Call 2016
NIME (New Interfaces for Musical Expression) is the premier conference in designing human-machine interfaces and interactions for musical performance. NIME gathers researchers and practitioners together for lectures, installations, concerts, and workshops.

Dates and Place

NIME 2016 will be held in Brisbane, Australia, from 11-15 July 2016.

Call for Participation

On behalf of the NIME 2016 Committee, we would like to invite you to be part of the 16th international conference on New Interfaces for Musical Expression. We invite submission of new works in the following categories:
  • Papers and Posters
  • Performances, Installations and Exhibitions
  • Demonstrations
  • Workshops and Unconference day activities

Important Dates

  • Submission: January 25, 2016.
  • In order to be included in the peer review process your submission
    must be received by 11:59pm Pacific Standard Time (GMT -8) on this
    date. However, you will be able to make updates to your documents
    and video until 11:59pm on 1st Feb 2016, after which they will be
    sent to reviewers.
  • Review notification: March 28, 2016
  • Camera-ready paper/program note deadline: April 18, 2016

Submit Online

All submissions to NIME 2016 are managed via the Precision Conference system. Register and manage your submission at

Theme and Process

The thematic focus of this year’s edition is Musician & Machine. Submissions that extend, stretch, or challenge the NIME topics and themes, are also welcome. Submissions should be made at the dedicated submission page, which will be advertised here in due course.
This year we are encouraging all submissions (including papers) to include a short video, that assists in demonstrating the research claims, performance aesthetic, quality of demonstration, etc. Papers, video or program notes from all accepted submissions will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools.
All submissions will be subject to a peer review process by an international expert committee. Given the new focus on accompanying video documentation, the review process will be single-blind for all categories (this means the author’s identities will be known to the reviewers, but the reviewers will remain anonymous). A manuscript submitted for review cannot be already under review for publication elsewhere or be submitted for a second review elsewhere while under review for NIME 2016.

Call for Papers

We invite academic papers describing original research on new interfaces for musical expression. Papers should be up to 6 pages in length, formatted according to the provided paper template (available here soon). Authors are strongly encouraged to also submit a short video abstract in support of their paper. Submissions must provide an original contribution to NIME research, appropriately cite prior related work, and demonstrate a rigorous research methodology. There are two different paper presentation options:
  • Oral presentation
  • Poster presentation
Please indicate your preferred presentation option during the submission process. The program committee reserves the right to allocate accepted paper submissions into either category regardless of the indicated preference.
A best paper award will be presented to the individual(s) judged by the paper committee to have written the best paper appearing in the conference proceedings. In addition, a selection of papers may be considered for publication, in extended form, in a special issue of Computer Music Journal (MIT Press).
Please find below the LaTeX and MS Word templates for submitting papers to the scientific program at NIME 2016. The PDF file is to be submitted at and, this year, may be up to 6 pages long (in A4 format) for both poster and oral presentation (authors will have opportunity to state their presentation preference, but the final decision will be made by the paper committee). Upon initial submission, it will further be necessary to classify the contents of the paper according to the 2012 ACM CCS standards <link:>.

Call for Demonstrations

We welcome submissions of original instruments and technologies designed for use as new interfaces for musical expression.
Proposals should include a max 2 page description and short video abstract, both of which will appear in the conference proceedings, and a 1 page description of technical requirements for the demonstration.
A best demonstration award will be judged by the selection committee and presented to the individual(s) responsible at the conference.

Call for Performances and Installations

We invite submission of proposals for performances and installations. Novel and exploratory use of new interfaces is encouraged. Proposed performances and installations should have a clear connection with the substance of the NIME conference and may be connected to a poster or demo submission.
Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may exceptionally be taken into consideration.
Venues for installations are still being finalized. Please indicate space requirements and preferences and review chairs will take these into account when finalizing submission selection.
Along with general NIME concerts we particularly invite performance submissions for the following themed concerts:
We anticipate further details of specific performance and exhibition opportunities to be announced as they become available.
Proposals in this category should include a 1 page description, program notes, artist bios, and a 2-3 minute video preview, along with a 1 page description of technical requirements. The video preview will be used for the purposes of review and selection. Video documentation of all performances and installations will occur during the conference, where practicable, and be made available online following the conference.
Please keep in mind the following when preparing performance and installation submissions:
  • Advise whether performance would be better in club, bar or
    traditional concert environment, or other venue.
  • List any instrumental performers that would need to be provided by
    the organizers. Note that the conference organizers may not be able
    to accommodate your request. Please also note that the organizers
    cannot provide funding to support performers’ travel or
    accommodation at the conference.
  • Provide evidence of the feasibility of the performance. For example
    documentation and listings of past performances or related works
    that demonstrate the submitter’s capacity to implement the proposed
  • Include the names of all participants/submitters, with a short bio
    for each (100 words).
  • Include the duration of the work. Typical NIME performance pieces
    last for 5-15 minutes, but shorter and longer performance proposals
    may exceptionally be taken into consideration.

Call for Workshops

We invite submissions for two categories of workshops.
  • NIME Workshops — targeted at the NIME community, and conference
  • Unconference Workshops — relevant to a broader range of participants.
NIME Workshops: either half-day (3 hours) or full-day (6 hours). These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. NIME Workshops will be held at the Queensland Conservatorium with facilities typical of a university music department.
Unconference Workshops: either short (1 hour) or long (3 hour) workshops targeted toward visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME. Unconference Workshops will be held at The Edge (, State Library of Queensland – a digital media and makerspace that offers access to creative software, Mac lab, Recording Studio and a workshop space with facility for electronics (soldering), fabrication and free internet.
The NIME committee reserve the right to suggest workshop category reallocation if required. Workshop proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.

Review Process

Submissions will go through a rigorous review process. Overall, the review process comprises three layers of evaluation: reviewer, meta-reviewer, and track chairs. The process is as follows:
  • Each submission is assigned to one meta-reviewer representative of a
    topic category.
  • The meta-reviewer together with the area chairs assigns the
    submission to reviewers for evaluation. Each submission has at least
    two reviewers.
  • The meta-reviewer moderates the area based on the reviewers’
    comments and may add their own comments.
  • Area chairs collate reviews and moderation input. In discussion with
    the meta-reviewers he or she finalizes the decision for each submission.
  • Reviewers remain anonymous to the authors (single-blind).


In addition to submissions that address the specific theme (Musician & Machine) of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
  • Novel controllers, interfaces or instruments for musical expression
  • Augmented/hyper instruments
  • Novel technologies for collaborative performance
  • Theoretical or philosophical discussions about performing with new
  • Sensor, actuator technologies, haptic and force feedback devices
  • Artistic, cultural, or social impact of NIME technology
  • Explorations of the relationship between motion, gesture and music
  • Interfaces for musical expression for people with special needs
  • Musical applications of robotics
  • New performance paradigms for mobile music technologies
  • Musical mapping strategies
  • Embedded musical instruments and embedded sound art installations
  • Interactive sound art and installations
  • Musical human-computer interaction
  • Interface protocols and data formats
  • Performance rendering and generative algorithms
  • Machine learning in musical performance
  • User studies and evaluations of new interfaces for musical expression
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