Two main accounts of the effect of proximity between candidates competing for recognition and members of the evaluating audience in the underlying social structure can be extrapolated from extant literature on peer-based tournament rituals and cultural fields. Following a Bourdieusian tradition, one account-which we label self-reproduction-insists on the catalyzing effect of social proximity in shaping recognition along relational lines. Drawing from recent scholarship on social evaluation, a second account-which we label intellectual distance-suggests that social proximity deters recognition. We probe the influence of different articulations of social proximity (i.e., direct ties, cliquishness and reciprocity) on recognition by studying awarding decisions within the context of the Norwegian advertising industry. Interviews with key informants and econometric results suggest that, while selfreproduction tends to prevail over intellectual distance, these effects co-exist and their relative influence varies across levels of recognition. We gauge the relative saliency of the two accounts by using a mix-method approach. Important implications for research on social evaluation and recognition in peer-based tournament rituals are drawn.

Building on sociological research that examines the allocation of rewards in peer evaluations, we argue that the recognition of cultural producers' work varies with their status and social distance from the audience members who evaluate them. We study the influence of these two mechanisms within the context of the Norwegian advertising industry. Specifically, we looked at how cultural producers' status and social distance from jury members affect their chances of being honored in "The Silver Tag"-one of the main digital advertising awards contests in Norway-during the period 2003-2010. While our findings provide support for status-based rewards allocation, the positive effects of status may be more circumscribed than previously thought. When accounting for the existence of previous connections between audience members and cultural producers, we find that cultural producers are more or less likely to receive an accolade depending on their degree of separation from the audience members. By exposing network-based determinants of consecrating decisions, and suggesting that the positive effects of status may be more circumscribed than previously thought our findings shed important light on the social foundations of evaluation and, more broadly, the mechanisms of reward allocation in cultural fields.

Color is omnipresent, but organizational research features no systematic theory or established method for analyzing it. We develop a relational approach to color, conceptualizing it as a means of positioning relative to a reference group or style and validating it through a computational method for processing digital images. The research context is Norwegian black metal—a genre of extreme metal music that achieved notoriety in the early 1990s through band members’ criminal activity. Our analysis of 5,125 album covers between 1989 and 2019 confirms the alignment of aesthetic and music features and articulates the role of color in the construction of a relational identity based on forces of association and disassociation. Black metal bands associated with past color choices of non-black metal bands up to a point, after which they started to disassociate from them. The positioning is dynamic, pursuing adaptation to external events. Black metal bands reacted to their stigmatization in Norwegian society by increasing colorfulness and later returning to a darker aesthetic in defiance of the genre’s commercialization. Our analysis attests to color’s ability to organize producers’ exchange of information and attention, illustrating the interweaving of aesthetic features and relational processes in markets.

We develop a process-based framework, articulating the escalation of difference between "private" self and "public" display as an alternative trajectory in the pursuit of authenticity to alignment and compromise. A parsimonious model presents an endogenous dynamic of binary choice that generates momentum toward polarization. The model is illustrated in the context of "black" metala branch of heavy metal music that appeared in Norway in the early 1990s, notorious for its involvement in criminal activities. Using fanzine data, we construct a narrative of how a process of escalation led to innovation and transgression through self-selection and exclusion. The analysis addresses two related theoretical problemswhat motivates actors to challenge normative scripts and "burn the bridges" to social acceptance, and why such challenges may prove more effective in achieving recognition than compromise. Examples from politics, culture and sports reinforce the importance of these problems.

How do candidates' status and social proximity to members of the evaluating audience interact to shape recognition in peer-based evaluative settings? In this study, we shed light on this question by adopting a mixed-method approach. We first examined field data on the conferral of awards in a peer-based evaluative contest-"The Silver Tag"-which is one of the most prestigious digital advertising awards contests in Norway. The field study revealed the existence of a negative interaction between status and social proximity on the allocation of awards. We then conducted two experiments to probe the mechanisms responsible for this finding. In the first experiment, we replicated the main pattern observed in the field study. In the second experiment, we showed that the interaction effect is contingent on the nature of the evaluative setting. When audience members' decisions were in the public domain (i.e., the other audience members knew them), social proximity tempered the effect of status on candidates' recognition, but it did not when decisions were private (i.e., the other audience members did not know them). We conclude by discussing several implications of our study for research on the socio-psychological processes underlying evaluative outcomes in tournament rituals.