by Kong Yu-ling. / Bibliography: leaves 61 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

Thesis (M.S.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaves 37-40).

Thesis (M.S.)--University of Missouri, School of Mines and Metallurgy, 1937. / The entire thesis text is included in file. Typescript. Title from title screen of thesis/dissertation PDF file (viewed June 15, 2010) Includes bibliographical references (p. 41-44).

This research project investigates how estrangement is manifested within the photographic image, and how levels of estrangement establish conditions for the relationships between the subject, viewer and artist. Since the medium's inception the photographic process has involved encountering and negotiating otherness and the place of strangers. Over time a consistent photographic power dynamic has been established, and this project examines to what extent participants in this dynamic can escape or yield to the historically sedimented structures in which they find themselves participating. The images in this body of work tread the line between typological portraits and tentative encounters with strangers. These encounters/images do not suggest personal identity but question what it is to be a photographic subject. Rather than offer psychological insight into the subject, they attempt to foreground the signifying systems and process of photographic "representation". The project explores estrangement through physical and conceptual distance, negotiating photography's relationship to the real as a process, an image and an object.

This research project investigates how estrangement is manifested within the photographic image, and how levels of estrangement establish conditions for the relationships between the subject, viewer and artist. Since the medium's inception the photographic process has involved encountering and negotiating otherness and the place of strangers. Over time a consistent photographic power dynamic has been established, and this project examines to what extent participants in this dynamic can escape or yield to the historically sedimented structures in which they find themselves participating. The images in this body of work tread the line between typological portraits and tentative encounters with strangers. These encounters/images do not suggest personal identity but question what it is to be a photographic subject. Rather than offer psychological insight into the subject, they attempt to foreground the signifying systems and process of photographic "representation". The project explores estrangement through physical and conceptual distance, negotiating photography's relationship to the real as a process, an image and an object.

Thesis (M.S.)--Rochester Institute of Technology, 1980. / Typescript. Includes bibliographical references.

by Chan Yee-Kwong. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1987. / Bibliography: leaf 114.

Thesis (M.S.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Throughout my work I have always sought/ wished to talk about a love between people with no actual connection. Emmanuel Levinas' description of the face-to-face echoes throughout my work: "Face, as I have always described it, is nakedness, helplessness, perhaps an exposure to death."(Levinas, "Intention, Event, and the Other"). Indeed, the face then is not the literal face but a vulnerability that we can feel and almost touch. For me, Levinas' description of the face applies not only to portraits but also to the things and marks the other makes with a secret sort-of-love, a private ritual when no one watches. I observe their marks on surface as gratuitous flourish. These marks can be anything: tire grease, metrics of hair, ad hoc assemblage. This inadvertent history the makers cast on objects allows me to project thoughts about them, recreate a fiction of who they are and conjecture why they made a mark that is just a mark. With the people un-pictured I hope the objects become stand-ins, projections of the people and their labor, functioning as flocculent afterthoughts of their human reality. I think objects may possess their own agency such as in Heidegger's The Thing, "The Potter forms the clay. No--he shapes the void." This paper will trace my attempts and line of questioning with regard to knowing. My mapping of objects and people meet at the cross-section of agency and failure. Despite the disparate subject matter I photograph, I want to convey a sense of unwavering empathy with my work. / text