.

Sadly, I’m unable to catch any screenshots from the film due to technical glitches, but if folks can figure out how to pull some out, I’d appreciate them.

Aby Warburg’s extant zettelkasten at the Warburg Institute’s Archive consists of ninety-six surviving boxes (of 104 or possibly more) which contain between 200-800 individually numbered index cards. Dividers and envelopes are used within the boxes to separate the cards into thematic sections.

The digitized version is transcribed in the original German and is not available translated into English (at least as of 2023). The digitized version maintains the structure of the dividers and consists of only about 3,200 items. It can be searched at https://wi-calm.sas.ac.uk/CalmView/Aboutcatalogue.aspx. As examples one can find the record for box 4a on “the Renaissance” at https://wi-calm.sas.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=WIA+III.2.1.+ZK%2f4a&pos=1 and the physical divider inside box 4a for “Jakob Burkhardt” with subsections listed at https://wi-calm.sas.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=WIA+III.2.1.+ZK%2f4a%2f2&pos=1

The Warburg Institute archive had this sample photo of some of his decorative/colorful boxes:

Has anyone visited the Warburg archive in London before?

Originally published on April 20, 2023 at 01:42AM

Knowing What We Know: The Transmission of Knowledge From Ancient Wisdom to Modern Magic by Simon Winchester

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

Vintage desktop Remington Rand 10 5/8 inch card index for 3 x 5″ cards

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.

Close up of a bronze metallic art deco designed plaque on the front of a small card index that reads "Remington Rand / Library Bureau Div." sandwiched in between the words "Made" and "in U.S.A." Two small nails hold the plaque on to the box. In front of the box is a white index card that read in red typewriter print "The power of information" with a quote typed in black below it.

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. 

Angle down on a small, light brown wooden card index. The box has several manilla 1/5 cut 3x5" card dividers inside along with some white index cards. Outside of the box on the table in front of it are a typewritten index card and a black metal Rotring 800 0.5mm mechanical pencil. Off to one side is a white ceramic bowl full of lemons.

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.

Bottom of a 10 5/8" card index featuring two wooden slats on the sides and a metal strip down the middle for the card follower inside the box. A faint black item number "6015" is printed on the bottom.

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?).

View from the front of an empty Remington Rand card index box toward the back featuring a steel card follower sitting in a steel slider tray with teeth on the right side for adjusting the follower in the box.

View of the back of a tan painted steel card follower in a Remington Rand card index. It has a silver steel button on the top which has a spring loaded pin lever to allow the follower to be positioned in the box at one of approximately 42 evenly spaced teeth in its metal tray.

Of course I now have a small voice inside saying that I need a Remington typewriter on my desk to match it.

Review of King Jim A6 size horizontal Flatty Works case #5460 🗃️

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 (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.

1948 Smith-Corona “Clipper”

Childhood Typewriters

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, but a short afternoon of tinkering should make quick work of any issues. 

Oblique angle down on the top of a black Smith-Corona Clipper sitting on a brown wooden tabletop.

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.

Rear view angle of the carriage return on the Smith-Corona Clipper with a view into the internals featuring the bell. The apparatus could be cleaner and features some use and dust build up on the oiled metal.

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.

Typed 3 x 5 inch index card. The top title in red ink reads "The Power of Information" with the following quotation: 
No piece of information is superior to any other. Power lies in having them all on file and then finding the connections. There are always connections; you have only to want to find them. --- Umberto Eco, Foucault's Pendulum

If nothing else, the Clipper does look quite nice next to my Shaw-Walker card index which is from the same era.

Desk level view of the front of a Shaw-Walker wooden card index tray next to a black typewriter.

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]

Close up of the Clipper logo on a Smith-Corona typewriter. It features a red outline of the small single wing, four engine airplane with the word "Clipper" underneath it  underlined with red waves so as to make the plane appear to be flying over water.

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.

Reverse view into the opened Smith-Corona Clipper featuring a close up view of all of the type face and levers. Just visible at the top are a side view of the keys on the front of the typewriter.

Typeface sample

Library card catalog card with the typewriter's year, make, model, serial number and samples of all the slugs and the pangram sentences "the quick brown fox jumps over the lazy dog." and "A VERY BAD QUACK MIGHT JINX ZIPPY FOWLS."

 

References

“Tom Hanks, Typewriter Enthusiast.” CBS News Sunday Morning. CBS, October 15, 2017. https://www.youtube.com/watch?v=UTtDb73NkNM.

Klaás, M. D. (December 1989). “Clipper Across the Pacific, Part One”. Air Classics. 25 (12).

Vintage wooden desk top Shaw-Walker 11 inch card index for 3 x 5″ cards

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.

Close up of the black and gold lettered Shaw-Walker Logo on the front of a 3 x 5 inch card index

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?

Oblique angle on a Shaw-Walker 11 inch 3 x 5 inch card index View from the back of the wooden card stop mechanism on an 11 inch card index. Close up of a reddish sticker on the bottom of a wooden card index. View of the bottom of a Shaw-Walker card index featuring two slats separated by a metal rod.

 

A Quick Look at Ludwig Wittgenstein’s Zettelkasten: Zettel 1967

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.

While the individual entries themselves are as fascinating as dipping randomly into some of Henry David Thoreau’s journals or Georg Christoph Lichtenberg’s Waste Books, the brief introductory material by the editors was immediately the most interesting to me. 

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.

Book cover of Zettel by Ludwig Wittgenstein

First Use of Zettelkasten in an English Language Setting?

The idea of having and maintaining a Zettelkasten has become increasingly popular since the »Zettelkästen. Maschinen der Phantasie« exhibition at Marbach in March 2013 and the appearance of the website zettelkasten.de in late 2013 and has grown significantly with the Cambrian explosion of a variety of digital note taking tools since 2018.

But here’s a fun little historical linguistic puzzle:

What was the first use of the word Zettelkasten in a predominantly English language setting?

In my own notes/research the first occurrence I’ve been able to identify in an English language setting is on Manfred Kuehn’s blog in Taking note: Luhmann’s Zettelkasten on 2007-12-16. He’d just started his blog earlier that month.

Has anyone seen an earlier usage? Can you find one? Can you beat this December 2007 date or something close by a different author?

Google’s nGram Viewer doesn’t indicate any instances of it from 1800-2019 in its English search, though does provide a graph for German with peaks in the 1850s, 1892 (just after Ernst Bernheim’s Lehrbuch der Historischen Methode in 1889), 1912, 1925, and again in 1991.

Twitter search from 2006-2007 finds nothing and there are only two results in German both mentioning Luhmann.

My best guess for earlier versions of the appearance zettelkasten in English might stem from the work/publications of S. D. Goitein or Gotthard Deutsch, but I’ve yet to see anything there. 

For those who speak German, what might you posit as a motivating source for the rise of the word in the 1850s or any of the other later peaks?

The Memindex Method: an early precursor of the Memex, Hipster PDA, 43 Folders, GTD, BaSB, and Bullet Journal systems

Wilson Memindex Co., Rochester, NY

It was fascinating to run across the Memindex, a productivity tool from the Wilson Memindex Co., advertised in a December 1906 issue of System: The Magazine of Business. Memindex seems to be an obvious portmanteau of the words memory and index.

Black and white advertisement for the Memindex featuring a notebook like card system and a wooden card index. The headline reads: Let your mind go free.

Let YOUR MIND GO FREE
Do not tax your brain trying to remember. Get the MEMINDEX HABIT and you can FORGET WITH IMPUNITY. An ideal reminder and handy system for keeping all memoranda where they will appear at the right time. Saves time, money, opportunity. A brain saver. No other device answers its purpose. A Great Help for Busy Men, Used and recommended by Bankers, Manufacturers, Salesmen, Lawyers, Doctors, Merchants, Insurance Men, Architects, Educators, Contractors, Railway Managers Engineers, Ministers, etc., all over the world. Order now and get ready to Begin the New Year Right. Rest of ’06 free with each outfit. Express prepaid on receipt of price. Personal checks accepted.
Also a valuable card index for desk use. Dated cards from tray are carried in the handy pocket case, 2 to 4 weeks at a time. To-day’s card always at the front. No leaves to turn. Helps you to PLAN YOUR WORK WORK YOUR PLAN ACCOMPLISH MORE You need it. Three years’ sales show that most all business and professional men need it. GET IT NOW. WILSON MEMINDEX CO. 93 Mills St., Rochester, N. Y.

Early Computer Science Influence?

The Memindex product appears several decades prior to Vannevar Bush’s “coinage” of memex in As We May Think (The Atlantic, July 1945). While many credit Bush for an early instantiation of the internet using the model of a desk, microfiche, and a filing system, almost all of these moving parts had already existed in late 19th century networked office furniture and were just waiting for automation and computerization. The primary difference in this Memindex card system and Bush’s Memex is the higher information density made available through the use of microfiche. Now it turns out his coinage of memex appears to have been in the zeitgeist decades prior as well. I’ve got evidence that the Wilson Memindex was sold well into the early 1950s. (My current dating is to 1952, though later examples may exist.) Below I’ve pictured some cards from the same year as Bush’s now famous piece in the Atlantic.

Six different cards from a 1945 set of Memindex featuring cards for automobile expenses; a list of orderable supplies including cards, guide cards, and leather cases; an advertisement for Griptite Bands for holding cards; a pocket calendar for 1945, and a small instruction card on how the cards and system should be used.

Most people are more familiar with the popular 20th century magazine System than they realize. Created and published by A. W Shaw, one of the partners of Shaw-Walker, a major manufacturer of office furniture in the early 20th century, the popular magazine was sold to McGraw-Hill Company in 1927/8 and renamed Businessweek which was later sold again and renamed Bloomberg Businessweek.

Relationship to other modern productivity methods

Some will certainly see close ties of this early product to the idea of the “hipster PDA” or Hawk Sugano’s Pile of Index Cards which appeared in 2006. It also doesn’t take much imagination for one to look at the back of a Wilson Memindex envelope from 1909 or an ad from the 1930s to see the similarity to the 43 folders system, bits of Getting Things Done (GTD), or the Bullet Journal methods in common use today. The 1909 envelope also appears to combine a predecessor to the 43 folders idea mixed with the hipster PDA in a coherent pocket and desk-based system.

With alphabetic tabs for the desktop version, one could easily have used this for “Building a Second Brain” as described by modern productivity gurus who almost exclusively suggest digital tools for maintaining their systems now. The 1909 envelop specifically recommends using the system as “comprehensive card index” which is essentially what most second brain or zettelkasten systems are, though there is a broad disconnect between some of this and the reimagining of the zettelkasten in current craze for using Niklas Luhmann-esque organization methods which have some different aims.

What’s interesting beyond the similarities of the systems is the means by which they were sold and spread. Older systems like the Memindex or related general office filing and indexing systems (Shaw-Walker),  were primarily selling physical products/hardware like boxes, filing cabinets, holders, cards, and dividers as much as they were selling a process or idea. Mid- and late-century companies like  Day-Timer or FranklinCovey also sold physical stationery products (calendars, planners, boxes, binders, books, ) but also began more heavily selling ideas like “productivity” and “leadership”. Modern productivity gurus are generally selling the ideas of the systems and making their money not on the physical items, software or programs which implement them, but with consulting fees, class fees, subscriptions, books which describe their systems, or even advertising against page or video views.

The 1906 version of the Memindex was popular enough to already be offered with the following options of materials for the distinguishing tastes of consumers: 

  • Cowhide Seal Leather Case and hardwood tray
  • Am. Russia Leather Case and plain oak tray
  • Genuine Morocco Case and quartered oak tray

What options is your current productivity guru or system offering? What are the differentiations and affordances it’s offering compared to similar systems in the early 1900s? Where is the “rich Corinthian leather“?

Memindex advertisement on the back of a standard business envelope picturing a hand held card holder for up to three weeks of cards and the sister desk-based card index with  a variety of date and alphabetical tabbed indexes.
Memindex envelope from 1909
A small desk-based card index with tabs for the days of the week and months as well as an alphabetical index.
1930’s Memindex advertisement featuring a pedestal based system with a pocket card holder.

The Memindex Method

The basic Memindex method consists of using 2 3/4″ x 4 1/2″ (vest pocket sized) or 3 x 5 1/2″ cards depending on one’s size preference to jot down to do lists or tickler items on individually dated cards which are kept in a desk-based wooden card index with tabs for both months as well as alphabetic tabs in some systems. One then keeps a small pocket-sized card holder with the coming three weeks’ worth of cards on their person for active daily use and files them away as the days go by. 

Advertisement for the Memindex outlining their method of use.
1930’s advertisement for the Memindex Jr.

Apparently the truism “everything old is new again” is true yet again.

Angle down on a wooden Memindex box with a front locking mechanism. On the front visible card are the words "Jot here reminders of important things to be done this month, so you can see all at a glance."
Memindex box with lock from 1937