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Milton Nascimento is one of the most prolific Brazilian singers and songwriters of all time, an artist who has formed friendships and made songs with a host of Brazilian artists, with international stars from Latin America, and with artists abroad. Milton’s repertoire has made its way into the fabric of musical compilations of Brazilian music for international listeners. Perhaps unbeknownst to these international listeners, Milton, as an Afro-Brazilian artist, reflects a complex and paradoxical relationship to “race” in his music – at times openly touching upon racial themes, even during an area when the government forbade open discussion of racial tension in Brazil – but at times signifying race more subtly, either through subtle references to diversity in Brazil or through the very elements of his music.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

This chapter explores the development of social science visualizations as cultural objects within art worlds. The research examines artworks as social science visualizations to show the importance of conducting analysis within distinctive social, institutional, and cultural environments. To make these arguments, the chapter outlines some of the key features of art worlds as they have been analyzed by cultural sociologists and anthropologists. We point out how cultures of reception and institutional intermediaries, such as museums, have historically shaped the construction of artworks, which are never produced or interpreted in a vacuum. The chapter closes with a call to expand both the application of social science visualizations and our understanding of such visualizations as subject to similar art world dynamics. Such visualizations, it is argued, constitute key components of social research practice increasingly oriented toward a digitally connected public hungry for visual interpretations of contemporary social developments.

Journalists construct a public image through each of their produced texts. Regarding cinema journalism, the feature stories are the result of multiple semiotic relationships established between the cinematographic products, the artists involved with the cinema production, and the possible expectations of the readers related to the journalistic texts, as well as viewers of the films and the depicted artistic contexts. A semiotic analysis of a feature story on the documentary Todos os Paulos do Mundo, written by the journalist Luiz Carlos Merten, reveals the construction of what semiotics calls signic actions. Such actions recover the film creation process and its produced meaning related to contemporary Brazilian production of cinematography.

This chapter reports on research that explores new and emerging extended reality [XR] technologies and how they might provide opportunities to trial, investigate, and put into practice their potential to reverse processes of atomisation, polarisation, and intercultural discomfort, in our contemporary society. This transdisciplinary practice-led research was underpinned by disciplines of computer science and engineering, social sciences, history, diverse community economics, human ecology, and Indigenous psychology. The collaboration between these various disciplines with the Māori and non-Māori community members allowed researchers to understand current societal stressors, prioritise relationality, and explore our shared values in the creation of XR experiences for exhibition in the galleries, libraries, archives, and museums [GLAM] sector.

A discursive design framework motivated, inspired, provoked, persuaded, and reminded inspiring collaborators, and visitors to the exhibitions, the value of (re)connecting with people and overcoming interracial awkwardness through these curated experiences. The XR technologies provided women a platform to discuss and reimagine first encounters between people from different cultural backgrounds. The technologies included a 180° stereoscopic projection, Common Sense, in which Māori Elder Irene Hancy shared her insight about social engagement and haptic HONGI in which visitors were greeted by a Māori woman Tania Remana via augmented reality. This research has been motivated by a desire to promote and support intercultural understanding in Aotearoa New Zealand, and it extends research by other non-Māori and Māori scholars.

Purpose: Preserving a country’s culture is crucial for its sustainability. Handicraft is a key draw for tourism destinations; it protects any civilisation’s indigenous knowledge and culture by managing the historical, economic, and ecological ecosystems and perfectly aligns with sustainable development. It has a significant role in creating employment, especially in rural regions and is an essential contributor to the export economy, mainly in developing nations. The study focuses on the skills required and existing gaps in the handicraft industry, its development and prospects by considering women and their role in preserving and embodying the traditional art of making handicrafts.

Approach: A framework has been developed for mapping and analysing the skills required in the handicraft sector using econometric modelling; an enormous number of skills have been crowdsourced from the respondents, and machine learning techniques have been used.

Findings: The findings of the study revealed that employment in this area is dependent not only on general or specialised skills but also on complex matrix skills ranging from punctuality to working in unclean and unsafe environments, along with a set of personal qualities, such as taking initiatives and specific skills, for example polishing and colour coding.

Implications: The skills mapping technique utilised in this study is applicable globally, particularly for women indulged in casual work in developing nations’ handicrafts industry. The sustainable development goals, tourism, and handicrafts are all interconnected. The research includes understanding skills mapping, which provides insights into efficient job matching by incorporating preferences and studying the demand side of casual working by women in the handicraft sector from a skills perspective.