4. Conclusions4. Conclusions

In this study, we mapped the IX industry and looked at how distribution is currently approached. A number of best practices were then described, not only within IX, but also within other cultural sub-sectors in the Netherlands and beyond.

From the interviews conducted, it emerged that a more integrated approach - in which distribution is part of the development process from the beginning - can help solve many current bottlenecks. If we see development, presentation and archiving as inter-connected, the potential of immersive projects can be better exploited. Distribution should be a full and strategic phase within the life cycle of immersive experiences.

Thinking early on about the intended audience, the venues where screenings can take place, and what forms or versions the work could take, will ensure more sustainable impact. For example, it is clear that documentation is crucial in project development, allowing the work not only to be better disseminated, but ultimately preserved and archived, thus ensuring a longer life.

Here are the key findings of the study:

• A more holistic and long-term view of the life cycle of an immersive production can benefit the distribution and viability of an IX work. Such an approach transcends traditional project phasing and encourages creators to think about audiences, distribution, and the future value of their work from the very beginning.

• Within sustainable lifecycle thinking, version control is crucial. This includes not only continuous prototyping to reinforce quality and relevance during the production process, but also developing a versioning strategy. Such a strategy is necessary for the work to be widely distributed, adaptable to technological changes and future-proofed. In practice, however, there often appears to be insufficient financial room for further development. This is not only a funding issue, but also points to the vulnerability of a market that is still under construction.

• Continued strong segmentation within the distribution field - with both small-scale modes of presentation for home use and large-scale installations on location that are only profitable in metropolitan contexts - makes it complicated to develop a sustainable and scalable revenue model that structurally perpetuates the life span of works. This report analysed existing distribution models from other cultural subsectors, and highlighted a number of useful starting points.

• That creators are always focused on making new work is fuelled in part by the lack of opportunities with funding bodies to apply for the further development of existing work. This is unavoidable in the current situation because creators simply have to make a living. This shortens the life cycle of projects considerably.

• The Dutch immersive sector would benefit from a place, or organisation, that offers structural support to creators and producers. Similar to the role Dutch Game Garden has played within the game industry, a central hub for immersive experiences would promote knowledge sharing, provide access to technical facilities and create space for showing prototypes to partners and the public. Such a place - possibly with co-working and residency opportunities - could be a catalyst for collaboration, innovation as well as visibility. This could contribute to the sustainable development and distribution of immersive projects in the Netherlands.

• This report has explored distribution opportunities for immersive experiences in both the home and online context, as well as in physical locations. For XR, while location-based experiences continue to play an important role in audience experience, online platforms also offer serious opportunities for distribution. Thanks to their scale, accessibility and international reach, these platforms - from social Metaverse environments to game and content marketplaces - offer an opportunity to distribute and democratise immersive content on a larger scale. On the other hand, it remains important to look beyond audience numbers: The Netherlands also excels precisely in the artistic quality of IX projects.

• There is a clear need for individuals and companies that specialise in the distribution of immersive experiences. They would handle the entire strategy of distribution, and be involved early in the development. They are responsible for the marketing and release of the work and maintain the network with creators, producers, curators and programmers. Pooling and collaborating is crucial for structural improvement in distribution. Distribution should become a shared responsibility of people with different roles and responsibilities across the sector, who can support makers and producers.

• The immersive sector could benefit significantly from incentives similar to those in film, such as incentives for distributors who commit to culturally diverse or artistically innovative works. Financial incentives - per visitor or screening, for example - can stimulate the circulation of immersive productions, especially when they are more artistic or experimental works with greater commercial risk. Including such mechanisms in policy and subsidy schemes would strengthen the visibility, accessibility and sustainability of the sector.

• Using existing distribution models from different sectors (film, performing arts, digital and media arts, games, music), it appears that a strategy that integrates multiple distribution models can ensure longer visibility and more sustainable exploitation. The more diverse the forms of distribution deployed, the more likely a work is to reach multiple audiences and remain economically viable.