Digital Public Archaeology at Must Farm: A Critical Assessment of Social Media Use for Archaeological Engagement

Abstract

Digital public archaeology is increasingly exploring social networks as platforms for online outreach initiatives. Despite a growing body of literature concerning archaeological engagement on social media there are few examinations of such applications in practice. This research critically assesses the current discussions surrounding archaeological social media use before exploring commercial digital outreach at Must Farm, Cambridgeshire. Quantitative examinations of the project's Facebook metrics and qualitative comment analyses are employed to assess whether audiences were meaningfully engaged by these online strategies. The research concludes there is substantial value in using social networks to communicate archaeology and provides recommendations for future applications.

Communicating and Disseminating Rock Art Research on Facebook: The ERC Artsoundscapes Project Goes Public

“…Apart from emojis, the most important forms of manifesting emotion on Facebook are the so-called “reactions” that, along with shares and comments, are essential elements of engagement on Facebook (Wakefield 2020 ) and influence the reach of each post. In the case of the Artsoundscapes Facebook page, fans and followers predominantly appreciate posts through likes, followed by reactions such as “love” and “wow”, as well as “ha-ha” and “sad” (the last two have only been registered once).…”

“…Despite the growing number of archaeological professionals, institutions, associations and projects engaging with social media for scientific dissemination, the impact of the use of Web 2.0 technologies on the discipline, its practitioners and the public is generally assumed, although insufficiently analyzed (for a discussion on this in the United Kingdom, see Bonacchi and Moshenska 2015 ). To the authors’ knowledge, there are few exceptions to this (e.g., Hadley 2012 ; Richardson 2014b ; Palau Nadal, Cau Ontiveros, and Díaz-Andreu 2016 ; Fernandes 2018 ; Richardson et al 2018 ; Wakefield 2020 ). Moreover, no analysis has been published in the field of archaeology on which this article focuses, rock art research.…”

“…Since the 1990s (e.g., Champion 1995 ; Dingwall 1999 ) and especially in the last ten years, various branches of archaeology – including rock art research – have used this technology for disseminating scientific research and cultural heritage among the general public. This includes, for example, the development of applications for mobile devices (e.g., Jeater 2012 ; Mazel and Galani 2013 ; Mazel et al 2013 ; Turner et al 2018 ) and for augmented and virtual reality experiences (e.g., Choudary et al 2009 ; Pujol 2007 , 2017 , 2019 ; Economou and Pujol 2011 ), as well as the use of various Web 2.0 tools (e.g., Mazel and Ayestaran 2010 ; Bonacchi 2012 ; Zanzini and Ripanti 2012 ; Rocks-Macqueen and Webster 2014 ; Walker 2014 ; Gruber 2017 ; Fernandes 2018 ; Richardson et al 2018 ; Wakefield 2020 ). Among the latter, social media sites have the greatest potential in instantly and successfully reaching and engaging the public.…”

“…As “an excellent space for «niche information»” (Scherzler 2012 , 238), archaeologists have explored the potential of social media for sharing content about scientific topics and professional and personal experiences, as well as events and activities related to their research. Depending on the type and purpose of the produced content, archaeologists have used various platforms such as blogs (e.g., Thornton 2012 ; Richardson 2014b ; Rocks-Macqueen and Webster 2014 ; Gruber 2017 ; Richardson et al 2018 ), Facebook and Twitter (e.g., Hadley 2012 ; Gibaja et al 2016 , 204; Miró i Alaix 2016 , 243–244, 247; Palau Nadal, Cau Ontiveros, and Díaz-Andreu 2016 ; Polo Romero and Blaya Haro 2016 , 138; Richardson 2014a , 2014b ; Gruber 2017 ; Fernandes 2018 ; Wakefield 2020 ), along with Instagram (e.g., Webster 2014 ; Palau Nadal, Cau Ontiveros, and Díaz-Andreu 2016 ), Google+ (e.g., Palau Nadal, Cau Ontiveros, and Díaz-Andreu 2016 ), and YouTube (Zanzini and Ripanti 2012 ; Gruber 2017 ; Fernandes 2018 ).…”