Art, Design, and Biology

Unit textbook

In this unit we will be focusing on art and biology in the sense that we will be using art to communicate our biological findings. It will be necessary to look at everything from cave art to modern art and the different interpretations of biological structure in order to see how they have been communicated, and which art medium (paint, drawing, sculpture, printmaking and digital art) is best for each biological structure. We will need to dive into the art world and understand how art is created so that it is able to convey not only information but has an intent to drive an emotional reaction.  Examining hues and shades of color choices and perspective will give us the best insight into our ability to communicate the desired material. By having students look at works of art by famous artists like John James Audubon they can begin to see and begin to understand why the choice of artistic medium is so important. We can also look at the work of Joseph Mallord William Turner where landscape art represents a whole new depth of understanding of how the environment works.

Figure 1 Staffa: Fingal's Cave, 1832, Yale Center for British Art

In my unit, I will be looking at biological structures at both a macro and micro level. This will help reinforce the students’ understanding of bone structures showing common ancestry traits between the different species. Engaging students with imagery to represent microscopic views of everyday things will help students develop an enriched understanding of how we perceive the world. My students will be encouraged to stop, be still, and focus on imagery to understand the vast complexity that exists in every level of an organism. Then by pulling back and examining the organism at the macro level their comprehension of advanced systems working together will become more evident. Analyzes two centuries of scientific perspectives on the relationship between evolution and development via the lens of evolutionary developmental biology (evo-devo). This viewpoint contests numerous prevalent interpretations of the history of evolutionary theory by asserting that many preceding authors shaped historical narratives to favor the Evolutionary Synthesis. The book commences with an updated account of evolutionary theory in the nineteenth century. It subsequently examines the manner in which development became inconsequential with the Evolutionary Synthesis. It culminates in an analysis of the enduring disparities between conventional evolutionary theory and evolutionary developmental biology (evo-devo). This book will attract students and experts in the fields of philosophy, history of science, and biology.⁵

An advanced look into modern biology is how to reconnect evolution and development. The nascent study program, known as evolutionary developmental biology or 'evo-devo,' necessitates the integration of disciplines, concepts, and explanations that have mainly evolved independently during the previous century.⁶ The current distinction between evolution and development has garnered significant focus on the division between genetics and embryology in the early 20th century, culminating in the exclusion of embryology from modern synthesis. This promotes the concept of evolutionary developmental biology as the integration of evolutionary theory and embryology through developmental genetics. However, an extensively overlooked narrative persists regarding the importance of morphology and comparative anatomy, which has also been downplayed in modern synthesis. Functional and evolutionary morphology are essential for comprehending the emergence of a notion key to evolutionary developmental biology: evolutionary innovation. Emphasizing the discipline of morphology along with the notions of creativity and novelty offers a distinct approach to synthesizing 'evo' and 'devo.'

This unit is for my high school biology students, and I will need to concentrate on those building blocks that consist of many factors not only the different components of science but what artistic endeavor it will take next. One of the projects that I believe will help initially with understanding the connection between art and biology is a simple sketch created by each student of their individual hand, not what they see but what they choose to draw that demonstrates the operation at hand. How will they choose to draw the articulating points, will it look like a chicken bone, will it look like a hinge joint, will it look like a ball and socket joint, and will it look industrial or organic? Will the student remember to incorporate the muscle structure, the nervous system structure, the skin, the hair, the nail, and nail bed? Each student's individual experience on this project is relevant as we can determine and learn from how they perceive their hand and how it works. Are we looking at the macro or the micro? Biology is systems within systems and art is meanings within meanings. The students’ ability to express themselves is virtually limitless. That being said, it is important to put a structure around the project so that we do not go so far out of bounds that it is not relevant to the science that we are learning.

A section will address the evolution of art as it relates to what we are attempting to portray: is it scientific or for pleasure? Some of the oldest art created on this planet was not created by Homo Sapiens. Neanderthal, Denisovan, and Florence have all created forms of art. What does this say about art? Is it something that proves our humanity is a natural condition that any species may develop. So many questions arise when it comes to the evolutionary process that adding other components to elicit thought from students is always beneficial. We can compare how art has been viewed through the years and not only to produce and portray science in the form of indexical art that can be used to educate as well as depictions of scientific accomplishments. This unit is about building engagement with students that goes beyond teacher and student and becomes a class learning experience for all. In class all students will look to model the latin motto "Facere et docere" (to do and to teach) so that in the doing their peers will also be engaged.

From Chauvet-Pont-d'Arc Cave in France to George Stubbs

Figure 2 Three horses facing each other in a Chauvet Pont d' Arc cave painting. The sensuous lines, shading, and posture were drawn 30,000-32,000 years BCE. Source : http://www. metmuseum.org/toah/hd/ chav/hd_chav.htm

Figure 3 Lustre held by a Groom by George Stubbs https://collections.britishart.yale.edu/catalog/tms:21173

From the first manifestations on cave walls and carved figures to the complex and extremely detailed art, art has undergone a remarkably significant metamorphosis over the course of human history. Although Pablo Picasso may disagree as he was famously reported to have said, "We have invented nothing since" after viewing the cave paintings at Lascaux. Though this statement is considered apocryphal I can understand some of what the statement portrays. We're a artist can see commonalities in techniques we can see commonalities in observations. Cave paintings, rock art, and miniature sculptures include some of the earliest examples of art that have been discovered. These examples date back to prehistoric periods. Cave paintings include those found in caves such as Chauvet-Pont-d'Arc in France, which date back around 30,000 to 32,000 years ago. These paintings demonstrate a desire to record and transmit experiences. Cave paintings were created with natural colors created from whatever was available and sculptures were carved with carving tools that were made from materials that were harder or could be sharpened. A wide variety of materials and techniques were utilized by early artists. If we compare the work to George Stubbs with the Chauvet-Pont-d'Arc Cave horse, we can see a remarkable resemblance anatomically. This comes from both artists’ long study of specimens.

However, in the case of George Stubbs, who lived in the era of Enlightenment science, he was able to take his time with the entire documentation process. It is fascinating to think that before he decided to draw the paint horse so that the results would be better than any other artist, he went to the trouble of deconstructing the horse. He would start with a horse after it had expired strapped to the rafters in a barn to make his first sketches. After finishing his first sketches he would remove the skin and sketch what was underneath. Meticulously he removes the flesh layer by layer until he got down to the bones, sketching each separate layer as he went. It is this type of anatomical study our students will emulate in many ways during the hand sketching student activity. Stubbs became the best painter of horses due to the study of the underlying structures and his creative way of examining the specimen up close.

Figure 4 Stubbs, George, The anatomy of the horse 1724–1806 https://collections.britishart.yale.edu/catalog/orbis:9801468

The concept of homology contains implicit assumptions regarding the evolution of morphological organization. Homologues serve as fundamental components in the development of organismal body plans. Their origin and preservation should constitute a fundamental aspect of a comprehensive theory of morphological development. Consequently, it is essential to comprehend the causality of homology and to examine the mechanisms underlying its emergence. The examination of this subject cannot be confined to the molecular level, as there seems to be no definitive correlation between genetic and morphological change. The establishment of homology is posited to occur in three distinct, albeit overlapping, stages: (a) the generation of morphological building blocks; (b) the incorporation of new elements into a body plan; and (c) the autonomation of integrated construction units as lineage-specific homologues in phenotypic evolution. Contrary to conventional perspectives, it is suggested that the mechanical foundation for steps (a) and (b) is predominantly epigenetic, reflecting the intrinsic tendencies of developmental systems in response to varying environments. Step (c) surpasses the immediate mechanisms that govern the formation of homologues, rendering them autonomous attractors of morphological organization at the phenotypic level.⁷

Figure 5 Stubbs, George, The anatomy of the horse 1724–1806 https://collections.britishart.yale.edu/catalog/orbis:1273862

While this is a very good example to use when discussing biological structures and the study of organisms there are other options. Ancient Egyptians had a culture of very stylized art that their physicians used. Homology is a natural type of term, and a specific definition of homology must derive from hypotheses regarding the function of homologues in evolution and development. Definitions of homology are examined about their capacity to provide a non-circular explanation of the correspondence or similarity denoted by homology.⁸ Standard accounts are contended to link homology to operational criteria or particular research endeavors, although they fail to provide a concept of homology that does not assume a variant of homology or a similar idea of equivalence. This supports phylogenetic definitions that link structures to the common ancestor, as well as developmental methods like Wagner's idea of biological homology. Conversely, molecular homology provides a definition of homology in genes and proteins that elucidates the concept by referencing more fundamental principles. Molecular correlation arises from distinct characteristics of causal processes. It is hypothesized that an enhanced comprehension of morphogenesis may empower biologists to provide a theoretically more profound definition of homology, referencing the specific mechanisms that function within animals.

Having your students engage in artwork that demonstrates function more than a merely exact replica can be beneficial when students are having difficulty bridging knowledge gaps. Through the use of a dynamic process known as scientific inquiry, scientists are able to gain an understanding of the natural world and generate explanations that are founded on facts. The process entails taking a methodical approach to the investigation of phenomena, the acquisition of new knowledge, and the integration of previously acquired information. Students can be encouraged to remember why acquiring information and knowledge skills are important because sometimes it gets difficult to clearly see and understand the relationship between art and science, specifically biology.

The art of the Middle Ages (c 400-1500) was highly influenced by religious themes, and it frequently featured biblical scenes and gothic architecture. During the renaissance (c.1500-1700), there was a shift away from conventional religious themes and toward humanism, realism, and scientific discoveries, particularly about the physiology of the human body. This shift was referred to as a "rebirth" of artistic expression. The invention of oil painting made it possible to achieve greater nuance. The nuance of depth, and linear perspective was utilized to produce effects that were more immersive. The creative forms and topics that were popular were influenced by patrons and powerful institutions.

The period of the Enlightenment, around 1750-1830, saw the rise of scientific methods. The artist most closely attuned to this was Joseph Wright of Derby who in my opinion created three of the greatest paintings depicting scientific experimentation. The Industrial Revolution, which began at the same time as the Enlightenment but is arguably ongoing to this day, was responsible for the introduction of new materials, such as synthetic dyes and oil paint tubes, which made painting more accessible to the general public. This opened the door in many ways for individuals like John James Audubon and his wonderful double elephant portfolio of Birds of America published as a series between 1827 and 1838.

Figure 6 Audubon’s representation of common American Blue Jays April 29, 2019 https://beineckeaudubon.yale.edu/news/image-and-narrative

When working with students it is necessary to review art works before they begin the projects. While not specifically a scientist Audubon was a naturalist who truly wanted to depict every piece of visible information to the best of his abilities. The fine detail work done in his portfolio exhibits every element of the biological specimen down to the barbs of the individual feathers. This coupled with the phenomenal effort to maintain the exact color palette of each specimen is a level of detail in art very few are able to live up to. The advent of the still image camera, with monochrome then eventually color film, followed by the motion picture camera, brought about a change in the way that reality was captured and viewed throughout history. The photography is still not perfect, and you have to decide what will remain more in focus and what will be slightly distorted. This is due to the mechanical limitations of the camera and the film. However today as result of the growth of computers, software, and the internet, visual representation is largely a digital practice. Many of the images that we use in our science classes are these types of multimedia presentations that allow students to comprehend difficult scientific concepts. However, having our students do some of their own heart enriches this comprehension.