| Literature DB >> 24790828 |
Abstract
The use of visual models such as pictures, diagrams and animations in science education is increasing. This is because of the complex nature associated with the concepts in the field. Students, especially entrant students, often report misconceptions and learning difficulties associated with various concepts especially those that exist at a microscopic level, such as DNA, the gene and meiosis as well as those that exist in relatively large time scales such as evolution. However the role of visual literacy in the construction of knowledge in science education has not been investigated much. This article explores the theoretical process of visualization answering the question "how can visual literacy be understood based on the theoretical cognitive process of visualization in order to inform the understanding, teaching and studying of visual literacy in science education?" Based on various theories on cognitive processes during learning for science and general education the author argues that the theoretical process of visualization consists of three stages, namely, Internalization of Visual Models, Conceptualization of Visual Models and Externalization of Visual Models. The application of this theoretical cognitive process of visualization and the stages of visualization in science education are discussed.Entities:
Keywords: Conceptualization of visual models; Externalization of visual models; Internalization of visual models; Multimedia; Science education; Visualization
Year: 2014 PMID: 24790828 PMCID: PMC4000355 DOI: 10.1186/2193-1801-3-184
Source DB: PubMed Journal: Springerplus ISSN: 2193-1801
Figure 1An illustration of the cognitive theory of multimedia learning (adapted from Mayer 2003 ).
Figure 2The overlapping stages of the cognitive process of visualization.
Figure 3The Gestalt principles. In A, the principle of closure signifies our tendency to see complete figures even when part of the information is missing. In such a diagram we perceive three black circles covered by a white triangle, even though it could just as easily be three incomplete circles. In B, as stipulated by the principle of proximity, those parts that are closest together, we perceive the group (1) as three vertical lines of dots and the group (2) as three horizontal lines of dots. The dots in (3) are equally spaced and do not suggest an orientation. In C, the similarity principle suggests that we group together those parts that appear ‘similar’. Hence in C, we see separate white diagonal lines and black diagonal lines rather than vertical or horizontal lines of black and white dots. And in D, according to the principle of closure, we group together parts that give the appearance of closed shapes figures adapted from Mullet & Sano (1995).
Figure 4ER in which students perceived the electron cloud as a background (adapted from Mnguni 2007 ).
The Housen model used to characterize people into different stages of cognitive processing based on their actions as they view visual models (DeSantis and Housen 2000 , p. 13)
| Stage | Actions | Definition |
|---|---|---|
| I |
| Use senses, memories, emotions and personal associations, to make concrete observations about the work which get woven into a narrative |
| II |
| Use logical and accessible tools: their own IVMs, knowledge, values of their social, moral and conventional world. If work does not look the way it is “supposed to”—if craft, skill, technique, hard work, utility, and function are not evident— then work is “weird,” lacking, and of no value. |
| III |
| Analytical and critical. Identify work as to place, school, style, time and provenance. Decode the work using library of facts and figures that they are ready and eager to expand. |
| IV |
| Seek a personal encounter with a work. Let the meaning of the work slowly unfold; appreciate the subtleties of line and shape and colour. Critical skills are put in the service of feelings and intuitions; let underlying meanings of the work—what it symbolizes—emerge. Each encounter with a work of art presents a chance for new comparisons, insights, and experiences. Knowing that the work of art’s identity and value are subject to reinterpretation, these students see their own processes subject to chance and change. |
| V |
| Have established a long history of viewing and reflecting. A familiar painting is like an old friend who is known intimately, yet full of surprise. Combines personal contemplation with views that broadly encompass universal concerns. |
Stage I is the least cognitively demanding whereas stage V is the most demanding.
Figure 5Two ERs where students were required to observe the differences in orientation of the amino acids (adapted from Mnguni 2007). A) A depiction of Alanine as a ball-and-stick model with an electron cloud, B) a depiction of alanine using a stick model
Figure 6An example of a student generated diagram where the student has difficulties inferring or predicting (adapted from Mnguni 2007 ).