Surface Test. Texture.

Surface Test

Texture

I Lead-in.

a)    Take 2 minutes to think about your associations with the word ‘surface’. Write down the list of words that come to your mind when you hear about surfaces. Compare your list with the lists created by other students. What similarities do you have? What are the biggest differences between your associations?

b)    Think about the answer to the questions: 1) Why are artists interested in surfaces? 2) What textures can surfaces have? 3) How can artists use the textured surface in their art?

II Study the active vocabulary and focus on Ukrainian equivalents of English words.

process обробляти

rubbing натирання

concrete бетонний

manufacturing виробництво

divot ямка

stain пляма

crack тріщина

newsprint газетний папір

crayon пастель

large-ish величенький

snapshot моментальний знімок

sketchbook альбом для замальовок

capture схопити

rock камінь

angle кут

III Pronunciation focus. Look at the phonetic symbols [ʃ] and [tʃ]. How do you pronounce them? Put the words in the list the correct column based on the way you pronounce the underlined letters. Watch to the video in TASK IV, listen to the pronunciation and check your answers. Practise pronouncing the words.

Information; actually; show; manufacturing; machine; cheap; textures; fraction; snapshot; touch;  largeish;  textured; sketchbook;  capture

[ʃ]	[tʃ]
information	actually

IV Watch the video and fill in the gaps with the words from the list. There are some words you don’t need to use.

history; photographs; captive; think; sticks; assignment; concrete floor; studio; place; capture; touch; builder; machines; photograph; building; photographer; textures; amazing; rubbings; cracks; angles; materials; snapchat; material; snapshot; newsprint; surface tests; crayons; photograph; surface; ground; rubbing; ground

  

So this 1)_________ is the place where I process a lot of different 2)_________ and information. You know, I'd sit and look at the images, the 3)_________ that I've taken. I play with drawing and rubbings, and new 4)_________. One of the things that I've been doing lately is, is working on 5)_________. So I started rubbing, doing, making rubbings of the 6)____  _____ in this building. And, I guess, sometimes when I don't really know what I'm doing I tend to look at the 7)_________. And the ground in a building like this is actually pretty 8)_________ because it, it shows the history of what used to be in this 9)_________, which were, you know, old manufacturing equipment, old 10)_________. And so there's divots, and stains, and 11)_________ in the floor that kind of record that 12)_________. And so I started just working with 13)_________, spreading out just cheap paper on the ground and taking some 14)_________ or coloured pencils and just kind of recording the, the different kind of 15)_________ on the floor. Um, and that process is something that, you know, when I've gone out and made these other field recordings, or 16)____ _____  , um, as I've been thinking of them, this is the 17)_________ where I can come and look at them and pin them up and 18)_________ about them. And for me it's a way of, you know, the way that a 19)_________ records this fraction of a second in time, in place, a fraction of a second of light. A field recording or a 20)_________ test is another way of taking a 21)_________ of a place. It's just through texture and 22)_________.

Your 23)_________ is to, one, get your materials. These include a nice crayon, a large-ish size piece of textured sketchbook paper. Two, find a piece of 24)_________ that you respond to in some way, either because of how it looks or the texture. Three, go out and make a rubbing of this piece of ground, putting the piece of paper onto the ground and 25)_________ the crayon slowly over it so that you 26)_________ the rubbing. Four, take a photograph of this rubbing in place. So while the rubbing is still on the ground, you can use pieces of rocks or 27)_________, or whatever is nearby, to hold the thing on the ground, and then 28)_________ it. Take a couple of photographs, and take your time so you really like the way that you photographed it. Try photographing from different 29)_________.

V Match the words from two columns to make collocations and word combinations used in the text. Use four collocations in your sentences.

1.	process	a)	equipment
2.	look	b)	floor
3.	work	c)	of a second
4.	concrete	d)	paper
5.	tend	e)	the picture up
6.	pretty	f)	from different angles
7.	manufacturing	g)	recording
8.	record	h)	at the images
9.	spread	i)	a rubbing
10.	coloured	j)	texture and touch
11.	field	k)	a photograph
12.	surface	l)	of a place
13.	pin	m)	sketchbook paper
14.	fraction	n)	to look at
15.	snapshot	o)	test
16.	through	p)	history
17.	textured	q)	different material and information
18.	make	r)	pencil
19.	take	s)	amazing
20.	photograph	t)	on rubbings

VI Watch the part of the video and mark the sentences as True (T) or False (F). Correct the false statements.

1) The artist (Kim Beck) has a studio in an old train station.

2) The artist finds  the colour of the walls in the studio very interesting.

3) The artist has been working on rubbings.

4) Kim Beck uses canvas and oil paint to create rubbings.

5) The artist created the rubbings of the floor in the building.

6) The floor is not smooth or even, it was damaged by the equipment and machines.

7) The artist wants the viewers to find a piece of the ground that inspires them and create the rubbing.

VII Study the active vocabulary and focus on Ukrainian equivalents of English words.

elementary school початкова школа

within всередині

creature істота

to tap into встановити зв'язок з

unconscious mind підсвідомість

 accurate точний

depict зображувати

theorise створювати теорію

sign знак

representation зображення, представлення

complicated складний

icon іконка (іконічний знак)

quality якість

likeness подібність

landscape пейзаж

interpretive device засіб тлумачення

connect пов’язувати

index індекс (індексальний знак)

trace відбиток

footprint слід

cast shadow тінь від об’єкта

evidence наочність

Jell-O назва торгівельної марки виробника десертів-желе

mold форма (тут форма для желе)

transferable який передається

sidewalk тротуар

abut прилягати

adjoin примикати

poured asphalt асфальт, який було насипано

crack тріщина

disrupt порушити

moving зворушливий

curious цікавий

space простір

abstraction абстракція

static статичний

scattered розкиданий

ordinarily звичайно

arbitrary довільний

random випадковий

frame рамка

VIII Watch the video again and choose the correct option to complete the sentences.

OK, so Kim is asking us to do a rubbing/rubberize/grabbing, which you might have done before, maybe even in mentally/elemental/elementary school. But people have been making rubbings for a long time, including artists/arts/parts like Max Ernst who's associated with supremacist/surrealism/impressionist. He made these drawings in the '20s called "Frottage," or the France/French/Franchise word for ‘rubbing’. He saw this floor/doors/floored in a hotel, a wooden floor that was amazingly detailed, and he made rubbings of them. And then he actually saw imagines/imaginations/images within those rubbings that looked like rests/forests/crests or wild creatures, and he used this technique as a way to tap into the unconscious mind/bind/mindful. There's a history to making rubbings, but I don't really think that's what's happening here with Kim's assignment. What I'd like to talk about today is present/presenter/representation, and how we tend to assume that a photograph or a photo real painting is somehow the most accurate/acquired/accurately way to depict a place. There are other ways to record something not based on lotto/photographer/photos, like a rubbing. It's something that we all know, but it's been theorised by the psychologists/philosophy/philosopher Charles Sanders Peirce who developed his theory of signs, which is basically looking at the way we, fuming/humans/humanist, come to know the world through representations. It was published in the 1860s, and it's extremely complimented/complicated/ailment, but I'm just going to share with you the bit that applies to our assignment today. But I want you to go and read it all yourself.

Peirce's theory thinks through how signs relate to the objects/rejects/objections they point to, and he says there are basically three kinds of signs. An falcon/iconic/icon is a sign linked to its object by a shared quality or likeness, like a painter/painting/painted of a landscape is an icon of the actual landscape it depicts. And a symbol represents an object through a cruel/rule/drool or an interpretive device. Like the word "pipe" is a symbol of a pipe, but it doesn't look or smell like a piper/pepper/pipe. It only has meaning because you've learned to connect the symbol with the object. But an index is a sign linked to its object by an actual, physical confection/connection/corrected, like smoke is an index for a fire. It's a mark or trace, like a footprint or a cast shadow- it gives information or evidence about the object. Like Jell-O has an indexical relationship to the Jell-O sold/told/mold, and a rubbing is an index of the place where it was captivity/captured/ruptured. Kim's assignment is not asking us to create an icon or a symbol of a place, but to make an indexical sign of that place- a very real document/documented/documents that gives you real information. This is a place. I did this thing. I was there.

So much of my life is spent on the Internet, or on the phoned/phoning/phone. And it's the thing that isn't transferable, it's not- you have to be in that place to be touching that piece of ground. And that's, there's nothing more locating than the piece of dirt below your peat/feet/fleet.

So that's why I'm so attracted to the ground. So now we're going to go get my hog/bog/dog. Her name is Addie and we're going to take her for a walk. And we're going to take some paper and canyons/crayons/coyotes with us, and we're going to go make some  rubbings. I really notice the way different pieces of ground meet each other. The way that pieces of sidewalk abut each other or adjoin each other. The way that the grass hits the slow talk/sidewalk/sad walk. The way that the poured asphalt might meet another piece of poured asphalt, might meet a sidewalk. Um, the crackers/cracks/speckled in the sidewalk or in the asphalt- the things that disrupt the order I find to be really beautiful and moving. It's such a curious thing when you really think about what is real and what is realise/realist/realism. And in a way for me, these rubbings are the most realistic depictions of space there is because they may look like attracted/abstractions/attractive when you're done. Again, you know, I described them as a field of statistics/static/stoically, or something that looks like a map. Um, but they're the most realistic representations you can have. What's great about this reject/project/projected is the documentation doesn't function as just documentation.

It is the piece itself.  It becomes part of the project. So, um, the other things that are flattered/scattered/mattered around that might ordinarily just seem arbitrary and random actually take on meaning. So if you happen to have a table peg/leg/log in the potential frame of the imagine/image/marginal, you have to think about, oh, there's the table leg in there. Do I like it? OK, yeah, I kind of like it. It's weird. Let's keep it in. And the fun of it is that you can play with the stuff that's in your Saturday/everyday/Monday world as part of it.

IX Match the words from two columns to make collocations and word combinations used in the text. Use four collocations in your sentences.

1.	do	a)	floor
2.	elementary	b)	of the image
3.	wooden	c)	to depict a place
4.	amazingly	d)	creatures
5.	wild	e)	representation
6.	to tap	f)	complicated
7.	way	g)	detailed
8.	theory	h)	everyday world
9.	extremely	i)	a rubbing
10.	physical	j)	into the unconscious mind
11.	disrupt	k)	school
12.	realistic	l)	connection
13.	frame	m)	of signs
14.	in	n)	the order

X Watch the part of the video and answer the questions.

1. What artists made rubbings? What artistic trends did they represent?

2. Why were artists of the past interested in rubbings?

3. What did artists see in the rubbings of different surfaces?

4. How are rubbings connected with the theory of signs?

5. What main types of signs are there in the theory of signs? What are the examples of different types of signs?

6.  Why is Kim Beck interested in looking at the ground? What types of surfaces does she find inspiring for an artist?

XI OVER TO YOU. Complete the assignment that the artist Kim Beck gave in the video: a) get a crayon or a pencil and a large piece of paper; b) find a piece of ground you respond to (find interesting). If the weather’s bad, choose any surface, e.g. floor or table surface; c) make a rubbing of that surface; d) take a photo of the rubbing in the place you made it; e) show your photo to other students and describe what type of texture you see and why you find it interesting; f) describe where you could use the texture you captured in the rubbing (do you see magical forests like Max Ernst did?) Get ready to describe your photo and rubbing in the class.