I3DA2026: Immersive and 3D Audio 2026 Fondamenta Narisi, 2893, 30124 Venezia VE Venice, Italy, November 19-22, 2026

Conference website	https://i3da2026.org
Submission link	https://easychair.org/conferences/?conf=i3da2026
Abstract registration deadline	April 3, 2026
Submission deadline	May 18, 2026

I3DA 2026 — Call for Papers and Demos

4th International Conference on Immersive and 3D AudioTheme: Immersive Media in Heritage, Nature and Consciousness

Venice, Italy — 19–22 November 2026

Venue: The I3DA 2026 will take place in Venice, at Palazzo Giustinian Lolin, the headquarters of the Fondazione Ugo e Olga Levi and the University of Warwick Venice Centre

Website: https://www.i3da2026.org/

We cordially invite you to submit your papers and demos for the International Conference on Immersive and 3D Audio (I3DA 2026)

 

About the Conference

The International Conference on Immersive and 3D Audio (I3DA) is a leading international forum dedicated to immersive media and spatial audio research across cultural heritage, natural environments, and human perception. I3DA 2026 brings together audio engineers, acousticians, computer graphics researchers, architects, musicologists, digital humanists, and creative practitioners to explore immersive audio-visual environments, digital twins, soundscapes, and the reconstruction of historical and natural sonic worlds.

This edition places a strong focus on auralization, digital archaeology, AI, bioacoustic research, and the study of perception and cognition in immersive contexts.

Across all tracks, I3DA 2026 is unified by a shared scientific and cultural core: the modeling of acoustic spaces, their immersive rendering, their cognitive and perceptual experience, their cultural preservation, and their scientific measurement. These five axes define a coherent immersive media framework connecting engineering, environmental research, heritage studies, digital humanities, and cognitive and life sciences.

The conference I3DA 2026 is realized through collaboration with the Fondazione Ugo e Olga Levi and the University of Warwick Venice Centre.

 

Topics of Interest

Submissions are welcome in (but not limited to) the following areas:

Spatial Audio Algorithms & Systems

• Binaural, Ambisonics, and multichannel rendering algorithms and systems
• Real-time spatialisation engines and middleware
• Room acoustics simulation engines and auralization pipelines
• Cross-platform spatial audio frameworks (XR, game engines, browsers, mobile, automotive)
• Performance optimization, latency, scalability, reproducibility and real-time constraints

Spatial Audio, Auralization & Digital Twins

• Auralization, virtual acoustics, and acoustic digital twins
• Reconstruction of historical acoustic environments
• Musicological auralization: immersive realization of historical scores, premieres, and lost performance practices
• Digital twins of architectural, environmental, and virtual acoustic spaces

Architectural Acoustics & Immersive Space Design

• Immersive design and renovation of studios, theaters, churches, and heritage performance spaces
• Loudspeaker arrays, WFS, beamforming, and spatial reinforcement

Spatial Capture & Measurement Technologies

• Spatial microphone arrays and Higher Order Ambisonics capture
• Soundscape and environmental recording systems
• Bioacoustics and hydrophone-based immersive capture
• MEMS, wearable, and miniaturized spatial sensing devices

Visual Interaction, XR & Digital Archaeology (Special 2026 Focus)

• LiDAR, photogrammetry, and 3D scanning
• Audio-visual synchronization and immersive visualization
• XR interaction and navigation in virtual heritage environments
• Cross-disciplinary visual–audio pipelines for digital archaeology

Heritage, Soundscapes & Digital Humanities

• Sonic archaeology and heritage acoustics
• Soundscape studies and environmental acoustics
• Digital humanities approaches to acoustic heritage documentation
• Environmental and urban soundscapes as cultural heritage

Audio Engineering, Signal Processing & AI

• Advanced acoustic measurement, modeling, simulation, and nonlinear acoustics
• Signal processing algorithms for spatial, binaural, and immersive audio
• Machine learning and artificial intelligence for spatial rendering, personalization, source separation, acoustic modeling, and cross-environment reproduction
• Automotive and intelligent immersive audio systems

Perception, Cognition & Consciousness

• Psychoacoustics and spatial hearing
• Listening tests, presence, and emotional immersion
• EEG and biometric evaluation
• Consciousness, attention, presence, and self-awareness in immersive environments

Nature, Bioacoustics & Eco-acoustics

• Environmental soundscapes and biodiversity monitoring
• Immersive representation of natural and fragile ecosystems
• Underwater immersive acoustics and lagoon studies

Creative Practice & Immersive Media

• Immersive music, installations, and XR storytelling
• Site-specific heritage and archaeological immersive experiences

Submission Categories

All submissions must be original and not simultaneously submitted to another journal or conference.

Authors may submit proposals in one of the following categories:

1. Full Papers (Peer-Reviewed)

• Submission via the conference paper submission system
• A complete manuscript must be submitted by the Full Paper deadline
• Upon acceptance, papers may be scheduled for oral or poster presentation
• The final camera-ready paper must be submitted by the Camera-Ready deadline

2. Demos and Technical Briefs

• Submission via the demo and brief submission system
• Submission consists of:
  • Title
  • Abstract (60–120 words)
  • Extended abstract / précis (500–750 words)

Review Criteria

Submissions will be evaluated based on originality, technical quality, methodological soundness, relevance to the conference scope, clarity of presentation, and contribution to immersive audio, heritage, environmental, and perceptual research.

Presentation Formats

Accepted full papers will be scheduled for oral or poster presentation.

Demos and Technical Briefs will be presented in dedicated demonstration sessions.

Language

The official language of the conference is English.

Contributions from interdisciplinary, early-career, and underrepresented researchers are especially encouraged.

Ethics & Research Integrity

Submissions involving human participants, animals, sensitive ecological environments, or cultural heritage sites must comply with relevant ethical standards and institutional approval requirements. Authors are responsible for ensuring appropriate consent, permissions, and cultural sensitivity in their research and documentation.

Authors are also expected to follow the ethical, writing, and formatting guidelines provided on the I3DA 2026 website, including IEEE publication standards and anti-plagiarism policies. All submissions may be subject to similarity screening to ensure originality and research integrity.

Authors are encouraged to provide datasets, code, and reproducible materials when possible.

Activities

The program will include keynote speakers across engineering, the arts, music, and digital archaeology, as well as panel discussions, workshops, Venice-focused heritage sessions, and lagoon-related environmental studies.

Templates

Paper and demo templates can be found on the conference website.

Organizing Committee Contacts

General Chair: Prof. Lamberto Tronchin (University of Bologna)

Chair of the Organizing Committee: Dr. Cobi van Tonder (University of Bologna)

Email: info@i3da2026.org