Have yet to find the English term, but in Dutch those decorative lines flowing from initials and versals are called Cadellen. The dutch wikipedia page on book illumination is quite good.

See Modified Lynda Barry daily journal format.

_ Zettelkasten sightings: – Borchardt's ZettelkastenOliver Burkeman

I'm testdriving Joplin for the more structured “projects and tasks” part of note taking. Can sync through Nextcloud. Nextcloud seems to be offered more often as a specific syncing option besides the usual dropboxes and iclouds etc.

_ 'Framing is “a way of selecting, organising, interpreting, and making sense of a complex reality”'. Pair with “Software architecture is in crisis, and the way to fix it is a hefty dose of anarchy”.

_ An important checklist: # The 7 Questions For Any Technological Idea.

_ Can't get over how brilliant is. It lets you export a diagram as a URL! Like so.

_ #weeknotes 2021-09

— A post by Roy Scholten

Erfgoed: van het verleden, in het heden, voor de toekomst is het traditionele kader. Maar voor wie, wanneer en hoe in welke toekomst wordt zelden concreet gemaakt. Terwijl je door middel van erfgoedprocessen juist vorm geeft aan mogelijke toekomst(en): “assembling, building and designing future worlds”.

In Heritage Futures, Comparative Approaches to Natural and Cultural Heritage Practices analyseren en beschrijven de auteurs erfgoedconservatie als een set creatieve, dialogische, meer-dan-alleen-menselijke betrekkingen tussen personen, objecten, plaatsen en praktijken. Door erfgoed vooral te beschouwen als een set aan processen worden de toekomst-vormende aspecten van erfgoed beter zichtbaar. De gegeneraliseerde processen zijn:

  1. Categoriseren – identificatie, naamgeving, documenteren
  2. Cureren – verzamelen, selecteren, toekennen, waarderen, etc.
  3. Conserveren – verzorging, conservering, opslag, archiveren, beheren
  4. Communiceren – gebruiken, interpreteren, tentoonstellen, verspreiden, waarden uitdrukken

Mogelijke/alternatieve toekomsten vormgeven door middel van erfgoedpraktijken is per definitie speculatief en emergent. Het creatieve potentieel van deze benadering wordt aan de hand van vier thema's in kaart gebracht:

  1. Diversiteit – in biologisch, cultureel en linguistisch opzicht.
  2. Overvloed – “coping with overflow”
  3. Onzekerheid – hoe kan het ongewisse van een toekomst als creatieve/innoverende factor werken?
  4. Transformatie – Als proces ipv object centraal staat, (hoe) kunnen processen van vergankelijkheid onderdeel worden gemaakt van de erfgoedpraktijk?

— A post by Roy Scholten

Lynda Barry heeft een snelle oefening voor dagelijkse notities over dingen gedaan, gezien, gehoord. In zeven minuten twee lijstjes (gedaan, gezien), een quote (gehoord) en een snelle tekening bij een van de genoteerde items. Ik gebruik dit format regelmatig in mijn eigen schets-/dagboek.

Momenteel onderzoek ik de vorm & inhoud Middeleeuwse verluchte initialen (hier, hier). Van daaruit is een variatie op het dagboek-format ontstaan. Inhoudelijk grotendeels hetzelfde, maar de snelle tekening is veranderd in een verluchte initiaal. De initiaal is de beginletter van de te noteren quote. De voorstelling in de initiaal hoeft vooralsnog niet te relateren aan de quote zelf, maar neemt een van de gedaan, meestal gezien items als vertrekpunt.

Neemt op die manier veel meer tijd in beslag natuurlijk, maar een goede manier om al doende de opbouw van de verluchte initialen te bestuderen.


— A post by Roy Scholten

Spring is early. A beautiful sunset yesterday.

_ Settling in with Obsidian myself, but Joplin looks nice as well for a cross platform notes app.

_ A visual language for digital integration. With pointer to Ruth Malan, who's work I still need to familiarize myself with more.

_ Sold another couple of bird prints this week. Only four left of the Blue tit and the House sparrow. Working on a design for the Jay. I think I solved the problem of that finely striped black and blue patch on its wings.

_ When in doubt, make a list.

_ Letras y figuras, another specific approach in combining letters and figures*.

_ Music to work to.

#weeknotes 2021-08

— A post by Roy Scholten

— A post by Roy Scholten

Instrumental: – Acid Pauli's Boiler Room set on youtube is mesmerizing. More long sets to be found on his soundcloud. – Horse by Daddylonglegs, a project by Howie B – Wormhole by Ed Rush and Optical is a dark drum and bass classic – As is Inside the Machine by Bad Company UK – The Klaus Schulze's Berlin School playlist on Spotify has all the long spacy tracks. – Brian Eno's NeroliParallel by Four Tet

With vocals (this is the extreme metal section): – Ritualistic: The Thule Grimoires, Exuvia and Blood Vaults by The Ruins of Beverast – Two hours in a winter forest: Im Wald by Paysage d'Hiver I almost always make it to the end of these in one go: – Grievous by ConvulsingEternity of Shaog by Esoctrilihum

— A post by Roy Scholten

Free online event: Meet the Manuscripts: judging a book by its cover. A new life goal: to someday leaf through a medieval manuscript. Had my eye on this course on the dynamics of heritage collections (in dutch) last year, am considering to do it this year if possible.

_ New bird print: Chaffinch (Fringilla Coelebs)

_ Sun Ra – Space is the place

_ Started reading Designs for the Pluriverse by Arturo Escobar. Only at the introduction so far, but already some beatiful, meaningful and incisive phrases. “All creation is collective, emergent and relational.” “The endless, ceaselessly changing weave of life on which all life depends.”

_ Vorm en inhoud van de verluchte kapitaal

#weeknotes 2021-07

— A post by Roy Scholten

Goldfinch, organisational knowledge management and that remarkable absence of the true representation of nature

It was the week of snow and cold and ice in The Netherlands. I walked instead of cycled to the studio each day. Takes a bit longer of course, but those 25 minutes are good for switching the home/work/home contexts.

_ Finished the edition of twenty of the European goldfinch print. The first two have already been sold as well. Cool, it turned out well indeed. Graphically a very interesting bird with clearly marked areas of color. Not one to start out with, but at thirty designs in, it was time to tackle this one.

_ I sent out the first actual newsletter with printmaking updates to my small list of subscribers. In dutch, but it you're so inclined, you can subscribe at the bottom of the page.

_ Kim Goodwin speaks truth about organisational knowledge management challenges. Good little thread for your inner information architect.

_ Besides illuminated intials and margin decorations and illustrations, there's also the numerous patterns medieval book illuminators used for filling solid areas of color/space. Here's another example. Want to start catalogueing these in some way, or find out whether that's been done already.

_ Mister George Charles Williamson wrote this sentence in 1911 for the entry on miniature painting in the Encyclopedia Brittanica and it captures very well what I find so fascinating about medieval imagery: “Landscape, such as it was, soon became quite conventional, setting the example for that remarkable absence of the true representation of nature which is such a striking attribute of the miniatures of the middle ages.

_ What is drawing? Why do it?, pairs well with why we should draw more.

_ Sounds: – Backpatches and elbowpatches, on metal and academia. – On the first perfect score of the year was awared to quite the inaccessible album full of avant-garde and dissonant music. Lots of commentary there. I added my two cents here and reposted here. Check out Ad Nauseam – Imperative Imperceptible Impulse. – I'm still hooked on spirit world field guide

#weeknotes 2021-06

— A post by Roy Scholten

I like my metal to sound dangerous . To me acts like Haken, Wilderun, Soen are mostly boring because they are not dangerous. It's too pretty, too finished and glossy. Many craft, much yawn.

Also: complexity. I find intricate and layered music often more interesting. I can sometimes appreciate the beauty of a “song” but on the whole I don't find that format very interesting. Like in a collage I like it when the seams are visible, when the underlying structure shines through. The constituent parts are showing, which can make it more work to identify the image/idea as a whole. But when it clicks, then it really clicks and I feel more connected with the vision from which the piece was created.

(in response to

— A post by Roy Scholten

Completed the edition of the European Goldfinch print today. Five printings each to construct the end result.

— A post by Roy Scholten