Call for Demos

Call For Demos

Key Dates:

  • Submission Deadline: April 2nd, 2024 April 7th, 2024
  • Decision Notification: April 18th, 2024
  • Camera Ready Submission: May 2nd, 2024

Selection: Curated

All deadlines are at 23:59 Anywhere on Earth

IMX 2024 & QoMEX 2024


Accepted demos to IMX’24 can also be considered for exhibition at the International Conference on Quality of Multimedia Experience – QoMEX without the need for a second submission (and subject to a reduced registration fee for QoMEX).

QoMEX is happening the week after IMX’24 between June 18-20, 2024 in Karlshamn, Sweden.


Interaction with technologies and contributions in the field of Interactive Media Experiences (IMX) is often more meaningful and valuable than reading an article, or attending a presentation. By showcasing your work in live demos, a wide community of researchers, academics and industry agents will be able to directly interact with your contributions!

The demos, as part of the conference, will be part of the adjunct proceedings, but will also have a dedicated area in the conference venue where you can present your work and interact with the participants of the conference to receive useful feedback and to network. Demos are, indeed, a great chance to start a discussion about the latest developments, challenges and opportunities in the IMX ecosystem.

ACM IMX demos are the perfect way to introduce, to the community, your work on media applications, prototypes, and proof-of-concepts of technologies like emerging media, interactive TV experiences, VR/AR/MR experiences.

The following topics are of interest to the IMX community, nevertheless, IMX is an inclusive, growing, interdisciplinary community, so if you aren’t sure whether the specifics of your research are in scope then (a) they probably are, and (b) please email and the chairs will do their best to advise you.

This topic focuses on advances in audience engagement with media content as a rapidly evolving activity across diverse platforms, devices, and timeframes. It welcomes contributions that seek to understand audiences using a rich variety of analytic approaches including sensing audiences, sentiment analysis, and measuring and monitoring quality of experience. Areas of interest include, but are not limited to, consumption trends and behaviors in young audiences, sharing practices and communication strategies, identifying engagement patterns across diverse genres, platforms and demographics, scheduled versus on-demand content consumption, binge viewing, and multi-platform engagement.

This topic is suitable for papers where the primary contribution is the introduction of novel ways of experiencing interactive media content. This includes new forms of media content (e.g. VR, AR, MR, XR, 360°, live-streaming etc.) consumed in diverse ways including across multiple screens, platforms, and in immersive theatres. Application areas include entertainment and information including interactive and generative documentaries, transmedia storytelling, volumetric filmmaking, live performance broadcasts and object-based media productions. Papers in other application areas, such as education, healthcare, wellbeing and governance and decision-making, are also welcome.

This topic focuses on technologies, systems, and interfaces that improve and advance our interactions with media content online, at home, or on the move. It encourages submissions describing technical advancements in streaming systems, content synchronisation for multi-platform delivery, and recommendation and companion apps. Additional areas for consideration include games engines for content delivery, location-based and context-aware applications and services and object-based media.

This topic solicits papers describing procedural advances in the preparation, design, and development of media experiences. Areas of interest include new production processes for TV, online video, VR, AR, XR, and 360° formats. Novel tools and workflows using motion capture, volumetric capture and animation are encouraged, as are the presentations of innovative authoring and data-driven tools for interactive or multi-platform content development. In addition to papers describing technical innovations, this topic area is also interested in innovations originating from design and humanities perspectives detailing the authoring process for writing interactive content and the human-centered design methods used to realize these narratives.

This topic focuses on the use of machine learning and/or artificial intelligence techniques to capture, generate, or understand social media experiences and includes areas such as verification and verification scamming, information diffusion, monitoring media bias, misinformation and fake news, predictability of real-world events, and crowd-sourcing and collective intelligence in rich media systems.

This topic focuses on the new business, marketing, purchasing, subscription, and monetising strategies encountered in the new media landscape of TV and online video. Areas of interest include, but are not limited to, targeted advertisements, freemium products, programmatic media buying, in-programme recommendations and purchases, exploiting consumption data, monetising second screen experiences, and social media influencer strategies.

The impact of the new interactive media and TV landscape on culture and society is powerful and raises many important and challenging topics for consideration. This area welcomes papers from a wide variety of theoretical and analytical perspectives examining structured reality TV, social media manipulation and targeting, media convergence and platform monopolies, intellectual property, remix culture, fan culture, media activism and participation politics, or tactical media practices. In addition, research concerning media violence, social media addiction, or issues of bias and ethics would also be appropriate for this topic.

This topic focuses on findings about artistic expression through interactive content. It includes ways of inducing viewers to become more immersed in the work through interaction, or creating a new message through the process of interacting with the viewer and the work. This category is also receptive to new experiments and broadened interpretations of interactive art.

This topic covers studies to improve the social interaction lacking in virtual communication. It includes research to re-implement the natural relationships formed when networking in real spaces in a virtual communication environment through software or hardware systems.

This topic focuses on disruptive media practices that seek to challenge traditional media consumption patterns and expand spectator experiences. Authors are invited to describe the design, development of (and response to) constructed video-centric work, or speculate about future-oriented media provocations.


Demo submissions take the form of 4-page papers (not including references) written in the New SIGCHI Proceedings Format. All submissions should follow the ACM guidelines. There is a single column submission paper format.

  • Please ensure that you use the right templates available from the ACM; a single column format must be used for the reviewing phase. Word authors should use the single column Word Submission Format. In the LaTeX format, use \documentclass[manuscript,review]{acmart}. Use of different templates or formats may result in a desk reject.

This must describe the research and what will be shown during the demonstration; all submissions will be peer-reviewed and selection will be based on the novelty of the research and interestingness of the demonstration.

Demo submissions do not need to be anonymised. Please ensure that your submission answers the following questions:

  • What is the scientific or engineering concept behind the work?
  • What is the novelty of the work and how is the work different from existing systems or techniques?
  • What will be actually shown during the demo?

For the past years we have encouraged authors to provide a video alongside their paper submission. This has proven invaluable – the video not only helps to support the submission, but will also be included in the digital version of the adjunct proceedings, and thus act as a lasting record of what was shown at the conference. The following video demonstrates what a submission video could look like, and gives some practical information on how to create one: instruction video on Vimeo.

After acceptance, the details of the technical requirements of the demo should be provided to the demo chairs at

If you require any support in the preparation of your contribution due to accessibility reasons, please get in touch with our Diversity, Inclusion & Accessibility Chairs.

Submission Materials

  1. The form of 4-page papers (not including references) written in the New SIGCHI Proceedings Format. It should standalone as a piece of written work and must coherently describe your demo.
    1. Demo submissions do NOT need to be anonymised.
    2. A single column format must be used for the reviewing phase. Word authors should use the single column Word Submission Format. In the LaTeX format, use \documentclass[manuscript,review]{acmart}. Use of different templates or formats may result in a desk reject.
  2. At least one “representative image” : 1500 x 1200 (at least 300 dpi at 5 inches wide, with depth proportional) or the highest possible screen grab. Images must be submitted in a 24-bit (RGB, 8-bits per channel) uncompressed, highest-detail JPEG format file possible.
  3. A two-minute demo of captured video: this video can include multiple non-continuous edits (like a trailer), but do not use any post-production tools to enhance the images or speed. Files must be QuickTime, MP4, Windows Media, or AVI files no larger than 250 MB. All videos must be uploaded to the PCS submission system. No drives will be accepted.

We highly encourage authors to prepare accessible submissions. Please check out this guide to get more information on how to make your submissions more accessible. If you have any questions, please contact our accessibility chairs at

Review Process

Your submissions will be reviewed by chairs based on impact, and the quality of work. The review process will strive to recognize the potential of the submitted work for its future scientific, societal, economical or industrial impact.


Text generated from a large-scale language model (LLM) such as ChatGPT must be clearly marked where such tools are used for purposes beyond editing the author’s own text. While we will not be using tools to detect LLM-generated text, we will investigate submissions brought to our attention and will desk reject papers where LLM use is not clearly marked. You may also read the SIGCHI blog post on the topic.

At The Conference

Once accepted, demonstrators will be provided with a table, poster board, power outlet and wireless (shared) Internet. Demo presenters are expected to bring with themselves everything else needed for their demo, such as hardware, laptops, sensors, PCs, etc. However, if you have special requests such as a larger space, special lighting conditions, large displays and so on, we will do our best to arrange them.

The Extended and Tangible Reality Lab (Extrality Lab) is a research and innovation hub that explores the possibilities of extended reality (XR) and tangible interaction for education, research, and social impact. The lab is located at Stockholm University, Sweden, and is led by a team of interdisciplinary experts in computer science, HCI and education.

The lab’s mission is to create immersive and interactive experiences that enhance learning, creativity, and collaboration across various domains and contexts. The lab’s projects range from developing XR applications for teaching and learning languages, mathematics, and science, to designing tangible interfaces for musical expression, storytelling, and gaming.

The lab’s facilities include state-of-the-art hardware and software for XR development, such as VR headsets, AR glasses, motion capture systems, haptic devices, 3D printers, spatial audio systems, and laser cutting. The lab also has a dedicated space used as a fabrication workshop or for user testing and evaluation.

The lab welcomes external stakeholders who are interested in collaborating with the lab’s researchers and students on XR and tangible interaction projects. The lab offers opportunities for co-creation, knowledge exchange, and dissemination of XR and tangible interaction research and practice.

The Extrality Lab is a flexible space of about 200 sqm that can be adapted to several spaces depending on the type of experience. There is access to equipment such as:

  • Desktop computers with Windows and Mac Minis
  • Mobile phones and tablets (Android and iOS)
  • VR and MR headsets (Meta Quest 2&3, Meta Quest Pro, HTC Vive Pro, Varjo XR-3)
  • Media equipment (Projectors, audio, screens)
  • A variety of electronics (Arduino, sensors, prototyping boards, cables, actuators, etc.)

As part of the conference, Extrality Lab can provide access to larger spaces for demonstrations and experiences related to digital immersion, artistic exhibitions or user testing depending on the specific requirements of each demo.

After the Conference

Accepted IMX demo submissions will be published in the conference proceedings, indexed by the ACM Digital Library. Authors of accepted contributions will receive the indications of how to present their work at the conference. At least one author must register to attend the conference to give this presentation.

ACM's Publication Policy

Demo Chairs

For further details on scope, submission route or any other issues, please get in touch with the Demo Chairs at:

Jordi Solsona Belenguer

Jordi Solsona Belenguer

(Stockholm University)
Mila Bujić

Mila Bujić

(Tampere University)
Luis Quintero

Luis Quintero

(Stockholm University)