微信公眾平臺(tái)下的自媒體時(shí)代青年藝術(shù)家的自我推廣

楊 洋/Yang Yang

微信公眾平臺(tái)下的自媒體時(shí)代青年藝術(shù)家的自我推廣

楊 洋/Yang Yang

隨著移動(dòng)互聯(lián)網(wǎng)和智能手機(jī)的發(fā)展，以應(yīng)用軟件微信為依托，優(yōu)質(zhì)內(nèi)容為基礎(chǔ)，借助公眾平臺(tái)本身具備的諸多優(yōu)勢(shì)，微信自媒體營(yíng)銷推廣方式迅速發(fā)展起來。不同于信息閉塞的年代，青年藝術(shù)家不再需要通過精心的策劃和長(zhǎng)期的準(zhǔn)備以求“一夜成名”，藝術(shù)家們應(yīng)當(dāng)正視微信自媒體所帶來的價(jià)值，并加以有效應(yīng)用，使其成為推動(dòng)自身發(fā)展和宣傳的有利工具。

青年藝術(shù)家；自媒體；微信；朋友圈；公眾號(hào)

“自媒體(We Media)”概念由美國(guó)學(xué)者謝因·波曼與克里斯·威理斯于2003年共同提出：“自媒體實(shí)現(xiàn)了普通市民通過數(shù)字科技與全球知識(shí)體系相聯(lián)、提供和分享自己真實(shí)看法、發(fā)布自身新聞的途徑。”自媒體時(shí)代的到來使得“受眾”變成了“公眾”和“傳媒人”。這種交互媒體的特點(diǎn)是它打破了公域和私域的界限?！皞髅绞沟霉彩录蔀椤?jīng)傳媒的公共事件，’私人事件成為‘經(jīng)傳媒的私人事件?！瘋髅綍r(shí)代的公眾未必要在公共事件發(fā)生時(shí)人人親自到場(chǎng)見證，他們可以在家里或別的私人場(chǎng)所通過技術(shù)傳遞來獲取信息。同樣，私人的事件一經(jīng)錄制和播放，便廣為傳播，獲得了一種并非私人的性質(zhì)。”①

根據(jù)《第37次中國(guó)互聯(lián)網(wǎng)絡(luò)發(fā)展?fàn)顩r統(tǒng)計(jì)報(bào)告》（2016年1月22日）：“截至2015年12月，我國(guó)手機(jī)網(wǎng)民規(guī)模達(dá)6.20億……網(wǎng)民中使用手機(jī)上網(wǎng)人群的占比由2014年85.8%提升至90.1%……”②自媒體逐漸從依托電腦平臺(tái)的論壇、博客、空間轉(zhuǎn)向了依托手機(jī)等移動(dòng)設(shè)備的微博、微信等平臺(tái)。自2014年以來微信的勢(shì)頭逐漸超過微博，成為自我推廣的青年藝術(shù)家首選的自媒體平臺(tái)。

一、“出道”：傳統(tǒng)途徑與自媒體時(shí)代的對(duì)比

傳統(tǒng)的藝術(shù)家“出道”途徑主要通過媒體和實(shí)體展覽兩個(gè)途徑。例如20世紀(jì)80年代，由于資訊匱乏，《美術(shù)》雜志成為引領(lǐng)美術(shù)思潮的主流媒體。這樣一本期刊，匯聚所有美術(shù)圈內(nèi)人士的眼光。它的每一個(gè)角落都被分析了再分析，翻閱了再翻閱。在《美術(shù)》上發(fā)表一件作品或一篇文章，其影響力是不可言喻的。因此，雜志發(fā)表可以說是那個(gè)時(shí)代“出道”的重要渠道。

然而，隨著改革開放的深化，通訊和大眾媒體的發(fā)展，那個(gè)特殊的年代已經(jīng)一去不復(fù)返。訊息爆炸的21世紀(jì)已經(jīng)走過了十幾年，人們告別了尋找信息的饑渴，轉(zhuǎn)而學(xué)會(huì)拒絕大多數(shù)信息，以免把自己撐得太飽。這樣的年代，別說在雜志上發(fā)表作品，即使是中央電視臺(tái)報(bào)道，也很快就被新的訊息所沖淡了。雖然通過雜志發(fā)表出道也不是不可能，但是它所需要的就不僅僅是一件代表作，而是多個(gè)作品，多家雜志，持續(xù)性地反復(fù)發(fā)表。如此這般，才可能獲得一定的關(guān)注度和影響力。

The concept of We Media was proposed by American scholars, Shayne Bowman and Chris Willis in 2003. “We Media makes the connection of ordinary people to the global knowledge hierarchy through digital technology possible and opens a channel for them to share their opinions and report their own news”. The arrival of We Media era turned“audiences” into “the public” and “media people”. The characteristic of such interactive media lies in that they break the bounds of public and private affairs. “The media turn public events into ‘public events via the media’ and private affairs into ‘private affairs via the media’. The public in the media era don’t have to witness them on site when public events happen. They may obtain information at home or in other private venues through technology transfer. In the same manner, private affairs, once recorded and played, are widely spread and get a non-personal nature.”1

According toThe 37thStatistical Report of Chinese Internet Development(Jan 22, 2016), “By December 2015, the number of Chinese mobile netizens reached 620 million, and the proportion of mobile netizens in all netizens increased from 85.8% in 2014 to 90.1%...”2We Media developed from forum, blog, space that rely on computer to Microblog and WeChat that rely on mobile and other mobile devices. Since 2014, WeChat has transcended Microblog and become the most preferred We-media platform for young artists’ self-promotion.

I. “Debut”: The Contrast Between Traditional Channels and We-media Era

The debut of traditional artists draws support mainly from the media and exhibitions. For example, in the 1980s, due to deficient information, the magazine,Art, became the mainstream media to lead artistic thoughts. This periodical gathered the attention of everyone in the circle of fine arts. Every piece of it has been repeatedly analyzed and assessed. Every work of art and every article published onArtpossesses incomparable influence. Therefore, magazine was a very important channel to debut in that age.

However, with the deepening of reform and opening up as well as the growth of communication and mass media, that special age was gone forever. The 21st century characterized by information explosion has been with us for over 10 years. People have said goodbye to the thirst for information and learned to say no to most of information to avoid being crammed with too much. In such an age, even a report on CCTV will soon be diluted by new information, let alone works published on a magazine. Although a debut on magazine is not impossible, it demands more than a piece of master work, but multiple works published on various magazines constantly. Only in this way, can it obtain certain attention and impact.

傳統(tǒng)藝術(shù)家“出道”的另一個(gè)渠道是展覽。全國(guó)美展、全國(guó)青年美展的獲獎(jiǎng)?wù)咴谏蟼€(gè)世紀(jì)也可以被看作是成功“出道”。除此以外，“85新潮時(shí)期”和20世紀(jì)90年代首批參加國(guó)際大展的藝術(shù)家也體驗(yàn)過一夜成名的奇跡。然而2008年泡沫破滅之后，藝術(shù)市場(chǎng)低迷，藝術(shù)發(fā)展逐漸回歸理性?！耙灰钩擅币呀?jīng)越來越罕見了。藝術(shù)展覽所吸引的關(guān)注度下降，想要通過一場(chǎng)展覽或一件作品出道的可能性也下降了。藝術(shù)家往往需要通過累積的效應(yīng)逐漸建立自己的影響力。同樣也由于市場(chǎng)的低迷，支持展覽的資金也相應(yīng)減少，而成本極低的互聯(lián)網(wǎng)推廣成為了展覽的有效補(bǔ)充。

大學(xué)生畢業(yè)就簽約畫廊，或者將畢業(yè)創(chuàng)作銷售一空的比例，近年來也越來越少。更多的畢業(yè)生和剛畢業(yè)幾年的大學(xué)生希望突出重圍，獲得更多機(jī)會(huì)。他們通過自媒體宣傳推廣自己，并且腳踏實(shí)地地步步為營(yíng)是今天移動(dòng)互聯(lián)網(wǎng)時(shí)代的青年學(xué)子的有利手段。

二、微信推廣的形式比較

青年藝術(shù)家個(gè)人進(jìn)行的微信推廣主要有兩種形式：朋友圈和公眾號(hào)。與面對(duì)面的交流和即時(shí)聊天相比，微信是一種滯后的交流工具。它作為一種即時(shí)聊天工具，相比于電話和網(wǎng)絡(luò)視頻，在留言式的交流方式中，每一個(gè)微小的滯后回答都會(huì)引起會(huì)話對(duì)方的心理反應(yīng)，給會(huì)話雙方保留一定空間，朋友圈就更是如此。

朋友圈發(fā)送方式包含自發(fā)發(fā)送信息和轉(zhuǎn)發(fā)帖子。首先在自發(fā)形式中，最有效的是圖片九連發(fā)加少量文字描述。一方面，這種圖文并茂的方式最直觀，圖片比文字更易于瞬間傳遞信息，且更易于吸引眼球。因此單純文字，自然比不上用圖片抓住受眾。另一方面，朋友在第一時(shí)間首先受到圖片的直觀吸引，然后進(jìn)而注意到發(fā)送人所寫的文字解說，從而快速、直觀、充分地理解信息。其次，在轉(zhuǎn)發(fā)信息中，主要涉及鏈接轉(zhuǎn)發(fā)與視頻轉(zhuǎn)發(fā)。根據(jù)《第37次中國(guó)互聯(lián)網(wǎng)絡(luò)發(fā)展?fàn)顩r統(tǒng)計(jì)報(bào)告》（2016年1月22日），手機(jī)網(wǎng)民中使用3G/4G上網(wǎng)的比例是88.8%。③且上網(wǎng)費(fèi)用通常根據(jù)手機(jī)上網(wǎng)流量計(jì)費(fèi)，因此受流量費(fèi)和上網(wǎng)加載速度的影響，鏈接帖被打開的幾率低。鏈接帖是否被點(diǎn)開，很大程度上要取決于標(biāo)題吸引人的程度。雖然鏈接帖左邊也有小圖標(biāo)，但是那圖標(biāo)小到幾乎產(chǎn)生不了多少作用。因此，鏈接帖可以說是標(biāo)題黨的天下。另一個(gè)比較耗流量的是小視頻，它和鏈接帖一樣屬于并不直觀且耗流量的東西。面對(duì)視頻信息，大部分受眾只會(huì)在十分感興趣時(shí)打開觀看。只有10%的人不在乎3G條件和WIFI條件，想看就看。④從流量的角度分析，最不耗流量的當(dāng)然是文字。但是文字的吸引力差，因此取舍平衡，傳播效率最高的是圖片加文字直接發(fā)送的信息。

微信的另一種傳播形式是公眾號(hào)。公眾號(hào)分訂閱號(hào)和服務(wù)號(hào)，藝術(shù)家自己建立的通常是訂閱號(hào)。有了訂閱號(hào)，藝術(shù)家就可以自己編輯類似一篇文章的完整帖子。這樣的鏈接帖相比圖片加文字的直接發(fā)送更加完整，顯得更加專業(yè)，更加正式。公眾號(hào)的另一個(gè)優(yōu)點(diǎn)是較高的到達(dá)率，公眾號(hào)發(fā)送的每一個(gè)帖子都能100%到達(dá)訂閱人手中。比起朋友圈的不斷刷屏，公眾號(hào)中的帖子會(huì)靜靜地躺在那里，直到訂閱人點(diǎn)開，圖標(biāo)右上角的紅標(biāo)才會(huì)消失。但是公眾號(hào)想要獲得關(guān)注何其困難，只有對(duì)你關(guān)注度極高的藏家、畫廊、經(jīng)紀(jì)人、客戶、策展人、家人，才有可能主動(dòng)或者在你的勸說下加以關(guān)注。然而，建立公眾號(hào)更首要的目的是吸引核心交際圈外的朋友，而這些朋友很難加關(guān)注。要想輻射到這些人，只有通過反復(fù)地將公眾平臺(tái)中的原創(chuàng)鏈接帖發(fā)布到朋友圈，再吸引別人來主動(dòng)添加公眾號(hào)，這個(gè)過程可以說是漫長(zhǎng)而艱難的。所以，公眾號(hào)的有效宣傳還是在于將帖子轉(zhuǎn)發(fā)到朋友圈供朋友閱讀和再轉(zhuǎn)發(fā)，以此來吸引更多人關(guān)注該公眾號(hào)。

The other channel for traditional artists’ debut is exhibition. The prizewinners at national fine arts exhibitions and national youth fine arts exhibitions were seen as successful debut in the last century. Besides, artists of ’85 New Wave and the first group of artists who took part in international exhibitions in the 1990s also experienced becoming famous overnight. However, in 2008 after the bursting of bubbles, the art market went through a downturn, and the artistic development returned to be rational. Becoming famous overnight is rarer and rarer. Art exhibitions attract less and less attention. There is less and less possibility of rising to fame through a single exhibition or a piece of artwork. Artists can only build up their impact by means of accumulation. Likewise, because of market downturn, the funds used to sponsor exhibitions are reduced. The extremely low-cost Internet promotion has became an effective supplement of exhibitions.

In recent years, there are fewer and fewer cases that university graduates sign contracts with galleries right after graduation or sell out all their graduation creations. More graduates and those young people who just stepped out of university gates a couple of years ago wish to get through the close siege and win more opportunities. They promote themselves through We media, come down to earth, and consolidate at every step. They set great examples for youngsters in this age of mobile Internet.

II. Comparison of WeChat Promotion Modes

WeChat promotion of young artists mainly depends on Moments and official accounts. Compared with person-to-person communication and instant messaging, WeChat is a hysteretic communication tool. As an instant messenger, compared to telephone and online video, it reserves space for both parties of the conversation. In the message-like communication mode, every tiny hysteretic reply may cause psychic reaction in the other party of the conversation. Moments of WeChat is even more so.

The posting on Moments includes sending and forwarding. First, in sending, the most effective way is posting nine photos with some text description. On the one hand, such an illustrated mode is very visual. Compared to text, pictures, eye-catching, transfer information faster. Therefore, pure text is disadvantageous. On the other hand, friends, attracted to pictures at the first sight, come to notice the text description and then understand the information in a fast, visual and sufficient way. Second, forwarding involves link forwarding and video forwarding. According toThe 37thStatistical Report of Chinese Internet Development(Jan 22, 2016), the proportion of mobile netizens using 3G/4G is 88.8%.3Moreover, the expenses of surfing the Internet is calculated by cellphone traffic. Therefore, due to the limit of cellphone traffic and loading rate, the probability of links being opened is quite low. The opening of links depends on the attraction of titles. Though there is always a small icon on the left of the link, it makes less difference. For this reason, title attractors dominate links. Another cellphone traffic consuming thing is“sight” (small videos), which is not visual but traffic consuming like links. Most audiences only open sights when they are really attracted. Only 10% of audiences open them without considering they are under 3G or WIFI and watch if they want.4The least traffic consuming is text which is least attractive though. Therefore, the most efficient posting requires pictures plus text.

Another communication mode about WeChat is official accounts, which include subscription accounts and service accounts. Artists usually use subscription accounts. With subscription accounts, artists can edit a complete post like an article. Such a link, compared to the posting of pictures plus text, seems more complete and professional, even more formal. Another advantage of official accounts is high arrival rate. Every post can arrive at its subscribers without exception. Compared to the overflow of Moments, posts of official accounts just stay there until subscribers open them and the red dots to the right of small icons will disappear. However, it is so difficult for an official account to be subscribed. Only those collectors, galleries, agents, clients, curators and family members who pay close attention to you may follow your account. Nevertheless, the primary objective of building an official account is to attract people outside the core social circle, and it’s difficult for these people to follow you. To expand your influence to these people, you have to keep sharing on Moments your posts published on subscription account to attract people to follow you. This can be a very long and difficult process. In a word, effective promotion of official accounts lies in the forwarding of posts on Moments for your friends to open, read and forward again to attract more people to follow.

三、成功案例分析

對(duì)于公眾號(hào)，青年藝術(shù)家自我推廣的成功案例是“顧爺”。顧爺，80后，本名顧孟劼，青年漫畫家。他的帖子閱讀量以萬(wàn)計(jì)?！邦櫊敗惫娞?hào)的賬號(hào)主體早已從自己的自媒體躍升為上海古野文化傳播有限公司公眾號(hào)?！邦櫊敗币呀?jīng)從單槍匹馬的自我營(yíng)銷推廣轉(zhuǎn)型成為由專業(yè)策劃人員進(jìn)行整合包裝的品牌營(yíng)銷。顧爺活躍在微信、微博和傳統(tǒng)紙質(zhì)媒體。他于2012年開通微博，截至2016年4月20日粉絲達(dá)到955642人。2014年他出版了熱銷書《小顧聊繪畫》。通過幾個(gè)方面的合力，“顧爺”的公眾號(hào)已經(jīng)通過插入廣告盈利。

“顧爺”公眾號(hào)有幾點(diǎn)值得我們學(xué)習(xí)。

第一，粉絲一旦關(guān)注過公眾號(hào)后，便會(huì)收到一段來自公眾號(hào)的28秒歡迎語(yǔ)錄音。聽到網(wǎng)絡(luò)偶像的聲音，仿佛偶像在和你交談，親切感比一段文字的熱烈歡迎與感謝強(qiáng)太多。

第二，它受到熱捧的最重要的原因是它的文章大多是趣味帖。專業(yè)人士也許很難看完，因?yàn)閮?nèi)容實(shí)在無(wú)聊，文章實(shí)在沒有笑點(diǎn)。但是對(duì)于普通大眾卻是特別成功的文案。例如，被稱為神級(jí)文案的《梵高為什么會(huì)自殺？》。帖子95%的時(shí)間在給你講梵高是怎樣一個(gè)心思縝密地策劃一炮走紅的藝術(shù)家，當(dāng)觀眾覺得梵高的計(jì)劃正要實(shí)現(xiàn)的時(shí)候，梵高突然自殺了。而自殺的原因是窮，因?yàn)闆]有支付寶，于是支付寶的廣告就成功地被植入。雖然專業(yè)人士也許會(huì)指出這個(gè)文案的前提條件就錯(cuò)了，但普通觀眾對(duì)梵高雖耳熟能詳，卻不了解這個(gè)傳奇人物的身世，于是聽著跌宕起伏的敘述，像看電影一樣娛樂。

第三，“顧爺”帖子的版式編排也特別巧妙。首先從版頭來看，主要由標(biāo)題、藝術(shù)家個(gè)人LOGO、圖片構(gòu)成，其內(nèi)容為單張圖片排版，保留了傳統(tǒng)公眾號(hào)一目了然的標(biāo)題優(yōu)勢(shì)。其次，區(qū)別于一般公眾號(hào)版式，顧爺公眾號(hào)使用其他平臺(tái)排版，再以圖片的形式導(dǎo)入公眾號(hào)，好處就是擺脫了公眾號(hào)平臺(tái)固定的文字編輯模式，更加自由、生動(dòng)、活潑地根據(jù)內(nèi)容需要設(shè)計(jì)版面。最后就是文章圖文并茂，沒有過多的綴飾，使文章傳播性更強(qiáng)。

四、微信推廣實(shí)際操作

如何事半功倍地推廣是大家最關(guān)心的話題。首先，發(fā)布時(shí)間很關(guān)鍵。從宏觀時(shí)間來說，發(fā)布話題需要貼近時(shí)令。例如，每年3月發(fā)一些女性題材藝術(shù)，或關(guān)于女藝術(shù)家的帖子；6月發(fā)布各大美院畢業(yè)展的帖子，年末發(fā)一些藝術(shù)品營(yíng)銷類的帖子，等等。對(duì)于突發(fā)事件，抓住熱點(diǎn)問題，針對(duì)性強(qiáng)，也可以增加受關(guān)注度。例如扎哈·哈迪德（Zaha Hadid）死亡事件。扎哈女士2016年3月31日死亡，此事件迅速在微信朋友圈被刷屏。在她死亡后72小時(shí)內(nèi)，微信朋友圈中一共有22篇關(guān)于她死亡事件的帖子。其中閱讀量最大的是《Zaha Hadid：今天就讓創(chuàng)作休息，夢(mèng)想的寬度停止》，由公眾號(hào)“iWeekly周末畫報(bào)”發(fā)表。截止到4月3日凌晨00：09分閱讀量是43381；另一篇由藝術(shù)類媒體“artable藝伯樂”發(fā)布的《為偉大的建筑師哀悼 Zaha Hadid》的閱讀量達(dá)到41082。而前后其他4篇帖子與之形成對(duì)比，其平均閱讀量為738次，浮動(dòng)于600多到800多之間?？梢姡瑹狳c(diǎn)問題對(duì)于提升帖子閱讀量至關(guān)重要。

從微觀時(shí)間而言，對(duì)于朋友圈，每天發(fā)帖時(shí)間點(diǎn)也至關(guān)重要。因?yàn)榕笥讶κ遣粩嗨⑿碌膭?dòng)態(tài)平臺(tái)，因此，發(fā)布時(shí)間和信息的曝光率息息相關(guān)。四川美術(shù)學(xué)院周瑩博士所做《微美學(xué)調(diào)查問卷》顯示，睡前看微信幾乎占了壓倒性的優(yōu)勢(shì)：80%?、荻袊?guó)平均入睡的時(shí)間是晚上12點(diǎn)半。那么00：00左右發(fā)帖最適合。不僅睡前看微信的人多，而且早上被看到的幾率也高。因?yàn)槿胨院螅l(fā)帖的人就少了。早晨起床朋友只需要滑動(dòng)幾個(gè)帖子，就能發(fā)現(xiàn)昨天00：00左右發(fā)的帖子。有32%的受調(diào)查者表明，會(huì)在早上起床的時(shí)候看微信。因此在這個(gè)時(shí)間段發(fā)帖，帖子可以同時(shí)被兩個(gè)時(shí)間段的讀者看到。除此之外，還有幾個(gè)時(shí)間段值得注意，那就是早晚上下班高峰時(shí)段。在車站等車和乘車的過程中也是讀者用微信、微博打發(fā)無(wú)聊時(shí)間的高峰。受調(diào)查人中的54%選擇了“坐車時(shí)看”。

III. Analysis of Successful Cases

In terms of official accounts, a successful self-p romotion case of young artists is Grandpagu, who was born in the 1980s. His autonym is Gu Mengjie. He is a young cartoonist. Each of his posts has over 10,000 readers. His subscription account has grown from his own We-media to the official account of Shanghai Guye Culture Communication Co., Ltd. Grandpagu has transformed from self marketing into brand marketing by professional planners. Grandpagu is very active on WeChat, Microblog and traditional paper media. He registered a Microblog account in 2012, and by Apr. 20, 2016, the number of followers had reached 955,642. In 2014, he published a bestseller,Young Gu Talks about Painting. Through the efforts of several aspects, the official account of Grandpagu started to make profits from commercials.

We can learn from Grandpagu from the following aspects.

First, a follower will receive a welcome audio of 28 seconds long once he starts to follow the official account. The celebrity’s voice makes his followers feel close to him. Voice weighs much more than cold text.

Second, the most important reason the account got popular is that most of the posts are interesting. Professionals may find the posts very boring and meaningless. However, the general public regard them successful copywriting. The great example is the post namedHow come Van Gogh killed himself. 95% of the post is about how Van Gogh planned to be a famous artist with careful planning, but when audiences think Van Gogh’s plan was about to be realized, he committed suicide, and the reason is he was too poor to have a Alipay account. In this way, the commercial of Alipay is implanted. Professionals may point out that the copywriting is rooted on a wrong fact, but the general public don’t know well about such a legendary artist. They are amused by the ups and downs of the narration in the post just like watching a dramatic film.

Third, the format arrangement of Grandpagu’s posts is rather ingenious. Firstly, the heading is constituted of title, artist’s logo and picture composition. A single picture retains the open-and-shut advantage of traditional headings. Secondly, different from common official account format, Grandpagu’s account uses another platform for formatting and then leads in with pictures. The advantage is its freeing from the regular text editing mode of official accounts and designing format in a freer, more active and vivid manner according to the needs of the theme. Finally, Grandpagu’s posts are characterized by illustration without too much decoration, which makes them easier to be spread.

IV. Actual Operation of WeChat Promotion

It is people’s common concern how to achieve their aim of promotion more effectively with less effort. First, the time of posting is crucial. From the macroscopic perspective, the topic of a post has to be timely. For example, to post about the female subject or female artists in March, about the graduation exhibitions of colleges of fine arts in June, and about the marketing of artistic works at the end of a year, etc. To talk about the key points of breaking news can raise popularity as well, such as the death of Zaha Hadid. The news that Ms. Hadid died on March 31, 2016 was widely spread on Moments. Within 72 hours after her death, there were 22 posts about her death on Moments, and the most read one wasZaha Hadid: Today let creation off and the extension of dreams cease, posted by the official account of iWeekly. By 00:09, April 3, the reading quantity was 43,381; another post namedMourn Zaha Hadid, a Great Architect, posted by artable, an artistic medium, had a reading quantity of 41,082. Four other posts had an average reading quantity ranging from 600 to 800. It is thus clear that hot topics are crucial for raising reading quantity.

From the perspective of microtime, the posting time of each day is important also. Moments is a dynamic platform refreshed continuously, so the posting time is closely related to information exposure rate. According to theMicroaesthetics Questionnaireby Doctor Zhou Ying from Sichuan Fine Arts Institute, 80% of people check out their WeChat before going to sleep.5The average time of going to sleep is 12:30 p.m. for most Chinese people. Then to post around 00:00 a.m. is the most ideal. Posts will be read not only by those who are used to checking official accounts before bed but also by those who are used to checking in the morning. Because after the midnight, few official accounts have new posts. In the morning, after getting up, you just scroll down several posts and see those posted around 00:00 a.m. 32% of interviewees

indicate that they have the habit of checking WeChat in the morning after getting up. So posting around 00:00 a.m. makes it possible for readers of two periods to notice. In addition, several other periods are noteworthy, such as commuting rush hours. People tend to check out WeChat or Microblog to kill time when they are waiting for or taking bus or subway. 54% of interviewees choose the period of taking bus or subway.

其次，帖子閱讀時(shí)長(zhǎng)同樣至關(guān)重要。根據(jù)周瑩所做《微美學(xué)調(diào)查問卷》，53%的受調(diào)查者表明他們閱讀一篇微信文章的時(shí)間約為2-5分鐘左右，而僅有6%的人會(huì)花10分鐘以上去看一篇文章。因此在做帖子時(shí)，要將閱讀時(shí)間控制在2-5分鐘為最佳。雖然藝術(shù)家在推廣自己的公眾號(hào)時(shí)無(wú)法做到全發(fā)趣味帖，但是發(fā)帖形式也應(yīng)該多樣化。

最后，公眾號(hào)或朋友圈的發(fā)帖周期也至關(guān)重要。藝術(shù)家進(jìn)行藝術(shù)創(chuàng)作速度通常不盡相同，也許一天幾件，也許一年才一件。但是公眾號(hào)要維持一定量的客戶，一周一帖是比較合適的。盡管許多藝術(shù)家無(wú)法做到一周出一次作品，但在新作品出來的間隔時(shí)間中藝術(shù)家也應(yīng)該發(fā)帖維系客戶。在各種帖子中，趣味帖受歡迎度最高，藝術(shù)家最好原創(chuàng)趣味帖，如果知識(shí)面達(dá)不到，轉(zhuǎn)載趣味帖也比沉默不發(fā)帖好。另一種可取的就是對(duì)藝術(shù)家自身創(chuàng)作有學(xué)術(shù)支撐的理論帖。在發(fā)理論帖時(shí)藝術(shù)家可以將自己的創(chuàng)作圖片插入理論帖中，文圖相得益彰。需要注意的是，理論帖要特別注意閱讀時(shí)間，最好不要超過5分鐘，且不可以幾期連續(xù)發(fā)，應(yīng)當(dāng)和輕松的趣味帖間隔發(fā)表。

面對(duì)今天行業(yè)內(nèi)日益激烈的競(jìng)爭(zhēng)，藝術(shù)市場(chǎng)的持續(xù)低迷，青年藝術(shù)家艱難前行。十年前美院畢業(yè)生一畢業(yè)就能簽畫廊或者銷售掉畢業(yè)創(chuàng)作，相比之下，今天的青年藝術(shù)家等待別人來包裝自己這個(gè)過程是何其漫長(zhǎng)。青年藝術(shù)家運(yùn)用自媒體發(fā)出自己的聲音，是切實(shí)可行的突圍方式。

The duration of reading a post is equally important. According to theMicroaesthetics Questionnaireby Zhou Ying, 53% of interviewees indicate that they spend 2-5 minutes finishing reading a post; only 6% of interviewees spend over 10 minutes reading. Therefore, to control the length of a post and ensure readers can finish reading it within 2-5 minutes is necessary. Although artists cannot guarantee that each post is interesting enough, the posting form should be varied.

Last but not the least, the frequency of posting on Moments or official accounts is rather important as well. The productivity of artists varies from artist to artist, perhaps several works a day, or one work per year. However, to retain followers, one post a week is relatively ideal. Although many artists can’t guarantee that, to post and retain followers before new works come out is a must. Among all posts, the most popular is interesting posts, so artists had better create original and interesting posts. If their knowledge is limited, forwarding is better than keeping silent. Another type of posts is those theoretical ones that can provide academic support to artists’ creation. Artists can paste pictures of their creation on the posts so that they can complement each other. One thing that is worth attention is artists should make sure that followers can finish reading the theoretical posts within 5 minutes. Theoretical posts and interesting posts should be published alternately.

Facing up the competition in the industry and the constant depression of the art market, young artists proceed in hardship. Ten years ago, once a student of a college of fine arts graduated, he could sign a contract with a gallery or sell his graduation creation. By contrast, current young artists have to wait long enough for their talent scouts. Using Wemedia to make their voice heard is a feasible way of breakthrough.

注釋：

①徐賁：《傳媒公眾和公共事件參與》，《領(lǐng)導(dǎo)文萃》2005年第6期。

②《第35次中國(guó)互聯(lián)網(wǎng)絡(luò)發(fā)展?fàn)顩r統(tǒng)計(jì)報(bào)告》， http://www.cnnic. net.cn/hlwfzyj/hlwxzbg/hlwtjbg/201502/t20150203_51634.htm。

③同上。

④《微美學(xué)調(diào)查問卷》為2015年四川美術(shù)學(xué)院科研重點(diǎn)項(xiàng)目：微美學(xué)——移動(dòng)互聯(lián)網(wǎng)平臺(tái)的藝術(shù)（項(xiàng)目編號(hào)15ky02）調(diào)查問卷，該項(xiàng)目由四川美術(shù)學(xué)院教師周瑩博士主持，受訪人為四川美術(shù)學(xué)院本科生。

⑤同上。

Notes:

1Xu Ben: “Media, the Public, and Participation into Public Events”,Leadership Digest, Issue 6, 2005.

2“The 35th Statistical Report on China Internet Development”, http://www.cnnic.net.cn/hlwfzyj/hlwxzbg/hlwtjbg/201502/ t20150203_51634.htm.

3Ibid.

4“Questionnaire of Micro-aesthetics”, a major project of scientific research of Sichuan Fine Arts Institute of 2015, titled Micro-aesthetics: Art of Mobile Internet Platform (Project No.: 15ky02), hosted by Dr. Zhou Ying, a teacher from the institute, with the undergraduates of the institute as interviewees.

5 Ibid.

[1]老妖. 如何做好微信營(yíng)銷方案[J]. 企業(yè)家信息，2015（6）：80-82.

[2]李雷.“微時(shí)代”的文藝生產(chǎn)與審美接受[J]. 社會(huì)科學(xué)輯刊，2015（4）：138－143. [3]李藍(lán)天.淺析時(shí)尚雜志的微信傳播方式[J]. 南京理工大學(xué)學(xué)報(bào)，2013（37·增刊)：263－264.

[4]楊佳宜.微信世界的“理想國(guó)”——廣西師大出版社微信營(yíng)銷策略[J]. 西部廣播電視，2013（16)：15-16.

該論文來源為2015年四川美術(shù)學(xué)院科研重點(diǎn)項(xiàng)目：微美學(xué)——移動(dòng)互聯(lián)網(wǎng)平臺(tái)的藝術(shù)（項(xiàng)目編號(hào)15ky02）

楊 洋：四川美術(shù)學(xué)院講師

References:

[1]Lao Yao. How Can You Make a Good WeChat Marketing Program [J]. Entrepreneur Information, 2015 (6): 80-82.

[2] Li Lei. Literature and Art Production and Aesthetics Acceptance in “WeChat Age” [J]. Social Science Journal, 2015 (4): 138-143.

[3] Li Lantian. Analysis of WeChat Transmission Mode of Fashion Magazines [J]. Journal of Nanjing University of Science and Technology, 2013 (supplement to Issue 37): 263-264.

[4] Yang Jiayi. “Utopia” in the World of WeChat-WeChat Marketing Strategy of Guangxi Normal University Press [J]. Radio and TV of West, 2013 (16): 15-16.

The source of this paper is a major project of scientific research of Sichuan Fine Arts Institute of 2015, titled Micro-aesthetics: Art of Mobile Internet Platform (Project No.: 15ky02).

Yang Yang: lecturer at Sichuan Fine Arts Institute

Self-Promotion of Young Artists on the WeChat Public Platform in the We-media Era

Along with the development of the Internet and smart phone, relying on the application software of WeChat, taking premium content as the foundation, and taking advantage of public platform, WeChat promotion has developed in a speedy manner. Different from the era of inaccessible information, young artists need no longer careful planning and long-term preparation to rise to fame overnight. Artists should consider the value of the We-media and apply it effectively so as to let WeChat grow into a useful tool of their development and publicity.

young artists; We-media; WeChat; the Moments; official accounts