One can learn a lot from advertising. Among the mercenaries of the adver-
tising world are very smart people, real experts in communications. It makes
practical sense to learn techniques and strategies of communications. Without
knowing them, it is impossible to subvert them.
(Bourdieu and Haacke 1995: 107)
Even for those who are not interested in subversion, there is the added value of
sharpened awareness. It helps to expose how language serves different interests.
John Tusa, director of the Barbican Centre in London, has asked for a balance to be
struck regarding the use of the language of management by arts organizations:
It is not that any of us want to buck the currently predominant managerial
culture – we do not. It is not that difficult to learn – it isn’t. We in the arts above
all have a pressing need and obligation to use the little money we have as well
as we can. But managerialism should be a tool rather than an end; a method
rather than an absolute; a rule of thumb rather than a tablet of stone; a system
of analysis rather than a panacea for every problem. If applied without
discrimination, it threatens to swamp the very activity that it is, overtly,
intended to support. It is the servant not the master. It is a necessary part of our
lives but it is not sufficient in itself to make a good arts centre or to allow great
art to be created. Even once that assumption is accepted, once managerialism
and consultants, the high priests of the doctrine, are put in their rightful place,
the questions we as organizers of the arts centres must answer in the next
century are legion.
(Tusa 1997: 38)
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