Background: The advent of new and emerging technologies and industries has highlighted the need to equip youth with a unique skillset necessary to cope with a rapidly changing and complex digital era and adapt to modern societies' demands. This need has led to the development of teaching approaches to equip students with creative and innovative skills to help prevent any future skills gap. This shift has fuelled the growth of STEAM (Science, Technology, Engineering, Arts and Mathematics) Education worldwide.Objectives: Our goal was to engage in a systematic review of the literature to identify the application and prevalence of emerging technologies within the landscape of STEAM Education.Methods: We engaged in a systematic review of the literature. Following the application of exclusion criteria to 461 studies, 43 studies were extracted and analysed.Findings and Conclusions: Analysis of these studies provides evidence of the fast‐growing use of innovative emerging technologies within the STEAM landscape across all levels of education, from early childhood to college‐level settings. Our analysis reveals an emphasis on developing STEAM‐related disciplinary knowledge and the desire to develop students' 21st‐century skills with a notable lack of targeted emphasis on developing understandings in the arts disciplines. We identify the need for carefully designed intervention studies involving collaboration between multidisciplinary STEAM experts that use high‐quality measures which support the development of inferences relating to learning outcomes arising from such interventions.

When in June 2013 The Guardian newspaper (UK) asked us to ‘help create the whole picture’ with the GuardianWitness app (‘upload your part of the story faster with 4GEE at witness.guardian.co.uk’) we know the citizen reporter and the eyewitness photographer have been allied to faster, participation and the double page spread (The Guardian, Saturday 06.07.13 pp 2 and 3). Undermining the authorship, authority and arguably the professionalism of the journalist and photographer, the amateur enthusiast, key eye-witness or commentator are crowd-sourced to open up, enhance and create a whole, diverse picture of world events that, in the advertisement at least, speaks of a change in the relationship of passive consumer to traditional authorities such as newspapers

This study presents a professional development (PD) program designed within the “SciArt—Promoting 21st-century skills through an inclusive STEAM approach to Cultural Heritage” project, which aims to prepare teachers to implement an inclusive, inquiry-based STEAM approach in their classrooms. The approach, developed collaboratively by academics from the arts, sciences, and cultural sectors across Cyprus, Greece, and Portugal, integrates archaeometric methods with cultural heritage to support identity exploration and inclusive pedagogy. The study explores how participating teachers evaluated the PD program, how it influenced their self-efficacy in applying inclusive, inquiry-based STEAM approaches, and how teacher trainers experienced its implementation across different national contexts. The study utilizes both qualitative and quantitative methods of data collection, comprising questionnaires and a focus group. Results show high teacher satisfaction and increased self-efficacy across four thematic areas: inquiry-based learning, science-heritage integration, cultural identity exploration, and use of multimodality for inclusion. Teacher trainers described the process as demanding but professionally enriching, emphasizing the role of interdisciplinary collaboration. These findings highlight the potential of well-supported, theoretically grounded PD programs to build capacity for inclusive STEAM education, while also revealing structural barriers that must be addressed for wider implementation.

When the European Institute for Comparative Cultural Research called museums to create 'third spaces in which different groups can share a similar experience of discovery' (2008, p. 124), it was making the assumption that these spaces can be neutral, democratic, accessible, and thus universal. Such assumptions have been applied to the virtual as a third and seemingly neutral space that museums were found lacking. However, the fascination and preoccupation with the virtual, as the panacea to issues of democracy and accessibility, needs to be reconsidered and challenged. This article questions the neutrality of and degree of accessibility to the virtual space within the framework of Bourdieu's theories and by examining the processes of construction and use of virtual art museums.

This chapter discusses the ways in which emerging technologies are employed by contemporary artists to challenge the museum and open it up to alternative-to-the-canon narratives, to its surrounding communities, and to previously marginalised and/or silenced stories. Two New York exhibitions, WeARinMoMA (2010) at MoMA and Wolf Nation (2019–2020) at the Whitney Museum, are further discussed to highlight the ways in which new forms of institutional critique attempt to renegotiate the museum space, and visitors’ relationship to it, with the use of emerging technologies. Facilitated by technology, the production of co-presence of conflicting ideas and of co-presence with the past through the formation of a chronotope are seminal concepts to the chapter. More specifically, the chapter investigates the possible ways in which emerging technologies used by artists can potentially push the boundaries of space and time, thus offering new forms of being present and serve museums in the difficult and often disputed process of re-examining and re-contextualising their institutional structures. Marginalised or contested histories could in effect be negotiated within the museum's walls by offering the conditions of seeing and being seen from multiple vantage points. <!----> <!----> <!----> <!---->