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With the development of science and technology, more creators are trying to use new crafts to represent the cultural trends of the social media era, which makes cultural heritage innovative and new genres emerge. This compels the academic community to examine craft from a new perspective. It is very helpful to understand the hidden representational structure of craft more deeply and improve the craft innovation system of cultural and creative products that we deconstruct the craft based on Complex Network and discover its intrinsic connections.

The research crawled and cleaned the craft information of the top 20% products on the Forbidden City’s cultural and creative products online and then performed Complex Network modeling, constructed three craft representation networks among function, material and technique, quantified and analyzed the inner connections and network structure of the craft elements, and then analyzed the cultural inheritance and innovation embedded in the craft representation networks.

The three dichotomous craft representation networks constructed by combining function, material and technique: (1) the network density is low and none of them has small-world characteristics, indicating that the innovative heritage of the craft elements in the Forbidden City’s cultural and creative products is at the stage of continuous exploration and development, and multiple coupling innovation is still insufficient; (2) all have scale-free characteristics and there is still a certain degree of community structure within each network, indicating that the coupling innovation of craft elements of the Forbidden City’s cultural and creative products is seriously uneven, with some specific “grammatical combinations” and an Island Effect in the network structure; (3) the craft elements with high network centrality emphasize the characteristics of decorative culture and design for the masses, as well as the pursuit of production efficiency and economic benefits, which represent the aesthetic purport of contemporary Chinese society and the ideological trend of production and life.

The Forbidden City’s cultural and creative products should continue to develop and enrich the multi-coupling innovation of craft elements, clarify and continue their own brand unique craft genes, and make full use of the network important nodes role.

After reviewing cultural heritage institutions; crowdsourcing initiatives and tension between univocal and multivocal views of those who interact with cultural expressions, this paper argues that to support vibrant and effective crowdsourcing communities while ensuring the quality of the work of crowdsourcing project volunteers it is essential to reevaluate and transform the traditional univocal, top-down approach to representation and organization. The paper aims to discuss these issues.

This conceptual paper applies Foucault’s power–knowledge construct and theories of representation to the processes and practices employed in cultural heritage crowdsourcing projects.

Viewed through the Foucauldian lens, cultural heritage professionals are regarded as active parts of the power–knowledge relationship due to their direct engagement in the representation, organization and dissemination of knowledge, exercised not only through the traditional role of cultural heritage institutions as gatekeepers of knowledge but, more importantly, through the power of representation and organization of the cultural heritage.

This paper provides a theoretical understanding of cultural heritage crowdsourcing initiatives and proposes a framework for multivocal representation of cultural heritage expressions in which the voices of volunteers have the same validity as the voices of cultural heritage professionals.

The purpose of this paper is to examine the relative cultural shift from professionalism to commercialism in the accounting profession, based on an analysis of the promotional brochures used by the Ordre des comptables agréés du Québec (Institute of Chartered Accountants of Québec), over the last 40 years, to attract new members.

The study's specific objectives are: to examine accountancy's cultural representations depicted in promotional brochures; to evaluate the extent to which these representations are indicative of the commercialist shift as documented in the literature; and to establish whether the representations under study provide further insight into the nature of the cultural shift. Drawing on the semiotic approach developed by Roland Barthes, the authors' analysis is predicated on the idea that promotional brochures and advertisements, though often simple in appearance, constitute complex representations that convey meaningful information about influential values and cultural change.

The authors found that commercial values are increasingly apparent through the celebration of multidisciplinary services and the emphasis on generous compensation and high dynamism.

Barthes' framework was especially useful to analyze the interplay between images and text to gain insight into the historical emergence of what has become the accountant's representation of today. As such, this study points to promotional representations participating to the inculcation of a cosmopolitan culture, where the internationalization of business is supposedly natural, inevitable, and beneficial to everyone. The authors' research also highlights the increasingly significant role played by marketing experts in designing professional institutes' brochures, consistent with the broader view of marketization as a key trend within the accounting industry.

This paper examines visual representation in marketing communication from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. An ontological approach is offered as an alternative to phenomenologically based approaches in marketing scholarship that use consumer responses to generate data. Suggests ways to clarify complex issues of representational ethics in marketing by applying a semiotically‐based analysis that places ontological identity at the center of societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, including advertising, tourist promotions and music, as examples of bad faith marketing strategy. Music is an important force in marketing communication, yet marketing studies have rarely considered music and its visual representations as data for inquiry. Feels that considering visual representation within marketing from an ontological standpoint contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation.

This paper offers an ethical analysis of visual representation that provides criteria for and sheds light on the appropriateness dimension of marketing communications. It provides a theoretically informed framework for recognizing and understanding ethical issues in visual representation.

An interdisciplinary conceptual review and analysis focuses on four representational conventions, synthesizing ethical concerns, to provide a broader context for recognizing and understanding ethical issues in marketing representation: face‐ism, idealization, exoticization and exclusion. This framework is discussed and applied to marketing communications.

It argues that valuations of communication appropriateness must be informed by an awareness of the ethical relationship between marketing representations and identity. It is no longer satisfactory to associate advertising solely with persuasion, rather advertising must be seen as a representational system, with pedagogical as well as strategic functions. We conclude by discussing the theoretical, research, and managerial implications that arise from an ethics of visual representation.

Urges moving beyond an advertising=persuasion model to encompass representation and culture in marketing communication studies. Contributes to understanding the ethical implications of marketing communication. Challenges marketers and researchers to broaden their conception of marketing communication to one more consistent with an image economy.

Purpose: This chapter aims to illuminate the cultural perceptions of illicit alcohol and to examine the role of cognitive polyphasia in changing the perceptions and legitimacy of market practices.

Methodology/Approach: An ethnographic study of the Kenyan illicit alcohol market, which combined digital news media data analysis, with observation and interview data.

Findings: Cognitive polyphasia serves to delegitimize illicit alcohol by portraying it as incongruent with existing cultural beliefs, values, and assumptions. Illicit alcohol is portrayed as a contaminated product, a cursed business, a practice that causes cultural breech, and a scheme of witchcraft/sorcery used to enslave consumers. Findings also show that cognitive polyphasia involves drawing on traditional knowledge to explain misfortune and difficult social phenomena such as addiction. The delegitimation of illicit alcohol induces behavior and perception change. Consumers play an important role in this change process.

Research Implications: This research proposes the incorporation of cultural language into alcohol policy and education.

Social Implications: By illuminating social representations in the cultural-cognitive arena, a theory for applying these factors to change markets/behavior is proposed.

Originality/Value of Paper: The chapter highlights the delegitimation of market practices, unlike previous research that focuses on legitimation processes. This chapter also demonstrates how cognitive polyphasia, a scarcely researched concept in consumer research, can induce behavior change. This chapter also contributes to the literature on market/behavior change by revealing potential cultural-cognitive barriers to change.

Large cultural heritage datasets from museum collections tend to be biased and demonstrate omissions that result from a series of decisions at various stages of the collection construction. The purpose of this study is to apply a set of ethical criteria to compare the level of bias of six online databases produced by two major art museums, identifying the most biased and the least biased databases.

At the first stage, the relevant data have been automatically extracted from all six databases and mapped to a unified ontological scheme based on Wikidata. Then, the authors applied ethical criteria to the results of the geographical distribution of records provided by two major art museums as online databases accessed via museums' websites, API datasets and datasets submitted to Wikidata.

The authors show that the museums use different artworks in each of its online databases and each data-base has different types of bias reflected by the study variables, such as artworks' country of origin or the creator's nationality. For most variables, the database behind the online search system on the museum's website is more balanced and ethical than the API dataset and Wikidata databases of the two museums.

By applying ethical criteria to the analysis of cultural bias in various museum databases aimed at different audiences including end users, researchers and commercial institutions, this paper shows the importance of explicating bias and maintaining integrity in cultural heritage representation through different channels that potentially have high impact on how culture is perceived, disseminated, contextualized and transformed.

An analysis of the images in music education textbooks for primary education has shown how the images do not fully reflect the human diversity present in the classroom and, therefore, continue to perpetuate positions that can lead to racism. The purpose of this paper is the analysis of the images to carried out has demonstrated how little progress has been made in the representation of diversity and how, in the 21st century, stereotypes continue to persist in the representation of cultural diversity.

The quantitative and qualitative data collected after analysing more than 2,600 images have shown that despite the considerable increase in the use of images in music textbooks, typical clichés about what instruments are played in the world and how those who play them are represented are still present.

The results also show how the images reflect the migratory flows experienced in each country. All of this has led to important conclusions, among which the importance of human diversity in images for students to normalise cultural diversity from and with musical educational materials should be highlighted.

The analysis of the 2,686 images showed how the use of the human figure has evolved up to the last educational reform. Firstly, the analysis of images focused on the evolution (year) of the presence of diversity (ethnicity) in the musical groupings represented (orchestra, band, choir, soloist or chamber group), as well as the evolution with respect to the type of instrument represented.

With the aim of analysing the evolution in the representation of diversity in music textbooks, the authors searched the most important publishing houses in Spain. To analyse the evolution of the visual depiction of diversity in music education textbooks in light of legislative and social changes related to race, the authors constructed several variables under the category labelled “Ethnicity”.

The images analysed, especially those included under the Organic General Law on the Educational System of 4 October 1990 and the Organic Law 2/2006 on Education of 3 May, tended to pair certain instruments with people with physical characteristics associated with particular ethnic profiles. In terms of musical activities, the main results can be summarised as follows: although the completely homogenous depiction of White Europeans in musical activities has given way to modestly more diverse representation, images of composition are still dominated by this group.

The authors’ analysis has led to the following conclusions, which demonstrate the need to continue the progress seen in the past several decades. The representation of human diversity in music textbooks can be considered a reality, not only in terms of the instruments with which they are represented but also in terms of their representation in other situations depicted in these textbooks. The progressive increase of images in music textbooks reflects the culturally diverse society of the national territory. However, the increase in this representation is not as considerable as might be expected. The typified representation of instruments associated with certain physical characteristics is starting to wane.