\r\nWith growing global interest for immersive art, numerous initiatives have been undertaken in the domain of digital creation. The structuring of creative sectors nevertheless requires important financial support in the areas of creation, production and distribution. Whilst certain countries seem to be investing massively in the immersive (France is an example, with the France 2030 programme), how do things stand in Belgium? Several indicators would suggest that it is lagging behind other countries. An overview of the Belgian ecosystem and an investigation of possible trajectories.\r\n<\/p>\n\n\n
The term \u2018immersive\u2019, which has become a kind of portmanteau word, needs to be handled prudently. What is it that we are actually talking about? Is it that, on the one hand, there are the immersive technologies (VR\/AR, fulldome, sound spatialisation, etc.), and then immersive experiences on the other? When all is said and done, a theatre play, a film or a book can be more immersive than a high-tech device. Let us here restrict ourselves to works created through the deployment of technologies such as XR (AR\/VR\/MR) or video mapping. The subject also remains a complex one to untangle owing to the heterogeneity of the Belgian territory. Is it really possible to talk about Belgium in a uniform, across-the board manner?<\/p>\n\n\n\n
In fact, Wallonia, Flanders and Brussels are relatively different territories. Nevertheless, together they allow an overview of how the impact of Belgium\u2019s weight is currently trending on a chessboard where immersive creation is henceforth internationalised (co-productions, distribution networks) and international (competition between XR festivals, venues). A diversity of issues exists in Belgium, starting with a multilingualism\/culturalism, a complex administrative division and creation support mechanisms which are distinct and not very permeable.<\/p>\n\n\n\n
Thus, as far as Flanders is concerned, the Kunstendecreet (decree for the arts) supports artistic creation via a system of subsidies and grants, without necessarily making a distinction between artforms. \u2018We operate on the basis of self-profiling, and it is therefore up to the artist to define themselves and choose the commission which will assess their case. Nevertheless, there is also a digital and transdisciplinary arts (experimentele mediakunst) category which includes all of the digital dimensions. Our approach looks to promote cross-pollination<\/em>,\u2019 explains Lissa Kinnaer of the Kunstenpunt \/ Flanders Arts Institute, an expertise and support centre for the arts in Flanders. Concurrently, the VAF \u2013 Vlaams Audiovisueel Fonds<\/a> (the equivalent of the CNC <\/a>in France) \u2013 offers a \u2018game fund\u2019 which supports immersive gaming production and an \u2018innovatielab\u2019 more focused on extended cinema. For Wallonia, the Walloon Region supports VR coproduction via Wallimage<\/a>, whilst Digital Wallonia<\/a> is more engaged in the development of a technological sector (with no aid provided for the creation of immersive works).<\/p>\n\n\n\n
Concurrently, the Wallonia-Brussels Federation<\/a> supports digital creation through its plastic arts commission and offers several types of aid (the conception of a work; aid for production; aid for promotion; aid for distribution; aid for events, etc.). A budget (around 700,000 Euros annually) is allocated with a strategy to support on-the-ground operators such as KIKK <\/a>in Namur and iMAL <\/a>in Brussels \u2013 in particular for their production and distribution hosting missions. \u2018We have made the decision to endorse established in-the-field actors to ensure greater efficiency. Automatically, that means a smaller budget for artists who apply directly for our support systems<\/em>,\u2019 explains Anne Huybrechts, the digital creation support manager at the Wallonia-Brussels Federation<\/a>\u2019s Contemporary Plastic Arts Directorate.<\/p>\n\n\n\n