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A finger points at a waveform on a dark background. Text above the finger reads '2019 AES International Conference on Immerisve and Interactive Audio'. Text below the finger reads 'March 27-29, 2019, York, United Kingdom. Creating the Next Dimension of Sound Experience'


Guidelines for presenters 


Chairs: Gavin Kearney and Damian Murphy. Email: [email protected]

Papers chairs: Tony Tew and Duncan Williams. Email: [email protected]

Workshop/Tutorial chair: Hyunkook Lee. Email: [email protected]

Immersive audio systems are ubiquitous and range from macro-systems installed in cinemas, theatres and concert halls to micro-systems for domestic, in-car entertainment, VR/AR and mobile platforms. New developments in human-computer interaction, in particular head and body motion tracking and artificial intelligence, are paving the way for adaptive and intelligent audio technologies that promote audio personalisation and heightened levels of immersion. Interactive audio systems can now readily utilise non-tactile data such as listener location, orientation, gestural control and even biometric feedback such as heart rate or skin conductance, to intelligently adjust immersive sound output. Such systems offer new creative possibilities for a diverse range of applications from virtual and augmented reality through to automotive audio and beyond. This opens up exciting new opportunities for artists and audio producers to create compelling immersive experiences. This three-day conference will explore the unique space where interactive technologies and immersive audio meet and aims to exploit the synergies between these fields. The conference will include keynote lectures, technical paper sessions, tutorials and workshops, as well as technological and artistic demonstrations of immersive and interactive audio.

Proposed Topics


  • 3-D spatial perception
  • Auditory attention and engagement
  • Auditory interaction
  • Cross modal perception
  • Moving sounds and moving listeners
  • Metrics for and evaluation of immersive and interactive audio


  • Intelligent audio systems
  • Interactive production tools for immersive audio
  • Immersive audio recording techniques
  • Loudspeaker reproduction of interactive audio
  • Motion tracked binaural and HRTF processing
  • Biophysiological feedback as a control signal
  • Spatial audio signal processing
  • Spatial reproduction methods
  • Streaming of immersive and interactive audio
  • Virtual acoustics

Sound Design

  • Audio for games
  • Sound design for virtual and augmented reality
  • Immersive audio effects
  • Interactive music composition and generation
  • Immersive sound design for film, TV, theatre, games and interactive media
  • Narratives and workflows for interactive audio
  • Object and scene based production and reproduction
  • Sonic interaction design
  • Virtual auditory environments


All submissions should have a clear connection with immersive and interactive audio. We encourage multidisciplinary approaches to the area and an exploration of the interactions between theory and practice. Submissions may be in the form of paper and workshop proposals.

Papers may be presented in the oral sessions or as a poster, at the discretion of the committee, although authors may indicate a preference. Authors should submit a full paper for peer review from the outset. All proposals are to be submitted at by 1st October 2018 15th November 2018. Acceptance of papers will be determined by the committee based on peer review. Accepted authors will be notified by 1st December 2018 15th December 2018. Final manuscripts of a maximum of 10 pages (3000 words) must be submitted by 15th January 2019 28th January 2019. Please contact [email protected] if you have any queries about potential paper submissions. 

Posters can be either A1 or A0, in landscape or portrait. Velcro pads will be provided, but if authors bring some the committee will not mind!

Workshop and tutorial proposals should be submitted to by 1st November 2018 15th November 2018, including title, abstract (300 words), and a technical description of the session. Additional supporting images can also be submitted. More information regarding available facilities is available here. If accepted, title and abstract will be included in the proceedings. Acceptance will be notified by 15th January 2019. Please contact [email protected] if you have any queries about potential workshop and tutorial submissions. 

Engineering Brief proposals should be submitted to by January 11th 2019, including title, abstract (300 words), and precis.  Acceptance will be notified by 25th January 2019, with full E-Brief submission by February 22nd. Please contact [email protected] if you have any queries about E-Brief submissions. 


A reduced registration fee will be available for authors. At least one author of each contribution must pay to register and attend to present. The authors’ rate will be available for any author wishing to attend the conference.


Papers will be published in the AES E-Library no earlier than 10 days before the conference start date.

Important Dates

Technical paper (peer-reviewed)
• Full paper deadline: 1st October 2018 15th November 2018
• Acceptance emailed: 1st December 2018 15th December 2018
• Camera-ready submission: 15th January 2019 28th January 2019

Workshop / Tutorials
• Proposal deadline: 1st November 2018 15th November 2018
• Acceptance emailed: 15th January 2019

Engineering Brief
• Full paper deadline: 11th January 2019
• Acceptance emailed: 25th January 2019
• Camera-ready submission: 22nd February 2019

Open Access

Authors will have the option of submitting Open Access papers.

AES - Audio Engineering Society