Introduction

I wasn’t able to join the class visit to Longplayer at Trinity Buoy Wharf, but I went there by myself afterwards. Experiencing the piece in its real location was very different from only reading about it. Being in the lighthouse space where the work is installed gave me a direct sense of its atmosphere and scale.

Description of the Work

Longplayer is a sound art project by Jem Finer, first performed on the 31st of December 1999. It is designed to last for 1000 years without repeating. The sound is generated from Tibetan singing bowls, processed in layers so that it slowly evolves over time. The installation at Trinity Buoy Wharf creates a unique listening environment, where the continuous sound blends with the architecture and the outside surroundings of the Thames.

Review and Reflection

What impressed me most about visiting Longplayer was how slowly the sound develops. At first it almost feels static, but after staying there for some time I began to notice subtle changes and patterns. It made me think about time in a very unusual way — not only the minutes I was sitting there, but also the idea that this same piece will keep playing long after my own lifetime.

In relation to Steven Connor’s text “Ears Have Walls”, Longplayer shows how sound art offers a very different experience compared to visually-led artworks in galleries. Gallery art is often encountered quickly, with the eyes moving from piece to piece. Longplayer, however, demands listening over a long duration, and it transforms the space into something immersive and almost meditative. It also connects with the environment outside, as the faint city sounds and river atmosphere mix with the piece itself.

Conclusion

Visiting Longplayer on my own gave me the chance to engage deeply with its concept of duration and continuity. I think the work is successful in pushing listeners to reflect on time, memory, and the future. It shows how sound art can go beyond the limits of visual display, creating an experience that is both personal in the moment and universal across generations.

Luigi Russolo’s Intonarumori (Noise Intoners, c.1916)

In 1913, Italian Futurist artist Luigi Russolo published his manifesto The Art of Noises, arguing that modern life had outgrown the traditional sounds of the orchestra. He believed that the industrial age, with its machines, engines, and urban noise, demanded a new musical vocabulary (Russolo, 1913). To realise this vision, he created the Intonarumori (“noise intoners”), a family of experimental instruments built around 1916.

The Intonarumori were wooden boxes with mechanical parts and levers attached to large horns, designed to produce sounds such as roars, whistles, and hums. Russolo classified these noises into different categories, showing his systematic attempt to expand music beyond conventional harmony. The instruments were used in Futurist concerts in Italy, where they often provoked controversy. Some audiences were fascinated, while others reacted with hostility to the intrusion of noise into the concert hall (Kahn, 1999).

This invention is significant because it connects directly to modernism. Modernist art was defined by innovation, the rejection of tradition, and a desire to respond to social and technological change. Russolo’s embrace of noise challenged the boundaries of music and reflected the modernist spirit of experimentation. His work also anticipated later practices in sound art, musique concrète, and electronic music, making him an important precursor for 20th-century sonic experimentation (Tate, n.d.).

Although most of the original instruments no longer survive, Russolo’s ideas remain influential. Reconstructions of the Intonarumori have been built in recent decades, allowing contemporary audiences to experience the sounds that once shocked early 20th-century listeners. Today, Russolo’s project is recognised as a key step in establishing sound as a legitimate artistic medium (Kahn, 1999).

• Kahn, D. (1999) Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press.
• Russolo, L. (1913) The Art of Noises. Futurist Manifesto.

• Three keywords
• Performance
  For me, performance is not only about playing music, but about creating the full energy of a live event. As someone who has organised and performed in clubs, I know that the performer’s state, confidence, and even clothing all shape how the audience experiences the music. Performance turns sound into an atmosphere where people can fully connect with what I create.On Screen
  Visuals are just as important as sound when I perform. The background screen, projections, and lighting all help build the atmosphere and make the music feel more alive. I see visuals as a way to translate the emotions in my music into a shared experience for the audience, making the live set unforgettable.Sculpture
  I think of sound as a kind of sculpture in space, something that moves around the listener and changes the way they feel inside the venue. In a club setting, the arrangement of speakers, lights, and installations can make people feel like they are inside the music. This inspires me to explore sound as an immersive environment, not only as music but as a space people can step into.11th October 2025

Background
I have been making my own music for some time, and at first I thought I would study music production. But because I already know how to produce, I wanted to try something different. I feel that if I only stay in music production, I will just repeat what I already do. That is why I chose sound art.

Why Sound Art
For me, sound art feels more open. It does not follow the same rules as music, like structure or harmony. It makes me think differently about sound—not only as songs but as something that exists everywhere. Everyday sounds, like conversations, city noise, or natural environments, can all become part of an artistic experience. I want to explore how recording and shaping these sounds can tell a story, or make people feel something unexpected.

My Goals
Another reason I am curious about sound art is because it connects with space and visual elements. In music production, I usually sit in front of a computer, but in sound art I can use sound in physical places, installations, or performances. At this early stage, sound art means discovery. It means looking at sound from a fresh perspective and finding inspiration in things I normally ignore. I want to use this course to open my ears wider, and see where it takes me as an artist.

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