Engaging the modern British public with immersive media should not be treated as a secondary concern

The immersive arts and entertainment sector is poised for growth, but it needs to proactively nurture an audience for immersive media to thrive now and in the future. Location-based Virtual Reality (VR) has demonstrated immediate audience uptake and is the most viable "at scale" connector between consumer-facing immersive content and the public.

The UK immersive media industry has received significant investment over the past few years, with millions of pounds of public money invested. However, there is a gap in attention and investment going into location-based exhibition. This is an urgent issue that needs to be addressed to ensure the success of immersive experiences.

The creative industries can drive environmental sustainability, and there are several examples of immersive experiences that have reached audiences, such as TOMtech, the Modigliani VR experience, and Mat Collinshaw’s Thresholds. Yet, reaching a mainstream audience remains a challenge, even for big-budget projects.

To tackle this issue, it's time to approach immersive distribution in a systematic way, with a sector-wide view and remit. Each demonstrator should have a firm legacy of audience understanding and distribution that lasts beyond the project. The 2025 Spending Review has implications for the creative industries, and it's crucial to ensure that the UK immersive sector can and must reach today's audience, at scale, by more fully embracing, nurturing, and systematically investing in location-based exhibition of arts and entertainment immersive experiences.

The creative industries are also being reshaped by Artificial Intelligence (AI), raising questions about who gets to create and whose voices are heard. The arts, culture, and heritage sectors value higher education, and accredited qualifications matter in journalism.

In the UK, organisations like the Exeter Science Centre are promoting location-based VR exhibitions, while institutions such as Autograph ABP in London work on contemporary exhibition programs integrating photography and digital methods. New Art City facilitates virtual art exhibitions and artist residencies, helping artists adapt their practices to digital environments. These efforts have led to dynamic, multi-sensory experiences combining art, science, and technology to engage audiences in novel and immersive ways.

Marta Foresti recently became Chair of the Global Creative Economy Council, and there are conversations between the Global North and South in this council. Co-location of the creative industries with other priority sectors is being discussed.

In conclusion, the UK immersive sector has the potential to reach a wider audience, but it needs to focus on location-based exhibition and systematically invest in this area. The creative industries are evolving, and it's essential to ensure that everyone, including underrepresented groups, has the opportunity to create and be heard.

Engaging the modern British public with immersive media should not be treated as a secondary concern