'Checking in' at or 'tagging' oneself to various places on social media constitute online representations that contribute to the classification, or 'making', of places. At the same time, users are also classified based on what they (show that they) do where. In this paper, we deploy Bourdieusian cultural sociology to the realm of place-exposing geomedia practices to understand social reproduction on social media. The study uses multiple correspondence analysis on a national survey deployed in Sweden (n=3,902). Various place-exposing practices are analyzed in relation to the contemporary Swedish class structure. Results reveal a connection between various forms and volumes of capital and the places that people visit and chose to put on display for online audiences. We are thus able to verify how the socio-technological regime of geomedia, with its new arenas for online exposure, extends deep-seated dynamics of socio-cultural reproduction and even reinforces the classificatory linkages between spatial appropriation and social identity work.

Disconnecting from digital media is often mentioned in the public debate as a way of improving quality of life, productivity, sustainability, and so forth. However, not everyone can afford to disconnect, and media morality varies across social space. Based on data from a national Swedish survey (2019), this chapter applies correspondence analysis and a Bourdieusian theoretical framework to chart the extent to which different social groups prioritize disconnecting in different places, and the forms of digital unease associated with smartphone use. Such preferences are mapped onto a social space constructed around the distribution of economic and cultural capital in Swedish society, also illuminating how disconnection practices correspond to other lifestyle practices. The analysis reveals that the handling of digital (dis)connection (in different places) plays into overarching patterns of taste and cultural distinction. As such, disconnection manifests as an emerging moral-symbolic battleground in affluent societies.

As a leading scholar of the social conditions of cultural production, Pierre Bourdieu had little to say about large-scale media production. This study, however, brings the theoretical-empirical program that underpins studies of fields of cultural production within the Bourdieusian tradition to bear upon the Swedish field of television production. Two research questions are posed. First, what is the structure of the field of television production—what are the main hierarchies that divide agents in the field? Second, how do positions in the field correspond to agents’ ways of orienting themselves—how are various position-takings distributed in the field? These questions are answered with a multiple correspondence analysis with agents in the Swedish field of television production (n = 378). The field of television production is structured, first, along an incumbent-challenger axis; and second, according to an axis separating public service broadcasters and journalists rich on cultural capital from commercial broadcasters involved in drama and entertainment production. These dynamics, along with the position-takings assumed by agents in the field, are discussed.