Dr Will Schrimshaw (he/him)

Department of Music

Lecturer in Popular Music Technology and Composition

Director of the University of Sheffield Sound Studios

Exams and Assessments Officer

w.schrimshaw@sheffield.ac.uk

Jessop Building

Full contact details

Dr Will Schrimshaw
Department of Music
Jessop Building
Leavygreave Road
Sheffield
S3 7RD

Profile

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 Sheffield 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

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

Books

Schrimshaw W (2017) Immanence and Immersion On the Acoustic Condition in Contemporary Art. Bloomsbury Publishing USA.

Journal articles

Schrimshaw W (2018) Writing Out Sound: Immersion and Inscription in Sound Art. Leonardo Electronic Almanac, 22(3).
Schrimshaw W (2018) The Tone of Prime Unity. Organised Sound, 23(2), 208-217.
Schrimshaw W (2018) Ur-writings: A Geophonographic Fiction. Leonardo, 51(1), 11-17.
Schrimshaw W (2015) Exit immersion. Sound Studies, 1(1), 155-170.
Schrimshaw W (2012) Any Place Whatever: Schizophonic Dislocation and the Sound of Space in General. Interference Journal(2).
Schrimshaw WC () La debilitación de los medios. Artnodes, 0(12).

Chapters

Schrimshaw W (2023) 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.
Schrimshaw W (2013) 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

Schrimshaw W (2021) Cosmic Convolutions: Deep Refrains: Music, Philosophy and the Ineffable by Michael Gallope. Cultural Critique, 113(Fall), 217-228.
Schrimshaw W () A Philosophy of Ambient Sound: Materiality, Technology, Art and the Sonic Environment. Journal of Sonic Studies.

Performances

Schrimshaw W (2021, April 15) Earth Sample Synthesis. Leeds University.
Schrimshaw W (2019, May 4) Absolutely Nothing. BEAST: University of Birmingham.
Schrimshaw W (2017, July 1) Continuity and Contingency. Edge Hill University.
Schrimshaw W & Allen J (2016, January 12) Pure Potential. OCCII Amsterdam.
Schrimshaw W & Allen J (2013, May 14) Acoustic Subtraction. Falmouth University.
Schrimshaw W & Allen J (2011, September 18) Acoustic Subtraction. Eyüp Sultan Mosque, Istanbul, Turkey.
Schrimshaw W & Allen J (2011, July 26) Acoustic Subtraction. Platoon Kunsthalle, Seoul, South Korea.
Schrimshaw W & Allen J (2010, March 10) Acoustic Subtraction. Kielder Forest, Northumberland.
Schrimshaw W (2009, April 2) Sediment. Kiasma, Helsinki.

Exhibitions

Schrimshaw W & Fisher C (2023, November 13) Cracked and Blessed. Sheffield Cathedral.
Schrimshaw W (2013, November 20) Ur-writings. Science Friction, Copenhagen.
Schrimshaw W (2013, October 10) Kirkdale/Vauxhall Palimpsest. FACT Liverpool.
Schrimshaw W (2013, June 27) Module for a Comprehensive Instrument. Tuned City Brussels.
Schrimshaw W (2011, January 28) Spectral Influence. Access Space, Sheffield.
Schrimshaw W (2010, October 11) Space Against Itself. AV Festival, North Tyne Tower, Newcastle upon Tyne.
Schrimshaw W (2010, March 8) Little Helpers. Tabakalera, Donostia/San Sebastian.
Schrimshaw W (2010, March 8) Resonator. AV Festival, Newcastle upon Tyne.
Schrimshaw W (2008, July 1) Little Helpers. Tuned City Berlin.

Website content

Schrimshaw W Domestic Systems.
Schrimshaw W Unboxing the Modular.

Presentations

Schrimshaw W Ambience and Immersion. TATE Liverpool.
Schrimshaw W The Tone of Prime Unity. Ancient Messene, Greece..

Professional activities and memberships

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).