Press Quotes

The piece, entitled “Harbors”, evokes ghosts of renegade string sections and Ennio Morricone’s harmonica motifs. The increasingly colorful mélange of wavering notes and their errant reflections sound like the thrum of vibrant light.
— Sam Lefebvre, Impose Magazine

Fullman’s Long String Instrument creates a sense of majestic vastness, its lines stretching off towards an implied infinity. Listening to it, you feel like you are inside some cyclopean subterranean grotto… its bejewelled walls glistening with an alien lustre.
– Biba Kopf, The Wire 

Writings
i❤convolution plate reverb, The Experimental Music Yearbook, 2016
A Compositional Approach Derived from Material and Ephemeral Elements, Leonardo Music Journal, Vol. 22, 2012. pgs. 3–8
An den Rändern des Klangs, MusikTexte, no. 95, Nov. 2002. pgs. 5–11
Ellen Fullman's Long String Instrument, Bart Hopkin and Ellen Fullman, Experimental Musical Instruments, Vol. 1, no. 2, Aug. 1985. pg. 4
Echo, The Images of Sound, catalog, Het Apollohuis, November 1984

Interviews
Fullman has popularized the Long String Instrument, an installation of piano strings stretched over more than ten metersXavier Hug, The Drone, June 14, 2016 (original English text) 
Ellen Fullman: how to play a 100ft stringed instrument, Ben Beaumont-Thomas, The Guardian, March 1, 2016
Thirty Years Later, Ellen Fullman’s ‘The Long String Instrument’ Still Resonates, Dave Cantor, KQED Arts, November 30, 2015
Ellen Fullman and the Avant-Guarde Drone of the Long String Instrument, Richard Metzger, Dangerous Minds, October 29, 2015
Invisible Jukebox with Ellen Fullman, interviewed by Geeta Dayal, The Wire, March 2014, Issue 361
With Strings Attached, Gino Robair, Signal to Noise, 2008
All Strung Out, Julian Cowley, The Wire, July 2004. pgs. 30–33
Ellen Fullman’s Long String Instrument, Mike Hovancsek, Experimental Musical Instruments, Vol. 13, no. 3,
Mar. 1998. pgs. 28–30

Performances
3. Part II: Modern Elegies, The Attic, Diary, Amber Amber, April 26, 2016
The Lab: "A Safe Space for Dissonance in San Francisco", Sam Lefebvre, Impose Magazine, Feb 9, 2016
Ellen Fullman/The Hilliard Ensemble/Nils Henrik Asheim, Tou Scene, Anna Hilde Neset, The Wire, October 2008, Issue 296, pg 83
Instal: Brave New Music, The Arches, Glasgow, Julian Cowley, The Wire, December 2006, Issue 274, pg 84
When an Audience Is Asked to Listen in a Different Way, Anthony Tommasini, New York Times, September 28, 1998
Sound of Avant-Guarde Fills Hartford Streets, Jeffrey Schmalz, New York Times, July 7, 1984

Releases

published in The Wire, issue 383, January 2016

published in The Wire, issue 383, January 2016

Ellen Fullman, The Long String Instrument, Robert Barry, The Wire, Dec 2015, Issue 382
Ellen Fullman, Through Glass Panes, David Keenan, The Wire, Aug 2011, Issue 330
Ellen Fullman, Through Glass Panes, Important, 2011, Paul Hanley, Tiny Mix Tapes
Ellen Fullman - Through Glass Panes, mapsadaisical, June 17, 2011
Ellen Fullman & Monique Buzzarté, Fluctuations, Deep Listening Institute, Mark Masters, The Wire, May 2008
Ellen Fullman, Staggered Stasis, Anomalous; Ellen Fullman & Konrad Sprenger, Ort, Biba Kopf, The Wire, Issue 248, October 2004
Zeitenwechsel: 35 Jahre Berliner Künstlerprogramm, Tom Perchard, The Wire, April 2002, Issue 218, pg 68
Suspended Music, The Wire, 1997

Referenced
Alvin Lucier, Music 109: Notes on Experimental Music, (Middletown, CT: Wesleyan University Press, 2012)