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Some consumers are engaged in online curation, a type of user-generated content, in ways that can be impactful for brands. An example of online curation includes organizing themed collections of product images on Pinterest. The purpose of this paper is to present a framework of online consumer curation, introducing this topic to the marketing literature.

Through the analysis of the business and academic literature, as well as a careful study of many examples of online consumer curation, the authors present a framework for understanding online consumer curation.

The actions taken by online consumer curators are similar to those of museum or art gallery curators: acquiring, selecting, organizing and displaying content for an audience. The motivations for consumers to engage in online curation include building/displaying their identities and making social connections with their online audience. One outcome possible for the audience that views the curation is gaining access to carefully selected and recommended content.

As online consumer curation is a new area of research, the authors suggest several marketing- and brand-relevant propositions that can be addressed in future research.

As consumers are frequently using product images and brand symbols in their online curation, it is important for marketing academics and practitioners to understand their actions.

The aim of the paper is to present a thorough introduction to the idea of online consumer curation by outlining relevant examples, providing a framework for understanding this activity and its implications for brand management, and listing ideas for future research.

Algunos consumidores se dedican a la “curación” en línea, un tipo de contenido generado por el usuario (UGC), de manera que pueden ser impactantes para las marcas. Un ejemplo de “curación” en línea incluye la organización de colecciones temáticas de imágenes de productos en Pinterest. El propósito de esta investigación es presentar un marco sobre la “curación” del consumidor en línea, introduciendo este tema en la literatura de marketing.

A través de nuestro análisis de la literatura académica y empresarial, así como del estudio cuidadoso de muchos ejemplos de “curación” de los consumidores en línea, presentamos un marco para comprender la “curación” de los consumidores en línea.

Las acciones realizadas por los “curadores” son similares a las de sus homólogos en museos o galerías de arte: adquirir, seleccionar, organizar y mostrar contenido para una audiencia. Las motivaciones para que los consumidores participen en la “curación” en línea incluyen construir/mostrar sus identidades y establecer conexiones sociales con su audiencia en línea. Un resultado posible para la audiencia que ve la “curación” es obtener acceso a contenido cuidadosamente seleccionado y recomendado.

Como la “curación” en línea es una nueva área de investigación, sugerimos varias propuestas relevantes de marketing y marca que pueden abordarse en futuras investigaciones.

Como los consumidores utilizan con frecuencia imágenes de productos y símbolos de marca en su “curación” en línea, es importante que los académicos y profesionales de marketing comprendan sus acciones.

La investigación presenta una introducción exhaustiva a la idea de la “curación” del consumidor en línea describiendo ejemplos relevantes, proporcionando un marco para comprender esta actividad y sus implicaciones para la gestión de la marca, y enumerando ideas para futuras investigaciones.

“Curación” del consumidor en línea, Comportamiento del consumidor en línea, Contenido generado por el usuario, Gestión de marca

The authors have carried out a research project on artisanal salt activity in the Gulf of Cadiz, providing a new vision of the theories of intangible cultural heritage. The main objective has been to characterise artisanal salt activity in terms of its cultural and sustainable values, a perspective that had not been addressed until now. Moreover, the replacement of this activity by a more industrialised one has contributed to problems in the preservation of this heritage and a transformation of its places.

The research has combined qualitative methodology, based on observation and fieldwork, with a statistical review of the phenomenon under study. Finally, the data has been triangulated to understand the heritage and sustainable value, as well as its historical evolution.

All this contributes to understanding the importance of artisanal salt activity as an element of the intangible cultural heritage of the region, for the conservation of biodiversity and sustainable ways of life in the marshes of the Gulf of Cadiz, and the possibility of preserving it in the face of the problems of globalisation.

To date, there has been no research that combines sustainability and heritage in the field of salt activity. Likewise, until this study was carried out, there had been no research on salt activity from the perspective of intangible cultural heritage.

This paper aims to study possible differences between the Outstanding Universal Value (OUV) defined in the designation of Cuenca as a World Heritage (WH) site and its inhabitants' perceptions of heritage value. The study is based on research conducted in the historic centre of Cuenca in Ecuador, which was accorded WH status in 1999.

The research employs both quantitative and qualitative methodologies, providing a complementary approach to the research subject. Quantitative research involved a probability survey of 400 informants randomly selected from the population of the canton of Cuenca, while qualitative research included 40 semi-structured interviews with residents and traders in the historic centre and 150 further written consultations with residents of the city.

Following the introduction, methodology and description, the paper presents the data gathered from the survey and interviews. These indicate inhabitants' perceptions of the meaning, values, and uses of WH in Cuenca and reveal differences between their perceptions and those of the official OUV.

Although there are several studies on WH residents' perceptions of UNESCO OUV, few highlight the mismatch between local community views of heritage and those established by UNESCO. This study reflects critically on the concept of OUV, which is based on technical and political criteria rather than social participation. The study employs methodologies that could be applied in other case studies and used to improve heritage management. This is the only study on local perceptions of Cuenca's OUV.