MEL is a trio of Dominic Lash, David R J Stent and Chris Stubbs.
03 Gallery, Oxford
'Withdrawn From Stock'
Endnotes - Unwrapping Books
March - April 2009
03 Gallery, Oxford
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Science Oxford
METRON 02 - Folding in the theory and practice of measure
October - November 2006
Ovada Gallery, Oxford
Using
graphite, sound, still & moving images, which reference the human
form as an instrument of measure, a series of drawings will emerge from
the divisions and dimensions of the body. Imperfect grids that create
transitional/liminal spaces are based, not on absolute measure, but on
the 'thumb' inch, the span, the cubit and fathom.....Individual 'fathom' brass rules manufactured to the artist's personal measure, appear with objects and implements that reflect our need to regulate and order the world around us.
METRON 01
January - February 2006
Riverhouse Gallery, Walton-on-Thames
Riverhouse Gallery, Walton-on-Thames
From the Greek for ‘measure’ the works by Diane Jones-Parry and Annabel Ralphs centre on the ancient understanding of measure as expressed through proportion or ratio. Following a recent residency in South West France they have investigated notions of measure, unravelling its history in relation to the body. Site-specific drawings, film and implements of measuring will be shown.
Scores
Man In Pit – David R J Stent
Composition for MEL (Science Oxford – 6th June 2008)
Each player has 5 pages, all of which should be visible at all times.
The players are free to interpret the symbols in any way they see fit, but must “bear in mind” the following guidelines:
- The symbols should be considered both as partial components making up a larger whole (across single pages and over the set of five), as well as self-contained units.
- All the symbols correspond to terms of measurement from Pitman’s Shorthand Dictionary, Seventh Edition. As such, the symbols should be imagined as being able to be unpacked, or made ‘longhand’ once more.
- White space, either within or surrounding any symbol, should not necessarily be considered as silence.
- A musician may refer to any of the 5 pages (or their combination) at any one time. They are free, if they so desire, to read across separate pages or to remain focused on one individual symbol.
- Players should try to identify both visible and interrupted vectors between symbols, either suggested by specific details of shape or in general layout on the page. These can be used as ‘stations’ to link up phrases or ‘lines of attack’.
- Players should consider the diversity of symbol outline, aspects of brevity and proximity, as well as freely re-imagining relative scale
- The piece will be given a set duration in advance – say 10 minutes. This will not be tracked by a timer, but will rely on the musicians’ intuition to come to a suitable close.
Scores
Man In Pit – David R J Stent
Composition for MEL (Science Oxford – 6th June 2008)
Each player has 5 pages, all of which should be visible at all times.
The players are free to interpret the symbols in any way they see fit, but must “bear in mind” the following guidelines:
- The symbols should be considered both as partial components making up a larger whole (across single pages and over the set of five), as well as self-contained units.
- All the symbols correspond to terms of measurement from Pitman’s Shorthand Dictionary, Seventh Edition. As such, the symbols should be imagined as being able to be unpacked, or made ‘longhand’ once more.
- White space, either within or surrounding any symbol, should not necessarily be considered as silence.
- A musician may refer to any of the 5 pages (or their combination) at any one time. They are free, if they so desire, to read across separate pages or to remain focused on one individual symbol.
- Players should try to identify both visible and interrupted vectors between symbols, either suggested by specific details of shape or in general layout on the page. These can be used as ‘stations’ to link up phrases or ‘lines of attack’.
- Players should consider the diversity of symbol outline, aspects of brevity and proximity, as well as freely re-imagining relative scale
- The piece will be given a set duration in advance – say 10 minutes. This will not be tracked by a timer, but will rely on the musicians’ intuition to come to a suitable close.
