Many museums use social media to try to reach new and more diverse audiences. Yet these platforms control the flow of information in ways that may have the exact opposite effect.
The algorithms are complex, but the principle is simple: what surfaces in your feed is what the platform thinks is most relevant to your interests. This is partly to negotiate information noise, but also for monetisation. As a result, only about 2% of those who like your museum’s Facebook page are likely to see your post, unless you pay to boost its reach.
The downside is that users can find themselves in what internet activist Eli Pariser has termed a “filter bubble” – a stream of information that reinforces existing beliefs and filters out anything challenging. This suggests that content produced by museums is prioritised in its distribution for people who expressly like museums – and may not travel much further.
Proving the existence of filter bubbles is difficult, but it’s worth looking at Facebook, Twitter or Instagram to see who likes or shares your museum’s posts. Do you see a high proportion of familiar faces, or people who mention museums, art or culture in their bios?
Social media analytics provide lots of data on reach and engagement but say little about the variety of your users. Alongside growing concerns about the questionable ethics of Facebook’s business practices, we should perhaps also consider whether social media companies inhibit our ability to reach more diverse audiences.
The algorithms are complex, but the principle is simple: what surfaces in your feed is what the platform thinks is most relevant to your interests. This is partly to negotiate information noise, but also for monetisation. As a result, only about 2% of those who like your museum’s Facebook page are likely to see your post, unless you pay to boost its reach.
The downside is that users can find themselves in what internet activist Eli Pariser has termed a “filter bubble” – a stream of information that reinforces existing beliefs and filters out anything challenging. This suggests that content produced by museums is prioritised in its distribution for people who expressly like museums – and may not travel much further.
Proving the existence of filter bubbles is difficult, but it’s worth looking at Facebook, Twitter or Instagram to see who likes or shares your museum’s posts. Do you see a high proportion of familiar faces, or people who mention museums, art or culture in their bios?
Social media analytics provide lots of data on reach and engagement but say little about the variety of your users. Alongside growing concerns about the questionable ethics of Facebook’s business practices, we should perhaps also consider whether social media companies inhibit our ability to reach more diverse audiences.
Kevin Bacon is the digital manager at the Royal Pavilion & Museums, Brighton & Hove
