A huge museum building was opened. Inside were thousands of works of arts by unknown artists, newly-discovered talents. popular figures and dead masters. Entrance was free of charge so anyone could come and visit.
One day, a group of teenagers, accompanied by their teacher, came to see the exhibit. On the entrance they were asked to register using a unique image they personally chose to identify themselves: all visitors carried these unique image identification.
From the first work of art they viewed, they noticed that the museum had a different set up: each piece had a small screen below. Two buttons to press: LIKES and COMMENTS. A keyboard was also present.
The usher explained to them how it worked, that it was part of the museum’s way to gauge which paintings were popular with visitors.
Without further ado, the teens began pressing Like on every painting they passed, not for a second they stopped and pondered what the painting was all about. The teacher, on the other hand, made a slower pass, pressing the Comment button and typing on the keyboard what was on her mind.
The group reached two paintings that hanged side by side. On each, an individual stood by, most likely the painters themselves.
Like earlier, the teenagers did the same stunt while their teacher, who they waited for, patiently typed her comments for each painting.
Once the group moved further away, the two individuals discussed their differing opinions.
“Those teens pressed Like without taking notice of what my work is about. I feel depressed if people do that,” remarked the professional-looking artist.
“I don’t mind as long as they pressed Like,” jested the other, more of a vagabond type. “If I am not here, it won’t matter, isn’t it? We don’t know who pressed Like and how they did it?”
“It matters to me. I want my work to be talked about.”
“What then, if someone says to your face, that your work is worthless? Would you prefer that than an unknown person who pressed Like?”
The professional paused for sometime, pondering the man’s logic.
“I guess I will choose the latter,” he admitted.
“You see, what’s important is that we are here. Our work of art is here for all to see. The Likes are just for show. The comments work either ways: to put you down or to boost you up.”
“That’s simplistic!” the pro guy exclaimed. “We are here to be noticed, be popular.”
“You said that, not I.”
“Visitors should like my work because they really liked it.”
“For the sake of argument, here me out. A person comes to you and says, I like your work except that your use of color is inferior. Then, another comes along and says, I like your work because your use of color is brilliant. Who would you believe?”
“It depends, I guess.”
“Both of them pressed Like, with contrasting comments. The thing is, they probably pressed Like because they were happy that they saw your work, that if they had not visited this museum, they would not have known you existed at all.”
“What’s your point?”
“Do not be too consumed with the number of Likes. If you get a lot, say thanks. If you don’t, wait. Visitors come all the time. As long as your work is on display, chances are it will be noticed by others.”
“But I want people to comment.”
“Be prepared when the time comes that you will be overwhelmed by too many comments that you would wish that a simple like will do.”
“You are probably right,” the pro clicked his tongue. “That’s a frightening thought.”