Ellen Fullman has been developing her installation, the Long String Instrument, for nearly 30 years; exploring the acoustics of large resonant spaces with her compositions and collaborative improvisations. She has been the recipient of numerous awards, commissions and residencies including: a 2015 Foundation for Contemporary Arts Grants to Artists award; two Center for Cultural Innovation Grants (2008 and 2013); a Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and a DAAD Artists-in-Berlin residency (2000). Fullman has recorded extensively with this unusual instrument. Releases include: Through Glass Panes (Important Records, 2011); Fluctuations, with trombonist Monique Buzzarté (Deep Listening Institute), selected as one of the top 50 recordings of 2008 by the Wire and awarded an Aaron Copeland Fund for Music Recording Program Grant; and Ort, recorded with Berlin collaborator Konrad Sprenger (Choose Records), selected as one of the top 50 recordings of 2004 by the Wire. Alvin Lucier in his Music 109: Notes on Experimental Music (Wesleyan University Press, 2012), titled a chapter, The Long String Instrument, where he described his experience of her music. David Byrne in How Music Works (McSweeney’s, 2012) cited Fullman’s installation as one of the inspirations for his own sound installation.