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 PK–12 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 |
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 |
Screenshot of an avatar running through an abstracted city scape. Fu, Y. (n.d.). Run − Valley 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 |
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 |