This paper offers an explorative analysis of the online social practices of livestreamed concerts as one of the most popular cultural outlets during the COVID-19 imposed 'lockdown' in Europe. Ritual theory is used to investigate the potential of these virtual concerts in generating a collective consciousness, and the related feelings of social solidarity and resilience, specifically important in times of physical isolation. Through a thematic content analysis of the comments (n = 1501) posted during livestreamed techno concerts in the Netherlands, we find that both old and new ritual actions are used to form online communities. While these ritual activities mark participation and remind members of a previous collective feeling, the omission of visceral elements of a physical audience hampers the establishment of a renewed sense of social solidarity.

Rotterdam, the Netherlands. His research focuses on social stratification on the basis of whiteness, race-ethnicity and gender in various cultural fields. This work has been published in journals such as New Media & Society, Popular Communication, Sociologie and Metal Music Studies.

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In 'secular' Western societies, religious topics permeate media texts of books, films, series and games and such texts even inform several religious-spiritual movements. Critically expanding on theories about 'fiction-based religion', 'invented religion' or 'hyper-real religion', this article studies if, how and why players of the massively multiplayer online role-playing game (MMORPG) World of Warcraft reflect on religious narratives in the game world and what influence it has on their personal perspective on religion. Based on interviews with 22 international players, three forms of 'religious reflexivity' are distinguished: (1) religious performance, an acting out of offline experiences with religion through online role-playing; (2) religious relativism, a shift from dogmatic atheism to a tolerant attitude towards religion; and (3) religious quests, an increased interest in religion and active 'bricolage' of online religion and official religion to create personal systems of meaning. Online games, it is concluded, can serve as laboratories where youngsters freely experiment with religion outside the established churches.

Many studies invoke the concept of the Bourdieusian habitus to account for a plethora of stratified patterns uncovered by conventional social-scientific methods. However, as a stratum-specific, embodied and largely non-declarative set of dispositions, the role of the habitus in those stratified patterns is typically not adequately scrutinised empirically. Instead, the habitus is often attributed theoretically to an empirically established link between stratification indicators and an outcome of interest. In this research note, we argue that combining conventional methods in stratification research with latency-based measures such as the Implicit Association Test enables better measurement of the habitus. This sociological application of Implicit Association Tests enables researchers to: (1) identify empirically the existence of different habitus among different social strata; and (2) determine their role in the stratified patterns to which they have thus far been attributed theoretically.

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The authors investigate how American and Dutch rock music consumers navigate the whiteness of rock music practice and discourse. In doing so, they address the complex connection between aesthetic categories (popular music) and ethnoracial categories and to what extent this relationship is open or resistant to structural change. Connecting literature on the racialization of cultural genres and on symbolic violence, the authors demonstrate how authentication through faithfulness to preestablished sociocultural configurations reinforces the whiteness of rock music consumption in both countries in very similar ways. The analysis of 27 in-depth interviews produces a threefold typology of positions that rock consumers take up vis-à-vis the sociocultural configuration of rock music authenticity: complying, amending, and replacing. From a position of complicity to this configuration, people of color are often a priori regarded as inauthentic participants, also by outsiders who consider them to “act white.” However, the analysis indicates that the shift toward a symbolic economy of authenticity enables actors to resist white hegemony as discursive authenticity at the expense of the more rigid dispositional and agentic variations underlying symbolic violence. This allows an active amending of the hegemonic configuration within the genre— authenticity maneuvering—by replacing the discourse, forging new spaces of consumption, and installing heavily policed inclusive practices.