We finally get to the end of The Intimations Ode, after detours again through "Frost at Midnight" and the nature of nature in The Prelude and the relation of nature to death.  

In which I try and fail to remember the form of a good paradox about loss aversion; some discussion about narratives and macguffins, and the two word summary of every exciting story with a happy ending: "loss, averted"

Echoes of Milton in Wordsworth.  More of the Intimations Ode with a detour through Tintern Abbey.  The shockingness of "O joy!"

MacGuffins in Hitchcock, as an intro to Ainslie.  Why we like suspense fiction.  Hitchcock on suspense.  Rereading.  Relation to the sublime vs. the beautiful as described by Smith and Kant.

We start on Ainslie -- hyperbolic vs. exponential discounting and we broach the question of what Ainslie calls "the management of longing."

More about the Prelude -- the skating scene, the boat-stealing scene, Wordsworth's later revisions for accuracy but against memory or wishful memory or the superpositions of memory.  Shades of the prison house in the Intimations Ode.  The child and its two worlds.

Money burning a hole in your pocket. Strategies of Commitment Lotteries as savings devices.  Hyperbolic discounting.

We go back briefly to the intimations ode and to Montaigne's that philosophy is learning how to die -- intimations of mortality.   All philosophy is.  Then we knock around The Prelude -- recumbent o'er the surface of past time, the two consciousnesses, and some of the boat-stealing scene, with a digression on metaphor: sex as a vehicle in that scene about vehicles.

Poker. Common knowledge, where everyone's knowledge of what everyone else knows converges.  The psychological components of games of skill. Turing tests and reverse Turing tests.

The difference between new money and old money.  The value of old money, or of high culture -- its relation to value.  The idea that that kind of value is related to the potlatch as a marker of status which precisely refuses monetization.  Cultural capital in subcultures.  (Essentially Bourdieu's ideas, though I don't explicitly cite him.)