For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue th... more For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?
The Journal of Social Theory in Art Education, 2016
The rise of girly culture has brought new dimensions and challenges to art education. As art educ... more The rise of girly culture has brought new dimensions and challenges to art education. As art educators, we are concerned about what we can do to meaningfully understand and educate children—girls and boys—growing up with girly culture. To this end, this paper presents our exploratory study, utilizing the methods of literature review, focus group discussion, and classroom observation, and findings on the following: (1) discourses of girly (visual) culture specifically related to age metaphor, visual representations of sexuality, and girly aesthetics; (2) postfeminist conceptualizations, critiques, and justifications of gender divides manifested through girly visual culture; (3) preadolescent children’s perceptions of gendered visual culture and gender divides; and (4) gendered visual culture projects and pedagogical strategies for fostering gender-inclusive, playful, and empowering learning.
The marriage of art and life has always seemed an ideal one to me, until a recent children's... more The marriage of art and life has always seemed an ideal one to me, until a recent children's art contest in the City of Richland, WA prompted me to rethink it. In this article, I will discuss the limitations of the marriage of art with life. My discussion is drawn from objects submitted in the children’s art contest, observations of conflicting examples of public art, conversations about the role of public art and the reasons for both positive and negative perceptions toward public art. Questions such as “should there be a limit for the marriage of art and life? ” and “what are the reasons for the perceived conflicts about public art? ” serve as focal points for my discussion. I wish to bring awareness of the many factors affecting our perceptions of art and to make suggestions to promote aesthetic appreciation in art instruction.
This autoethnographic narrative retraces my four-year journey as an art commissioner for a city t... more This autoethnographic narrative retraces my four-year journey as an art commissioner for a city that is transforming beyond the stigma associated with a significant role in early nuclear weapons to a growing agritourism industry. The looming pressure for change is just like when tectonic plates push against each other until there is a quick release, causing earthquakes and eruptions. In the midst of the changing forces, I consider how the arts fold in. There are two purposes in this article that investigates the complexity between civic development and art. First, I will (re) define and (re)frame (Short & Turner, 2013) the open-nature of ever-changing possible meanings for any given narrative. Because of the links between words and images, I use poetic inquiry to reveal layers, show hidden messages (Cahnmann-Taylor, 2009), and construct new meanings (Leavy, 2015). Then, I will (re) discover and (re)confirmthe social identities realted to being an arts commissioner.
The Trash Can Art Contest Viewing the Trash Can Art Contest as a learning opportunity and a chanc... more The Trash Can Art Contest Viewing the Trash Can Art Contest as a learning opportunity and a chance to help bring art into parks, I encouraged my studio art students to participate. However, I was surprised by the conversations, many of them negative, it provoked among my students. Most of them were puzzled or disturbed by the idea of putting their art on trashcans. They said that they believed trashcans are not the right place for artworks, especially when it came to there being an award for the winning pieces. For example: Student-1: I don't want my art on a trashcan! Me: Why not? Student-1: It will get stained by smelly trash. Me: I am sure it will be printed as a banner with adhesive. They won't put your original artwork directly on the trashcan. Student-2: I will finish the artwork, but I am not going to enter. Me: Why not? Student-2: Well. I will be embarrassed if my friends see my art on a trashcan. Me: Why will you feel embarrassed? Everyone: Because it is on a trashcan! Me: What if it was displayed on a different object, would it still embarrass you? Student-2: I don't know. Maybe, maybe not. Me: What if, say, it were on a park bench or a swing, would this change your mind? Student-3: No. I don't want my art on a bench or swing! Me: What makes you say so? Student-3: Because...I don't want anyone to sit on my artwork. (The class broke out in laughter.) Me: In that case, where do you think the winning artworks should be displayed? Student-3: On the wall of course, in a museum. Student-4: Hallways at my school. Where art should be! Student-5: The mayor's office. (Personal communication, January 28, 2013) While most students believed art should have so-called proper locations for display, some students believed the location of the artwork does not matter. For example: Student-6: Well, I don't care where it will be displayed. I am entering the contest no matter what. Me: Really? Student-6: Yes. It is a competition and I want to win! Me: Even if it will be on a trashcan? Student-6: I don't care. A winner is a winner. (Personal communication, January 28, 2013). A few weeks later, I received an email informing me that my daughter, Emilie, won first place in the trashcan art contest, for her age group. It was such delightful news that as soon as Emilie got off her school bus that afternoon, I congratulated her: Me: Congratulations! You won the first place for the art contest! Emilie: Really! What did I win? Me: Well, you know, you get to display your art on a trashcan in the park for a year.
T
he newly adapted core arts standards
emphasize students’ thinking and learning processes
that r... more T he newly adapted core arts standards emphasize students’ thinking and learning processes that reflect critical 21st-century skills such as synthesizing, visualizing, and systematic thinking (National Core Arts Standards, n.d.). Concept mapping is a form of visual organization that can be used to categorize and represent knowledge about a particular subject or related subjects and foster development of these critical skills. In this article, the authors demonstrate that concept mapping can be used effectively in both understanding and conducting research, and in lesson planning in which multidimensional understandings can be revealed (Leavy, 2016). Enid first will discuss how concept mapping can aid students in understanding the interrelationships of theoretical concepts found in research studies and how these mappings can aid them in conducting their own research investigations. Then Yichien will share how she teaches concept mapping skills to her preservice education students to solidify their ideas and strategies associated with integrated lesson planning.
笔者认为21世纪美术馆的挑战需积极反思“所有人的博物馆”（museum for all）的真实意义。身处数据时代，美术馆势必得提供不同的学习经验来提升使用度的品质。本文探讨美术馆公共艺术教育如何... more 笔者认为21世纪美术馆的挑战需积极反思“所有人的博物馆”（museum for all）的真实意义。身处数据时代，美术馆势必得提供不同的学习经验来提升使用度的品质。本文探讨美术馆公共艺术教育如何采取“多元”的策略，并顾及各个观者的美术馆经验（Museum Experience），突破博物馆藩篱（museum beyond walls）的渠道达到永续深耕的目的是值得探究的议题。从文献资料整合以及自身的美术馆参观经验中，笔者发现当前美术馆教育“重质不重量”的趋势有4个一直重复出现的特点：①融合（Inclusion）；②互动（Interaction）；③统整（Integration）；④协作（Collaboration）。这4个特点在美术馆公共艺术教育实践中，穿越不同部门的藩篱，相互重叠，相互影响。
以ARTS融合的STEAM教育应运而起之后。分科教育渐渐式微．而2l世纪的STEAM教育正是代表统整时代的再起 本文从统整跨科的角度分论STEM 与STEAM课程的不同，以实例讨论STEAM 的... more 以ARTS融合的STEAM教育应运而起之后。分科教育渐渐式微．而2l世纪的STEAM教育正是代表统整时代的再起 本文从统整跨科的角度分论STEM 与STEAM课程的不同，以实例讨论STEAM 的永续价值，提出“创新+创 造+人本=STEAM”的教育模式 STEAM最终目的必须超越STEM的创新科技以及ARTS的关感创造，是成为融合人本的人文关怀的社会实践力。（STEAM education, which combines STEM with subjects in the arts, has become a solution and gradually has gained popularity in the field of education. The author suggests that subject-based education is in decline, and STEAM education marks the beginning of new era of integration in the 21st century. The author then discusses the differences between STEM and STEAM curricula from the perspective of integrated curricula. Finally, the author pinpoints sustainable value of STEAM with examples, and proposes "Innovation + Creation =STEAM" as a model for education. The author concludes that the ultimate purpose of STEAM education should go beyond innovation and technology, STEM, and aesthetic creation of ARTS. The purpose of STEAM should focus on humanity which encompasses social responsibility, compassion, and empathy to make STEAM education sustainable and influential.
自2009年以來，STEM教育的理念逐漸延伸至STEAM教育。面對STEAM的熱潮，作者呼籲教育工作者需從STEAM的核心宗旨來思考STEAM的意義。作者首先從統整教育的方向來剖析A在STEAM... more 自2009年以來，STEM教育的理念逐漸延伸至STEAM教育。面對STEAM的熱潮，作者呼籲教育工作者需從STEAM的核心宗旨來思考STEAM的意義。作者首先從統整教育的方向來剖析A在STEAM的意義，提出A的七個面向。然後根據這七個面向討論STEAM教學的理念，最後提供落STEAM教育的幾點方針，認為STEAM基礎教育師資培訓必須從跨科統整開始，期許STEAM教育顛覆傳統教育方式，以重視啟發、玩中學、正視失敗為學習的過程。融合運用的精神，從批判思維、探索發現中引導綜合思維的養成，加強解決問題的能力，吻合真實社會的脈動。
This autoethnographic narrative retraces my four-year journey as an art commissioner for a city t... more This autoethnographic narrative retraces my four-year journey as an art commissioner for a city that is transforming beyond the stigma associated with a significant role in early nuclear weapons to a growing agritourism industry. The looming pressure for change is just like when tectonic plates push against each other until there is a quick release, causing earthquakes and eruptions. In the midst of the changing forces, I consider how the arts fold in. There are two purposes in this article that investigates the complexity between civic development and art. First, I will (re)define and (re)frame (Short & Turner, 2013) the open-nature of ever-changing possible meanings for any given narrative. Because of the links between words and images, I use poetic inquiry to reveal layers, show hidden messages (Cahnmann-Taylor, 2009), and construct new meanings (Leavy, 2015). Then, I will (re)discover and (re)confirm the social identities realted to being an arts commissioner.
The rise of girly culture has brought new dimensions and challenges to art education. As art educ... more The rise of girly culture has brought new dimensions and challenges to art education. As art educators, we are concerned about what we can do to meaningfully understand and educate children—girls and boys—growing up with girly culture. To this end, this paper presents our exploratory study, utilizing the methods of literature review, focus group discussion, and classroom observation, and findings on the following: (1) discourses of girly (visual) culture specifically related to age metaphor, visual representations of sexuality, and girly aesthetics; (2) postfeminist conceptualizations, critiques, and justifications of gender divides manifested through girly visual culture; (3) preadolescent chil-dren's perceptions of gendered visual culture and gender divides; and (4) gendered visual culture projects and pedagogical strategies for fostering gender-inclusive, playful, and empowering learning.
Synthesizing skills are in high demand in the 21st century. Educators believe the synthesizing pr... more Synthesizing skills are in high demand in the 21st century. Educators believe the synthesizing process goes hand in hand with creativity. As a synthetic communication tool, data visualizations such as infographics and word clouds can effectively convey complex information in simplified visual form. Examining samples of data visualizations made by college students, this paper will investigate the relationship between the creation of data visualization and synthesizing skills, as well as address how the creative process of data visualization coincides with that of synthesis. This study finds that the process of making a data visualization requires students to utilize their critical thinking strategies, prior experience, knowledge across curricula, and ability to thin-slice, decode, and comprehend visual images.
Keywords: synthesizing skills, data visualization, word cloud, infographics, creative process, visual literacy, communication, design.
The marriage of art and life has always seemed an ideal one to me, until a recent children's art ... more The marriage of art and life has always seemed an ideal one to me, until a recent children's art contest in the City of Richland, WA prompted me to rethink it. In this article, I will discuss the limitations of the marriage of art with life. My discussion is drawn from objects submitted in the children’s art contest, observations of conflicting examples of public art, conversations about the role of public art and the reasons for both positive and negative perceptions toward public art. Questions such as “should there be a limit for the marriage of art and life?” and “what are the reasons for the perceived conflicts about public art?” serve as focal points for my discussion. I wish to bring awareness of the many factors affecting our perceptions of art and to make suggestions to promote aesthetic appreciation in art instruction.
For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue th... more For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?
The Journal of Social Theory in Art Education, 2016
The rise of girly culture has brought new dimensions and challenges to art education. As art educ... more The rise of girly culture has brought new dimensions and challenges to art education. As art educators, we are concerned about what we can do to meaningfully understand and educate children—girls and boys—growing up with girly culture. To this end, this paper presents our exploratory study, utilizing the methods of literature review, focus group discussion, and classroom observation, and findings on the following: (1) discourses of girly (visual) culture specifically related to age metaphor, visual representations of sexuality, and girly aesthetics; (2) postfeminist conceptualizations, critiques, and justifications of gender divides manifested through girly visual culture; (3) preadolescent children’s perceptions of gendered visual culture and gender divides; and (4) gendered visual culture projects and pedagogical strategies for fostering gender-inclusive, playful, and empowering learning.
The marriage of art and life has always seemed an ideal one to me, until a recent children's... more The marriage of art and life has always seemed an ideal one to me, until a recent children's art contest in the City of Richland, WA prompted me to rethink it. In this article, I will discuss the limitations of the marriage of art with life. My discussion is drawn from objects submitted in the children’s art contest, observations of conflicting examples of public art, conversations about the role of public art and the reasons for both positive and negative perceptions toward public art. Questions such as “should there be a limit for the marriage of art and life? ” and “what are the reasons for the perceived conflicts about public art? ” serve as focal points for my discussion. I wish to bring awareness of the many factors affecting our perceptions of art and to make suggestions to promote aesthetic appreciation in art instruction.
This autoethnographic narrative retraces my four-year journey as an art commissioner for a city t... more This autoethnographic narrative retraces my four-year journey as an art commissioner for a city that is transforming beyond the stigma associated with a significant role in early nuclear weapons to a growing agritourism industry. The looming pressure for change is just like when tectonic plates push against each other until there is a quick release, causing earthquakes and eruptions. In the midst of the changing forces, I consider how the arts fold in. There are two purposes in this article that investigates the complexity between civic development and art. First, I will (re) define and (re)frame (Short & Turner, 2013) the open-nature of ever-changing possible meanings for any given narrative. Because of the links between words and images, I use poetic inquiry to reveal layers, show hidden messages (Cahnmann-Taylor, 2009), and construct new meanings (Leavy, 2015). Then, I will (re) discover and (re)confirmthe social identities realted to being an arts commissioner.
The Trash Can Art Contest Viewing the Trash Can Art Contest as a learning opportunity and a chanc... more The Trash Can Art Contest Viewing the Trash Can Art Contest as a learning opportunity and a chance to help bring art into parks, I encouraged my studio art students to participate. However, I was surprised by the conversations, many of them negative, it provoked among my students. Most of them were puzzled or disturbed by the idea of putting their art on trashcans. They said that they believed trashcans are not the right place for artworks, especially when it came to there being an award for the winning pieces. For example: Student-1: I don't want my art on a trashcan! Me: Why not? Student-1: It will get stained by smelly trash. Me: I am sure it will be printed as a banner with adhesive. They won't put your original artwork directly on the trashcan. Student-2: I will finish the artwork, but I am not going to enter. Me: Why not? Student-2: Well. I will be embarrassed if my friends see my art on a trashcan. Me: Why will you feel embarrassed? Everyone: Because it is on a trashcan! Me: What if it was displayed on a different object, would it still embarrass you? Student-2: I don't know. Maybe, maybe not. Me: What if, say, it were on a park bench or a swing, would this change your mind? Student-3: No. I don't want my art on a bench or swing! Me: What makes you say so? Student-3: Because...I don't want anyone to sit on my artwork. (The class broke out in laughter.) Me: In that case, where do you think the winning artworks should be displayed? Student-3: On the wall of course, in a museum. Student-4: Hallways at my school. Where art should be! Student-5: The mayor's office. (Personal communication, January 28, 2013) While most students believed art should have so-called proper locations for display, some students believed the location of the artwork does not matter. For example: Student-6: Well, I don't care where it will be displayed. I am entering the contest no matter what. Me: Really? Student-6: Yes. It is a competition and I want to win! Me: Even if it will be on a trashcan? Student-6: I don't care. A winner is a winner. (Personal communication, January 28, 2013). A few weeks later, I received an email informing me that my daughter, Emilie, won first place in the trashcan art contest, for her age group. It was such delightful news that as soon as Emilie got off her school bus that afternoon, I congratulated her: Me: Congratulations! You won the first place for the art contest! Emilie: Really! What did I win? Me: Well, you know, you get to display your art on a trashcan in the park for a year.
T
he newly adapted core arts standards
emphasize students’ thinking and learning processes
that r... more T he newly adapted core arts standards emphasize students’ thinking and learning processes that reflect critical 21st-century skills such as synthesizing, visualizing, and systematic thinking (National Core Arts Standards, n.d.). Concept mapping is a form of visual organization that can be used to categorize and represent knowledge about a particular subject or related subjects and foster development of these critical skills. In this article, the authors demonstrate that concept mapping can be used effectively in both understanding and conducting research, and in lesson planning in which multidimensional understandings can be revealed (Leavy, 2016). Enid first will discuss how concept mapping can aid students in understanding the interrelationships of theoretical concepts found in research studies and how these mappings can aid them in conducting their own research investigations. Then Yichien will share how she teaches concept mapping skills to her preservice education students to solidify their ideas and strategies associated with integrated lesson planning.
笔者认为21世纪美术馆的挑战需积极反思“所有人的博物馆”（museum for all）的真实意义。身处数据时代，美术馆势必得提供不同的学习经验来提升使用度的品质。本文探讨美术馆公共艺术教育如何... more 笔者认为21世纪美术馆的挑战需积极反思“所有人的博物馆”（museum for all）的真实意义。身处数据时代，美术馆势必得提供不同的学习经验来提升使用度的品质。本文探讨美术馆公共艺术教育如何采取“多元”的策略，并顾及各个观者的美术馆经验（Museum Experience），突破博物馆藩篱（museum beyond walls）的渠道达到永续深耕的目的是值得探究的议题。从文献资料整合以及自身的美术馆参观经验中，笔者发现当前美术馆教育“重质不重量”的趋势有4个一直重复出现的特点：①融合（Inclusion）；②互动（Interaction）；③统整（Integration）；④协作（Collaboration）。这4个特点在美术馆公共艺术教育实践中，穿越不同部门的藩篱，相互重叠，相互影响。
以ARTS融合的STEAM教育应运而起之后。分科教育渐渐式微．而2l世纪的STEAM教育正是代表统整时代的再起 本文从统整跨科的角度分论STEM 与STEAM课程的不同，以实例讨论STEAM 的... more 以ARTS融合的STEAM教育应运而起之后。分科教育渐渐式微．而2l世纪的STEAM教育正是代表统整时代的再起 本文从统整跨科的角度分论STEM 与STEAM课程的不同，以实例讨论STEAM 的永续价值，提出“创新+创 造+人本=STEAM”的教育模式 STEAM最终目的必须超越STEM的创新科技以及ARTS的关感创造，是成为融合人本的人文关怀的社会实践力。（STEAM education, which combines STEM with subjects in the arts, has become a solution and gradually has gained popularity in the field of education. The author suggests that subject-based education is in decline, and STEAM education marks the beginning of new era of integration in the 21st century. The author then discusses the differences between STEM and STEAM curricula from the perspective of integrated curricula. Finally, the author pinpoints sustainable value of STEAM with examples, and proposes "Innovation + Creation =STEAM" as a model for education. The author concludes that the ultimate purpose of STEAM education should go beyond innovation and technology, STEM, and aesthetic creation of ARTS. The purpose of STEAM should focus on humanity which encompasses social responsibility, compassion, and empathy to make STEAM education sustainable and influential.
自2009年以來，STEM教育的理念逐漸延伸至STEAM教育。面對STEAM的熱潮，作者呼籲教育工作者需從STEAM的核心宗旨來思考STEAM的意義。作者首先從統整教育的方向來剖析A在STEAM... more 自2009年以來，STEM教育的理念逐漸延伸至STEAM教育。面對STEAM的熱潮，作者呼籲教育工作者需從STEAM的核心宗旨來思考STEAM的意義。作者首先從統整教育的方向來剖析A在STEAM的意義，提出A的七個面向。然後根據這七個面向討論STEAM教學的理念，最後提供落STEAM教育的幾點方針，認為STEAM基礎教育師資培訓必須從跨科統整開始，期許STEAM教育顛覆傳統教育方式，以重視啟發、玩中學、正視失敗為學習的過程。融合運用的精神，從批判思維、探索發現中引導綜合思維的養成，加強解決問題的能力，吻合真實社會的脈動。
This autoethnographic narrative retraces my four-year journey as an art commissioner for a city t... more This autoethnographic narrative retraces my four-year journey as an art commissioner for a city that is transforming beyond the stigma associated with a significant role in early nuclear weapons to a growing agritourism industry. The looming pressure for change is just like when tectonic plates push against each other until there is a quick release, causing earthquakes and eruptions. In the midst of the changing forces, I consider how the arts fold in. There are two purposes in this article that investigates the complexity between civic development and art. First, I will (re)define and (re)frame (Short & Turner, 2013) the open-nature of ever-changing possible meanings for any given narrative. Because of the links between words and images, I use poetic inquiry to reveal layers, show hidden messages (Cahnmann-Taylor, 2009), and construct new meanings (Leavy, 2015). Then, I will (re)discover and (re)confirm the social identities realted to being an arts commissioner.
The rise of girly culture has brought new dimensions and challenges to art education. As art educ... more The rise of girly culture has brought new dimensions and challenges to art education. As art educators, we are concerned about what we can do to meaningfully understand and educate children—girls and boys—growing up with girly culture. To this end, this paper presents our exploratory study, utilizing the methods of literature review, focus group discussion, and classroom observation, and findings on the following: (1) discourses of girly (visual) culture specifically related to age metaphor, visual representations of sexuality, and girly aesthetics; (2) postfeminist conceptualizations, critiques, and justifications of gender divides manifested through girly visual culture; (3) preadolescent chil-dren's perceptions of gendered visual culture and gender divides; and (4) gendered visual culture projects and pedagogical strategies for fostering gender-inclusive, playful, and empowering learning.
Synthesizing skills are in high demand in the 21st century. Educators believe the synthesizing pr... more Synthesizing skills are in high demand in the 21st century. Educators believe the synthesizing process goes hand in hand with creativity. As a synthetic communication tool, data visualizations such as infographics and word clouds can effectively convey complex information in simplified visual form. Examining samples of data visualizations made by college students, this paper will investigate the relationship between the creation of data visualization and synthesizing skills, as well as address how the creative process of data visualization coincides with that of synthesis. This study finds that the process of making a data visualization requires students to utilize their critical thinking strategies, prior experience, knowledge across curricula, and ability to thin-slice, decode, and comprehend visual images.
Keywords: synthesizing skills, data visualization, word cloud, infographics, creative process, visual literacy, communication, design.
The marriage of art and life has always seemed an ideal one to me, until a recent children's art ... more The marriage of art and life has always seemed an ideal one to me, until a recent children's art contest in the City of Richland, WA prompted me to rethink it. In this article, I will discuss the limitations of the marriage of art with life. My discussion is drawn from objects submitted in the children’s art contest, observations of conflicting examples of public art, conversations about the role of public art and the reasons for both positive and negative perceptions toward public art. Questions such as “should there be a limit for the marriage of art and life?” and “what are the reasons for the perceived conflicts about public art?” serve as focal points for my discussion. I wish to bring awareness of the many factors affecting our perceptions of art and to make suggestions to promote aesthetic appreciation in art instruction.
跨科统整的学习经验是培养系统性思维与创造力思维的基石。本书推广课程设计尽量追求理论与实践的融合，介绍并讨论影响统整教育设计的理论。在课程设计的要素注入以学习者为中心的教学理念，分析学习者的心灵状... more 跨科统整的学习经验是培养系统性思维与创造力思维的基石。本书推广课程设计尽量追求理论与实践的融合，介绍并讨论影响统整教育设计的理论。在课程设计的要素注入以学习者为中心的教学理念，分析学习者的心灵状态、价值观、价值体系与课程设计的关联，并进一步提供老师具体融合并实践现代教育强调的创造力思维、批判能力、STEAM、美感培训、视觉化能力的学习方式。
本文为作者受邀为2019哥伦比亚大学教书学院中美教育论坛STEAM Panel 的演讲稿。作者从自身研究实践STAEM 教学的感悟，为STEAM 师资培训提出三个具体方针：课程规划、学习环境、以... more 本文为作者受邀为2019哥伦比亚大学教书学院中美教育论坛STEAM Panel 的演讲稿。作者从自身研究实践STAEM 教学的感悟，为STEAM 师资培训提出三个具体方针：课程规划、学习环境、以及储备能力。 This is the keynote address that the author gave at the 2019 Columbia University Teacher College US-China Forum STEAM Panel. Based on her teaching and research in STEAM education, the author provides revelations and three areas for STEAM teacher training: planning pedagogy, learning environment, and capabilities and literacy.
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Papers by Yichien Cooper
he newly adapted core arts standards
emphasize students’ thinking and learning processes
that reflect critical 21st-century skills such as
synthesizing, visualizing, and systematic thinking
(National Core Arts Standards, n.d.). Concept
mapping is a form of visual organization that can be used to
categorize and represent knowledge about a particular subject or
related subjects and foster development of these critical skills.
In this article, the authors demonstrate that concept mapping can be
used effectively in both understanding and conducting research,
and in lesson planning in which multidimensional understandings
can be revealed (Leavy, 2016). Enid first will discuss how concept
mapping can aid students in understanding the interrelationships
of theoretical concepts found in research studies and how
these mappings can aid them in conducting their own research
investigations. Then Yichien will share how she teaches concept
mapping skills to her preservice education students to solidify their
ideas and strategies associated with integrated lesson planning.
造+人本=STEAM”的教育模式 STEAM最终目的必须超越STEM的创新科技以及ARTS的关感创造，是成为融合人本的人文关怀的社会实践力。（STEAM education, which combines STEM with subjects in the arts, has become a solution and gradually has gained popularity in the field of education. The author suggests that subject-based education is in decline, and STEAM education marks the beginning of new era of integration in the 21st century. The author then discusses the differences between STEM and STEAM curricula from the perspective of integrated curricula. Finally, the author pinpoints sustainable value of STEAM with examples, and proposes "Innovation + Creation =STEAM" as a model for education. The author concludes that the ultimate purpose of STEAM education should go beyond innovation and technology, STEM, and aesthetic creation of ARTS. The purpose of STEAM should focus on humanity which encompasses social responsibility, compassion, and empathy to make STEAM education sustainable and influential.
Keywords: synthesizing skills, data visualization, word cloud, infographics, creative process, visual literacy, communication, design.
he newly adapted core arts standards
emphasize students’ thinking and learning processes
that reflect critical 21st-century skills such as
synthesizing, visualizing, and systematic thinking
(National Core Arts Standards, n.d.). Concept
mapping is a form of visual organization that can be used to
categorize and represent knowledge about a particular subject or
related subjects and foster development of these critical skills.
In this article, the authors demonstrate that concept mapping can be
used effectively in both understanding and conducting research,
and in lesson planning in which multidimensional understandings
can be revealed (Leavy, 2016). Enid first will discuss how concept
mapping can aid students in understanding the interrelationships
of theoretical concepts found in research studies and how
these mappings can aid them in conducting their own research
investigations. Then Yichien will share how she teaches concept
mapping skills to her preservice education students to solidify their
ideas and strategies associated with integrated lesson planning.
造+人本=STEAM”的教育模式 STEAM最终目的必须超越STEM的创新科技以及ARTS的关感创造，是成为融合人本的人文关怀的社会实践力。（STEAM education, which combines STEM with subjects in the arts, has become a solution and gradually has gained popularity in the field of education. The author suggests that subject-based education is in decline, and STEAM education marks the beginning of new era of integration in the 21st century. The author then discusses the differences between STEM and STEAM curricula from the perspective of integrated curricula. Finally, the author pinpoints sustainable value of STEAM with examples, and proposes "Innovation + Creation =STEAM" as a model for education. The author concludes that the ultimate purpose of STEAM education should go beyond innovation and technology, STEM, and aesthetic creation of ARTS. The purpose of STEAM should focus on humanity which encompasses social responsibility, compassion, and empathy to make STEAM education sustainable and influential.
Keywords: synthesizing skills, data visualization, word cloud, infographics, creative process, visual literacy, communication, design.
This is the keynote address that the author gave at the 2019 Columbia University Teacher College US-China Forum STEAM Panel. Based on her teaching and research in STEAM education, the author provides revelations and three areas for STEAM teacher training: planning pedagogy, learning environment, and capabilities and literacy.