For its 2023 edition, SXSW is the first major international event for immersive creation. However, we don’t change a formula that works. And it’s an abundant formula, between a Competition, an Off-Competition, a series of Convergence conferences, and all the other things that the historical event in Austin can offer. Here’s an overview of the program with Blake Kammerdiener, Senior Manager, Film & TV, XR Programming for the festival.
Cover: Find WiiLii – Ep.1 The Gate-Crasher
SXSW Interactive, 2023 here we go!
Blake Kammerdiener – SXSW is a pretty massive event in terms of line-up, and building the immersive section is done in the same way as the others – because we cover many artistic fields, with as many lectures as concerts, screenings and demos… But it’s all done organically, and surprisingly we manage to offer a true landscape of today’s XR creation. We welcome 360 films as well as interactive installations, projects from first-time authors or experiments from more established studios in the field. Obviously we keep some criteria in mind like the variety of countries represented – and it’s very open this year on that aspect, unlike previous editions that were very focused on American production. It’s our ability to offer a classic selection process, plus some prospecting on my part, that guarantees the most open programming possible.
B. K. – In recent months, I have noticed a real return of 360 video with quality films and the use of different technologies, a real creative palette for this format. On the other hand, the emergence of virtual worlds (metaverse) is confirmed in our country with a real reception of artistic performances on this medium. SXSW is the event that can perfectly marry this meeting of technological innovation and artists looking for a way of expression. And I have discovered many forms of live performance that have been able to welcome social, open worlds that encourage new explorations. We’ve hosted some in the past, but every year I’m blown away by the quality of these works – especially in gathering audiences.
B. K. – Among the experiences selected this year, several are dedicated to this meeting of the arts, with many musical aspects and online events. It’s a way for us to nurture a connection with a larger community than the one that will have the pleasure of traveling to Austin. But it’s important to consider the social aspect of XR, through online features. It’s a way for us to open up the SXSW brand to more people, to pay homage to the DNA of the event through several connected concerts.
SXSW 2023 announces XR Competition and Spotlight
B. K. – Our work also extends to the conference portion of SXSW (Convergence), and all the programmers are actively collaborating to deliver ten days of events. The example of the band Miroshot, which offers concerts with virtual reality, is an event we brought back – because it remains one of the most innovative we’ve seen. It’s a real meeting of the interactive and the music.
B. K. – And it all comes from our audience. A lot of professionals come to Austin to discover new things, and feed their own industries with innovative ideas – and especially when it comes to XR. We need to respond to that idea by creating as many bridges as possible between the cultural and creative industries. That’s why my priority will always be to respect the narrative, and the content of the experiences that are offered to us.
An immersive exhibition at the heart of SXSW
B. K. – We try to differentiate ourselves from other festivals when it comes to presenting XR work. Each creator has their own space, their own equipment, and they can customize everything the way they want. Our goal is to engage the audience as much as possible, as soon as they step foot in the conference center. We accompany each team in this sense. But also for each accredited attendee to ensure they have the best possible stay, from experience discovery to networking sessions. The XR part of SXSW is full, and it will be a particularly festive atmosphere on the exhibition days!
B. K. – I insist on the popular dimension of SXSW, and our desire to respond to the needs of our audience as best we can. With such a diverse audience, it’s even necessary! The evolution of our Interactive part for the last 8 years has always been towards expansion. From year to year, we have developed around the same number of experiences, and renewed artistic ambitions that guarantee comfort for all. IN PURSUIT OF REPETITIVE BEATS is certainly a particular case with regard to the dimension of the proposed show and the necessary surface.
B. K. – With so many activities on site, the abundance of lectures and discoveries during SXSW can be a bit overwhelming – but rest assured that every activity offered is of exceptional quality!
XR Experience Competition
- Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
- Body of Mine VR (USA)
- Consensus Gentium (United Kingdom)
- The District VR (Germany)
- El Beat (Colombia)
- Find WiiLii – Ep.1 The Gate-Crasher (Republic of Korea)
- Forager: Immersive Multi-sensory Experience (Canada, U.S.)
- Fresh Memories: The Look (Czechia, Ukraine)
- The Invited (United Kingdom)
- Jailbirds – The Eye of the Artist (Belgium, France) (see our interview for the first episode)
- JFK Memento (France, U.S.)
- Once a Glacier
- Rockets, by Pillow (Brazil)
- Stay Alive, My Son (Chapters 1 & 2) (Greece, U.S.) (see our interview for the first episode)
- Whipped Cream “The Dark” (Canada)
XR Experience Spotlight
- Behind The Dish (France, U.S.) (see our interview)
- Eggscape (Argentina) (see our interview)
- The Eye and I Vol. I (Taiwan)
- Figural Bodies (United Kingdom)
- In Pursuit Of Repetitive Beats (United Kingdom) (see our interview)
- Lou (Canada)
- Mrs Benz (United Kingdom)
- Shib the Metaverse (United Kingdom)
- Spring Odyssey (France)
- Temporal World: A Haptisonic Virtual Reality Memory World (Germany)
- UnEarthed (United Kingdom)
- You Destroy. We Create. (Germany) (see our interview)
- Yuki MR (Brazil)
- From The Main Square (Germany) (see our interview)
- Symbiosis (Netherlands)
- J Balvin Futurum: A VR Concert Experience
- MLK: Now is the Time
XR Experience Special Events
- Neo-Wulin: The Era of Black Ark (China)
- Metaverse Music Concert
A state of the art of immersive storytelling in 2023
B. K. – What fascinates me every year is the complexity of the stories that are being told using XR technologies. With each selection, I’m amazed by the way the creators master the latest innovations. This year, I saw more work in mixed reality or virtual worlds – which is not surprising! But the intrinsic quality of the content is amazing. The immersive explorations can be impressive, with sometimes original devices (100% haptic combinations, collaborations with artists from other creative horizons, etc…).
B. K. – We are in a moment of consolidation of immersive creation. This is the case for 360 video, with qualitative proposals that have often convinced me. Take Targo’s work with JKF MEMENTO, and their work on video archives to be adapted for a three-dimensional experience – which is a sequel to their SURVIVING 9/11 of course, but with every documentary film from them I’m amazed. The work on XR in non-fiction hints at a lot of possibilities.
Preserving a US-based creative space
B. K. – The U.S. scene is still very active, even though we are not in countries with a lot of public support – like France, the U.K., Canada or Taiwan. The opportunity to demonstrate the strength of our latest innovations through creation is essential. This is less regular in our country, but we still have the opportunity to do so with existing players – and a certain proximity to the technology world. This allows us to have the presence of essential mentors to build projects. This is an essential resource for our creators.
