Scientifical Images

While maths can be viewed as enabling learning in science and medicine, in reality we see students are bringing their maths anxiety with them to their studies. Our work focuses on dissecting the maths problem as it relates to teaching and learning in these so-called hard disciplines. We have been challenging the inertia of what we see as a stand off with students taking the view that they are unable to do maths and educators frustrated at their disengagement. We have found that the maths problem resonates with several pedagogical frameworks (e.g. Meyer and Land’s Threshold Concepts Framework, Perkins and Simmons’ four frames of understanding) and we have found these useful for unpicking where our students become disengaged. We have applied a number of interventions to assist student learning and are now using our findings to inform the design of an online diagnostic to more explicitly address dysfunctional stances that students adopt when asked to manipulate their quantitative data....

Richard Waller, Fellow and Secretary of the Royal Society, is probably best remembered for editing Robert Hooke’s posthumously published works. Yet, Waller also created numerous drawings, paintings, and engravings for his own work and the Society’s publications. From precisely observed grasses to allegorical frontispieces, Waller’s images not only contained a diverse range of content, they are some of the most beautiful, colorful, and striking from the Society’s early years. This article argues that Waller played a distinctly important role in shaping the visual program of the Royal Society by virtue of his multiple functions as reliable administrator and translator, competent natural philosopher, and skilled image-maker. It analyzes Waller’s visual works in the context of his graphic training—in part influenced by his mother Mary More—and situates them within the context of English image-making traditions and Waller’s own natural philosophical interests. Examined as a functional whole, Waller’s career as a Fellow of the Royal Society emerges as an important case study in the fusion of visual and scientific practices in early-modern England.

The paper begins by arguing that knowledge-blindness in educational research represents a serious obstacle to understanding knowledge-building. It then offers sociological concepts from Legitimation Code Theory - ‘semantic gravity’ and ‘semantic density’ - that systematically conceptualize one set of organizing principles underlying knowledge practices. Brought together as ‘semantic profiles’, these allow changes in the context-dependence and condensation of meaning of knowledge practices to be traced over time. These concepts are used to analyse passages of classroom practice from secondary school lessons in Biology and History. The analysis suggests that ‘semantic waves’, where knowledge is transformed between relatively decontextualized, condensed meanings and context-dependent, simplified meanings, offer a means of enabling cumulative classroom practice. How these concepts are being widely used to explore organizing principles of diverse practices in education and beyond is discussed, revealing the widespread, complex and suggestive nature of ‘semantic waves’ and their implications for cumulative knowledge-building.

Exploration of INTERSUBJECTIVITY is continued. Different kinds of if are differentiated and signs for its presence and effects are shown. The difference between it, subjectivity and objectivity are explored.
Intersubjectivity is crucial and universal for general everyday discourse in all cultures, sub-cultures, institutions, communities and socio-cultural practices such as religion, sport, etc or the so-called Manifest Image. It is essential for specialized areas, for example religion, sport and disciplines such as the humanities, arts, sciences, philosophy and all institutions.
It is a necessity for both cultural, social, interpersonal as well as intra-personal existence, emotions, attitudes, values and norms. But, it is not limited to human existence, life-worlds, realities and worlds, but also for animals and all organisms. Object Oriented Ontology would emphasize that is it not merely something anthropocentric and restricted to human existence and consciousness (and anthropocentric interpretations of and projections on other objects, non-human creatures and all organisms, as well as all objects.. In the case of the latter one would probably replace the notion of intersubjectivity with terms such as energy and other ways of action and interaction for example intra- and inter-atoms.)
In the Appendix is included work related to the above by others such as Sellars, Brandom (and his two images, Manifest and Scientific), Davidson, Dennett, Habermas, Nagel, etc.

Aunque las partículas subatómicas son invisibles, los físicos las representan visualmente a fin de guiar la concepción social sobre cómo se integra y evoluciona el Universo. En este sentido, la imaginería científica —ya sea la que se utiliza entre expertos, o la que persigue fines divulgativos— es un medio para crear una ilusión referencial de realidad a través de la cual sus autores y observadores visualizan algo coherente, estipulan algo útil, e interpretan algo significativo sobre el
microcosmos imperceptible que configura al macrocosmos manifiesto.
Esta tesis argumenta que dicha noción tripartita de realidad puede ser
comprendida a través de la teoría de la significación del químico, matemático y filósofo estadounidense Charles Sanders Peirce (1839-1914), a la luz de diversas aportaciones y replanteamientos contemporáneos en semiótica, filosofía de la ciencia y hermenéutica.
A fin de sustentar lo anterior se realiza un análisis sintáctico, pragmático y semántico de una imagen divulgativa publicada en 2013 por el Experimento ATLAS (Aparato Toroidal del Gran Colisionador de Hadrones, por sus siglas en inglés) con motivo de la detección exitosa de una partícula subatómica que coincide con las propiedades de decaimiento de un bosón Higgs.

The book is a study of the range of image-making and image-interpreting practices in an average university, with no particular stress on art. There are chapters by doctors, lawyers, scientists of all sorts, engineers, humanists, social scientists... it is a cross-section of the actual production of images in the university, and a corrective to the special interests of visual studies.

This file contains the opening pages, table of contents, preface, and the lengthy introduction, which assesses the state of scholarship on art / science links, including critical reviews of scholars who write on the "science of art" or vice versa. The introduction also draws out common themes in the 30 disciplines that participated in the exhibition, arguing that it is possible to consider images in various fields without using tropes from the humanities or social sciences as explanatory tools--in other words, by letting the different disciplines speak in their own languages.

The ultimate purpose of the introduction, and the book as a whole, is to justify a university-wide course on visual experience, which would introduce students to work in all faculties or divisions of the university. Such a course would be a corrective to the almost exclusively humanities-based perspective of existing "visual culture" courses; and it would also be an interesting acknowledgment of the visual nature of much of contemporary research and experience (running, as it would, against the grain of other freshman courses, in which words and equations continue to be preeminent).

"ABSTRACT - The analogy between art and science is a subject increasingly discussed in contemporary culture, at the risk of becoming a trite commonplace. This parallel is often advanced, instead of argumentally, in a rhetorical way. It allows both ascribing to science a "creativity" generally associated with artistic production, and assigning to art a "rigour" traditionally connected with the scientific enterprise. Nevertheless, this is seldom accompanied by a proper appraisal of the euristic and cognitive function accomplished by images.
Among philosophers and historians of science very often still prevails the belief that a genuine growth of knowledge takes place only in the linguistic/mathematical domain, so that visual representation may carry out just an ancillary role. Accordingly - in the best of instances - visualization can contribute, before an hypothesis has been properly structured, to guide the researcher at a psychological level, and, after the theory has been formulated, to provide an expository or didactic instrument.
Against this theoretical stance - shared by the Logical Empiricists, K. Popper and even E. H. Gombrich - writers like N. R. Hanson, T. Kuhn, I. Lakatos and P. Feyerabend have worked at a redefinition of epistemology that brought a better understanding of the part played by images. This has been accomplished by focusing their attention on the factors that participate in the genesis of a conjecture and on the strategies employed to promote and defend a theory, among which a significant function is performed by various modes of visualization.
The paper examines the role of visual representation (naturalistic and diagrammatic) from an epistemological and historiographical point of view. In doing so, it criticizes the rigid dichotomy word/image connected to an essentialistic conception of both terms. The latter has found manifold expressions in Western culture, fueling the unending dispute between iconophobics and iconophiles."

In The Age of Total Images, art historian Ana Peraica focuses on the belief that the shape of the planet is two-dimensional which has been reawakened in the late 20th and early 21st centuries, and the ways in which these ‘flat Earth’ conspiracy theories are symptomatic of post-digital image culture. Such theories, proven to be false both in Antiquity and Modernity, but once held to be true in the Medieval Period, have influenced a return to a kind of ‘New Medievalism’.
By tracing visual representations of the planet across Western history and culture, Peraica provides support for a media-based explanation behind the reappearance of flat Earth theories. Through an adventurous exploration of the ways the Earth has been represented in sculptural globes, landscape painting, aerial photography, and even new media art, she proposes that a significant reason for the reemergence today in the belief that the world is flat lies in processes and practices of representation which flatten it during the compositing of photographs into ‘total images’. Such images, Peraica argues, are principally characterized by the disappearance of the subjective point of view and angle of view from photography, as the perspectival tool of the camera is being replaced with the technical perspective of the map, and human perception with machine vision, within a polyperspectival assemblage. In the media constellation of these total images, photography is but one layer of visual information among many, serving not to represent some part of the Earth, but to provide an illusion of realism.

In his new book (2015), Brandom offers a new argument against the viability of Sellars’ scientific naturalism. Brandom attempts to show that if the Sellarsian it scientia mensura principle is understood as implying that manifest-image objects exist only if they are identical to scientific-image objects, it is undermined by the ‘Kant–Sellars’ thesis about identity which implies that manifest-image objects cannot be identical to scientific-image objects. This conclusion can be evaded by construing the relation between manifest and scientific objects as weaker than that of identity, namely as a relation between manifest-image functional roles and scientific image realizers. But Brandom again argues that even this weaker construal of the scientia mensura thesis is in conflict with another Sellarsian argument, this time against phenomenalism. It will be argued that this is not so. I will, moreover, suggest that the ‘function-realizer’ construal of the manifest-scientific image distinction is indeed tenable—especially if the process of determining the scientific-image realizers of functional roles specified in manifest-image is understood as the culmination of a self correcting dynamic and diachronic process of conceptual change. Finally, I will argue that while Brandom is right to point out that Sellars’ adherence to the scientia mensura principle is based on a ‘unity-of-science’ view, he is wrong to think that his argument for the contrary conclusion (the ‘disunity-of-science’ view) is successful, because Brandom’s argument does not automatically tell against a weaker ‘unity-of-science’ view according to which incommensurability of explanatory levels in science is a pragmatically indispensable yet in principle dispensable feature of empirical inquiry.

Alexandre Koyré wrote that Newton and the science that followed led to a splitting of the world: on the one hand is the “world of qualities and of sensible perceptions”, on the other is the “world of quantities and of reified geometry”. A comparison between facts held true by common sense and false by the scientific image of the world (or vice versa) seems to confirm this view. But is the dichotomy a real one? Is the world of common sense really “another world” relative to the world of the natural sciences? In this paper we argue in support of a negative answer.

FR: Ce texte s’interroge sur la spécificité de l’image scientifique par rapport à d’autres outils de représentation et d’autres statuts de l’image – tel que le statut artistique. Il propose des éléments de réflexion à partir de trois questions principales : 1) est-ce qu’on peut élaborer une définition de l’image scientifique qui soit commune à toutes les disciplines scientifiques ? 2) Quels types de rapport s’établissent entre les images scientifiques et les images artistiques ? S’agit-il d’une différence ontologique ou bien pragmatique ? 3) Est-ce que le dispositif de l’image trouve son terme opposé dans le texte verbal, suivant l’ancienne distinction entre analogue et digital ? Est-ce que par contre l’image trouve son terme opposé dans le langage formel des mathématiques ?

EN: This paper aims to question the specificity of scientific image and its relations with other representation tools and other statute of images – specially the artistic one. It deals with three main problems: 1. Is it possible to establish a definition of scientific image that every scientific discipline could share? 2. What kind of relations can be between scientific and artistic images? Is their difference ontological or owing to pragmatics? 3. Is it more heuristic to oppose image and verbal text or image and formal language of mathematics?

In the years 1890-1910, Lourdes became the place where apologetics were built. Their goal was to bring out the authenticity of supernatural experience and its value as a phenomenon to the public and the medical profession. The objective was to get science to take on the miracle, in order to convince the scientific field to give way to a supernatural hypothesis in the theory of the world. This fight was conducted on several fronts, since it also aimed to evacuate the type of neuro-psychological or occultist forces that were claimed to operate in Lourdes. Photographs, abundantly used from 1900, did not aim to make the miracle visible, but to make believe in the authenticity of Lourdes, showing places and healed individuals through the triteness of portraits cards and tourist photographs, in a perspective that was both scientistic and popular: the picture had to show an accessible reality, one only had to see in order to believe.

The purpose of this study is to reveal the opinions of teachers on using the mind mapping technique in Life Science and Social Studies lessons. The participants of the study are 20 primary education teachers. In this study, a semi-structured interview technique was used. For content analysis, the themes and codes were defined, based on the views of the teachers.
According to the findings, the teachers had lack of proficiency in the parts of the lesson
which was lectured by using the constructivist approach and it was seen for this reason
that the teachers used only the introduction and evaluation steps in applying the mind mapping technique to the parts of the lessons. Teachers think that it would be more appropriate
using the mind mapping technique to oral lessons. While expressing the factors that are providing permanence in students’ acquisition and increasing the success in the exams among the advantages of this technique, the possible troubles about time limitation
can be expressed among the disadvantages.

Cet article s’intéresse à la publication dans la presse de vulgarisation d’un corpus d’images scientifiques de la lune (gravures et photographies) qui rencontre un important succès à la fin du XIXe siècle. Il s’agit de montrer que, alors que la littérature spécialisée est traditionnellement rétive aux images dont le statut épistémologique est mal établi, c’est la presse de vulgarisation qui devient le lieu de publication d’images scientifiques pionnières issues de la spécialité nouvelle astronomie physique, mais aussi des mondes amateurs. On trouve dans Le Magasin Pittoresque, L’Illustration ou La Nature, les vues de lune les plus neuves. La presse met ses moyens techniques – gravure, « d’après photographie », héliographie – au service d’une illustration qui renouvelle les visualisations lunaires, faisant du satellite de la terre un objet naturel, une autre terre, et qui s’enrichit au début du XXe siècle d’un véritable paysage.

In recent decades, there has been a renewed historiographical interest in the practices, knowledge, spaces and materiality of technical aspects of sciences, which explores the role played by images in diverse scientific practices has increased internationally (which is framed, in turn, within more general historiographical perspectives that, in social sciences, had already begun to consider images as sources of the same hierarchy as textual ones).

From this perspective, this article provides reflections on the implications of considering the visual dimension of the history of science to rethink new historiographical forms, assuming that images are not merely illustration and, on the contrary, they worked and function in the observation and recording of data, in the exchange and corroboration experimental, in the formulation of theories, in the visual communication of results, in the development of new instruments, in the reassignment of uses of old instruments, among others. The empirical study of these reflections is focused on the technical, political and social issues that arose around the development of optical and electronic microscopes, and the microscopic images generated by them from some cases linked to experimental medicine in Argentina in the 20th Century.



Key Words: history of sciences, scientific images, Argentina, visual culture, micrographies

Die Trennlinie zwischen Kunst und sogenannter schizophrener Bildnerei geriet Anfang des 20. Jahrhunderts in den Blick einiger Psychiater. Kunstwerke von Psychiatrieerfahrenen versprachen hierbei Aufschluss über das kranke Innenleben und die Beschaffenheit der Schizophrenie zu geben. Am Fall des Psychiaters Hemmo Müller-Suur (1911-2001) wird deutlich, wie die Kunstwerke von Paul Goesch zum Gegenstand psychiatrischer Beobachtung und deren Reproduktionen zu wissenschaftlichem Bildmaterial in Fachzeitschriften wurden. Der Vortrag zeigt, dass dieser spezielle psychiatrische Blick, seine Voraussetzungen und Funktionen im Rahmen eines wissenschaftlichen Denkkollektivs möglich wurden, in dem sich psychiatrische mit kunstkritischen Kompetenzen verbanden.

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The dividing line between art and so-called schizophrenic painting came into the view of some psychiatrists at the beginning of the 20th century. Works of art by psychiatrists promised to shed light on the inner life of artists and the nature of schizophrenia. The case of the psychiatrist Hemmo Müller-Suur (1911-2001) shows how the artworks of Paul Goesch became an object for psychiatric observation and how their reproductions were used as scientific visual material in specialist journals. The talk shows that a particular psychiatric view, its preconditions and functions became possible within the framework of a scientific intellectual collective in which psychiatric and art-critical competencies overlapped.

From the second half of the 19th century up to the first part of the 20th century the drawings of Mars by the Italian astronomer Giovanni Schiaparelli became the centre of an international controversy concerning the existence of canals and the hypothetical habitability of the red planet. These images also generated a full impact on the popular culture of the time. This essays follows the scientific representations of Mars by Schiaparelli (drawings of discs and maps) from their birth in the hands of the astronomy community up to their growing old in the hands of scientific popularizers such as Camille Flammarion and science fiction writers such as Herbert George Wells. With its seas and canyons Mars turned into the ideal background for scientific and exotic romanticism, offering a suitable setting for novels and tales. The core question crossed paths with the contemporary early 20th century debate raging on about the evolutionary theory. The study of Mars moved from astronomy to extraterrestrial physiology, biology, meteorology and geography: astronomical images then became imaginary portraits of Martians and artificial Martian landscapes.

Même si traditionnellement et à des fins de simplification on classe le dessin parmi les icônes, les photographies parmi les indices, et les images reconstruites de l’imagerie contemporaine parmi les codifications symboliques, on sait bien que chaque image et série d’images de statut scientifique — ou non — est pénétrée par trois dimensions. Ainsi la dimension iconique assurerait-elle à l’image une stabilisation des formes et une méréologisation des données de la perception, la dimension indicielle témoignerait des traces effectives de son instauration, et la dimension symbolique permettrait à chaque image d’être considérée comme le produit négocié d’une pratique communicationnelle institutionnalisée. Selon cette conception, toute image attestée peut être conçue comme une stratification de ces trois dimensions.

Laurence Guignard Trois peintres de Lune. Des amateurs entre art, science et vulgarisation L'association arts/sciences est une caractéristique de l'imagerie scientifique qui se déploie à partir de la Renaissance. En astronomie, celle-ci revêt cependant une dimension particulière, liée à la spécificité du statut des images qui prévaut dans cette discipline. En effet, si l'observation et la réalisation de croquis font partie du quotidien des astronomes, l'essentiel de leur activité réside cependant davantage dans la mesure des positions des astres que dans la saisie des phénomènes célestes. Cette prévalence se renforce avec la forte mathématisation de l'astronomie qu'apporte la mécanique céleste à la fin du XVIII e siècle, mais sans empêcher pour autant le développement parallèle d'une astronomie d'observation minoritaire, qui stimule dans le dernier tiers du XIX e siècle l'essor d'une astrophysique demandeuse et pourvoyeuse d'images. Pour ces raisons, les compétences des dessinateurs et peintres scientifiques capables, à l'aide d'instruments de plus en plus puissants, de donner visibilité à des objets lointains intéressent l'astronomie. Mais au moment de la « divergence arts/science 1 » c'est l'imagerie scientifique elle-même qui connait des mutations décrites par Lorraine Daston et Peter Galison : l'ancienne imagerie naturaliste, prise en charge par des artistes, est concurrencée par une nouvelle d'objectivité scientifique qui promeut des moyens de saisie mécanique et favorise notamment l'utilisation de la photographie 2. Comme celle-ci n'est pas véritablement efficace avant l'utilisation du gélatino-bromure d'argent, dans les années 1880, la nouvelle demande d'images ouvre paradoxalement une fenêtre à des formes artistiques traditionnelles d'imagerie scientifique. Investis dans des activités scientifiques et liés à la science professionnelle, ces artistes demeurent cependant cantonnés à sa périphérie. Ils peuvent être pour cela abordés comme des amateurs de science mais restent difficiles à saisir comme groupe. La collecte de leurs productions est en revanche plus facile parce que celles-ci sont fréquemment conservées, et permet de les mettre en lumière. L'article s'intéresse à trois auteurs d'images novatrices de la lune : John Russell (actif entre la fin du XVIII e et le début du XIX e siècle), Étienne Léopold Trouvelot (1850-1895) et Lucien Rudaux (1890-entre-deux-guerres).

Generation, the creation of new life, posed the ultimate challenge for early modern anatomists. Even when they gained access to women's bodies and fetuses, they had to contend with the ways in which generative organs, more than other body parts, alter with actions and age. Their accounts of these structures focused on variations in shape, size and texture, and on the fluids, eggs and fetuses they contain. Continual changes during intercourse, pregnancy and over a lifetime, together with the small size of nas-cent creatures, the many clear liquids and the impossibility of watching conception, all complicated efforts to observe, describe and understand generation. From the sixteenth century, European anatomists prioritized knowledge of bodies acquired through sight over descriptions by ancient authorities, even as they consciously followed Galen and Aristotle. 1 In his monumental De humani corporis fabrica (On the fabric of the human body, 1543), Andreas Vesalius exhorted students to refrain from blindly trusting books, to look for themselves and to compare Galen's descriptions with his. 2 'Autopsia' , seeing with one's own eyes, soon became the watchword. A century later, in Exercitationes de generatione animalium (Anatomical exercitations concerning the generation of living creatures, 1651), William Harvey explained his methodology and assured readers that 'per autopsiam' they would identify errors in Aristotle's and Galen's accounts of how fetuses are conceived and form, and make new discoveries of their own. 3 Seeing was central to anatomists' debates: insisting that Nature's book was open and legible to readers who knew how to look, they criticized others for not seeing and developed their own indirect ways of viewing generative parts and processes. Yet at the same time, echoing long-standing disagreements among natural philosophers, anatomists and physicians, they worried about the practical and epistemological limitations of sight. These worries were especially acute when they tried to explain the workings of the generative organs, parents' contributions and fetal formation. This chapter examines how anatomists produced pictures, developed figurative language and ventured analogies, and argues that these techniques were central to their use, available at https://www.cambridge.org/core/terms. https://doi.

In species that reproduce sexually, an individual’s fitness depends on its ability to secure a mate (or mates). Although both males and females are selected to maximize their reproductive output, the mating strategies of the two sexes can differ dramatically. We present a classroom simulation that allows undergraduates to actively experience how differences in parental investment lead to differences in reproductive behavior. Students will understand why males generally compete for mates whereas females generally choose among mates. The activity provides foundation for exploring advanced topics in animal behavior, or it can be adapted
for introductory biology courses.

While maths can be viewed as enabling learning in science and medicine, in reality we see students are bringing their maths anxiety with them to their studies. Our work focuses on dissecting the maths problem as it relates to teaching and learning in these so-called hard disciplines. We have been challenging the inertia of what we see as a stand off with students taking the view that they are unable to do maths and educators frustrated at their disengagement. We have found that the maths problem resonates with several pedagogical frameworks (e.g. Meyer and Land’s Threshold Concepts Framework, Perkins and Simmons’ four frames of understanding) and we have found these useful for unpicking where our students become disengaged. We have applied a number of interventions to assist student learning and are now using our findings to inform the design of an online diagnostic to more explicitly address dysfunctional stances that students adopt when asked to manipulate their quantitative data....

I argue that an important qualitative shift has taken place in scientific fraud since the introduction of digital tools for image manipulation.  In particular, we see the emergence of recursive fraud, that is, the fraudulent reproduction of previously fraudulent images, as distinct from the artisanal one-off form of fraud one can find in the history of science.

Pictures at the microscope, flow charts, technical illustrations, maps, diagrams. All these visual objects are more and more present in both the media scene and the everyday life, due to the need to master, from a cognitive and visual point of view, the complexity of the contemporary world, overwhelmed by data and information. Different visual objects that find a common point in their being “informational images” – as Elkins defined them –, images that convey information and represent concepts and relations.

Contributions can develop the topic of diagrammatic representation with respect to different visual objects (scientific and artistic images, data and information visualizations, digital images) and different approaches (semiotics of arts, culture, and scientific text; anthropology and image theory; art history and art theory; history and sociology of science; communication and information design; media studies). The aim is to foster the dialogue among different disciplines and analytical perspectives on the modes of signification of such visual objects.

Papers in English, French, and Italian.
Length: max. 40.000 characters (8000 words)
Deadline for contribution: 20 June 2014
End of reviewing process: 30 July 2014
Expected date of release: October 2014

The Editorial Board invites you to send an abstract with a proposal of contribution of 2000 characters (400 words) in English, French, Italian (please a short bibliography attached) by 10 January 2014 to the following addresses:

- valentina.manchia@gmail.com (Valentina Manchia, issue editor)
- cartesemiotiche@gmail.com

This chapter probes into how scientists' discursive interactions are oriented not only to others' arguments but also toward achieving an agreement on what data are like and how they ought to be used. It does so by attempting a reading of an episode of data re-use from recent astronomy that is mindful of researchers' interactional and discursive work. I focus on the presumed detection, in 2004, of a galaxy at record distance from Earth. The original data became public at the time of publication and were soon re-used and supplemented with new observations by other teams. Data re-using scientists sought to reconstruct the practices used in making the discovery claim, and found them at fault. This allowed them to suggest the repair of data and of data use practices, which were subsequently taken up by the scientists who had claimed the discovery. I argue that this work was enabled by astronomy's discipline-specific architecture for observation, of which objectual, technological and institutional elements provide contexts and resources for achieving the reflexive repair of data and data use practices. These astronomers experience data journeys more as reflexive loopings in screen-mediated work than as itineraries across physical sites or geographies.

Students have diverse learning styles and we have been using statistical analyses of student survey data to group (or cluster) together students with similar characteristics in a process we call Learner Profiling. Learner characteristics include approaches to study and conceptions of subject, in this case Biology. Approaches to study are measured as surface and deep using a standard questionnaire (Biggs, Kember & Leung, 2001). Conceptions of subject are measured on two scales, fragmented and cohesive (Quinnell et al., 2005). In our previous work we ascertained that 48% of students in an introductory university biology course change their Learner Profile characteristics (approach to learning and conception of biology) from the start to the end of their first semester at university, with some Learner Profiles being more persistent than others. Here we employ post-hoc analyses to see how elements of the curriculum (as defined by Ramsden 1991) correlate to the changes in Learner Profile. We are begining to explore the notion of disciplinarity in our teaching and student learning and we will discuss the value of our learner profiling method to inform the curriculum which must, by necessity, be suitable for students across a broad range of degree programs. This workshop is a continuation of the work we presented at CONASTA’59.

Biggs, J., Kember, D. & Leung, D.Y.P. (2001) The revised Two-factor Study Process Questionnaire: R-SPQ-2F British Journal of Educational Psychology, 71, 133-149.
Ramsden, P. (1991). A performance indicator of teaching quality in Higher Education: The Course Experience Questionnaire. Studies in Higher Education 16(2), 129–150.
Quinnell, R., May, E., Peat, M. & Taylor, C. (2005) Creating a reliable instrument to assess students’ conceptions of studying biology at tertiary level. Proceedings of Blended Learning in Science Teaching and Learning Symposium. Sydney, NSW: UniServe Science, 87–92. Retrieved February 4, 2010, from http://science.uniserve.edu.au/pubs/procs/wshop10/2005Quinnell.pdf

Cinema and science can be crossed in multiple ways, giving birth to educational courses for students of any age. Here we explore one of the directions of research, for which we also give some guideline: sequences of whole movies as "hooks" to something the user knows, get his/her attention and can be used to build situations and stories; these "hooks" become tool to evoke students' pre-notions, to explore and problematize them together; and in cinema itself we can found occasions to think differently...

The objective of this article is to present some theoretical and methodological lines which explore alternative forms of thinking the imagen and its potentialities in the process of construction and communication of scientific knowledge. It can be summarized in three topics: the scientific image, its specificity and typologie; the evolution of disciplines and of supports; and the uses of those images in different context of scientific practice.

In this article, we analyze the use of photographic technologies of two renowned researchers whose investigation results would have been impossible to carry out, as occurs in Galileo a few centuries before with the use of imaging techniques, without the use of photography: Santiago Ramón y Cajal and Cecil Frank Powell, Nobel Prize winners in medicine in 1906 and in physics in 1950, respectively. These researchers were selected, first, because of their close relation with photography and, second, to clearly illustrate the gradual transgression of scientific photographic representation starting in the late nineteenth century from the visible to the invisible.

Abstract: Learning science requires the understanding of concepts and formal relationships, processes that -in themselves- have been proved to be difficult for students as they seem to encounter substantial problems with most of the inquiry-learning processes in which they engage. Models in inquiry-based learning have been considered as powerful ‘tools’ that may help students in enhancing their reasoning activity and improving their understanding of scientific concepts. Modelling, however, in the form of exploring, designing and building computer models of complex scientific phenomena has also been embedded in the constructionist learning approach. Working collaboratively with constructionist game microworlds that by design invite students to explore the fallible model underpinning the game and change it so as to create a new game, may provide students opportunities to bring into the foreground their conceptual understandings related to motion in a Newtonian space and put them into test making them at the same time objects of discussion and reflection among the members of the group. Apart from the meaning generation, we also study in this paper, the students' group learning processes i.e. the construction of emergent activity maps to either plan their actions as they engage in game modelling activities or to report on the outcomes generated when these actions are implemented. The connections between the students’ activities as they work with a constructionist medium and the inquiry-based learning activities from which the students are considered to pass when engaging in scientific inquiry also constitute one of the main issues this paper attempts to study.