It also seems wholly in keeping with the way art is often produced, in the company of many disparate interests that do not, at least for some time, seem to be directly linked to one another. It avoids the usual academic demands of coherence, rationality, and intellectual synthesis-which again is appropriate for much of visual art.
Because the purpose of the candidate's forays into different disciplines is to mine them in order to further her artwork. Hence normal scholarly criteria of truth, the production of new knowledge, thoroughness, clarity, and scholarly protocol just do not apply. The dissertations can still be checked, and the candidates can be advised as if they were students of art history, anthropology, and other disciplines: but in fact they aren't, and the normal protocols of readings by specialists is not logically appropriate. It needs a separate justification.
It would make sense to put se minars on theories of reading especially Paul De Man's-at the heart of the new programmes. Translation theory, too, could playa part, and so could anthropological theories of interpretation. Perhaps the new degree should be understood as a fundamental critique of disciplinarity itself-in which case it might frUitfully engage vvith existing debates about the nature of interdisciplinary, transdisciplinary, and subdisciplinary work in many other fields
The Three Configurations of Practice-Based Phds