How Are Cultural Spaces Thinking About the Audience of the Future?

Culturele ruimte wordt traditioneel gezien als een gebouw; een theater, museum of muziekhal. Maar wat als die culturele ruimte overal kan zijn; op je eigen vloer of op je telefoon? Sarah Ellis van de Royal Shakespeare Company filosofeert.

We hear the word “immersive” so much nowadays, spoken as if it’s a new concept that has suddenly entered our world. That’s not to say what it represents isn’t “new,” but I think one of the first forms of immersive experience in cultural spaces is centuries old: cathedrals and churches. Story was etched into the walls and windows with the tools available at the time: The combination of song and stained glass windows with the light reflecting into the space, changing according to the time of day, temperature or weather. The sound of the human voice bouncing against the acoustics of stone and wood.

My religious knowledge is limited and only really engaged in the presence of hot priests, per recent streaming hit Fleabag. But I imagine sitting in those spaces reading the lines of code written into sand and glass in languages I cannot read. Those centuries-old ideas inform how I think of immersive experiences today.

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