Designing XR for Long-Term Distribution and Impact

So let's start with one question on definition, right? What do you define as cultural XR?

It's a good question.

And it's an interesting one because when I think about these things, I tend not to think about a hard definition.

I tend to think about a working definition.

Not true for everything, but it's true in the context of a discussion.

And when you're talking about extended reality, immersive technologies, you have a lot of buzzwords in that audience.

So for me, I like to almost categorize sometimes because I like to think about how artists connect with audiences, with their end users.

I like to think about that end user.

So cultural XR, when I'm talking about it here, I'm talking about the sorts of XR that works in a similar way to an artwork, in a similar way to a piece of theater, a piece of music, where its value is kind of as a piece of cultural and personal expression.

You can separate this from kind of practical XR, which would be tools to help you do something, from gaming-based XR, which is still a form of cultural production, but it's got its very unique world that critiques and deals with this sort of outputs.

And then you've got, I suppose, like cinematic VR.

You have documentaries and films.

There's a lot of bleed over you can imagine between these categories.

But for me, the cultural...

Yeah, absolutely.

I don't mean to put things in a box, but I think it's kind of like just high level, right? There is, as you mentioned, a lot of bleeding.

It's a good definition.

They're boxes,

but they're like boxes that you move to move stuff around the house.

Stuff jumps from one into the other when it's convenient.

They're not permanent boxes.

Fair.