Dr Will Schrimshaw (he/him)
Department of Music
Lecturer in Popular Music Technology and Composition
Director of the University of 91Ö±²¥ Sound Studios
Exams and Assessments Officer
Full contact details
Department of Music
Jessop Building
Leavygreave Road
91Ö±²¥
S3 7RD
- Profile
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My work combines creative practice and critical writing on electronic music, sound synthesis and the role of sound in wider contemporary arts practice. My work in these areas has been performed, exhibited and published widely. I have a keen interest in exploratory forms of popular music and studio production, something that informs much of my teaching.
Before joining the University of 91Ö±²¥ I worked at Newcastle University and Edge Hill University where I taught electronic music, studio composition, interactive systems and a range of modules related to music, media and cultural theory.
Beyond academia I have worked on the production of albums that have been nominated for and won BBC Folk awards, toured internationally as a drummer in a wide range of bands and ensembles, and worked as a technical consultant for a number of leading arts organisations and festivals.
Beyond music I’m a keen long-distance cyclist, a hobby that frequently finds me alone in the wilderness sleeping in highly questionable and rarely comfortable locations.
- Research interests
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My research involves creative and critical research into:
- Contemporary and exploratory forms of electronic music.
- Electronic music and ambient aesthetics, particularly in relation to domesticity and everyday life.
- Sound in contemporary art, particularly environmental and art-science projects.
- Sound installation practice.
- Publications
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Books
- Immanence and Immersion On the Acoustic Condition in Contemporary Art. Bloomsbury Publishing USA.
Journal articles
- Writing Out Sound: Immersion and Inscription in Sound Art. Leonardo Electronic Almanac, 22(3).
- . Organised Sound, 23(2), 208-217.
- . Leonardo, 51(1), 11-17.
- . Sound Studies, 1(1), 155-170.
- Any Place Whatever: Schizophonic Dislocation and the Sound of Space in General. Interference Journal(2).
- . Artnodes, 0(12).
Chapters
- Transcendental Psychedelia: hearing hearing in the work of Maryanne Amacher In Farrell G (Ed.), Musical Psychedelia Research at the Intersection of Music and Psychedelic Experience (pp. 141-154). London and New York: Ashgate Popular and Folk Music Series.
- Non-cochlear sound: On affect and exteriority In Thompson M & Biddle I (Ed.), Sound, Music, Affect Theorizing Sonic Experience (pp. 27-43). London: Bloomsbury Academic.
Book reviews
- Cosmic Convolutions: Deep Refrains: Music, Philosophy and the Ineffable by Michael Gallope. Cultural Critique, 113(Fall), 217-228.
- A Philosophy of Ambient Sound: Materiality, Technology, Art and the Sonic Environment. Journal of Sonic Studies.
Performances
- Earth Sample Synthesis. Leeds University.
- Absolutely Nothing. BEAST: University of Birmingham.
- Continuity and Contingency. Edge Hill University.
- Pure Potential. OCCII Amsterdam.
- Acoustic Subtraction. Falmouth University.
- Acoustic Subtraction. Eyüp Sultan Mosque, Istanbul, Turkey.
- Acoustic Subtraction. Platoon Kunsthalle, Seoul, South Korea.
- Acoustic Subtraction. Kielder Forest, Northumberland.
- Sediment. Kiasma, Helsinki.
Exhibitions
- Cracked and Blessed. 91Ö±²¥ Cathedral.
- Ur-writings. Science Friction, Copenhagen.
- Kirkdale/Vauxhall Palimpsest. FACT Liverpool.
- Module for a Comprehensive Instrument. Tuned City Brussels.
- Spectral Influence. Access Space, 91Ö±²¥.
- Space Against Itself. AV Festival, North Tyne Tower, Newcastle upon Tyne.
- Little Helpers. Tabakalera, Donostia/San Sebastian.
- Resonator. AV Festival, Newcastle upon Tyne.
- Little Helpers. Tuned City Berlin.
Website content
- Domestic Systems.
- Unboxing the Modular.
Presentations
- Ambience and Immersion. TATE Liverpool.
- The Tone of Prime Unity. Ancient Messene, Greece..
- Immanence and Immersion On the Acoustic Condition in Contemporary Art. Bloomsbury Publishing USA.
- Professional activities and memberships
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I have completed commissions, performed, exhibited and undertaken community arts project with a wide range of international organisations and events including FACT (Liverpool), PixelAche (Helsinki), Tuned City (Berlin, Brussels, Athens), Tabakalera (San Sebastian), AV Festival (Newcastle upon Tyne), Future Sonic (Manchester), Club Transmediale (Berlin).
I have worked as a consultant for organisations including Yorkshire Sculpture Park, MOCA Lyon, AV Festival, Forma Arts and Media, Arnolfini Bristol and Arts Council England.
Recording engineer on Emily Portman’s The Glamoury and Hatchling albums, the second won the BBC Radio 2 Folk Award for Best Original Song.
I am a Fellow of the Higher Education Academy (FHEA).