First the lesson plan, then a look at the peer-review process that provided feedback.
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A common ancestor (center) and its descendants. |
Introduction and
scope
Even if evolution is accepted and
natural selection is understood, learners of all ages may mistakenly explain all
variation with this single mechanism. That there are myriad resources for, and
examples of, natural selection and because it is so powerful, it is not
surprising that the concept is dominant even though selection is not the only
means by which evolution occurs. Here I suggest that there should be better
coverage of non-selective processes at the introductory level of learning
evolution. Towards that goal, I offer an engaging activity involving the
drawing of flipbooks, which not only marries art and science but symbolically
demonstrates evolutionary mechanisms other than selection.
Leads into—biology, genetics, evolution, the art of animating with
flipbooks.
Concepts—Mutation, genetic drift, natural selection, common
ancestry, diverging lineages, speciation, inheritance, species identification,
developmental constraints, complexity, evolutionary progress.
Target age group—All students who are being introduced to the
fundamentals of evolution can perform this simple activity and can learn from
it. As long as they can trace a line, they can participate. In schools,
evolutionary concepts are formally introduced as early as the sixth grade, but
basic concepts like change over time, deep time, and common ancestry may be
introduced even earlier. Often students are not formally or rigorously
introduced to evolution until they reach college or university. Furthermore,
many of the more advanced concepts that can be addressed with this activity are
only appropriate for secondary and post-secondary courses. It is up to teachers
to decide how to integrate this activity into their evolution lessons. I
developed this activity, and used it with success, in my introductory biological
anthropology course at the University of Rhode Island.
The importance of teaching
beyond selection at the introductory level
Natural selection does
not explain all of evolution
Since Darwin’s time we’ve learned that natural
selection is just one mechanism of evolution that works in concert with others
such as mutation, gene flow, and genetic drift. Mutation, the result of chance,
creates the necessary variation for natural selection and drift to take place.
Each human inherits an estimated average of 150 mutated nucleotides per person
(Ken Weiss, Pennsylvania State University, personal communication
). Like
mutation, drift is also random, but drift occurs over time as random events
accumulate. Because both are due to differential reproduction, the result of
drift can look remarkably like that of selection and change away from the
ancestral state can occur quickly if the population size is small (1). A classic
example of drift occurs in a small culturally isolated population of the Old
Order Amish in eastern Pennsylvania; hardly anyone would hypothesize that the
relatively high frequency of polydactyly was due to natural selection. For many
traits that seem to have no adaptive value, drift is a strong hypothesis. Often
drift is considered alongside relaxed selection (2). That is, a trait becomes
prevalent through drift in the absence of selective pressures that would
otherwise prevent the drift from occurring. The deterioration of human eyesight
may be explained this way and so may geographic variation in earwax (3). Many
diagnostic characteristics of the Neanderthal face may be explained by drift (4)
and so might the fixed loss of tails in our hominoid ancestry.
A strict selection perspective
creates potential for societal harm
Learning about evolution solely through
natural selection is not only inaccurate but may also have negative social
consequences. Wearing adaptation-colored
glasses fosters notions that evolution is progressive, that past states were
inferior to present ones, and that there is some striving in nature towards
perfection (5, 6). From this perspective it is all too easy to assign
differential value, worth, or beauty to variation within and between species
under the backing assumption that “Mother Nature” has “favored” one trait over
another. Judgments like this can lead to human exceptionalism and anti-environmentalism
(justifying human superiority over other organisms) or tribal exceptionalism
and racism (justifying superiority of some nose shapes or skin colors over
others).
Presenting
a more complete picture of evolution to those in the early phases of learning
about it may lower the risk that these dangerous ideological paths will be
followed (7).
Flipbooks for
teaching evolution
Seeds, jelly beans, and the like
are common stand-ins for alleles or gametes in classroom exercises meant to
recreate evolving populations. These exercises demonstrate how new gene pools result
from mutation followed by selection or the lack thereof (i.e. drift). However, these activities are not appropriate
for all ages because of the algebra they require for calculating allele
frequencies; even at the university level, students can struggle with the math.
Furthermore, these engaging hands-on activities do not allow students to
witness more than a few generations of evolutionary change. Alternate
illustrations of the effects of mutation and genetic drift on evolution are needed.
Recently, Gillings (8) provided a pedagogically useful metaphor of these biological
processes with language evolution.
Here I offer another sort of instructional
device inspired by two films that were recently posted by artist Clement Valla
on the Internet. The films show how line drawings, when traced 500 times, can
evolve dramatically. And although it is so simple, this is a powerful
demonstration of evolution without natural selection.
***
Teacher Resources
Films by Clement
Valla (2010)—Inspiration for this flipbook activity
On-line resources for
the art of flipbook animation
On-line resources for
teaching and learning about the role of chance in evolution
General evolution:
Genetic drift:
Mutation:
Misconceptions
about evolution:
Valla’s films are basically digital
renderings of classic flipbooks used by cartoon animators and by following the
steps in the activity outlined below, teachers can easily recreate the experience
of the films with students in the classroom. In addition, they can use this
exercise to teach an array of evolutionary principles and concepts.
If learners can trace lines they
can perform this activity. As a collaborative endeavor, this activity works
with a minimum of two participants and, theoretically, has no maximum group
size. With 50 tracings per book, it takes about 50 minutes to complete.
At
the end, students will have created flipbook animations that “evolved” merely
because each of their tracings, no matter how diligently drawn, was slightly
different from the previous one.
Materials
·
One pencil
or pen for each participant
·
Two blank
flipbooks for each participant. There are several ways to fashion
flipbooks. They can be small blank
notebooks with at least 50 plain white sheets that are slightly transparent
for tracing purposes. A much cheaper method is to fasten sheets of copier paper together with a binder clip. The paper should be cut
down with a paper cutter to pages
with roughly 3 inches (or 8 cm) on each side and not too much larger than that
because large books beg for large drawings that slow down the activity. To get
seamless animation while flipping through the flipbook, the flipping edges of
the pages need to be lined-up, so tap the stack of pages on a table top to
settle them all together on one edge before clipping them together and
beginning the drawings. Once the
flipbook drawings are underway, the clip cannot be moved or removed.
Procedures
1.
Set the stage. Prior to performing this
activity, provide students with background information on flipbook animation and on concepts of common ancestry,
the Tree of Life, evolution, and mechanisms of evolution (natural selection,
mutation, and genetic drift).
Questions to gauge knowledge and spark interest before the activity
Teachers will need to choose the questions that are appropriate for their students’ learning level and for the particular evolutionary lessons they want to address.
Change through time and common descent—What is evolution? What is the evidence for it? How does it occur? What is the concept of common ancestry that is used to build the Tree of Life?
Evolutionary mechanisms—What is natural selection? What are other ways that evolution occurs besides natural selection? What is genetic drift and how is it different from and similar to natural selection? What is a mutation? What causes mutations? How frequent are mutations? What keeps mutations from happening more frequently than they do? Are mutations always bad? How could something that starts as a mutation in an individual end up in more and more individuals in a population over generations and through time?
The nature of evolution—Is evolution progressive? Is there a goal? Does it always result in improvement over earlier forms?
2.
Draw the
templates.
a. Have
students put their names on the front covers of their books.
b. Have
them open one of their flipbooks to the last page and draw something. Keep it
a simple line drawing so that it does not take longer than 10 seconds to trace.
The drawing can be an unknown shape, like a doodle or scribble (known here as “unrecognizable”;
Figures 1-4). Or the drawing can be a symbol like a number or letter, an amoeba
or Mona Lisa (known here as “recognizable”; Figures 5-8). It is important that both types of templates are represented because
the “recognizable” templates may experience stabilizing natural selection. That
is, tracers of familiar shapes may have stronger expectations about how their tracing
should appear. If they have such expectations, they may trace with fewer
mistakes and/or correct the mistakes that previous tracers have made. But the
“unrecognizable” templates may experience less, if any, of this conservative
influence. Do not explain the
rationale to the students yet because it will be part of the discussion
after the completion of the exercise. The bottom line is that teachers make
sure that both unrecognizable and recognizable templates are created. They may
also want to encourage some students to draw creatures (see explanation in “concluding
remarks”).
c. Optional modification: I had
several students use identical templates—rather than having each student draw a
unique one—so that they could witness several different lineages, not just two,
evolving from a common ancestor (Figures 1-8). The only downside to this
modification is that students are not given the opportunity to create their own
templates. Also, teachers may wish to copy and cut out the templates from
Figures 1-8 and glue them in the flipbooks before handing them out to students.
This would allow students to compare their results (i.e. descendants) with the
ones published here.
d. Have
the students carefully trace their template into their second book. Each of
them will now have two flipbooks with identical templates. They may rotate the
tracing so that the second template is oriented differently in the book.
3.
Introduce
the activity. Briefly describe Step 6—that they’re about to pass the books
around and each of them will trace the tracing of the person who went before
them until the books are filled up. The result will be flipbooks that contain
animated movies of the tracings beginning with the original templates.
4.
Make
predictions. Ask the students: What
will your book’s animation be like? What will the last picture in your book
look like? Will your two books’ animations be identical? What does the template
symbolize in evolutionary terms? What do your two flipbook animations
symbolize?
5. Establish the rules
·
Trace as best as you can, but in a brief amount
of time.
·
Joking is fine, but do not give anyone grief for
“messing up” a flipbook with their mistakes. Everyone’s tracings are imperfect
copies.
·
You may only look at the page that you are
tracing. You may not flip back and look at any previous drawings in the book
that build up as this activity goes along.
·
You must pass the book to the next tracer in a
way that keeps it open to your drawing (i.e. the drawing that the next person
will trace).
6.
Trace in an assembly
line to build the flipbooks.
- Each
student will turn one page down over the template and trace it and then
pass the book to the right.
- Each
tracing should take a few seconds and, ideally, everyone should take roughly
the same amount of time.
- Trace,
pass, trace, pass, and repeat to fill all pages of the book.
7. Observe, discuss, and explain the evolving animations.
When filled-up, make sure each flipbook makes its way back to its owner. Each
student will have two flipbook animations of the evolution of their template
drawing, starting with the template and ending with the last tracing. Now they
are ready to explain the evolution that occurs in their books.
Results
Figures 1-4. “Unrecognizable” template (i.e. ancestor; center circle) and the resulting drawings (i.e. descendents) after 50 tracings carried out in different flipbooks (i.e. divergent evolutionary paths).
Figures 5-8. “Recognizable” template (i.e. ancestor; center circle) and the resulting drawings (i.e. descendents) after 50 tracings carried out in different flipbooks (i.e. divergent evolutionary paths).
Questions to gauge
understanding and to spark further study after
the activity
Teachers will need to
choose the questions that are appropriate for their students’ learning level
and for the particular evolutionary lessons they want to address.
Results—What happened to the templates? Were your predictions
correct? Were there differences in the outcomes of the identical templates?
Describe the differences in size and shape (morphology) between your template
and your final drawings: What were the trends, if any, through time? Did any
new traits appear? Did any old traits disappear? Look around at the other flipbooks and
distinguish “recognizable” from “unrecognizable” templates (as described in
Step 2b): Were there any differences in
the outcomes of their evolution?
Evolutionary mechanisms—How can you explain what happened to your
drawings? What caused the evolution in your flipbooks? Explain the evolutionary
history of the last drawing in each of your flipbooks.
Speciation and species concepts—Are the final drawings in your two
flipbooks different species from your template (i.e. their common ancestor)?
Are the two final drawings different species from each other? Can you identify
the moment (i.e. the particular tracing) when a new species originated?
Luck, chance, randomness, and non-random constraints—What does
luck, chance and randomness have to do with evolution? Is natural selection
random? Look at the differences and similarities between any two neighboring
pages in a flipbook. Are there many major differences between the two tracings?
What does this suggest about phylogenetic and developmental constraints in evolution?
Is evolution predictable? Are there any hypothetical evolutionary changes to an
organism, like
Homo sapiens, that are
implausible or highly unlikely?
Scales of variation and modes of inheritance—Are your animations
symbolic of the evolution of a strand of DNA, a protein, a cell, a
single-celled organism, a tissue, an organ, a multicellular organism, or a
population? Are your animations depicting the results of asexual or sexual
reproduction through time? What are the differences for each, in terms of how
variation gets into the next generation?
Explaining human evolution—List hypotheses for the evolution of
variation in human nose shape. Point out which hypothesis most closely mimics
the process in your flip book animation. Describe, in as much detail as
possible, how the different hypotheses could be tested. Include materials and
methods. Then discuss any problems that you can anticipate with confidently
supporting one hypothesis over another and suggest some possible workarounds or
solutions to those problems.
Complexity, progress, and perfection—Would you describe your final
drawings as more complex than your template? What about the reverse? Would you
say that your animations depict progress? Progress and perfection are valued in
our society, so what’s the trouble with perceiving human evolution to be
progressive, or to be striving towards perfection or some ideal form?
Concluding remarks

This
activity illustrates the impact of luck on evolution—when chance is a factor (mutation and drift) and when it is not (natural selection). Students
may also use the flipbooks to learn the principles of common ancestry, divergent
evolution, and speciation. More advanced students can explore concepts of
inheritance, species identification, developmental constraints, complexity, and
evolutionary progress.
Over the course of three trials of
this activity, I found that there were observable degrees of evolutionary
change in all flipbooks, whether they had unrecognizable or recognizable
templates (Figs. 1-8). Even if there seemed to be conservative influences on
the recognizable templates as predicted in Step 2b, evolution still occurred
simply because human tracers are not perfect. The various degrees of distance
between template and results (e.g. Figure 5) nicely demonstrate the various
speeds of evolutionary change, with some organisms retaining more ancestral
traits than others.

There was another sort of issue
with the recognizable templates, specifically the ones that represented
creatures. Some of my students who had these templates (Figures 7 & 8) were
the only students to ignore chance and instead describe their
animations with natural selection. For example one student explained that, “What
started as a lizard evolved to a blob maybe because it could survive better
without legs.” Another wrote, “Natural selection may have occurred in my
animation because of environmental changes that caused the need for certain
features on the body.” These answers
reveal common misunderstandings of natural selection (which are due in no small
part to our pedagogical language: 9), but they also illuminate a deeper struggle
with accepting and identifying randomness in evolutionary scenarios. Because this
activity is designed to help overcome these issues, I recommend that teachers
encourage some students to draw templates of creatures so that these
fundamental problems, if present, are more likely to surface.
Although natural selection is not
responsible for the evolution in the flipbook animations, teachers should not
forget to discuss how natural selection is
involved in this activity: it is the non-random process behind our cells’
ability to copy DNA without making many mistakes and it is mimicked by tracing
in the flipbooks. However, like tracing drawings, DNA replication is imperfect and
the chance variations that arise are a fundamental component of evolution.

With these flipbooks students can
see for themselves, albeit in a symbolic way, how random mutations can contribute
to complexity by flipping through the “recognizable” flipbooks backwards (from
the last tracing to the template). When viewed in reverse, the animations evolve
from (perceived) simplicity to (perceived) complexity. And when students are
reminded that all the mistakes in the tracings (i.e. the mutations) are still
the same and that it’s just the
sequence
of these mistakes that differs in the reverse view, a dialogue is opened up
about the roles of chance and deep time in the evolution of complex life (10). Students can reflect on whether chance
mutations and drift could have produced a flipbook that started with a blob and
ended with a symbol. After gaining this insight, they are better poised to
question the relevance of probability-based arguments against evolution and the
origin of life (11).

The roles of luck, chance and randomness
too often take a back seat to natural selection and this activity is meant to
help introductory students achieve a more complete view of evolution from the start.
Although I cannot guarantee that every student will be evolutionarily
enlightened or artistically inspired by this activity, it will provide teachers
and students with tools for overcoming some of the mistaken assumptions about
evolution that we so often inherit and propagate.
Acknowledgments
Thanks to B. Bailey,
N. Bailey, A. Collado, J. Conrad (and the lizard), W. Harcourt-Smith, G. Felda, C. Mesyef, D. Nelson, B. Shearer as well as the students in my two sections of ‘APG 201:
Human Origins’ at The University of Rhode Island during the Fall 2011 semester for
providing valuable input during the development process. Thanks also to Anne Buchanan, Norman Johnson,
Kevin Stacey, and Ken Weiss for their most helpful comments on the manuscript.
Clement Valla’s art was the spark and I’m grateful for it.
References
1.
Helgason A, et
al. (2009) Sequences from first settlers reveal rapid evolution in
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AP, Blumstein DT, Coss RC, Donohue K, Foster SA (2009) Relaxed selection in the
wild. Trends in Ecology and Evolution 24: 487-496.
3.
Yoshiura K, et al (2006) A SNP in the ABCC11
gene is the determinant of human earwax type. Nature Genetics 38: 324-330.
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loss of traits. Evolution: Education and Outreach.
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Available via the Internet. Accessed 2011
December 22.