5. Recommendations5. Recommendations

This report shows that the future of distribution in the immersive arts requires a fundamental revision of existing practices and the simultaneous construction of new, sustainable structures. Central to this is the need to see distribution no longer as the final piece, but as an integral part of the life cycle of projects.

Ongoing research as a prerequisite
Our research has shown the need for continuous reflection and knowledge sharing, in part because of rapid technological and institutional developments. We hope that it has provided many starting points for important follow-up research in the field.

In addition to the current study, a long-term project by MIT in collaboration with IDFA is currently underway, aimed at developing play pipelines and distribution strategies. Two things are being looked at by MIT: on the one hand, research on different platforms and pipelines, and a way, a methodology, to share that knowledge and also keep updating it. Parallel to that is the initiative to start an independent distribution network, looking not only at better publishing on online playstores, but also looking at a broader approach. The insights from these and other pathways will be essential in the years ahead to make distribution not only better, but also more collectible, future-proof and equitable.

1. Implementation of lifecycle thinking
Development of an integrated project approach
Creators and producers should include distribution in their project development from the concept phase. This requires creating distribution roadmaps that detail different phases - from prototype to archiving. Funding bodies should encourage this by requiring distribution plans to include roadmaps in grant applications and by having separate budget items for distribution activities.

Versioning as standard practice
The industry should work to develop different versions of the same work (small, medium, large) to enable flexible presentation. This includes both prototyping during the development phase and strategically creating multiple final versions for different contexts and audiences.

2. Infrastructure development
Establishment of a national knowledge centre
The Netherlands needs a central hub for immersive experiences, similar to the role Dutch Game Garden played in the game industry. This organisation would facilitate knowledge sharing, provide access to technical facilities, create space for prototype testing and act as a national point of contact for the industry. A national infrastructure should also be explored, accessed through the national knowledge centre, for smaller parties and offering digital community assets.

Development of distribution expertise
There is an urgent need for specialised distributors and marketing professionals focused entirely on immersive content. These intermediaries must be involved early in projects and master the entire distribution chain - from strategy to execution.

3. Strengthening presentation capabilities
Expanding physical distribution
The industry must actively work to develop touring kits and installation specifications that are scalable and replicable. Combining multiple titles into group exhibitions greatly increases opportunities for Location-Based Entertainment (LBE). In addition, partnerships should be developed with existing cultural institutions to better utilise their infrastructure.

Exploration of online distribution models
Strategic research should be conducted into online distribution platforms outside the well-known game stores. Inspiration can be drawn from revenue models of Netflix, Spotify, iTunes, Kindle, YouTube and media platforms such as Nowness. Such research should look at trends in content provision, curation, various licensing systems, and the operation of branded content and advertising. Experimentation with blockchain-based distribution, copyleft licensing and community-driven platforms deserves attention.

4. Knowledge and legal frameworks
Development of documentation standards
Universal roadmaps and documentation templates should be developed by experts such as LI-MA and Nxt Museum in collaboration with creators. These formats should become part of creative education programmes and be widely available to the industry.

Standardization of licensing and contract models
The industry urgently needs standardised contracts and licensing models for intellectual property. There must be clear guidelines on exactly what is licensed - specific versions of works or adaptation rights - and transparent agreements on ownership relationships between creators, producers and distributors. These legal frameworks are essential for sustainable distribution and international cooperation.

Preservation and heritage management
The sector should seek structural affiliation with heritage networks such as NADD and NDE. Establishing national awards that encourage conservation can help canonisation and long-term accessibility of important works (compare the annual awards of Fonds Podiumkunsten). LI-MA and other heritage experts can play an important and active role in deeper heritage research and conducting case studies if funded.

Knowledge sharing
Ways of setting up a central knowledge-sharing desk should be explored. Part of this could be an open database for sharing certain data, such as for example all suitable screening locations and training in the field of IX.

5. Financial instruments and policies
Expanding funding opportunities Funding bodies should provide more room for further development of existing works and distribution activities. It is recommended to introduce similar incentives as in the film sector, such as incentives per visitor or screening for culturally diverse works.

Following the example of the immersive network in Great Britain, funded by the British Council, funding bodies in the Netherlands should also offer more scope for supporting collaborations, networks and infrastructure, not just individual creators or productions

Evaluate and improve existing schemes The current distribution scheme for immersive works should be thoroughly evaluated for effectiveness. In addition, we need to investigate whether presentations of IX can fall under existing presentation schemes of Performing Arts Fund NL.

6. Marketing and visibility
National marketing strategy A central marketing office should be set up to promote the (inter)national visibility of Dutch immersive productions. This can be carried out by existing organisations such as Moonshot or See NL, or through a new specialised structure.

Audience development
The sector should work systematically on audience approach and making immersive works accessible. Developing a Dutch variant of 'The Festival Collection' can increase visibility and unburden presentation venues.

Short term (1-2 years)

• Creation of documentation standards and roadmaps
• Development of standard contracts and licensing models for intellectual property
• Evaluation of existing distribution scheme
• Exploration of partnerships with heritage institutions
• Development of initial touring kits and versioning strategies.

Medium term (2-5 years)

• Establishment of national knowledge centre
• Implementation of new financing instruments
• Development of specialized distribution expertise
• Rollout of national marketing strategy

Long term (5+ years)

• Mature distribution ecosystem with professional intermediaries
• Stable online and offline presentation networks
• International positioning of Dutch IX sector
• Sustainable preservation and archiving structures

Role of different stakeholders

• Creators and producers should adopt lifecycle thinking and develop distribution strategies from the start of projects.
• Funds should structurally enable financing of distribution and further development.
• Cultural institutions can open their infrastructure more broadly and form partnerships.
• Governments can create policy frameworks that encourage innovation and collaboration.
• Industry associations play a crucial role in developing standard contracts and licensing models (i.c.w. legal experts) that help professionalize the sector.

The challenge lies in coordinating these various parties into a coherent ecosystem in which immersive works are not only created, but can also sustainably circulate and reach their audiences. Only through joint effort can the Dutch immersive sector fully realise its potential and take a leading position internationally.