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Archive for the ‘botany’ Category

Never mind winter. Beginning this weekend, you can surround yourself with plants in the Greenhouse Classroom at Cylburn Arboretum!

Here’s the latest at Classes Near You > Maryland:


Cylburn Arboretum

http://cylburnassociation.org
The Cylburn Arboretum is the home of a post-Civil War estate built as a summer home for the President of Baltimore Chrome Works and his mother. Now a center for environmental education and horticulture, the Cylburn Arboretum hosts tours, events and activities for children and adults. The botanical art classes at Cylburn are taught by botanical artist, Molly O. Hoopes. Learn more about Molly in the ASBA Members’ Gallery.

    Winter Botanical Art and Illustration
    Saturdays, January 14, 21, 28, 2012. 10 AM – 2 PM. Botanical art and illustration is a centuries-old traditional art form combining art and science to communicate information about plants through beautiful and scientifically accurate renderings. This art form is becoming an increasing popular method for teaching about plants, as habitat degradation and climate change so drastically affect native species. Learn how to draw plants in scientific detail and practice the artistic techniques needed to create beautiful and lasting plant portraits. Beginners will acquire new knowledge and skills and experienced artists will refine techniques and find fresh directions for their work. Learn in a positive and encouraging environment from instructor Molly Hoopes who studied botanical illustration at Gage Academy and at the Brookside Gardens School of Botanical Art and Illustration. Molly is a member of the American Society of Botanical Artists. Cost of 12 hours of instruction: $180 members, $215 non-members. Fee due at time of registration. Call (410) 367-2217 to register. Location: Greenhouse Classroom.

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Finding an answer to this question was the focus of a study created by
Elisabeth E. Schussler, Melanie A. Link-Perez, Kirk M. Weber and Vanessa H. Dollo. They reported their findings in Exploring Plant and Animal Content in Elementary Science Textbooks.

To determine how plants and animals were presented in nationally-distributed textbooks, they reviewed two sets of general science books — the Science series (2006) by Harcourt and the Science series (2005) by Macmillan McGraw-Hill. Schussler, et al. (2010) conducted a detailed analysis of the textbooks used in grades 1-5.

General science textbooks address concepts from many areas of science and this information is presented in many ways. Schussler, et al. (2010) studied only the life science units of each textbook and focused their analysis on the body of text within each section. They decided to leave sections of complementary information within each chapter (i.e., text boxes, special features, activities, chapter summary questions, etc.) out of their analysis. They searched specifically for plant-focused and animal-focused content to determine the following:

  • The number of sub-sections and pages of plant and animal content.
  • The number of plant and animal examples used in each text.
  • The number of plant and animal topics included in each text.

Here is a summary of what Schussler, et al. (2010) discovered:

  • In both textbook series, the number of sub-sections dedicated exclusively to non-human animals was greater than the number of sub-sections dedicated exclusively to plants. The number of content pages about animals was equal to the number of content pages about plants in the Harcourt series. In the Macmilian McGraw-Hill series, there were more animal pages than plant pages.
  • In both publisher’s textbooks, the number of animal examples used exceeded the number of plant examples used. The most repeated examples of plants in the Harcourt series were tree, grass, moss, pine and fern. In the Macmillian McGraw-Hill series, the most repeated examples of plants were tree, grass, corn, cactus and oak. The most repeated examples of animals were almost identical. They were bird, fish, insect, frog and deer. In the Harcourt series, snake tied with deer.
  • More animal-related topics were included in the textbooks than plant-related topics.

How did the research team sift though all that content and decide what was an animal-related topic and a plant-related topic?

The topic categories were identified after a careful analysis of the text. Schussler, et al. (2010) identified categories such as “seed germination”, “plant growth”, “reproduction”, and many others. After sorting through their list of categories, they came up with a list of topics that encompassed all the categories they identified. This final list addressed the following topics: Parts, Needs, Types, Growth, Reproduction, Uses, Adaptations, and Where Specimens Live (Schussler, et al., 2010). As far as plants were concerned, the topic “Plant Parts” received more attention than the topic of “Animal Parts” in both series. After this, though, content about animal needs, animal types, animal adaptations, etc. was more prevalent than the needs of plants, the types of plants growing on Earth, their adaptations and the landscapes they call home.

Schussler, et al. (2010) propose that textbooks may be contributing to the gap in knowledge observed in students when students are asked to name plants and animals. They also propose that textbooks may be contributing to students’ perception that plants are boring because plants are presented more as “parts” and not as living entities with needs, adaptations and all the rest.

Schussler, et al. (2010) recommend a thorough analysis of textbooks in all countries to find out if the differences they found in the Harcourt and Macmillian McGraw-Hill textbooks are present in other general science books. They also call upon botanists and all botany educators to use as many real world examples about plants as possible to encourage a comprehensive, big-picture view of plants.



Did You Know?



Literature Cited

Schussler, Elisabeth E. and Melanie A. Link-Perez, Kirk M. Weber, Vanessa H. Dollo. 2010. Exploring plant and animal content in elementary science textbooks. Journal of Biological Education. Vol. 44(3): 123-128.

Buy this article online from Taylor & Francis Online ($36) or visit the reference section at your local college library.

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This month the National Tropical Botanical Garden offers two opportunities to learn about plant exploration.

At their garden campus in Miami, The Kampong, the National Tropical Botanical Garden is offering guided tours of the private home and garden of botanist and explorer, David Fairchild. Tours are given on Wednesdays and Saturdays through January. Tours begin at 10:30 AM. Reservations are required.
View Details/Register

Meanwhile, at their main garden in Kaua’i, the National Tropical Botanical Garden will host a viewing of Pearl of the Pacfic: Exploratory Botanist Steve Perlman on January 19 (5:30 – 7:00 PM). View Details/Register

To get a sense of what plant explorers do in the field to gain a better understanding of the plant world, watch this video of botanist Steve Perlman at work on the Hawaiian island of Moloka’i.

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Interested in learning about botanical art, but don’t know where to begin? Botanical artist Margaret Johnson will teach a ten-session course for beginners at the San Antonio Botanical Garden this Spring. Margaret received a diploma in botanical illustration from the Royal Botanic Garden Edinburgh.

San Antonio Botanical Garden
www.sabot.org
Created to help people connect with, and understand, the plant world, the Garden offers educational programs for school groups, families and adults. View photos and the Garden’s Master Plan for the future at www.sabot.org.

    Beginning Botanical Illustration with Margaret Johnston
    Tuesdays & Thursdays, April 3 – May 3, 2012; 11 AM – 2 PM. Students will be introduced to botany and botanical illustration and learn about the techniques and equipment used by botanical artists. Students will complete one painting during this course and will leave class prepared for their next botanical art class. A second class covering intermediate topics will be taught in the Fall. Margaret is a graduate of the diploma course in botanical illustration at the Royal Botanic Garden Edinburgh. Cost: $300. View Details/Register

This update has also been posted at Classes Near You > Texas:

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In the 18th century, botany books were mostly written for a female audience. Women were encouraged to study botany as it was considered to be an acceptable activity for women. In Linnaeus in Letters and the Cultivation of the Female Mind: ‘Botany in an English Dress’, professor and 18th-century scholar, Sam George, discusses the feminization of botany in the 18th and 19th centuries.

During this time, authors wrote popular botany books for women. Botanists even got into the game and, as George (2005) describes it, “wooed female readers” by making analogies between flowers and the finer virtues of women. Flowers became symbols of innocence and all was beautiful and happy. That is, until Carl Linnaeus came along with his classification system and his discussion about the sexual parts of flowers.

Language likening botanical terms to human sexuality became an issue. George (2005) refers to two books published not too long after Linnaeus’ System Naturae (1735), that were some of the first to describe the sexual system to British readers. In Introduction to Botany (1760), author James Lee refers to male stamen as “husbands”, female pistils as “wives”, sexual union as “marriage”, flowers without stamen or pistils as “eunuchs” and the removal of anthers as “castration” (George, 2005). In Elements of Botany (1775) by Hugh Rose, the flower calyx is referred to as “the marriage bed”, the corolla as “the curtains” (George, 2005) and the metaphors go on and on.

Suddenly, it became controversial for a woman to study botany. Linnaeus was labeled by moralist Charles Alston as being “too smutty for British ears” and there were warnings that botanizing females were “indulging in acts of wanton titillation” (George, 2005). You can imagine the reaction of one Reverend Richard Polwhele when he saw boys and girls botanizing together (George, 2005)!

Fortunately, not everyone was appalled by the thought of women studying Linnaeus’ classification system. But this issue didn’t work itself out overnight. There was a lot of discussion about how women should learn about plants. George provides an interesting overview of the controversy as she explores how two proponents of botany education for women, Priscilla Wakefield and Jean-Jacques Rousseau, promoted botany as a worthwhile activity for ladies.

Both Wakefield and Rousseau emphasized the importance of Linnaeus’ classification system and how it can help the female mind make sense of the plant world. They thought the study of botany was a good way for women to learn how to be socialized in an ordered hierarchical system (George, 2005). Wakefield and Rousseau also agreed that learning about plants outdoors was better than learning about plants in isolation and only from books (George, 2005).

Although they may have agreed upon these points, the philosophies behind their respective positions varied.

Even though Wakefield was dedicated to the education of women, she stopped short of encouraging women to become all that they could become. She thought women should be educated according to their place in society and thought that women should not enter “masculine spheres” (George, 2005). She promoted botany as “an antidote to levity and idleness” (Wakefield (1818), as cited in George, 2005).

Rousseau’s view about women studying systematics was a little different. He saw the study of Linneaus’ classification system as “true” botany (George, 2005). Even so, he was more concerned that women use botany as way to observe and describe plants instead of using Linnaeus’ method to study botany seriously. He thought it was best for women to study plants outside because the study of “true” botany had to occur where plants existed in a natural undisturbed state. Uneducated women were thought to be closer to an undisturbed “state of nature” and so had “a special affinity” for plant exploration (George, 2005).

Although Wakefield’s and Rousseau’s thinking is backward and offensive today, they are credited with giving women access to botanical knowledge. George (2005) says that because of Wakefield and Rousseau, botany had become so feminized by the 19th century that it was considered to be “unmanly”.

To learn much more about this period of botany’s history, buy a copy of George (2005) from the British Journal for Eighteenth-Century Studies or read George’s paper online (accessed 16 December 2011).


Literature Cited

George, Sam. 2005. Linnaeus in letters and the cultivation of the female mind: “Botany in an English Dress”. British Journal for Eighteenth-Century Studies. 28(1): 1-18.


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Almost 100 years before the publication of the first text-based dichotomous key, an image-based dichotomous key was presented to the scholars of the Royal Society in London. The year was 1689.

The story behind this identification tool, its creator and the scientific community’s reaction to it, is the focus of Who Invented the Dichotomous Key? Richard Waller’s Watercolors of the Herbs of Britain by Lawrence R. Griffing.

Griffing provides fascinating insight into the history of the dichotomous key.

What is a dichotomous key, exactly?

It’s an identification tool. Think of it as a field guide’s more analytical cousin. You can’t flip though a key as casually as you can flip through an illustrated pocket field guide. Keys require users to sit down and observe a specimen carefully. The identification process requires the user to make a series of observations in a very methodical way and to choose between the presence or absence of a specific feature or to make “either/or observations” (Griffing, 2011) resulting in a user choosing one feature (or condition) over the other. This methodical dichotomous decision-making process leads a user through a key and eventually to a species description matching the specimen collected or observed by the key’s user.

Richard Waller’s idea for an image-based dichotomous key came from a suggestion he made to naturalist, John Ray, author of Historia Plantarum (1686). Waller suggested that Ray use images in his dichotomous tables to make plant identification easier for beginners (Griffing, 2011). Ray did not appreciate Waller’s suggestion, nor the implication that his descriptive text was not good enough (Griffing, 2011). Unaffected by Ray’s negative defensive reaction, Waller continued to build upon his idea for an image-based dichotomous key so that “one wholly ignorant in Plants may know how to find any unknown Plant” (Waller (1688), as cited in Griffing 2011).

Griffing (2011) goes into great detail about how Waller’s image key may have been constructed, using Waller’s own description of his key. Griffing (2011) includes in his paper, figures of tables Waller could have created using images from the archives of The Royal Society. How Waller actually assembled his images is not known.

Interestingly, Waller’s visual key did not receive broad support from his colleagues at The Royal Society. Griffing (2011) explains the lukewarm response Waller received could have been attributed to the fact that Waller was ahead of his time and that Waller was creating a tool to be used by beginners and herbalists, an audience quite different from the Society’s expert audience.

The botanical watercolor paintings of British grasses and wildflowers Waller used in his key can be viewed online as a Turning-the-Pages document on the website of The Royal Society. Waller’s plant studies feature paintings of whole plants accompanied by close-up studies of a plant’s unique characteristics. Waller completed his close-up studies in pencil. Look for them as you view Waller’s work. In his paper, Griffing (2011) makes reference to select paintings in the Turning-the-Pages document. You may want to view Waller’s paintings while reading Griffing’s article. Be advised that the page numbering is off between MS/131 and the online version (Griffing, 2011).

To learn more about Waller’s image-based dichotomous key, purchase Griffing’s article online from the American Journal of Botany for $7 or visit the periodicals section at your local college library.


Literature Cited

Griffing, Lawrence R. 2011. Who invented the dichotomous key? Richard Waller’s watercolors of the herbs of Britain. American Journal of Botany.
98(12): 1911-1923.
View abstract


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Rachel McMasters Miller Hunt (1882-1963) was passionate about plants, gardens, botany, books, the book arts and botanical art. In 1961, her personal collection of books, prints, drawings, watercolors, portraits, letters and manuscripts were donated to the Rachel McMasters Miller Hunt Botanical Library. This library would eventually become the Hunt Institute for Botanical Documentation at Carnegie Mellon University in Pittsburgh, Pennsylvania.

The book, Botany and History Entwined: Rachel Hunt’s Legacy is the exhibition catalog of the Institute’s current exhibition featuring items from Rachel Hunt’s original collection. The exhibition documents Rachel Hunt’s interests in books, the book arts and botany.

Authors Charlotte A. Tancin, Lugene B. Bruno, Angela L. Todd and Donald W. Brown tell the story of how a young Rachel McMasters Miller grew up to become a collector of herbals, botany books, botanical manuscripts and botanical art, and how her collecting was motivated by her interest in the role illustration played in communicating information about plants.

Through Hunt’s amazing collection, one can trace the history of botany and observe changes in how plant scholars made meaning. When explorers began to travel the world, they collected plants wherever they went and brought specimens back to Europe. This challenged scholars to reevaluate what they thought they knew about plants. Classification became a huge issue. Tancin et al. (2011) describe how scholars documented their new way of thinking in books and how the invention of the printing press and the increased availability of books led to increased networking among scholars. They also explain how the quality of book illustrations changed over time, changes that can be observed first-hand by anyone reading this wonderfully detailed exhibition catalog.

Included in the catalog is an image of the earliest printed book in Hunt’s original collection, Macer Floridus De Viribus Herbarum (1477), a medieval Latin poem about herbs. This image is joined by several images of herbals, floras and other books about plants. There is even a photograph of Rachel Hunt’s passport. This is a significant entry because Hunt did not only collect books, she retraced the footsteps of botanists and explorers and traveled to locations significant to botany’s history.

The significance of each botanical event documented in this book is made richer by the authors who provide interesting historical facts with each image. This catalog is highly recommend for anyone with an interest in botany, its history and how illustrations have been used to convey information about plants.

Botany and History Entwined: Rachel Hunt’s Legacy is available for purchase from the Hunt Institute for Botanical Documentation ($22). Visit the Hunt’s Publication page to download an order form.


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