The Longplayer Trust
31 Eyre Street Hill, London EC1R 5EW, UK
Registered Charity No. 108 7243
The Longplayer Trust was established at the end of 2000 to take responsibility for Longplayer’s upkeep for at least its first 1,000 year cycle. This involves researching and implementing the means to keep Longplayer playing, in ensuring its sustainability, and making it available to as larger number of people as possible. The trust also looks after the listening post at Trinity Buoy Wharf, London.
The trustees are: Ansuman Biswas, artist; James Bulley, artist, curator, composer; Sam Collins, designer and production manager; Edie Culshaw, arts fundraiser; Gareth Evans (Chair of the Board); Jem Finer, artist, musician and Longplayer composer; Ella Finer, Lecturer of Drama, Theatre and Performance at Queen Mary University; Michael Morris, arts producer and co-director of Artangel; Christian Payne, Social Technologist; Eric Reynolds, urban developer; Gavin Starks, founder of dGen; Jane Wentworth, brand consultant for cultural organisations.
Ansuman Biswas was born in India and trained in the UK. He has an international practice encompassing music, film, live art, installation, writing, and theatre. He is interested in hybridity and interdisciplinarity – often working between science, art, and industry, for instance, or between music, dance, and visual art.
Over the last few years his work has included directing Shakespeare in America, translating Tagore, designing underwater sculptures in the Red Sea, living with wandering minstrels in India, being an ornamental hermit in the English countryside, touring with Björk, surviving blindfolded in an unknown place, travelling with nomadic shamans in the Gobi Desert, playing with Oasis, collaborating with neuroscientists in Arizona, living for a week with nothing but what spectators chose to give him, singing for 24 hours non-stop, organizing grassroots activists in Soweto, meditating in a box for ten days with no food or light, creating a musical in a maximum-security prison, bathing strangers, being a soloist with the London Philharmonic Orchestra, holding seminars in a Burmese monastery, running a club for women in Hamburg’s red-light district, playing with terminally ill children, making a radio telescope sing and dance, being locked in a Gothic tower alone for forty days and nights, flying on a real, live, magic carpet, and stopping time.
Ansuman is a Director of Arts Catalyst, the science-art agency, and also of the Live Art Development Agency. He has had a leading role in developing academic programmes at Dartington College of Arts and at Guildhall School of Music and Drama. He has pioneered new models of interdisciplinary collaboration at Hewlett-Packard’s research lab in Bangalore and has been artist-in-residence at the National Institute of Medical Research in London. He has been part of a ground-breaking study group for the European Space Agency on Cultural Utilization of the International Space Station, and he has been involved in setting up cultural initiatives with the Indian Space Research Organization and the National Institute of Advanced Studies, India.
James Bulley (b.1984) is an artist, curator and researcher, whose practice explores locative sound, spatialisation and site-specific installation. Recent works include: the world premiere of Daphne Oram’s Still Point with Shiva Feshareki and the London Contemporary Orchestra (BBC Prom 13, 2018); Tactus (2015–), a touch-sound landscape installation (Kaunas Biennial), and Living Symphonies (2014–), a forest-located sound installation by Jones/Bulley. Work for film includes the score and sound design for Steven Eastwood’s 2017 documentary Island, and the score and sound design for Ayouni by Yasmin Fedda (2019). Curatorial projects include Longplayer Day 2017, a 12-hour exploration of time and duration with Helen Frosi and Philip Serfaty, SHO-ZYG (2012), curated with Kathrine Sandys, and A Concert of Sound Arts at the Queen Elizabeth Hall (2013). In 2018 Bulley co-edited a special issue of the Leonardo Electronic Almanac on curation in sound art. He is a guest lecturer at the Royal College of Art, Camberwell College of Arts and Goldsmiths, University of London where he is currently a Research Associate and member of the Unit for Sound Practice Research in the Department of Music.
Sam Collins is a designer and production manager who specialises in the creation and delivery of new and challenging artworks. He has worked on a diverse range of projects across contemporary art, exhibitions, performance and theatre. His design projects include Siobhan Davies’ Bird Song (2004), Drifting and Tilting – The Songs of Scott Walker (Barbican, 2008), Ritual pour une Metamorphose (Comedie Francaise, Paris, 2013), The Vulgar: Fashion Redefined (Barbican Art Gallery, 2016) and a handbag museum in Seoul, Korea (Simone Handbag Museum, opened 2012).
Sam has been associated with the Manchester International Festival since it’s inception in 2007, working on Il Tempo del Postino (2007), Marina Abramovic Presents (2009) and The Life and Death of Marina Abramovic (2011) and as Production Designer on Douglas Gordon’s Neck of the Woods (2015) and Yael Bartana’s What if Women Ruled the World (2017). In 2009 Sam collaborated with Jem Finer on Longplayer Live, designing the physical manifestation of the score to enable it to be played live on singing bowls in both The Roundhouse, London and Yuerba Buena Centre in San Francisco. In addition to his freelance projects Sam is also Head of Production at Artangel.
Edie Culshaw is an arts fundraiser, specialising in trusts, foundations and statutory funding bodies. She has worked with a variety of cultural organisations including the Geffrye Museum of the Home, York Theatre Royal and Jacksons Lane arts centre. She is currently the Trusts and Foundations Manager at Sadler’s Wells, and is raising funds for Sadler’s Wells East, a new mid-scale space in east London at the heart of a new cultural and education district in Queen Elizabeth Olympic Park.
Before focusing on fundraising, Edie was a producer, working with the dance company Clod Ensemble, artists such as Jeremy Deller, Kate Bond and Morgan Lloyd, and through the Manchester International Festival, with curators Hans Ulrich Obrist and artists Tino Seghal, Marina Abramovich and Joan Jonas. She has an Arts Management MA and a BA in English and Drama from the University of Manchester.
Gareth Evans (Chair)
Gareth Evans is a London-based writer, editor, film and event producer and Whitechapel Gallery’s Adjunct Moving Image Curator. He is also co-curator of Porto’s Forum of the Future, Estuary, Flipside and First Light Festivals, Swedenborg Film Festival and Whitstable Biennale. He conceived and co-curated the year-long Utopia 2016 at Somerset House. He created and programmed PLACE at Aldeburgh Music for its four-year series there, is co-director of production agency Artevents and has curated numerous film and event seasons across the UK including ‘John Berger: Here Is Where We Meet’ and ‘All Power to the Imagination! 1968 and Its Legacies’.
He produced the essay film Patience (After Sebald) by Grant Gee and has executive-produced the feature-length works Erase and Forget (Andrea Luka Zimmerman, Berlinale Panorama 2017), World Without End (Jem Cohen); Unseen (Dryden Goodwin); By Our Selves (Andrew Kotting) and In Time: an Archive Life (Lasse Johansson). He worked on the film pages of Time Out from 2000-2005, edited the international moving image magazine Vertigo from 2002 – 2009 and now edits Artesian and co-edits for Go Together Press and House Sparrow Press, whose recent publications include original titles by John Berger and Anne Michaels. He has written numerous catalogue essays and articles on artists’ moving image.
Ella Finer works with performance, sound and acoustic subjectivities as a Lecturer at Syracuse University, London.
Ella Finer’s work in sound and performance spans writing, composing and curating with a particular interest in how women’s voices take up space. She studied in Glasgow and London, completing a PhD in 2012 on materialities of the female voice in performance and has taught widely. Her current and ongoing research project about sound politics queries the ownership of cultural expression through sound, so far taking form in published articles, book chapters and public lectures on subjects including feminist legacies of echoic sound, social acoustics and urban infrastructure, and sonic miscellanies or “the wild life of sound“. This work has also informed recent curated events Selector Responder: Sounding out the Archives (I and II) at the British Library (as part of their Season of Sound 2017 and ‘18) and the founding of the Acoustic Commons Study Group in association with Soundcamp 2019. As a trustee for Longplayer Ella produced Longplayer Legacies: Live at the Lighthouse with Laura Cannell, Larry Achiampong and Vanessa Brown with an award from Sound and Music as a 2018 Composer-Curator.
Uncomfortable with labels such as composer, sound artist or musician, Jem Finer sees all of his activities as emanating from the same obsessive curiosity that has led him, among other things, to make films, take photographs, form bands, draw, write, perform, compose, play music and build installations. An enduring fascination with deep time and space has been the impetus behind much of his work. Some of his other projects can be found on the following sites:
Since 1991 Michael Morris, along with James Lingwood, has co-directed Artangel, commissioning and producing site-based work by exceptional artists for particular places throughout the UK – both natural and architectural – in the visual, performing and media arts. Since 1992, Artangel’s landmark commissions have included Rachel Whiteread’s House, Michael Clark’s Mmm, William Forsythe’s Tight Roaring Circle, Matthew Barney’s Cremaster 4, Gavin Bryar’s and Juan Munoz’ A Man in a Room Gambling, Jem Finer’s Longplayer and John Berger and Simon McBurney’s The Vertical Line, amongst many others. Artangel Afterlives gives a more enduring form to some of these temporary works through a programme of publications adapting individual projects into videos, books and CDs.
Following his tenure as Director of Performing Arts at the ICA London in the 1980s, Michael Morris also established Cultural Industry in 1988 as an independent, international production company, presenting and producing new work across a complete spectrum of the performing arts. Long term relationships have been forged with Robert Lepage, Pina Bausch, La La La Human Steps, Brian Eno, Robert Wilson and Laurie Anderson, amongst others, in on-going partnerships with leading venues and festivals throughout Britain and beyond. Cultural Industry also initiates and produces projects which tour outside the UK, notably Shockheaded Peter, currently making its way across the globe and soon to be adapted as a feature film.
Christian Payne is a writer and creative technologist. His work combines multimodal narrative strategies and community building. Grounded in utilitarianism his practice explores public and political empowerment through culture hacking, social sculpture and the creative use of communication technologies.
Christian consults, trains and documents for governments, N.G.O’s, charities, universities and the arts sector.
More at www.documentally.com
Eric Reynolds has been involved in numerous urban regeneration schemes since the early 1970s, many including the practical re-use of historic buildings. In 1972 he spearheaded the restoration of a derelict building in Clerkenwell as one of the first craft workshops in the country. With two partners, he started the 1974 conversion of Camden Lock, which is now one of the top tourist attractions in London.
He has repeated this success at many other locations around the country. Those he has developed and/or runs include the Elephant And Castle shopping centre, Merton Abbey Mills, Spitalfields Old Fruit And Vegetable Market, Gabriels’ Wharf, Greenwich Market, Bishopsgate Goodsyard, Merton Abbey Mills, Platform 12 Kings Cross, Swindon Market Hall, Sneinton Market Square in Nottingham and Green Park Market in Bath.
He is responsible for leading the regeneration of Trinity Buoy Wharf, opposite the Millenium Dome, where Longplayer has been housed since its launch in 1999. This is the site of London’s only lighthouse, for which he won a development/management competition from the LDDC to develop a centre for arts and creative activity. Here he has pioneered the re-use of shipping containers to create buildings in a system called Container City.
He acts as a regeneration advisor across the country and is a director and member of several other voluntary bodies. He is a Board member of Tower Hamlets College, a Freeman of the Waterman and Lightermans Company, an Honourary Member of the RIBA (Royal Institute of British Architects), on the Board of Governors for the Museum of London and a Trustee of the Royal Museums Greenwich.
Gavin Starks is the founding chief executive of the Open Data Institute. He began developing internet-based research tools in 1993, and joined Branson’s award-winning Virgin Net (now Virgin Media) in 1995 as its fifth team member.
In 2006 he created AMEE, raising over $10m from world-class venture investors including O’Reilly, USV, and Amadeus (organising the world’s environmental data, standards, and calculations into a simple web-service). In 2011 he joined the UK Government’s “Energy Sector Board” as part of their Midata open-data initiative.
Having helped to kick-start the streaming media industry in Europe in the late 90’s, Gavin created award-winning media-technology service, Tornado, selling it to a larger media group in 2003. He then helped create the digital media supply-chain, as founding CEO of world-leading digital distributor, CI. CI was the first company to deliver digital products to iTunes, and delivered Amazon US ~25% of its download store at launch.
At the UK’s Jodrell Bank Radio Observatory he worked on systems designed to map and interpret the universe. He created courses and lectured in Engineering and Music at Glasgow University, and has degrees in Astronomy (B.Sc.), and Electronic Music (M.Mus.). He co-created a co-operative harbour on the Thames where he now lives, as a musician has released his own album, and is a Fellow of the Royal Society of Arts.
Founding director of Jane Wentworth Associates. Jane has 20 years’ international experience in branding for the cultural sector. Her extensive client list includes V&A, Royal Academy, the Hallé, Statens Museum for Kunst, Salt, Imperial War Museum, SOAS, Philadelphia Museum of Art, Glyndebourne and Smithsonian’s Freer|Sackler. Trustee of the British School at Rome, advisor to the Clore Leadership Foundation, and governor of the University for the Creative Arts.
In 2017 Jane was announced as one of one of Creative Review Creative Leaders 50.
Sarah is the Producer and Administrator for Longplayer. Sarah has a BA and MA in Art History from Goldsmiths and UCL respectively. In the past, she has worked for art museums and galleries including Tate, the Serpentine Galleries, White Cube, and Calvert 22.