Transition of the relation between artist and user to the between culture supply and demand

It is impossible for the public and the cultural product to meet unless the role of culture in society is understood and the characteristics of the organizations in which culture is diffused are examined. Cultural products cannot be understood separately from the setting in which they are produced or consumed. The relationship involves as many as there disciplinary contexts: sociology of the artist, of the work of art and fruition. Aesthetic form and content have always been separable, and so capable of being de-contextualized and handled separately: art as either a real or symbolic object is only the starting point, the organizational center for the analysis of the social processes. In this way the intellectual import of the sociology of art is shown to be very high. Nowadays, what makes the cultural object particular is its belonging to a sector, its fragmentation, its belonging, despite everything, to a globalised world. The cultural object is studied, commissioned and produced to be enjoyed and appreciated by the public at large, to be inserted in a network in which it is distributed through information and use. Telecommunication instruments and new technologies have shaped new forms that are becoming increasingly familiar and therefore desirable. Because of this, fruition has changed its appearance of individuality to assume a semi-collective guise more fitting to its user. The game of homogenization and differentiation is indeed born from the hypersegmentation of issues and life styles. Such a game guarantees creators of culture a great control over their products. The category of \u2018cultural products\u2019 has undergone a widening that has led users to choose niches of specialized consumption. Paradoxically, users meet because they have similar restricted preferences. There is a dynamics between supply of culture and demand for it, in which success uncertainty is high. Indeed, final success mainly depends on the public, who actually has the last word. Consumption complexity is sometimes unpredictable. This shows that the user is not only a knot in the net, but rather someone that has to be convinced and then inserted in the complex consumption process. The user can influence production and, because of this, innovation has to be predictable. The continual input between communication, production and consumption causes circularity, promiscuity and changes that help socialization and so the acceptance of the product and of the organization that implements it