Hi Keith,

I obviously didn't make my point very well (I can tell by the way you are
'bristling'!).

I agree with all that you say. I was trying to make clear that it is the
candidate's responsibility to integrate the practice and theory in a
clearly readable, unambiguous way.

Best bristle-free wishes,

Martin

Professor Martin Salisbury
Director, The Centre for Children's Book studies

Course Leader, MA Children's Book Illustration
Cambridge School of Art
0845 196 2351



http://www.anglia.ac.uk/ruskin/en/home/microsites/ccbs.html

The Twelve Dancing Princesses, illustrated by Sheila Robinson- now
available from our online store:
 www.anglia.ac.uk/12dancingprincesses
<http://www.anglia.ac.uk/12dancingprincesses>


 




On 11/04/2013 09:53, "Keith Russell" <[log in to unmask]>
wrote:

>Dear Martin,
>
>I'm happy, as an examiner, to be instructed in how to approach a PhD
>project. I work as a theorist and I work as a poet - so, I traverse, when
>asked.
>
>What I wouldn't like to be told, as an examiner, is that I'm not allowed
>to argue that the proposition "I should approach the project in a certain
>way" is possibly invalid, useless, contrary, or just not necessiary.
>
>Poets who send their poems handwritten to editors, get their handwritten
>poems thrown into the grabage bin.
>
>
>That is, the proposition that there is knowledge embedded in the artefact
>is not self sustaining - it has to be argued both in the object and in
>the accompaning text. I accept that objects can embed knowledge that is
>able to be read in the engagement with the object. What I don't accept is
>that any proposition, separate to the object, is able to directly point
>to such knowledge. That is, the text that is accompaning the artefact
>also requires that its embedded knoweldge is able to be read.
>
>The connections between these texts (artefact as text; text as text, can
>be more relatively indirect or more relatively direct. Asking me to
>approach these connections from the perspective of one of the objects is
>ok, as far as it goes. Both are objects; the realtionship is
>fundamentally indirect. My responsibility, as an examiner, is to then
>address three objects. The priority that I might give to any one or two
>or three of these objects and their indirect relationships is the tale of
>my examining.
>
>
>Perhaps my approach to the job of examining is why I don't usually get
>asked twice to review in creative areas.
>
>cheers
>
>keith
>
>
>
><<SNIP>>>> "Salisbury, Martin" <[log in to unmask]> 11/04/13
>6:08 PM >>>
>
>
>I was horrified, by the way, to read of the examiner who 'bristled' at
>being asked to read/ experience a viva submission in a particular order
>and refused to do so. This is rather indicative of the difficulties we
>have in finding suitably qualified examiners. In my experience, it is
>absolutely essential that candidates submit their work in a manner that
>does not give the examiner that choice, and in a manner that does not
>encourage the idea that the written element is the 'research' and the
>creative outputs are a sort of byproduct. The way that the dialogue
>between word and image/ artifact is presented is crucial.
>
>Best wishes from Cambridge and welcome back!
>
>Martin
>
>Professor Martin Salisbury
>Director, The Centre for Children's Book studies
>Course Leader, MA Children's Book Illustration
>Cambridge School of Art
>0845 196 2351
>>>>>>>>>>>>>>>>>>>>>>>>
>
>
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