8 David Sudnow describes similarly embodied learning in his Ways of the Hand, which deals with the way he learned to play jazz piano.

9 James R. Milam and Katherine Ketcham, Under the Influence: A Guide to the Myths and Realities of Alcoholism (Seattle: Madrona Publishers, 1981).

10 Had I known, I could have found a lot of information on these topics in Jacqueline Wiseman’s Stations of the Lost (New York: The Free Press, 1979) and James Spradley’s You Owe Yourself a Drunk: an Ethnography of Urban Nomads (Boston: Little Brown, 1970).

11 “Pushing film” is a technique used in low-light conditions. The film is exposed at a speed rating higher than its recommended rating, which results in underexposure, then given a special development to compensate. Pushed negatives are usually more contrasty (less shadow and highlight detail) and more grainy than negatives processed normally.

12 For non-photographers: a small aperture lets less light reach the film, so to get the same result you have to let the light in for a longer time by keeping the shutter open longer.

13 John Collier, Jr., and Malcolm Collier discuss these points in chapters on “Mapping” and “Cultural Inventory” in Visual Anthropology, (Albuquerque: University of New Mexico Press, 1986).

14 Keith Smith gives a wonderful explanation of this layered complexity in visual images by comparing it with musical composition. Structure of the Visual Book, (Rochester: Visual Studies Workshop Press, 1984), pp. 41–64.