Reader in Creative Technologies/Research & Enterprise School of Business & Creative Technologies| m.n.grimshaw@bolton.ac.uk| 01204 903 083 PhD (2007): The Acoustic Ecology of the First-Person Shooter. Department of Screen & Media Studies, University of Waikato, New Zealand. MSc Music Technology (1989): York University, UK. BMus(Hons) 1st Class (1987): Natal University, Durban, South Africa.

Research:

There are two strands to my research:  computer game audio and virtual research environments. In the former, my research focuses on the relationship between player and sound in the game, in particular in First-Person Shooter (FPS) games, and how this relationship facilitates immersion in the game environment.  My work in the latter is exemplified by WIKINDX|, a web-based virtual research environment used by scholars and research institutions around the world.

In addition to being an external reviewer for several conferences and journals, I am also an external reviewer for the Arts & Humanities Reseach Council.

 

Books:

• Grimshaw, M. (Ed). (Forthcoming 2010). Game sound technology and player interaction: Concepts and developments. IGI Global.
• Grimshaw, M. (2008). The acoustic ecology of the first-person shooter: The player, sound and immersion in the first-person shooter computer game. Saarbrücken: VDM Verlag Dr. Mueller.

Book chapters:

• Grimshaw, M. (Forthcoming 2011). Sound and player immersion in digital games. In K. Bijsterveld & T. Pinch (Eds.), Oxford Handbook of Sound Studies, New York: Oxford University Press.
• Tinwell, A., Grimshaw, M., & Williams, A. (Forthcoming 2010). Uncanny speech. In M. Grimshaw (Ed.), Game sound technology and player interaction: Concepts and developments. IGI Global.
• Nacke, L., & Grimshaw, M. (Forthcoming 2010). Player-game interaction through affective sound. In M. Grimshaw (Ed.), Game sound technology and player interaction: Concepts and developments. IGI Global.
• Grimshaw, M. (2008). Per un'analisi comparata del suono nei videogiochi e nel cinema. In M. Bittanti (Ed.), Schermi interattivi saggi critici su videogiochi e cinema. Roma: Meltemi.
• Grimshaw, M. (2003). In F. Gravesen & M. Knakkergaard (Eds.), Gads musik leksikon Vols. 1&2 , Denmark: Gads Forlag. [Over 500 articles from short to long].

Journal articles:

• Tinwell, A., Grimshaw, M., & Williams, A. (Forthcoming 2010). Uncanny behaviour in survival horror games. Journal of Gaming & Virtual Worlds.
• Nacke, L., Grimshaw, M., & Lindley, C. A. (Forthcoming 2010). More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter. Interacting With Computers: User Experience.
• Grimshaw, M. (2010). Relaciones mediadas por el sonido entre jugadores en el entorno de juegos multijugador. Comunicar 34, pp. 73-81.
• Campbell R. H., Grimshaw, M. N., & Green, G. M. (2009). Relational agents: A critical review. The Open Virtual Reality Journal 1, pp. 1-7.
• Grimshaw, M (2008). Sound and immersion in the first-person shooter. International Journal of Intelligent Games & Simulation  5(1).
• Grimshaw, M., & Schott, G. (2008), A conceptual framework for the design and analysis of first-person shooter audio and its potential use for game engines. International Journal of Computer Games Technology 2008.
• Grimshaw, M. (2000). I wish you strength & inner peace. Leonardo Music Journal: Southern Cones – Music and Technology out of Africa and South America, MIT Press. [Article and the track from Old Blue Balls is Back (Felema).]
• Grimshaw, M., Yong, L., & Dobie, I. (1999). Boom Booom net radio. The Journal of Urban Labour & Leisure 1(1).
• Grimshaw, M. (January, 1993) Dza vadzimu. Music File.

Proceedings and conference papers:

• Campbell, R. H., Grimshaw, M. N. & Green G. M. (2010, March). A psychology based framework for cultivating and respecting user attitudes. In The 2010 UK Academy for Information Systems (UKAIS). Oxford.
• Tinwell, A., & Grimshaw, M. (2009, September-October). Bridging the Uncanny: An impossible traverse? In Proceedings of the 13th International Academic Conference MindTrek.
• Grimshaw M. (2009, September). The audio Uncanny Valley: Sound, fear and the horror game. In Proceedings of Audio Mostly, Glasgow.
• Tinwell, A., & Grimshaw, M. (2009, April). Survival horror games: An uncanny modality. In Thinking After Dark, Montreal.
• Grimshaw, M. (2008, November). Autopoiesis and sonic immersion: Modelling sound-based player relationships as a self-organizing system. In Proceedings of the Sixth Annual International Conference in Computer Game Design and Technology.
• Grimshaw, M., Nacke, L., & Lindley, C. A. (2008, October). Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. In Proceedings of Audio Mostly 2008, Piteå, Sweden.
• Grimshaw, M. (2007, November). Sound and immersion in the first-person shooter. In Proceedings of The 11th International Computer Games Conference, cGames, La Rochelle.
• Grimshaw, M. (2007, November). The resonating spaces of first-person shooter games. In Proceedings of The 5th International Conference on Game Design and Technology, Game Design & Technology, Liverpool.
• Grimshaw, M., & Schott, G. (2007, September). Situating gaming as a sonic experience: The acoustic ecology of first person shooters. In Proceedings of Situated Play, DIGRA, Tokyo.
• Grimshaw, M., & Schott, G. (2007, September). A conceptual framework for the design and analysis of first-person shooter audio. In Proceedings of the Third International Conference on Games Research and Development 2007, Manchester UK.
• Grimshaw, M. (1996, March). Remix technologies - Sound and music. In Popular Music and Music Culture, Drake University, Iowa.
• Grimshaw, M. (1995, July). Remix! Where's the original? In Proceedings of the International Association for the Study of Popular Music, Glasgow Strathclyde University.
• Grimshaw, M. (1993, October). Dza Vadzimu. In Teaching Music of the World, Musik-Akademie Basel, Switzerland.
• Grimshaw, M. (1993, September). Popular music and cultural identity in Zimbabwe. In Culture and Economy: ‑ The Place of Music, London University.

Recordings:

• Felema. (1998). Old Blue Balls is back. Unpublished except on the web (and see below). [Producer, engineer and co-composer for all tracks and performed on one. ]
• Brubeck, D. (1998). Trios plus: Vol. 1. South Africa: University of Natal. [Recordings and post-production].
• Bräuninger J. (1998). Durban noise works & scraps. South Africa: Claremont Records. [Recordings.] 
• Grimshaw, M. (1997). TOtEM (Tunes from Open to Europe Music). Universities of Salford (UK), Tampere (Finland) and Aalborg (Denmark). [Producer.]
• Kopinski, J. (1997). Ghost Music. UK: ASC Records Ltd. [Co-producer and sound engineer].
• Grimshaw, M. (1992). 1348. [Soundscape for Exeter Cathedral].
• Gang, The. (1991). Le Radici e le Ali. Italy: WEA. [Co-producer and sound engineer].
• Riondino, D. (1991). Davide Riondino. Italy: WEA. [Sound engineer].

Broadcasts:

• Some tracks from Old Blue Balls is Back (Felema) broadcast on KUAC-FM (Alaska), April 2000.
• 'Ngumakazi' and 'Ububele' from Old Blue Balls is Back (Felema) broadcast on Dutch National Radio 4, January 2000.

Miscellaneous:

• Administrator and lead programmer of WIKINDX virtual resource environment.
• Co-organizer of the Popular Music & Technology international conference at Salford University in 1998.
• Contribution to the development of the spectral manipulation programs (with Trevor Wishart) of the Composers' Desktop Project (CDP) (1989).