whEn wE first BEgan this proJEct, we were not exactly sure how we
felt about feeling photography, only that the questions we were framing
were worth asking. We explored these questions over the course of lunches
and dinners in spirited conversations with members of the Toronto Pho-
tography Seminar, who patiently guided us through the emotional spec-
trum from puzzlement to excitement, and who helped us realize that feel-
ing was a powerful analytic for thinking about photography. Our deepest
thanks go to our dear friends and colleagues, members of this research col-
lective, who have been such an inspiring force behind this project: Sarah
Bassnett, Marta Braun, Matthew Brower, Deepali Dewan, Sophie Hackett,
Laura Levin, Sarah Parsons, Sharon Sliwinski, Linda Steer, Dot Tuer, Kelly
Wood, and Carol Zemel. We’re especially grateful to Sarah Parsons, whose
graciousness and generosity nourished us through theoretical impasses,
rhetorical fisticuffs, and conceptual breakthroughs. Many thanks as well
to research assistants David Sworn, Jonathan Fardy, Shyama Talukdar, and
especially Daniel Guadagnolo for their tireless work in research and manu-
script preparation.
We’d like to acknowledge the support of the Social Sciences and Humani-
ties Council of Canada, the Faculty of Arts and Humanities at Western Uni-
versity, and the Centre for the Study of the United States at the Univer-
sity of Toronto for their extensive research support. We’re also grateful to
Ken Wissoker and Jade Brooks for their guidance and encouragement. Our
anonymous readers at Duke made brilliant, clairvoyant suggestions that
have helped make this project become itself more fully: many thanks for
your care, attention, and collegiality.
Finally, we thank our families—Art, Asa, and Michael—you know who
you are, what you mean to us, and, of course, how we feel about you.
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