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| Garau, M., Friedman, D., Ritter Widenfeld, H., & Antley, A. Temporal and spatial variations in presence: Qualitative analysis of interviews from an experiment on breaks in presence. Presence: Teleoperators and Virtual Environments, 17(3), 293–309. |
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| Garau, M., Slater, M., Pertaub, D.-P., & Razzaque, S. (2005). The responses of people to virtual humans in an immersive virtual environment. Presence: Teleoperators and Virtual Environments, 14(1), 104–116. |
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| Gazzola, V., Aziz-Zadeh, L., & Keysers, C. (2006). Empathy and the somatotopic auditory mirror system in humans. Current Biology, 16, 1824–1829. |
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| Gilbert, S. B. (2016). Perceived realism of virtual environments depends on authenticity. Presence: Teleoperators and Virtual Environments, 25(4), 322–324. |
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| Gilkey, R. H., & Weisenberger, J. M. (1995). The sense of presence for the suddenly deafened adult: Implications for virtual environments. Presence: Teleoperators and Virtual Environments, 4(4), 357–363. |
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| Green, M. C., & McAllister, C. A. (2020). Presence. The International Encyclopedia of Media Psychology. Retrieved December 7, 2020, from https://onlinelibrary.w ... /9781119011071.iemp0058. |
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| Grimshaw, M., Lindley, C. A., & Nacke, L. 2008, October 22–23, Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Grimshaw, M. (2017). Presence through sound. In C. Wöllner (Ed.), Body, Sound and Space in Music and Beyond: Multimodal Explorations (pp. 279–298). London: Routledge. |
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| Grimshaw-Aagaard, M. (2019). Sonic virtuality, environment, and presence. In J. Braga (Ed.), Conceiving Virtuality: From Art To Technology (pp. 69–80). Switzerland: Springer Nature. |
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| Grimshaw-Aagaard, M. N. (2019). Presence and biofeedback in first-person perspective computer games: The potential of sound. In M. Filimowicz (Ed.), Foundations in Sound Design for Interactive Media (pp. 78–94). New York: Routledge. |
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| Grimshaw-Aagaard, M. (2024). The importance of sound to the formation of presence. In W. Gibbons & M. Grimshaw-Aagaard (Eds), The Oxford Handbook of Video Game Music and Sound (pp. 916–928). New York: Oxford University Press. |
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| Grimshaw-Aagaard, M. (2019). Presence, environment, and sound and the role of imagination. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds), The Oxford Handbook of Sound and Imagination Vol. 1, (pp. 669–681). New York: Oxford University Press. |
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| Grimshaw-Aagaard, M. (2024). OH-EE-OH-EE-OH-EE-AW-EE-AW! Sound descriptors in the books of Tarzan as facilitators of presence. In J. Murphet & H. Groth (Eds), Edinburgh Companion to Literature & Sound Studies. (pp. 250–263). Edinburgh: Edinburgh University Press. |
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| Gumbrecht, H. U. (2004). Production of presence: What meaning cannot convey. Stanford: Stanford University Press. |
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| Hahn, J. K., Fouad, H., Gritz, L., & Lee, J. W. (1998). Integrating sounds and motions in virtual environments. Presence: Teleoperators and Virtual Environments, 7(1), 67–77. |
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| Harvey, M. A., & Sanchez-Vives, M. V. (2005). The binding problem in presence research. Presence: Teleoperators and Virtual Environments, 14(5), 616–621. |
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| Heeter, C. (1992). Being there: The subjective experience of presence. Presence: Teleoperators and Virtual Environments, 1(2), 262–271. |
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| Heeter, C. (2003). Reflections on real presence by a virtual person. Presence: Teleoperators and Virtual Environments, 12(4), 335–345. |
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