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Immersive experiences

Find out more.....immersive experiences

Immersive experiences have been popular for a while now, with many organisations and artists - along with audiences - trying out new ways of experiencing arts and culture.

As technology develops, the ways in which audiences can interact with, view and experience art is changing and, alongside this, the number and variety of immersive experiences is increasing. 

There are new and interesting ways for storytellers to engage audiences - from audio tours in museums and galleries, to a 360 captured performance or a VR experience, our interactions with culture can take on new shapes and forms.

The Space has supported a number of interactive experiences - and spoken with a couple of experts in the field about why the arts and cultural sector should be interested in immersive trechnology and the potential that it has for expanding the ways in which art is created and experienced.

The articles below include a beginner's guide to VR experiences, a round-up of some of the best immersive arts-based experiences, case studies and tips from experienced producers about why creators need to focus on the story, then think about the tech.

Virtual Reality: a beginners' guide for the arts

Award-winning Catherine Allen, Director of Limina Immersive, and producer on two of the BBC's first VR experiences explains how arts organisations can start to experiment with the possibilities of virtual content.

Top VR and AR experiences in the arts

Virtual reality and augmented reality are increasingly being used in the arts world, but who is making the most exciting work in this field?

Creating great audience experiences using 360 and VR

We speak to three organisations who are using new technologies such as 360 video and virtual reality in order to demonstrate their work in new and creative ways.

Case studies

How the Design Museum used a machine learning algorithm to create poetry

Es Devlin and Ross Goodwin collaborated on Please Feed the Lions - an interactive installation in Trafalgar Square. Visitors to the Square were invited to 'feed the lion' by submitting words to a red, flourescent lion. Each evening, the lion roared a poem, based on the words submitted to it during the day. Ross Goodwin had trained the algorithm on a vast library of 19th century poetry books – each time a word was fed to the lion, the algorithm would reference this library to predict the next character of the phrase, over and over, until it had generated two lines of new verse.

How 59 Productions explain why the tech shouldn't overshadow the storytelling

Lysander Ashton, Director of 59 Productions, talks set design, live video and projection mapping "people can get carried away about what the tools can do, and forget why you’re using them at all. The key for us is that the technology is always a tool to be used to tell good stories and move audiences."