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This study aims to explore the visual social media (SM) (Instagram) communication and the visual characteristics of smart tourism destination (STD) communication from destination marketing/management organizations (DMOs) and user-generated content (UGC) perspectives, which refer to projected image and perceived image, respectively.

Three DMO official accounts of STDs (Helsinki, Gothenburg and Lyon) and corresponding official hashtags were selected for the sample and total 6,000 post data (1,000 × 6) were retrieved from Instagram. Visual communication content was examined with a netnographic design over a proposed four-level visual content framework using corresponding methodological approaches (thematic analysis, visual analysis, object detection and text mining) for each level.

Among the eight emerging themes dominating the images, communication of smart elements conveys far less than expected textual and visual signals from DMOs despite their smart status, and in turn, from UGC as well. UGC revealed three extra image themes regardless of smartness perception. DMOs tend to project and give voice to their standard metropolitan areas and neighborhoods while UGCs focus on food-related and emotional elements. The findings show a partial overlap between DMOs and UGCs, revealing discrepancies in objects contained in visuals, hashtags and emojis. Additionally, as a rare attempt, the proposed framework for visual content analysis showed the importance of integrated methods to investigate visual content effectively.

The number of attributes in visual analysis and focusing on the observed elements in text content (text, hashtags and emojis) are the limitations of the study in terms of methodology.

Apart from the multiple integrated methods used over a netnographic design, this study differs from existing SM and smart destinations intersection literature by attempting to fill a gap in focusing on and exploring visual SM communication, which is scarce in tourism context, for the contents generated by DMOs and users.

本研究旨在探讨从目的地营销管理组织（DMO）和用户生成的内容（UGC）获取的视觉社交网站传播（instagram）以及智慧旅游目的地的视觉特征。这两个角度在本文中分别命名为投射形象和感知形象。

本文收集了三个智慧旅游目的地（赫尔辛基、哥德堡、里昂）的DMO官方账号及其对应的官方标签数据, 其中从Instagram获取了一共6000个帖子（1000 x 6）。视觉传播内容是通过网络民族志设计进行分析的, 该设计采用四层视觉内容框架, 每一层使用相应的方法, 包括主题分析、视觉分析、目标检测、文本挖掘。

在8个新兴的主导形象中, 智慧元素, 尽管是智能的, 但其传达的信息远不如预期的来自DMO的文本和视觉信号, 同样, 也不如来自UGC的信息。无论智慧感知程度如何, UGC显示了3个额外的形象。DMO倾向于展现和表达目的地标准的大都会地区及其临近社区, 而UGC专注于与食物相关的和情感的元素。我们的研究显示了DMO和UGC内容的部分重叠, 但揭示了两者在图像、标签和表情符号中包含对象的差异。此外, 作为一个少有的尝试, 我们提出的视觉内容分析框架展示了集成方法对有效研究视觉内容的重要性。

从方法上来说, 视觉分析中属性的数量和在文本语境中对观察元素的关注是本研究的局限性

除了在网络民族志设计中使用多个集成方法,本文和以往社交媒体和智慧目的地交互文献的区别还体现在关注和探索DMO和UGC生成内容的视觉社交媒体沟通, 这类研究旅游研究情境下是少见的。

Along with the ever growingWeb is the proliferation of objectionable content, such as sex, violence, racism, etc. We need efficient tools for classifying and filtering undesirable web content. In this paper, we investigate this problem through WebGuard, our automatic machine learning based pornographic website classification and filtering system. Facing the Internet more and more visual and multimedia as exemplified by pornographic websites, we focus here our attention on the use of skin color related visual content based analysis along with textual and structural content based analysis for improving pornographic website filtering. While the most commercial filtering products on the marketplace are mainly based on textual content‐based analysis such as indicative keywords detection or manually collected black list checking, the originality of our work resides on the addition of structural and visual content‐based analysis to the classical textual content‐based analysis along with several major‐data mining techniques for learning and classifying. Experimented on a testbed of 400 websites including 200 adult sites and 200 non pornographic ones, WebGuard, our Web filtering engine scored a 96.1% classification accuracy rate when only textual and structural content based analysis are used, and 97.4% classification accuracy rate when skin color related visual content based analysis is driven in addition. Further experiments on a black list of 12 311 adult websites manually collected and classified by the French Ministry of Education showed that WebGuard scored 87.82% classification accuracy rate when using only textual and structural content‐based analysis, and 95.62% classification accuracy rate when the visual content‐based analysis is driven in addition. The basic framework of WebGuard can apply to other categorization problems of websites which combine, as most of them do today, textual and visual content.

This paper aims to propose a theoretically informed and analytically rigorous research framework that sustainability researchers could use or further develop to examine visually persuasive messages in photographs.

Drawing on the theoretical constructs of Peirce’s (1991) visual semiotic system of icon, index and symbol and Aristotle’s (1984) persuasive appeals of ethos, pathos and logos, the authors propose a research methodology that provides an explicit step-by-step guidance to examine visually persuasive messages in sustainability-related photographs. The sustainability-related photographs in The Coca-Cola Company’s 2018 Business and Sustainability Report are examined to illustrate the application of the framework.

This paper develops a research framework and provides empirical evidence of the use of the framework to enhance the understanding of visually persuasive messages depicted in photographs.

The proposed framework serves as a springboard for further research into visually persuasive messages.

The research framework of visual persuasion is novel and can be used by sustainability researchers to analyse photographs in corporate reports. It can be extended/modified to capture visual representations in different contexts and other disciplines as well.

The purpose of this paper is to provide an analysis of intellectual capital (IC) disclosures in annual reports (mandatory and voluntary) and draw attention to the specific issues related to the methodology used i.e. content analysis. The focus is to incorporate all forms of IC disclosure – narratives, numbers, and visual images – into the analysis as well as highlight the need to study both quantity (extent) and quality of disclosure.

Using content analysis, this paper analyzes 30 of Malaysia's largest public‐listed companies from the IC disclosure of 2008 annual reports. The results are used to discuss specific methodological issues such as the usage of an IC index, choice of unit of analysis, quantity versus quality, presence/absence versus multiple disclosures, and the usage of narratives, numbers, and visual images.

This paper proposes that themes are the most appropriate recording and counting unit to analyze IC information combining narratives, numbers, and visual images. The discussion finds, among others, that while quantity and quality are highly related, quality of disclosure provides the most insights into the disclosure behavior adopted by companies.

This paper provides methodological guidelines to future IC researchers interested in analyzing the quantity and quality of IC disclosure.

To the best of the authors' knowledge, so far there are no studies published that provide a detailed discussion on ways to capture the quantity and quality of IC information disclosed in annual reports using all three forms of disclosure – narratives, numbers, and visual images.

This paper aims to investigate how the abstract marketing concept of brand heritage is operationalized through visual elements on social media.

A mixed-methods approach combines interviews with marketing experts, a focus group with specialized academics, an open coding of Instagram images and the systematic coding of 800 images of eight champagne brands (company-generated content).

The study identifies 20 brand heritage codes (e.g. groupings of brand heritage visual cues with homogenous meanings). These codes are combined in three different factors (brand symbols, product legacy and consumption rituals) that discriminate between brands.

The paper offers a description of what brand heritage looks like in practice. This visual operationalization of brand heritage is based on a single category, a limitation that further research can address. The results also contribute to research on visual brand identity and provide practical insights for the management of brand heritage at the product brand level.

This paper bridges the gap between the strategic management of brand heritage as a resource and the way it is concretely made available to the consumers.

This paper aims to answer the following four research questions: Where do tourists gaze at the destination? What do tourists gaze at the destination? How do tourists gaze differently? Why do tourists gaze differently referring to relevant theory?

With a computer vision approach, this study illustrated a series of maps that reflect where and what do tourists gaze at and compared the differences in the visual perceptions among Asian, European and North American tourists in Hong Kong.

The findings confirm that the “tourist gaze” is influenced by geographical and cultural conditions. The conclusions provided three types of implementations for destination management strategies and advocated a high engagement with computer vision technology.

In theory, this study proves that the “tourist gaze” is influenced by geographical and cultural conditions. The study’s methodological contribution lies in applying advanced technology of visual content analysis for big data relevant to the issue of the tourist gaze. Practically, the finding that has not been achieved via previous questionnaire surveys will serve as a reference for tourism recommendations and precision marketing. In addition, its practical contribution is that it offers a means by which to explore tourists’ perceptions of destinations and understand the attractiveness of destinations to tourists.

研究一方面使用计算机视觉深入学习模型对游客照片内容进行识别, 比较了亚洲、欧洲和北美游客在香港不同空间场景的视觉感知差异。另一方面, 研究借助ArcGIS软件对游客凝视地点和内容差异进行了具体可视化分析。

这项研究有四个研究子问题：

• （1） 游客在哪里凝视？

• （2） 游客凝视了什么？

• （3） 游客凝视内容有什么不同？

  （4） 为什么游客凝视不同？

（1） 游客在哪里凝视？

（2） 游客凝视了什么？

（3） 游客凝视内容有什么不同？

（4） 为什么游客凝视不同？

不同游客在旅游目的地的“凝视”存在差异, 差异表征具体体现在地点选择和内容偏好等维度。同时, 研究结果显示计算机视觉技术在旅游研究领域呈现较好的应用潜力。

理论上, 本研究佐证了”游客凝视”受地理和文化条件影响的理论。技术上, 本研究探索了视觉分析技术在游客凝视议题上应用, 为旅游目的地感知评估提供了新的视角。应用层面, 研究结论为旅游目的地精准营销提供了参考。

Resumen

Con un enfoque de visión artificial, este estudio ilustra una serie de mapas que reflejan dónde y qué miran los turistas, y compara las diferencias en las percepciones visuales entre los turistas asiáticos, europeos y norteamericanos en Hong Kong.

El estudio tiene cuatro preguntas de investigación:

• (1) ¿Dónde miran los turistas en el destino?

• (2) ¿Qué miran los turistas en el destino?

• (3) ¿Cómo miran los turistas de forma diferente?

• (4) ¿Por qué los turistas miran de forma diferente en referencia a la teoría pertinente?

(1) ¿Dónde miran los turistas en el destino?

(2) ¿Qué miran los turistas en el destino?

(3) ¿Cómo miran los turistas de forma diferente?

(4) ¿Por qué los turistas miran de forma diferente en referencia a la teoría pertinente?

Las conclusiones confirman que la “mirada del turista” está influida por las condiciones geográficas y culturales. Las conclusiones aportan tres tipos de aplicaciones para las estrategias de gestión de destinos y abogan por un alto compromiso con la tecnología de visión artificial.

En teoría, este estudio demuestra que la “mirada del turista” está influenciada por las condiciones geográficas y culturales. La contribución metodológica del estudio radica en la aplicación de tecnología avanzada de análisis de contenido visual para big data relevante para el tema de la mirada del turista. En la práctica, los hallazgos que no se han logrado a través de encuestas anteriores servirán de referencia para las recomendaciones turísticas y el marketing de precisión. Además, su contribución práctica es que ofrece un medio para explorar las percepciones de los turistas sobre los destinos, y comprender el atractivo de los mismos para los turistas.

Can sustainability disclosures be a tool for executing image restoration strategies after corporate manslaughter? This is the question explored in this study of Costa Crociere's sustainability reports after the Concordia disaster.

Merging traditional textual content analysis with visual analysis and supported by machine learning tools, this is a predominantly qualitative study framed by legitimacy theory, image restoration theory and impression management.

Costa Crociere's voluntary sustainability reporting is strongly influenced by a mix of text and visual signals that distract readers' attention from the disaster. A “nothing really happened” communication strategy pervades the disclosures, with the only rational motivation being to change perceptions and erase memories of this tragic and avoidable event.

Although the analysis covered multiple sources of corporate information, media coverage was not one of them. A more in-depth exploration of sustainability reporting in the cruise industry, including evidence of similar cases, to test impression management theory would be a worthwhile avenue for future research.

While Costa Crociere technically followed the customary guidelines of disclosing human resource impacts, there was almost no acknowledgement of the people involved in the accident. Costa Concierevastly understated their responsibility for the accident, did not apologize, and conveyed very little remorse. The majority of disclosures centred on disaster recovery management.

The authors discuss why and how a company can overcome a legitimacy threat by completely freezing its voluntary sustainability reporting, and the authors show how a company can restore its image by minimizing specific aspects of an accident and shifting attention from the human victims to corporate operations. Incorporating image recognition driven by AI models and combining the results with narrative disclosures contributes an innovative and original analysis technique to the field of impression management. In addition, this research also contributes to our knowledge on the cruise industry – a sector currently under scrutiny for its ethical, social and environmental practices.

The purpose of this study is to conduct a comprehensive investigation into the utilization of visual impression management techniques within sustainability reporting. Specifically, the study aims to determine whether Italian companies employ impression management tactics in the presentation of graphs within their sustainability reports and, thus, problematize visual data communication in corporate social responsibility (CSR).

The research adopts a multimodal content analysis of the 58 sustainability reports from Italian listed companies that are GRI-compliant. The analysis focused on three types of graphs: pie charts, line graphs and bar graphs. In total, 860 graphs have been examined.

The study found evidence of graphical distortion techniques being employed by companies in their sustainability reports to create a favorable impression. Specifically, graph distortions are found in column graphs and not in line or pie charts. In particular, selectivity, presentation enhancement and measurement distortion techniques seem to be extensively used when adopting column graphs in sustainability communication. Moreover, social sustainability–related topics tend to be more represented of other area of CSR reporting. This suggests that companies, whether consciously or unconsciously, engage in impression management techniques when using graphs in their sustainability reports.

The study findings suggest that more consciousness is needed for companies when engaging in the construction and selection of graphs in their sustainability reports and that decision-makers should develop a clear guide for ethical visual communication.

The paper systematically analyzes visual impression management techniques in communicating sustainability data and, in particular, advances literature on graphical distortion. The value lies in empirical evidence of distortion adoption in GRI-compliant reports as well as problematizing visual data communication as a fundamental challenge for sustainability communication management.

This paper explores how public audit institutions establish themselves as distinct actors on the public stage through communication practices. By focussing on the journey of the European Court of Auditors (ECA), this paper addresses the following research question: how does a transnational audit institution construct its actorhood through visual communication practices?

Using the theoretical framework of actorhood theory and inspired by the visual accounting methodology, this study explores the ECA actorhood journey through the visual analysis of front pages of its official journal (ECA Journal) from its inception in 2009 up to 2019. The visual analysis is conducted through content analysis and a two-step cluster analysis.

By showing how combinations of different visual artefacts have evolved over time, this study highlights the ways transnational public audit institutions, such as the ECA, construct their actorhood and position themselves on the public stage. It further reveals the underlying legitimacy mechanisms through which organisations such as the ECA position themselves in the public eye.

This study sheds light on the depiction of individuals and their contexts in interaction with each other and how this interaction reveals the development of the actorhood journey of the ECA over time.

The purpose of this study is to examine cross-cultural differences in the use of visual tangible cues in local corporate Web sites of six nations.

A quantitative content analysis was used to obtain a numerically based summary of visual tangible cues utilized in 207 Web sites of global service corporations.

A clear pattern of differences was observed in the major visual functions (literal vs symbolic), the use of photographs vs illustrations and the utilization of interactive elements between two groups of nations. Eastern visuals tend to rely more on symbolic visuals performing association function, mixed use of photographs and illustrations and customer endorsement, whereas Western visuals are more likely to perform literal functions, use photographs and feature customer–employee interactions.

International services marketers who are planning a global campaign on the Web can benefit by using differentiated visual strategies, which reflect unique cultural characteristics of a target market.

This study adds a new contribution to an international account of Web services advertising in maintaining a comprehensive understanding of contemporary use of visual tangibles cues. It could benefit global services advertisers with both practical and theoretical implications, for no systematic studies have ever touched the visualization strategies on the Web.