With the introduction into public organizations of management methods borrowed from the private sector, 'new public management' often comes across as a factor that weakens professional autonomy. Cultural industry is no exception to this phenomenon, as demonstrated by the case of the facilitators or interpreters in France (médiateurs culturels). However, a careful study of the development of this occupation does reveal that, rather than a strict opposition between a professional logic and managerial logic, hybridization is possible. Indeed, professional groups can benefit from the establishment of methods that structure their activity and that take on board the dynamics of knowledge and career pathways. Points for practitionersThe research presented here raises the question of how to reconcile the streamlining of public activities (new public management approaches) with the challenges of preserving or developing professions. Practitioners can thus see, through a case study and the presentation of a generic grid analysis, the different ways of structuring and managing the professions, with the emphasis on adopting an approach that ensures coherence between the skills necessary for each activity and the skills defined and career paths offered to the players. Far from being at odds, this kind of articulation makes it possible Downloaded from to hybridize the organizational logic of the new public management with the professional logic of the professions.

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Capacités d'observation et dynamique des groupes professionnels La conservation des oeuvres de musées * RÉSUMÉ Cet article propose d'envisager la dynamique des groupes professionnels non pas sous son aspect systémique-la dynamique d'une profession entraînant celle de ses voisines, et réciproquement-, mais dans sa dimension interactionnelle. L'histoire des relations entre professions y est vue comme le résultat d'observations, et d'actions fondées sur ces observations, de la part des groupes professionnels et de leurs membres. L'analyse empirique se concentre sur les groupes engagés dans la conservation des oeuvres de musées. La remarquable transformation du contenu de cette activité, ainsi que les politiques culturelles et économiques conduites depuis les années 1970 ne suffisent pas à expliquer les dynamiques professionnelles des restaurateurs d'oeuvres d'art et des conservateurs de musées. La prise en compte des capacités d'observation des groupes professionnels, au contraire, permet de comprendre la naissance des aspirations des premiers, et le renforcement paradoxal de la position de dominance des seconds.