Who do artists interact with?

In this article we will be exposing Sohier study (2006) about spectators in rock festival. And which I think is applicable on all other art forms. This schema will present the four consumers types and the relationship between them.

Connoisseurs: generally they are musicians, they have a sharp taste and they understand all tools and technology used. They are looking for good quality.

Followers: we know them as “groupies”, they are absolute fans, they can follow their idol where ever he goes. Followers are mostly interested in the artist not his art.

Discoverers: They are always looking for new talent and styles. Their infinite research makes them talent leaders. Generally, they are journalists, musicians, prescribers. Discoverers are sensitive to novelty.

Festive: these people are looking for entertainment. Going to cinema or a concert are the same because their aim is to hang out with friends, meet new people and mostly enjoy themselves.

The semiotic square does not stop in the definition level profiles of spectators but it also defines the relationships that coexist with each other. SOHIER (2006) explains as follows: "The relations of contradiction are based on negation of the other class, so the experts are at odds with the festive and discoverers are with followers. Connoisseurs moving on events for a musical experience while festive are coming to live events. As for the discoverers, they have the desire to fill their thirst for new while followers feel the need to relive for the umpteenth time moments with his favorite band. Relations of contrariety linking connoisseurs to followers and discoverers to festive are explained by the fact that there is an opposition between these categories. The followers that have all the answers regarding questions relating to their peer group but know little or almost nothing about music in general, as opposed to connoisseurs who are keen aesthetes in the field, but do not feel the need for knowing the private lives of artists. Regarding festive, they are in no way intended to note new talent for, they remain close to their achievements and musical themes related to the party, they do not pay attention to groups that create the event by using new approaches to music, groups to which the discoverers are extremely sensitive. Finally, the notion of complementarity existing in our semiotic square, between, on the one hand, the discoverers and connoisseurs, and, secondly, festive and followers, from the fact that one of the categories would not exist without the other. Each needs the other to survive. Thus, the discoverers could not stand without the existence of connoisseurs. The former approach to music that is heavily intertwined with that of the experts. Each of these profiles sees music as something intelligible to them, it is necessary to have good musical foundation for understanding music. Conversely, the complementary relationship between festive and followers are ignorant of these issues understanding. For both categories of festival-goers, music is understood as something superficial, what is important is also in the party and emotion essentially. "