List of Figures and Tables

In: STEAM Education
Editors:
Yichien Cooper
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Alice Lai
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Figures
I.1 STEAM concept expanding IPOP theory (Perkarik et al., 2014) and curricula as bridges (Cooper, 2013). 5
I.2 Pinhole photography, 2021. Exposure from January 10 to June 10, 2021. 6
I.3 Example of tensegrity sculpture by Emilie Cooper, 2020. 7
1.1 The relationship between STEAM teaching approaches, STEAM competencies, and SEL skills. 28
2.1 This STEAM logo includes visual icons representing the content of STEAM Teaching and Learning Through the Arts and Design: A Practical Guide for PK12 Educators (Sickler-Voigt, 2023). Its design symbolically unifies the STEAM disciplines and represents the value of interdisciplinary and transdisciplinary studies. © Debrah Sickler-Voigt. 46
2.2 This photo of the tunnel book shown with white LED lighting showcases its removable hand-assembled rabbit ears. © Debrah Sickler-Voigt, Paige Brenner, and Richard Sickler. 47
2.3 This photo collage shows the tunnel book with its range of LED hues. Its associated video illustrates its dynamic multimedia qualities (see Sickler & Sickler-Voigt, 2023). © Debrah Sickler-Voigt, Paige Brenner, and Richard Sickler. 48
3.1 Learning structure as a process of self-actualization based on Ohashi (2021) and updated for this chapter. 58
3.2 Rabbits with a sword and a fishing rod. 60
3.3 Out! The crocodiles are coming! (If you fail in a game programmed with the Micro:bit, you will be attacked by an alligator.). 61
3.4 The children used the PC as fluently as they used scissors and glue to give shape to their ideas. 62
3.5 Paper Cup Tower Activity, conceived by Dr. Tetsuo Kiyota and practiced by Ms. Hiroko Hanazato at Nakano 5th Junior High School, Tokyo. 66
4.1 STEAM training examples: weather. 71
4.2 STEAM education applications of a Grade 7 student, 2022. 76
5.1 I used scrap tires to create an installation art, depicting an endangered dusky leaf monkey in Myanmar, Malaysia. 91
5.2 For the Heart of the Ocean community art education exhibition, I collaborated with teachers and students to create an installation piece on campus depicting a stranded whale. The purpose of this collaborative effort was to inspire others and raise awareness about important topics related to environmental protection. 92
6.1 Emblem of the National Museum of Natural Science. 98
6.2 A conceptual map of the pedagogical content for the natural aesthetics curriculum that aligns with the three core aspects of aesthetics education in Taiwan. 99
6.3 The spotted, strap-shaped, and thematic learning approaches. 100
6.4 A learner sew plant specimens. 103
6.5 Learner made a piece of paper in the shape of Taiwan by using plant fibers and stencils. 104
6.6 Student’s example of an island feast. 106
7.1 Photo from Day 4: final product created by the groups (uniforms for four people working in STEM). 114
7.2 Photo from Day 1: exploring a lab in a virtual environment. 117
7.3 Photo from Day 2: observing organisms collected from the soil at the park. 117
7.4 Photo from Day 5: working on the prototype of the product, a pillow that can change color. 118
8.1 Teaching method for online summer camp curriculum. 132
8.2 Left to right: participant L’s and K’s Data Visualization Project from Unit 1. 135
8.3 Left to right: projects of participant C and D from Unit 2. 137
8.4 Left to right: participant J’s and D’s data visualization project from Unit 3. 141
9.1 Six capabilities of visual art education for students with visual impairments and blindness. 150
9.2 Functional flow chart of National Taiwan Museum of Fine Arts Accessible Application for the visual and hearing-impaired audience features three guide models: nearby, map, and list with extended usage. Created by Hsin-Yi Chao. 152
9.3 Universal color wheel with visual and tangible textures was invented by Chao in 2022. 156
10.1 The reality‒virtuality continuum (Milgram et al., 1994, p. 283). 162
11.1 The Desmos graph of class data (green) with previous class data (blue), comparing the length of the string on the horizontal x-axis (measured in meters) to the period (measured in seconds). 187
11.2 The Desmos graph of a function modeling the relationship between the pendulum string length and period. 188
12.1 Screenshot of an avatar running through an abstracted city scape. Fu, Y. (n.d.). RunValley City Arts Game Recording Building Level (Take2), 2021 (from https://snowyunxuefu.com/section/505997-Run%20-%20Valley%20City.html). 199
12.2 Virtual aerial view of VR WSPark. Fu, Y. (n.d.). VR WSPark metaverse project (from https://snowyunxuefu.com/artwork/5087411ArtLabb%20Opening%20on%20VR%20WSPark.html). 204
12.3 YouTube thumbnail advertising the online Metaverse Artlabb Show Opening. Fu, Y. (n.d.). VR WSPark metaverse project (from https://snowyunxuefu.com/artwork/5087411ArtLabb%20Opening%20on%20VR%20WSPark.html). 204
13.1 Camouflaged sight words in ScratchJr. The right screen shows a sight word hiding in the trees. The left screen shows the student’s code: when the cat is touched, ScratchJr. will play audio made by the student of herself speaking the sight words she has hidden. 216
13.2 Interactive, screen-based storymaking. Knights of the Woods (Picou, 2021) combined hand-drawn characters with Scratch’s stock characters and dialog, music, and creative coding to advance the narrative. To amplify reader interaction, Picou programmed keystrokes that animate the characters when tapped by a reader. 218
13.3 Transdigital storymaking. If You Are Given a Cookie … by Lyla Guidry (2022) is constructed from a paper collage connected to a Scratch animation with a Makey MakeyⓇ. Each touch of the paper cookie takes another bite from the screen cookie, producing a munching sound. 220
14.1 Student A’s golden rectangles and spirals (left). The predominant geometric shapes placed over the golden rectangles (right), 2022. 237
14.2 Student A’s poster design in progress (left). Student A’s final poster design (right), 2022. 238
14.3 Student B’s sketch of a Fibonacci spiral. 239
14.4 Student B. Fibonacci Koi Pond. 8” × 13.” Gouache on Stonehenge Print Paper. 2023. 240
14.5 Student C. Transformation Zone. Watercolor, 2023. 240
15.1 Kaleidocycle designs of the lecturers and teacher candidates (left to right): Top row: Yeliz Erdoğan, Yeliz Erdoğan, Zehra Dede. Middle row: Esra Kuş, Gamze Gezer, Sena Sevinç. Bottom row: Sümeyye Güneş, Ela Kantarcı, Birsen Çelik, 2020, Eskişehir, Türkiye. 255
15.2 Model designs by Buse Buket Turan, Ela Kantarcı, Sena Sevinç, Esra Kuş (left to right), 2020, Eskişehir, Türkiye. 257
15.3 Kitchen lithography: printmaking with drawing on aluminum foil, emulsion by Buse Buket Turan and Sena Sevinç, 2020, Eskişehir, Türkiye. 258
16.1 Learning activities based on KLA topics. 266
16.2 Learning activities based on projects. 266
16.3 Front (L) and inner (R) pages of a light-up greeting card. 271
16.4 Students’ drawings and exploration of various methods to use the Makey MakeyⓇ Kit and closed circuits 272
16.5 Using the Makey MakeyⓇ Kit and drawings to play a song. 273
16.6 Using reassembled hexagons to create a new tessellation pattern. 275
17.1 In the Making Sketchbooks Workshop, 2020, the instructor gave a step-by-step demonstration on how to use recycled cereal boxes and copy paper to make sketchbooks. 284
17.2 Drawing and painting lecturer showed the processes of 2D design and making patterns. 285
17.3 In the Sculptural Hats Workshop (2021) taught by an art education professor, the participants showed their three-dimensional paper hats. 287
Tables
I.1 Key initiatives advocating for STEAM education nationwide and in the field of art education. 8
I.2 Preliminary data on STEAM-centered articles appearing in selected journals in the field of art education. 9
I.3 Various approaches applied in STEAM education. 10
7.1 STEAM curriculum, Version 1. 112
7.2 STEAM curriculum, Version 2. 115
9.1 The methods of visual art exhibition designed for the blind. 153
10.1 Overall change per question and question type from pretest to posttest. 172
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STEAM Education

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