The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity (as writing that displaces the voice), together with but distinct from its political potentiality as a collective mediality (as a ‘means without end’). Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

The practice of taking hand-written notes in lectures has been rediscovered recently because of several studies on its learning efficacy in the mainstream media. Students are enjoined to ditch their laptops and return to pen and paper. Such arguments presuppose that notes are taken in order to be revisited after the lecture. Learning is seen to happen only after the event. We argue instead that student’s note-taking is an educational practice worthy in itself as a way to relate to the (...) live event of the lecture. We adopt a phenomenological approach inspired by Vilém Flusser’s phenomenology of gestures, which assumes that a gesture like note-taking is always an event of thinking with media in which a certain freedom is expressed. But Flusser’s description of note-taking focusses on the individual note-taker. What about students’ note-taking in a lecture hall as a collective gesture? Nietzsche considered note-taking ‘mechanical,’ as if students were automatons who mindlessly transcribed a verbal flow, while Benjamin considered it an inaesthetic gesture: at best, boring; at worst, ‘painful to watch.’ In contrast, we argue that the educational potentiality of note-taking—or better, note-making—can be grasped only if we account for its mediaticity (as writing that displaces the voice), together with but distinct from its political potentiality as a collective mediality (as a ‘means without end’). Note-taking enables us to see how collective thinking emerges in the lecture, a kind of thinking that belongs neither to the lecturer nor the student, but emerges in the relation of attention established between the lecturer, students and their object of thought. (shrink)

The development of paper-based information technologies in the early modern period is a field of enquiry that has lately benefited from extensive studies by intellectual historians and historians o...

An overview of Dai's ethics, highlighting some overlooked or misunderstood theses on moral deliberation and motivation.

We provide a detailed description of an interleaved and heavily annotated copy of Florae Berolinensis Prodromus, a flora of Berlin published by the German apothecary and botanist Karl Ludwig Willdenow in 1787, which today is preserved at the Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. We demonstrate that this is the copy that the author himself used and carried with him during his botanical excursions in and around Berlin to prepare a second edition of the work. By analyzing this document as (...) paper technology, we reveal that even seemingly trifling aspects of its material organization enabled far-reaching biological research agendas that were not originally intended. The hybrid form of manuscript and printed book, used in field excursions, enabled a kind of natural-historical observation that was at once detailed and bound by strict convention, a combination that inadvertently opened new research questions and suggested new objects of research. We thereby contribute to an understanding of the history of natural history that goes beyond the history of ideas and the intended uses of techniques, giving an example of how routine work on paper within a scientific tradition could generate innovation. (shrink)

In recent years, historians of science have increasingly turned their attention to the “print culture” of early modern science. These studies have revealed that printing, as both a technology and a social and economic system, structured the forms and meanings of natural knowledge. Yet in early modern Europe, naturalists, including John Aubrey, John Evelyn, and John Ray, whose work is discussed in this paper, often shared and read scientific texts in manuscript either before or in lieu of printing. Scribal exchange, (...) exemplified in the circulation of writings like commonplace books, marginalia, manuscript treatises, and correspondence, was the primary means by which communities of naturalists constructed scientific knowledge. Print and manuscript were necessary partners. Manuscript fostered close collaboration, and could be circulated relatively cheaply; but, unlike print, it could not reliably secure priority or survival for posterity. Naturalists approached scribal and print communication strategically, choosing the medium that best suited their goals at any given moment. As a result, print and scribal modes of disseminating information, constructing natural knowledge, and organizing communities developed in tandem. Practices typically associated with print culture manifested themselves in scribal texts and exchanges, and vice versa. “Print culture” cannot be hived off from “scribal culture.” Rather, in their daily jottings and exchanges, naturalists inhabited, and produced, one common culture of communication. (shrink)

Commonplacing was one of the most widely practiced types of paper technology in the early modern period. Yet its place and function in medicine remain largely unexplored. Based on about two dozen manuscripts from the sixteenth and seventeenth centuries in which physicians used commonplacing to record excerpts from their reading as well as personal observations and ideas, this paper offers a first survey of the roles, forms and epistemic effects of medical commonplacing in the early modern period. Three principal types (...) of commonplacing are identified, namely the systematic, the alphabetical and the sequential. The advantages and disadvantages of each type with regard to economy of space and time, flexibility, and order are pointed out. Among the potential epistemic effects of collecting and ordering information under “heads” are, in particular, a heightened awareness of contradictions between authors or observations on a specific topic, an appreciation for snippets of information as fact-like elements of knowledge inviting rearrangement, and a certain shift towards the notion of diseases as distinct entities endowed with specific, empirically observable properties. (shrink)

In this paper the question of note-taking is addressed in reference to a specific educational approach, that of the community of philosophical inquiry (CPI) in the tradition of Matthew Lipman and Ann Sharp’s Philosophy for Children (P4C). After emphasizing the pivotal role that this activity plays within a typical session of P4C, its specific status (in comparison with what happens in a classic lecture) is explored, insofar as it could be interpreted as a gesture distributed among and between the teacher (...) and the students. The argumentation is animated and sustained by three intimately interwoven questions: first, how can we construe note-taking in reference to the two philosophical-educational matrices (the Socratic-Platonic and the pragmatist) presiding over CPI? Secondly, who actually takes notes in a P4C session? Could we venture to say that it is CPI as an “intersubject”? And, thirdly, what is the status of the notes taken and written on the flip-chart as a text? Through the analyses developed, note-taking is interpreted as the ‘inscription’ of the co-philosophizing and a kind of self-writing and its significance for the emergence of CPI as such is shown. (shrink)

This article establishes itself first in a kind of slough, a lack of inspiration, and transvalues this via Fred Wah’s poem “Ikebana” and Roland Barthes’s celebration of haiku as a form that “lacks inspiration.” Following Barthes on “the minimal act of writing that is Notation,” this article explores and theorizes the status of the notational in and for poetics. The article registers and sustains the ambiguity in notatio, notationis and suggests that the notational points to a conceptual dialectic between condensation (...) and dilation. Poets Tonya Foster and W. S. Graham offer key cases, as do the author’s own poems. The article moves from haikus and other short forms (including the imagist poem) to haibuns (a mixed form of verse and prose) to questions of accent as a mode of differentiation from the surround. Drawing on Claudia Rankine and Jacques Rancière (as well as on classical rhetoric), the article also shows how the notational as censure might register antagonisms and not only accents or gestures (as notational forms are typically glossed). Alert to the enmeshment of notational forms with other media—such as the novel and photography—the article suggests in its final turn that a notational poetics can also vivify the (sometimes latent) diegetic aspect of short, minimal, “uninspired,” supposedly “immediate” notational forms and practices, as we see in the dance of notation and annotation, or in the unfolding of haiku within mixed forms such as the haibun. (shrink)

This article offers a brief overview of recent studies on note taking and paperwork in histories of early modern science. Showcasing the wide variety of note-taking practices performed by a range of historical actors across diverse sites and knowledge practices, it argues that a focus on note taking and “paper technologies” enables us to put in conversation a number of linked epistemic practices from reading and writing to making and doing to observing and surveying to classifying and categorizing. By viewing (...) these practices as a continuum rather than as distinct parts, we are able to further understand early modern knowledge production. (shrink)

The hitherto neglected Pandechion epistemonicon, Ulisse Aldrovandi’s extant manuscript encyclopaedia, indicates that Renaissance naturalists did not necessarily apply the humanist jack-of-all-trades, the commonplace book, in their own field without considerably altering its form. Over many years the Italian natural historian tested and recombined different techniques to arrive at the form of paper technology that he considered to be the most fit for his purposes. Not all of these techniques were taught at school or university. Rather, Aldrovandi drew on administrative practices (...) as well as on the bookkeeping practices of early modern merchants that he knew first-hand. Reconstructing the formation and use of the Pandechion this article contributes to the historiography of learned reading and information management in Renaissance Europe. (shrink)

The measure of what can be considered “new” is what is already known. What is “new” – be it a (technical) invention, a new method, or a newly discovered natural phenomenon – must distinguish itself...

SUMMARYThis essay provides a contextualised analysis of a set of texts that Marsilio Ficino collected in one of his extant working notebooks—Florence, Biblioteca Riccardiana, MS 92—and probably used as a textual basis for his Commentary on Plato's Symposium. In this context, I will discuss Ficino's treatment of his sources, investigating specific facets of his reading and excerpting practices. Special emphasis will be placed on the Latin section of the manuscript, containing a set of hitherto unexplored excerpts from Plotinus's Enneads. The (...) study of this aspect of Ficino's work aims to shed light on his methodology as well as on his philosophical outlook. More generally, the article will provide further information on Renaissance reading practices. More specifically, it will offer new insight into the study of the genesis of Ficino's commentary. (shrink)