1. BRIEF RECAP ON LAST WEEK What can you remember about Ernst Blochs work & concepts? Have you been able to establish any of your own thoughts / ideas / connections to Bloch (Utopia)

2. MARCEL PROUST, WALTER BENJAMIN, & GASTON BACHELARD: LOST MEMORY / CREATIVE MEMORY Craig Hammond 3. MARCEL PROUST: IN SEARCH OF LOST TIME Involuntary memory (mmoire involontaire) Fortunate or happy moments (moments bienheureux) The Gradual loss of enchantment of childhood Fleetingly recapture moments of recognition of childhood, and past happiness. 4. IN SEARCH OF LOST TIME: MADELEINE 5. WALTER BENJAMIN ILLUMINATIONS The Image of Proust Proust and creative remembering Not a mental replica of a previous moment but a fresh, creative event of detection Unpacking My Library ... Books, and the bursting forth of a springtide of childhood memories 6. UNPACKING MY LIBRARY 7. UNPACKING MY LIBRARY 8. GASTON BACHELARD POETICS OF REVERIE Nostalgia and daydreams (reverie) towards childhood Poetics of Reverie: Poetry & daydream (reverie) A nucleus of childhood in the human soul a childhood of humanity. Daydream about new human possibilities re-learn how to be astonished 9. WORDS ARE HOUSES 10. GEOMETRY OF ECHOES 11. MINIATURE INTERIORITY Initially, the remembrance of a trace of hope emerges as an inner self- encounter, a moment of revelation, prompted by a personal connection. This process is perhaps best illustrated by one of Blochs personal recollections, of a specific childhood encounter - in his book Traces, [in the section Red Window]: Almost like legends were the clickers or marbles we played with; one likes to have something colourful in ones hand. They were Arabian stones, ringed with red or green, sometimes with stars, even with miniaturised lands; these we carried in our pockets ... [they] were not marbles at all, but rather bringing that distant land closer, all the more because it lay beneath. In the apothecarys store lay a plate with some dried thing labelled China Peel; I thought the chunk was a shard of the Chinese wall ... Eight years [old] and the most remarkable thing was the sewing box in a shop window on the way to school; it stood between skeins and mats, embroidered by feminine hands, which could interest no one. But on the box was an illustration with many dots or flecks of colour on the smooth paper, as though the paint had run. It showed a hut and much snow ... in the windows of the hut burned a red light ... at first I believed that it was a landscape on the moon, a great piece of China peel, as it were; but I felt utter turmoil looking at it that I could hardly express, and never forgot the red window (Traces: 43-44). 12. THE BACHELARDEAN HUT/WINDOW Bachelard suggests that the miniature hut represents an interior mystery: The light that streams outwards from within its hidden interior, (the lamp in the window) becomes the houses eye, which pours forth its enclosed light, warmly filtering through to the outside. (TPoS: 34) As Bachelard states: The more simple the engraved house the more it fires my imagination as an inhabitant. It does not remain a mere representation. Its lines have force and, as a shelter, it is fortifying the print house awakens a feeling for the hut in me and, through it, I re-experience the penetrating gaze of the little window. (TPoS: 50) The house can also be associated with disjuncture or estrangement, for instance, when events lead away from the house, such as forays into the forest, and the trail home being covered by snow. 13. INTO THE FOREST In this, Bachelard refers us to the metaphorical immensity of the forest, a term which really has very little to do with the actual geographical dimensions of a sprawling and densely wooded area. Instead, inside the realm of dream-geometry, it represents and expresses a way of going deeper and deeper into a limitless world, a place where cartography and established frameworks of knowledge lose prominence. To experience the forest, in this way is to open-up to the presence of the unwritten nature of immediate immensity (TPoS: 189). 14. FAIRYTALE In conjunction with this representations of houses in fairytales, for example: ice palaces; towers without entrances; candy-houses; or castles in the clouds in a Bachelardean sense, create portals that pierce-through and connect to our mysterious dream-room extensions; here we can explore new territories of reverie. 15. Beyond the door of the work lies an empty-space Ernst Bloch: The story of the old painter belongs here, who showed his friends his final painting in it was a park, a narrow path winding past trees and ponds up to the little red door of a palace. But as the friends turned back toward the artist he was no longer next to them, but within the painting, strolling down the little path toward the fabulous door, standing quietly before it; turned, smiled, opened it, and vanished. (Ernst Bloch, Traces: 118) An interiority of creative possibility 16. RADICAL REMEMBERING Memory creative expression escape? WARNING BAD LANGUAGE ALERT 17. IN PREPARATION FOR NEXT WEEK Consider the following and start to make some possible connections 18. BEGIN TO THINK ABOUT Your own possible connections and interpretations to: Bloch: Utopia Trace Memory Not-Yet (Future) Empty-Space Cultural Surplus (personal connections to a cultural aretfact) 19. BEGIN TO THINK ABOUT Your own possible connections and interpretations to: Proust / Benjamin: Happy moments In search of lost time Smell Dj vu Childhood wonder Creative memory Connections to books (or other personal collections) 20. BEGIN TO THINK ABOUT Your own possible connections and interpretations to: Bachelard: House Spaces Daydream (reverie) Creative daydreaming The eternal wonder of latent childhood