Background There is a growing interest in STEAM (STEM 1 the Arts) education as a means to enhance the creativity of STEM students and broaden interest in STEM fields. Many art educators, however, object to the instrumental justification for study in the arts as a way to improve student performance in other areas.Purpose Drawing on the first two authors' engagement in an interdisciplinary design studio, this study develops an expanded view of how STEAM might enrich engineering education in ways that more closely align with the pedagogical commitments of the arts.Design/Method This article is written as a collaborative autoethnography between the first two authors, educators in environmental engineering and art education, respectively. The study is grounded in the educational philosophy of arts advocate Maxine Greene, who views learning as an active, collaborative search for meaning, "wide-awakeness," and social change.Results Our dialogue reveals the potential for STEAM to provide students and educators with opportunities to explore personally relevant connections between materials, design, society, and the natural environment and to critically engage with implicit and explicit facets of disciplinary identity. Conclusions This view of STEAM simultaneously complements and challenges currentconceptions of this emerging educational movement that, almost without exception, are underpinned by calls for competitive economic growth and technological development. We hope future research will build on our perspectives to continue a conversation about STEAM that considers the diverse contributions of, and mutual benefits to, all parties involved. It's 3.16 p.m. on a rainy Monday afternoon, and I feel uncomfortable. On my computer screen, I can see the homepage for the steam-notstem.com website, one of several "STEAM education" search results I have open in my web browser. To the right of the page are a series of rotating banners with statements about integrating the arts into STEM (science, technology, engineering, and mathematics) education. "Creativity is economically viable," one of them says, followed by Journal of Engineering EducationV C 2016 ASEE.

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We came to collaborative autoethnography quite by accident. In this methodological paper, we consider our experiences as we embraced a new methodology, taught and researched collaboratively in an interdisciplinary space, and grappled with how we might nestle our work in a journal with no history of publishing autoethnographies-all while becoming awakened to critiques against and arguments for autoethnographic research. Our discussions are presented along with portions of our lengthy e-mail correspondences written during our research process and center on two prominent facets of our research experience: interdisciplinarity and the research process. Entangled in our methodological unpacking, we highlight ''Productive Tensions'' that emerged from both our collaboration and reviewer feedback that is presented alongside our discussion. Through seeing these tensions as productive, we argue that embracing diverse perspectives can serve to strengthen the depth of engagement, quality, and potential impact of (collaborative) autoethnographic research.

We, the four authors, found ourselves swept into the tenure process, tumbling as we inquired into what this transition meant to each of us and to all of us. Through a methodological grounding in collective autoethnography – and expanded by art intervention, we came together in our inquiry to explore key experiences as new professors, asking how we individually, collectively, and aesthetically move(d) through our transitions into tenure track assistant professorship. We found it was through the embodied acts of listening, attuning, and responding with/in our flesh as women and as researchers that we felt the friction of Tenure as another body in our collective. Tenure provoked our poems, tears, arguments, victories, aches, paintings, tenderness, stitches through fabric, movements, and identities. This article serves as a methodological unpacking of our arts-based research process that used Tumblr, individual and collective artmaking, and visits to each other’s homes. While our collective work seeks new potentialities of understanding our tumbling selves as women, artists, and researchers new to the academy, we also see this work as opening our stories to the world in order to create new possibilities beyond our project.

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