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Bourdieu and Darbel's classic study of European art museum audiences,), remains one of the most influential academic studies of the social indices of art perception. Its findings were central to Bourdieu's on-going study of culture-mediated power relations, as found in the bookDistinction(), as well as social surveys of the behaviour of museum audiences across the world. Much in Bourdieu's account of art perception, however, has begun to appear dated and in need of supplementation. This paper will be a critical but sympathetic re-reading of Bourdieu's sociology of art perception in the light of recent criticisms of his approach. Whilst fine art and its institutions continue to function as sources of social identification and differentiation, this paper argues that the relationship between perception and stratification is somewhat looser than connoted in Bourdieu's work. Beyond the shift to a less rigid taxonomy of social formations, the immense expansion of the visual arts complex has opened up possibilities for the dissemination of art knowledge beyond the cultivated bourgeois. The erosion of boundaries between the aesthetic and the economic, between art and popular culture, are the result of processes of commodification that have placed museums alongside shopping malls within the realms of consumption and entertainment. New audiences have emerged from this mix with less dichotomized– that is,eithercultivated or popular– ways of seeing culture that suggest a revision of Bourdieu's overly integrated account of class and cognition. An alternative,‘postmodern’, approach to art perception is entertained, where an aesthetics of distinction is replaced by a culture of distraction, but this abstracts culture from any structural grounding. Capturing the shift to an accelerated cultural present, instead, requires a warping of Bourdieu's categories to account for broader patterns of culture and economy and the accentuation of modern visual culture. [ABSTRACT FROM AUTHOR]

This paper frames the work of performance as embodied labour in order to understand the contingent production of particular music performances. It is an interdisciplinary account that sits at the intersection of the sociology of work, culture and the body. The concept of embodied labour is developed with reference to the complex account of materiality - of bodies and things - present in Tim Ingold's account of skill. This material account of skill is used to inform use to develop already of well established conceptualizations of body labour: craft, emotional and aesthetic labour through a reading of how these dimensions of embodied labour make possible the work of performance. [ABSTRACT FROM AUTHOR]

Best known for his pioneering studyDistinction: A Social Critique of the Judgement of Taste, in which the aesthetic attitude of disinterestedness is accounted for as the expression of a class ethos, Bourdieu has become something of an icon of relativism. In thus effecting a Bakhtinian‘discrowning’ of official hierarchies of the arts, he is often celebrated for his concern to place all tastes, popular and high, on a similar footing, equally rooted in specific class practices. Only a careless inattention could support such a conclusion. From his early interventions in French cultural policy debates up to and includingThe Rules of ArtandPascalian Meditations(1996), Bourdieu has consistently repudiated the view that a sociological approach to questions of aesthetic judgment must result in a levelling form of relativism. In exploring why this should be so, this paper considers the issues at stake in the forms of‘historical universalism’ that are associated with Bourdieu's account of the autonomy of the aesthetic sphere. It does so with a view to identifying some of the difficulties underlying his understanding of sociology as a historical practice. [ABSTRACT FROM AUTHOR]

In the first half of this paper (in BJS Volume 40, No. 4) we considered the development of thinking about beauty and the face chronologically, from the Greeks and Romans through Christianity and astrology to the present. Here we trace the matter thematically, the face as mask in social interaction; the face as art: makeup and plastic surgery; and the face as battlefield: a source of ideological controversy. A final section considers some of the variables and dimensions around which discourse on beauty and the face has centred. [ABSTRACT FROM AUTHOR]

The article discusses the comments on the contributions to the social cultural participation. Topics include focusing on the broader concept of ‘lifestyle' instead of cultural participation, discussion to explore the links between cultural participation and social stratification, and consideration of eclecticism reflects omnivorousness, which is the choice of cultural expressions based on distinct aesthetics.

In this article we use qualitative interviews to examine how Norwegians possessing low volumes of cultural and economic capital demarcate themselves symbolically from the lifestyles of those above and below them in social space. In downward boundary drawing, a range of types of people are regarded as inferior because of perceived moral and aesthetic deficiencies. In upward boundary drawing, anti‐elitist sentiments are strong: people practising resource‐demanding lifestyles are viewed as harbouring 'snobbish' and 'elitist' attitudes. However, our analysis suggests that contemporary forms of anti‐elitism are far from absolute, as symbolic expressions of privilege are markedly less challenged if they are parcelled in a 'down‐to‐earth' attitude. Previous studies have shown attempts by the privileged to downplay differences in cross‐class encounters, accompanied by displays of openness and down‐to‐earthness. Our findings suggest that there is in fact a symbolic 'market' for such performances in the lower region of social space. This cross‐class sympathy, we argue, helps naturalize, and thereby legitimize, class inequalities. The implications of this finding are outlined with reference to current scholarly debates about politics and populism, status and recognition and intersections between class and gender in the structuring of social inequalities. The article also contributes key methodological insights into the mapping of symbolic boundaries. Challenging Lamont's influential framework, we demonstrate that there is a need for a more complex analytical strategy rather than simply measuring the 'relative salience' of various boundaries in terms of their occurrence in qualitative interview data. In distinguishing analytically between usurpationary and exclusionary boundary strategies, we show that moral boundaries in particular can take on qualitatively different forms and that subtypes of boundaries are sometimes so tightly intertwined that separating them to measure their relative salience would neglect the complex ways in which they combine to engender both aversion to and sympathies for others. [ABSTRACT FROM AUTHOR]

The scholarship on aesthetics and materiality has studied how objects help shape identity, social action and subjectivity. Objects, as 'equipment[s] for living' (Luhmann 2000), become the 'obligatory passage points humans have to contend with in order to pursue their projects (Latour 1991). They provide patterns to which bodies can unconsciously latch onto, or help human agents work towards particular states of being (DeNora 2000, 2003). Objects are central in the long term process of taste construction, as any attachment to an object is made out of a delicate equilibrium of mediators, bodies, situations and techniques (Hennion and his collaborators (Hennion and Fouquet 2001; Hennion and Gomart 1999). In all of these accounts objects are the end result of long-term processes of stabilization, in which the actual material object (a musical piece, a sculpture, an art installation, a glass of wine, the oeuvre of Bach as we know it) is both a result and yet a key co-producer of its own generation.Whereas the literature has been generous and detailed in exploring the processes of assembling and sustaining object-centered attachments, it has not sufficiently engaged with what happens when the aesthetic elements of cultural artifacts that have produced emotional resonance are transformed: what do these artifacts morph into?What explains the transition (or not) of different cultural objects? And relatedly, what happens to the key aesthetic qualities that were so central to how the objects had been defined, and to those who have emotionally attached to them? To answer these questions, this article uses as exemplars two different cases of attachment, predicated on the distinctive features of a cultural object - the transcendence of opera and the authenticity of a soccer jersey - that have undergone transformations. [ABSTRACT FROM AUTHOR]

This article examines taste clusters of musical preferences and substance use among adolescents and young adults. Three analytic levels are considered: fixed effects analyses of aggregate listening patterns and substance use in US radio markets, logistic regressions of individual genre preferences and drug use from a nationally representative survey of US youth, and arrest and seizure data from a large American concert venue. A consistent picture emerges from all three levels: rock music is positively associated with substance use, with some substance-specific variability across rock sub-genres. Hip hop music is also associated with higher use, while pop and religious music are associated with lower use. These results are robust to fixed effects models that account for changes over time in radio markets, a comprehensive battery of controls in the individual-level survey, and concert data establishing the co-occurrence of substance use and music listening in the same place and time. The results affirm a rich tradition of qualitative and experimental studies, demonstrating how symbolic boundaries are simultaneously drawn around music and drugs. [ABSTRACT FROM AUTHOR]