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The integration of Art with Science, Technology, Engineering, and Mathematics (STEAM) has been growing in popularity, however, there are a variety of conceptualizations of what it looks like. This study explores images of STEAM by examining activities created by informal educators. We found that STEAM activities were conceptualized as using one discipline in the service of another, intertwined, or parallel. This provides concrete images of what STEAM can look like in educational settings. 

Materials play an important role in learning. Humans actors use materials in particular ways depending on the context and materials also can shape how human actors use materials. This study explores the dialogical relationship between the participants and materials in suminagashi, a Japanese paper marbling activity. We found that materials that are traditionally thought of as art materials, such as paintbrushes, are used to support practices often considered science practices, such as experimentation. 

As STEAM has gained traction in informal education settings, it is important to support educators in learning about and developing STEAM learning experiences. We investigated what STEAM means to informal educators and how it relates to their everyday lives and identities by examining a STEAM objects activity. We found three themes in how the participants talked about the significance of the STEAM objects they shared: connection to land, historicity, and agency of materials. The STEAM objects served as boundary objects that connected communities of practice, showing the integrative nature of art and STEM, as well as bridging important aspects of their lives and STEAM. We discuss the importance of recognizing and leveraging the multiplicities of meaning and ways of knowing. 

teration is a central practice in art and science; however, it has yet to be deeply explored in STEAM learning environments. This study adopts a sociomaterial orientation (Fenwick and Edwards, 2013) to characterize the nature of iteration in one STEAM activity, an Optics Design Challenge, with informal educators. We found that iteration emerged as “microcycles” of interactions, specifically as adjustments, additions, and negotiations in both material artifacts and the narrative. 

Developing a growth mindset has been identified as a key strategy for increasing youth achievement, motivation, and resiliency (Rattan et al. 2015). At its core, growth mindset describes the idea that one’s abilities can change through using new learning strategies and receiving appropriate mentoring (Dweck 2008). In contrast, a fixed mindset relates to the idea that ability is inherent and cannot be changed. We have taken up the concept of growth mindset and developed it specifically for the context of STEAM (science, technology, engineering, art, and math), a growing area of focus in both in- and out-of-school learning. We think of STEAM as more than just adding art to STEM or STEM to art—instead, we view STEAM as an approach that involves deep integration of overlapping art and STEM practices. Combining STEAM and the concept of mindset is especially helpful for intentionally bringing recognized identity-building features of out-of-school environments into the classroom, such as a sense of playfulness, open-ended exploration, and personal relevance. In this article we discuss our rationale and process in developing the concept of a “STEAM mindset” and illustrate how it can support youth and educator learning. Built on the foundations of the growth mindset concept, a STEAM mindset further emphasizes the ideas of quieting the inner negative voice, engaging in self-compassion rather than judgement, and promoting creative practice, as described in the sections below.