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A search for meaning in the palace of lost memories: Thoughts on Piranesi, a novel by Susanna Clarke
In this article I examine two opposing worldviews when it comes to collections and the environment: viewing the world as something to exploit instrumentally, versus recognising its intrinsic value. I guess I’m interested in whether our systems of gathering and keeping serve to honour the world or merely extract value from it.
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How to decide what to include in your notes
This article explores commonplace books, personal collections of information, and the deliberate choices behind what we collect (and what we discard).
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How to start a Zettelkasten from your existing deep experience
Here I warn against building a “magnificent but useless encyclopaedia” and I champion active, meaningful engagement over passive hoarding. Easier said than done, but I’m trying.
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This is where I reflect on how personal notes construct a library of interpretations, and I ask how we decide what’s worth preserving.
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The Toe of the Year and the Curious Case of John Donne’s Missing Commonplace Book
This article looks at the mechanics of commonplace collecting and reflects on the risk of collecting quotes without genuinely digesting them. And yes, there’s a poem about the toe of the year.
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“Small pieces loosely joined”. — From fragments you can build a greater whole.
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“Everything is miscellaneous”. — What does it mean to write from the bottom up instead of from the top down?
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“The smartest person in the room is the room”. — The mastery of knowledge is an illusion.
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“The Internet is not made out of content”. — What comes after content?
Collecting notes is just the start
“The British Museum is not a good thing in and of itself. It is good only to the extent that its influence in the world is for the good. The collection is a starting point, an opportunity, an instrument. Will the museum use it to influence the future of the planet and its peoples? Or will it continue to project the power of colonial gain and corporate indemnity?” — Ahdaf Soueif, On Resigning from the British Museum’s Board of Trustees Soueif2019resigning
As a resigning member of the board of trustees of the British Museum, novelist Ahdaf Soueif was in a strong position to understand the point of collecting. His words, written in 2019, stand for any form of collecting, from world-leading to extremely modest.
Soueif reminds us that any collection is only “a starting point, an opportunity, an instrument”.
His resignation follows what I take to be an increasing realisation that in spite of the PR, through its collection and curation the British Museum really does perpetuate a colonial worldview, and is an instrument of destructive power. In particular he calls out the Museum’s continued sponsorship by oil multinational BP, its lack of leadership on the issue of the repatriation of looted artefacts, and its reluctance to support fair work conditions for ancillary staff in the wake of the collapse of service provider Carillion.
He asked of the Museum, not entirely rhetorically, it is to be hoped,
“will it be involved in making a world that is habitable, just, interconnected and open for the next generation; or will it continue to collaborate with those who are unmaking the world before our eyes?”
I think that this might apply as a test of any collection, at least in the following sense: Is the act of collecting making or unmaking the world?
In some very small way, even my collection of notes must play its part. Is my act of collecting making or unmaking the world?
Hence: publishing is important. It’s not enough to keep collecting. The aim is to make something and to share it with others.
Further Reading
I wrote a book, Shu Ha Ri: The Japanese Way of Learning. It’s available now.
The strange return of the continuous need to make sense of things
The idea of reading continuous narrative may be relatively recent. For example, the Bible is arranged in many places with a long sequential narrative, and some have seen it as ‘the greatest story ever told’. But liturgical practice, both Jewish and Christian, is to split this extended narrative up into excerpted readings (’the reading’ or ’the lesson’; ’the portion’ or parashah).
The novel, meanwhile, encourages readers to assume continuous reading is the natural way of things, even though many novels even into the 20th century were actually serialised on first publication. Here’s Robert Darnton on the significance of fragmentary reading.
“Unlike modern readers, who follow the flow of a narrative from beginning to end (unless they are digital natives and click through texts on machines), early modern Englishmen read in fits and starts and jumped from book to book. They broke texts into fragments and assembled them into new patterns by transcribing them in different sections of their notebooks. Then they reread the copies and rearranged the patterns while adding more excerpts. Reading and writing were therefore inseparable activities. They belonged to a continuous effort to make sense of things, for the world was full of signs: you could read your way through it; and by keeping an account of your readings, you made a book of your own, one stamped with your own personality. . . By selecting and arranging snippets from a limitless stock of literature, early modern Englishmen gave free play to a semi-conscious process of ordering experience. The elective affinities that bound their selection into patterns reveal an epistemology — a process of knowing — at work below the surface”
— (Robert Darnton, “Extraordinary Commonplaces,” New York Review of Books 47 (20)[December 21, 2000] 82, 86).
I note this because these days it feels like the age of fragmentary reading has well and truly returned. Every medium has cracked into splinters. Along with this fragmentation comes a revival of the need for a continuous effort to make sense of an increasingly disordered experience. As a result there’s a great need to work out new ways of knowing.
A question I asked on Hyde’s under/over:
Before we find our own voice, we usually copy our mentors or heroes. Who was the teacher or model that inspired you when you started blogging, and how did following their example eventually help you find your own style?
And here’s software engineer Alex Hyett’s excellent answer.
#indieweb #blogging
Currently reading: Wise Finding Purpose, Meaning and Wisdom Beyond the Midpoint of Life by Frank Tallis 📚
Currently reading: Wise. Finding Purpose, Meaning and Wisdom Beyond the Midpoint of Life by Frank Tallis 📚
One reason I write:
“We remember only a tiny fraction of existence. We have forgotten most of what it is like to be alive, long before we die. Oblivion starts seeping into our heads as soon as we are self-aware.” (p.44)
I made the twenty photographs that accompany the text of Shu Ha Ri as part of a personal learning process, inspired by David Ulrich’s Zen Camera. I was influenced by Empire of Signs by Roland Bathes. As the author said of that work, “The text does not ‘gloss’ the images, which do not ‘illustrate’ the text.” During the COVID pandemic it was impossible to travel far, but several Japanese-style gardens were within reach. The images included here are of three in particular: Himeji Garden in Adelaide, Edogawa Commemorative Garden in East Gosford, and Auburn Botanic Garden in Sydney.
Only in silence the word,
Only in dark the light,
Only in dying life:
Bright the hawk’s flight
On the empty sky. – Ursula K. LeGuin
You might care to check out the shortlist for the 2026 Ursula K. LeGuin Prize for Fiction.
Learning to tell a bright cow from a dull one
You might be wondering how anyone can grow from being an advanced learner to becoming an expert. It might seem like an impossible step to climb.
According to the traditional Japanese approach of Shu Ha Ri, a vital step in the learning process is to so absorb the rules that the student transcends them. The rules and conventions become second nature. But what does that look like in practice?
Here’s a great example from the world of veterinary medicine, where veterinary students were trained to identify whether an animal is bright (i.e healthy) or dull (i.e. sickening):
“Eventually, the students get good enough at evaluating bright vs. dull. What’s interesting is that, by then, they’ve lost the rules. What was once effortful and algorithmic is now perceptual and automatic. They can see things you and I do not.” – Oddly-Influenced
I’m the author of Shu Ha Ri: The Japanese Way of Learning, for Artists and Fighters, available now.
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Odysseus: A name that spells trouble
Since we’re currently lost somewhere in the middle of wars that seemingly have no end-point, and arguably no point, I wonder just what film director Christopher Nolan will make of The Odyssey, his blockbuster movie of which comes out mid-2026.
After I watched another recent movie version of the story, The Return, I found out about the work of psychologist Jonathan Shay with Vietnem veterans. He wrote two books linking the works of Homer – The Iliad and The Odyssey – with the modern experience of warfare and with the travails of homecoming.
Two quotes from Jonathan Shay’s work stood out particularly. First, this one about war-induced PTSD:
The ascended Christ of this mural at St. Vitus’s Cathedral in Prague seems so happy I couldn’t help but think of the song by The Postal Service:
They will see us waving from such great heights
Come down now, they’ll say
But everything looks perfect from far away
Come down now, but we’ll stay.
”A student’s understanding of particular subjects forms in collaboration with teachers, peers and the daily friction of being one mind among many.” – W. Ian O’Byrne
A thoughtful article on the messy process that helps kids learn.
💬 ”Roughly speaking, the world is divided into two classes: those who use the Card Index System and those who do not.”
Byles, R. B, 1911. The card index system; its principles, uses, operation, and component parts (London: Sir Isaac Pitman & Sons), page v.
Still true after more than a century!
#Zettelkasten
#NoteTaking
#PKM
“There’s a great strength in me showing you a chord or a riff or something, and it’s just going from mind to mind, there’s no paper involved. All of what we did in this very studio would be that. It was really an immediate transference of ideas.”
– Paul McCartney on The Rest is History podcast on YouTube.
This chimes with the Japanese concept of ishin-denshin, heart-to-heart communication, which is central to the Shu Ha Ri way of learning I’ve written about.
💬 “Our conventional response to all media, namely that it is how they are used that counts, is the numb stance of the technological idiot. For the ‘content’ of a medium is like the juicy piece of meat carried by the burglar to distract the watchdog of the mind.” — Marshall McLuhan
Whether you’re interested in making your own containers for ‘content’ or in challenging the whole paradigm, the key is to create new ways of being human.
Read more: What’s the future of creative work without human intent?
#AmWriting #Creativity #Fediblog #MediaTheory
Memory isn’t a static recording but a constant act of reconstruction. Every time we revisit a note or a book, we are weaving together the original content with our current environment and past self.
“We construct and reconstruct our memories every time we attempt to recall them.”
So how do we decide what’s worth preserving and what we must allow ourselves to forget? Explore the “differential allocation of attentional resources” in this look at the fallibility of memory.
Link: writingslowly.com/2026/05/1…
#CognitiveScience #Philosophy #Memory
Is note-making an “aide memoire” or a replacement for the source? To distill a book into notes on it, is to change our relationship with the original text. Beyond just storing facts we are building a library of our own interpretations. There’s a friction between preservation and occlusion in our digital workflows.
“When you make notes you forget your reading and replace it with the future opportunity to read again not the original book but your own notes on it.”
Read more: writingslowly.com/2026/05/1…
#Zettelkasten #PKM #NoteMaking
💬 “We need to build digital worlds worth protecting.”
— Dr Krista Fisher, on the real manosphere. Womens Agenda
Compare like with like
When critiquing my own work it’s tempting to compare it unfavourably with something good. But almost all early drafts need improvement.
For example, here’s the final version of a well-known voiceover:
Space, the final frontier.
These are the voyages of the Starship Enterprise
Its five year mission
To explore strange new worlds
To seek out new life
And new civilizations
To boldly go where no man has gone before.
But here’s an early draft of that famous start to Star trek. tl;dr it sucks too. [Neatorama.com]
The lesson? If your terrible draft lacks sparkle, it might just be because almost everyone’s does, at first. So if you can’t compare like with like, then don’t compare at all.
Unless you really are planning to regulate commerce and so on.
Holy mother of cheeses, the Internet is not made out of content
Holy mother of cheeses, the Internet is not made out of content.
💬 “The Net is not content.
There is great content on the Internet. But holy mother of cheeses, the Internet is not made out of content.
A teenager’s first poem, the blissful release of a long-kept secret, a fine sketch drawn by a palsied hand, a blog post in a regime that hates the sound of its people’s voices — none of these people sat down to write content.
Did we use the word “content” without quotes? We feel so dirty.” — Doc Searles and David Weinberger, New Clues
Plenty of my thoughts about writing, and writing for the Web, are really just paraphrases of something David Weinberger has already said with far greater eloquence and perspicacity.
And what do you know? the author has a new book out in October 2026:
No doubt Beautiful Particulars will also help reshape my brain, and maybe yours too.
I’m the author of Shu Ha Ri: The Japanese Way of Learning, for Artists and Fighters, available now.
And if this article piqued your interest you might like to sign up to the Writing Slowly weekly email digest, where you’ll find yourself in an exclusive club whose privileged members just get a weekly email.