## 3 Study 1: In-Depth Interviews
### Results  
We collected and transcribed a total of 930 min of audio-recorded interviews (approximately 27,500 words). A total of 283 comments were identified (one comment can be a sentence or a paragraph describing, for example, an issue, reflection, or concern); 165 comments were categorised to fit within 3 overarching themes selected for discussion in this paper. Comments that were mentioned only once were not considered as empirically relevant, and they were therefore left out of the analysis. Overall, we identified three overarching themes, each identifying opportunities or implications for further exploration. These three themes are _redefining the expert, extending the experience space_, and _decentralising collaboration_. For each theme, we discuss the participants' main challenges, with an attempt to identify potential design opportunities for social media to promote cultural heritage and to foster cultural diversity. 2.1 Theme  
content and events (related to 23 and 39 comments, respectively). Participants felt biased in discovering culture-related content as well as no sense of fulfillment in finding content at all. They mentioned being aware of the results of the algorithms to dictate what we encounter online. This, also called _filter bubble_, represents a state of intellectual isolation that can result from personalised searches when a website algorithm selectively guesses what information a user would like to see based on information about the user, such as location, past click behaviour, and search history [28]. General audience interviewees, for example, expressed the feeling of being overwhelmed or overloaded by the events, activities, and content promoted on social media pages such as Facebook. Specifically, events and content related to dance culture and folklore (i.e., intangible heritage) are mentioned as an even bigger challenge for discovery. This is understandable as [PERSON], a cultural heritage professional we interviewed, explains that _\"almost every cultural institute, if not all, are reaching their audiences using similar standard means such as Facebook, Twitter, and Instagram\"_. Likewise, [PERSON], who is a journalist in Greece, seemed to have difficulties in reaching out to potential audiences in other countries such as Germany because he believes that the more audiences he has in Greece, the more his content is automatically shown to potential audiences in Greece. In response to these challenges, general audience interviewees rely strongly on information from their immediate friends or from locals nearby during their cultural visits, as they have low confidence and trust in social media content for the reasons described above (related to 18 comments). These kinds of mouth-to-mouth discoveries usually take place by direct messaging, face to face, or when friends take one another on a cultural visit. Interviewees expressed their preference in approaching locals or connections as they hold immediate and trustful expertise of information beyond what is publicly promoted. Examples of related work focusing on local contributions to cultural heritage can be found in the application developed by [PERSON] and colleagues [18] called _Lost State College_ (LSC). This research shows that users employed social features as a way of learning local history and interacting with others, co-creating digital traces and rich layers of local history information. Another example is the _CURIOS_ project [1], where researchers explored how digital archives for rural community heritage groups can be made more sustainable so that volunteer members can maintain a lasting digital presence. Something similar but for sound was introduced by [PERSON] and colleagues [16]. Another platform named _ArtLinks_ was developed to provide a guidance system based on a public display in museum exhibits, which allowed visitors to create and use geo-tags to help guide other visitors [21].