Optimization of Hybrid Multimedia Art and Design Teaching Mode in the Era of Big Data

In this paper, a 9-layer convolutional neural network with 4 convolutional layers, 4 pooling layers, and 1 fully connected layer is designed to recognize the emotions of digital learning images in the era of big data. The convolutional neural network is trained using digital learning images that have been labeled with emotions, and the final test shows that the network has good recognition results. This in turn causes the information overload problem to arise. And combined with the questionnaire results and interviews, it was found that there are problems of technology for technology’s sake, teaching for teaching’s sake, and in multimedia teaching, and these will add to the psychological and visual sensory burden of students and easily cause the information overload problem. The types of information overload problems in multimedia-assisted teaching are summarized as follows: unreasonable presentation of information, which causes audiovisual redundancy; too much teaching irrelevant information, which increases the external cognitive load; and an uncoordinated audiovisual environment, which increases the external cognitive load. Starting from the perspective of the integration of preservice to in-service art teachers’ new media art curriculum design and teaching ability development, three representative teacher education cases were studied using a combination of teaching practice and case tracking methods to summarize the successful experiences and effective ways of art teachers’ new media art curriculum development and teaching ability development, which will provide future art teacher training and in-service teachers’ professional development. Both are below 5%. The types of funny emotions are mainly distributed in animation teaching methods. Animation resources are generally well designed in color and layout and can convey good visual emotional characteristics. In other types of images, the emotional distribution level of funny is less than 10%. It is worthwhile to learn from this experience.

Passive Islamophobia and Cultural National Construction: A Critical note on Art Curriculum

Underpinned by representation theory, this article is an attempt to explain passive islamopobia by critically analysing the discursive construction of Indonesian cultural nationalism, which is based on the content of art and culture subject for secondary school students. The conception of Indonesian nationality comes from both various internal solidarity and contestation between Islamism, Hinduism and secularism, in the resistance against imperialists. Mainstream narrative of Indonesian nationalism has strong root in the Majapahit/Hinduism legacy, which is unwittingly so-called Indonesia as new Majapahit. In the meantime, the construction of the cultural nationalism excludes Islamic culture and identity. The aim of this work is to explore the relationship between marginality and islamophobia which is internalised in the content of art curricula; both KTSP and K-13. Learning from the art text book content, we argue that the teaching Indonesian cultural nationality fails to consider Islamic art and cultural heritages. The marginality and the exclusion of Islamic art and culture in the construction of Indonesian nationality through art curricula and art education policy indicate internalised passive Islamophobia, rather than showing them the affection for Islamic culture.

Based on the Art Model of “3A” in Experimental Base, Research and Practice on the Cultivation of Innovation Ability of Landscape Art Curriculum

The art course of garden design specialty is an important basic course. In view of the problems existing in the teaching of art course, practical training in practice base is an important way to improve the students’ professional theoretical knowledge and innovative practical ability. In addition, the art curriculum reform and practical research are carried out with the aim of Aesthetic+Ability+Apply.

Study on the change of teachers' role in the teaching of new art curriculum

The new curriculum of fine arts is a newly emerging thing in the situation of education reform. There are many facets of traditional art education which should be improved, including the fact that the teacher's classroom teaching is dull, the teaching material is limited, the training mode is single, the “classroom” is understood by the teacher as the normative teaching content instead of a platform for communication, and the teacher can not find his role. In the new curriculum, teachers must change their ideas, so that in the classroom teaching students can take advantage of the teaching materials interestingly and efficiently. Both teachers and students are supposed to find their roles in the new curriculum.