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Abstract
This paper endeavours to examine different types of expertise in cultural policy. Unlike other conceptual studies, it focuses on the abstract notion of expertise i.e. the different forms of cognition and knowledge deployed in cultural policy, rather than the personage of an expert. The article proposes a distinction between arts expertise and technocratic expertise and employs five analytical categories within which they are discussed and compared with each other. Although a clear-cut differentiation seems impossible to achieve, the binary approach helps to shed light on how different forms of expert judgement in cultural policy can be framed and legitimised as well as how vulnerable they are to political influence and the concomitant pressure of the democratisation of policy-making.
Notes
1. The Chambers Dictionary, 13th edition, www.chambers.co.uk.
2. The European Commission in 2001 has adopted White Paper on Governance with an associated Report of the Working Group ‘Democratising Expertise and Establishing Scientific Reference Systems’ (Jasanoff Citation2003a).
3. for example, such arguments have been posited by Jerzy Hausner (a former Minister of Labour and Social Policy and Deputy Prime Minister in the social democratic government) who developed a cultural reform proposal based on ideas such as autonomisation of cultural institutions, shift of emphasis from lump sum subsidies to grants-based funding and introduction of tax schemes to engage private sponsors and donors.
4. This metaphor has been borrowed from Hans-Thies Lehmann’s book Postdramatic Theatre (2006, Routledge).