Engagement and Skill Development in Biology Students Through Analysis of Art

. Winter 2013;12(4):687-700.

doi: 10.1187/cbe.12-08-0114.

Engagement and skill evolution in biological science students through analysis of art

Affiliations

• PMID: 24297295
• PMCID: PMC3846519
• DOI: x.1187/cbe.12-08-0114

Complimentary PMC article

Engagement and skill evolution in biology students through analysis of fine art

Liliana Milkova  et al. CBE Life Sci Educ. Winter 2013 .

Free PMC commodity

Abstract

An activity involving analysis of art in biology courses was designed with the goals of piquing undergraduates' curiosity, broadening the means in which college students meaningfully engage with course content and concepts, and developing aspects of students' higher-level thinking skills, such as analysis, synthesis, and evaluation. To meet these learning outcomes, the activity had three key components: preparatory readings, first-hand visual analysis of art during a visit to an art museum, and communication of the analysis. Post-obit a presentation on the methodology of visual assay, students worked in small groups to examine through the disciplinary lens of biological science a pick of approximately 12 original artworks related in some manner to love. The groups and then adult and presented for class members a mini-exhibition of several pieces addressing one of ii questions: 1) whether portrayals of love in art marshal with the growing agreement of the biology of love or 2) whether the bodily experience of honey is universal or, alternatively, is culturally influenced, as is the feel of low. Evaluation of quantitative and qualitative assessment data revealed that the assignment engaged students, supported evolution of higher-level thinking skills, and prompted meaningful engagement with course textile.

Figures

Effigy ane.

Examples of artworks used in the activeness. (A) Ernst Ludwig Kirchner (German language, 1880–1938), Union, from the series Man and Married woman, 1900. Woodcut; image, 203 × 203 mm (eight × eight in.); canvass, 414 × 299 mm (16 v/xvi × elevenⁱⁱⁱ/_iv in.). AMAM, Mrs. F. F. Prentiss Fund, 1955.19. (B) Indian, Lovers, ca. 1650. Ink, opaque watercolor, gold beat out; 216 × 152 mm (8¹/₂ × half-dozen in.). AMAM, souvenir of Paul F. Walter, 1976.34. (C) Rembrandt Harmensz van Rijn (Dutch, 1606–1669), Joseph and Potiphar's Wife, 1634. Etching; 92 × 114 mm (3 ⅝ × 4 ^ane/_ii in.). AMAM, souvenir of the Max Kade Foundation, 1968.126.

Effigy 2.

Histogram of scores on visual analyses performed earlier (gray) and after (black) the art projection by 28 students in Brute Physiology (A) and 13 in the beginning-twelvemonth seminar (B). The maximal possible score was 21. Absenteeism from class due to disease prevented completion of the assessment past four students in Animal Physiology and two in the first-year seminar; their information were excluded from assay considering they were incomplete.

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References

1. 1. American Association for the Advancement of Science . Vision and Change in Undergraduate Biology Instruction: A Call to Action. Washington, DC: 2011.
2. 1. Anderson A, Middleton L. What is this thing called love? New Sci. 2006;190:32–34. - PubMed
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Source: https://pubmed.ncbi.nlm.nih.gov/24297295/

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