Having concluded just a few days ago, the IMPULSE Funding Market at VRDays’ Immersive Tech Week, this year in its third edition, fostered genuine connections among creators, startups, events, markets, and professionals working in various roles across Europe. We spoke with the market coordinator, Federico Anselmi, about the vision behind this remarkable event, which its creator, Laetitia Bochud, personally introduces in the following preface.
“The IMPULSE Funding Market is part of the IMPULSE Programme, which is a collaboration between VRDays Foundation, XR4Europe, Virtual Switzerland, Stereopsia EUROPE, and IFFR Pro, created to help build and grow immersive projects in development, both creative and entrepreneurial”
From the Impulse Programme’s official website
Introduction by Laetitia Bochud, president of the board of directors at XR4Europe and initiator of the IMPULSE Programme
The IMPULSE Programme was launched in 2022 during Laval Virtual. The initiative was first sparked in late 2021 to strengthen collaboration among events, to better suit the needs of creators and entrepreneurs, researchers included, and to offer the right support for every one of them. Each partner event thus helps project holders find their partner, co-producer, funding opportunity, investor, and more during matchmaking sessions with decision-makers. Facilitators but also advisors, the IMPULSE team and partners provide mentorship, guidance, and open doors for connections.
Today in its third Cycle, it has reaped some success: our latest call for projects received more than 220 high-quality submissions (over 70 for the Entrepreneurship vertical and over 150 for the Content Creation vertical).
We are now strengthening the scalability and development of the Programme, all the while focusing on bringing impact to the projects. We do wish to expand our partnership with other events and markets across Europe. XR4Europe is the Programme’s main point of contact.
IMPULSE, the Programme that connects the European XR scene
FEDERICO ANSELMI (Coordinator at the IMPULSE Funding Market at VRDays’ Immersive Tech Week 2024) – Born from the vision of Laetitia Bochud and executed in collaboration with Immersive Tech Week, Stereopsia, IFFR, NewImages, and Laval Virtual, IMPULSE is more than just another programme. It acts as a bridge connecting different partners, striving to create a network where high-potential projects can have the opportunity to be selected for multiple events and where diverse players from the European technological and artistic innovation scenes can meet and collaborate.
Although IMPULSE is still relatively little known, it already shows great potential. With its third edition happening right now, the 2024 IMPULSE Funding Market at VRDays’ Immersive Tech Week hosted 12 works in the Content Creation track, and 12 in the Entrepreneurship track: a successful edition, not only for the high quality of the Programme and the works presented, but also for its role as a concrete access point to the XR world for artists, newcomers to the sector, and startups.
To reach this goal, we invited to this third edition curators, funds, production and distribution companies, investors, angel investors, entrepreneurship experts, and startup-focused programs. We genuinely believe in our projects and in creating an event that serves as facilitator. And who knows? In the years to come, more festivals and markets may choose to join IMPULSE, further driving the growth of a Programme that consistently aspires to reach new heights.
A European Programme evolving and improving over the years
F. A. – I have been involved with IMPULSE since its very first edition, which has given me the privilege of witnessing its birth and growth. Year after year, we have worked to improve, streamline, and optimize every aspect of the Programme: from the selection process to participation, from communication to market operations. We introduced surveys to gather feedback from both decision-makers and participating projects, with the aim of cutting out the superfluous and focusing on what truly matters.
We’ll keep on improving, but one thing I realized looking at other markets was the necessity to work on redefining the participants’ expectations. Often, attendees expect to immediately secure the funds needed to complete their projects, assuming that everything will be resolved with money. There are so many other elements that are key to the success of a project: Its structuration, team, narrative, the technological bricks, the figures and clarity of the project goal and scope, and this is only then that funding may be accessible. We help at every step, if possible. But one step at a time! (laughs)
Currently, our budget is not comparable to that of larger festivals, and our capacity to invite decision-makers is also limited… we still could gather, 40 decision-makers to join us in Rotterdam! And yet, what makes this festival particularly special, in my perspective, is the genuine enthusiasm of our decision-makers, their passion for the projects, their lasting implication. They choose to participate in the Programme because they believe in it and want to support it. Often, they join of their own accord, driven by a desire to help the XR world grow. It’s well-known that this sector does not have significant financial resources, yet it thrives on the passion and determination of those who work in it.
For this reason, I am always deeply grateful and honored by their presence. I make it a point to thank them every time for their dedication because, without them, the Programme would not be the same.
Fostering collaboration between content creation and entrepreneurship in XR
F. A. – As mentioned above, the Programme features two main tracks: Content creation track and the Entrepreneurship track. Both worlds rarely collide. When the Festival Director Benjamin de Wit proposed adopting a cross-sectoral approach, I eagerly accepted. It was a risky choice because, in the past, we have always kept the two dimensions separate. Decision-makers from the entrepreneurship world often struggle to understand the perspective of an artist and vice-versa. However, despite the different approaches, both share the same goal: to bring value and gain adoption of the medium. Their projects, though starting from distinct viewpoints, speak a common language, which is that of XR. The market may shift slightly, but the foundations remain the same.
So, on one hand, we decided to welcome startups that have never participated in a festival like ours, but come from backgrounds in tech events and trade fairs, which are very different contexts. For them, an event like ITW represents an exciting novelty: they meet a different audience, engage with a market that has unique dynamics, and discover new ways to network, present their projects, and build relationships. On the other hand, we have many entrepreneurship projects that develop extremely useful tools for artists.
Therefore, this year we strived to select projects with a strong cross-sectoral approach, ensuring that both areas enrich each other and make sense within a festival like ours. For example, we hosted May Abdalla of Anagram Immersive, who presented an entrepreneurship-focused project for the first time. We’ve truly pushed for integration between sectors.
Even the pitches reflect this philosophy: they are curated thematically so that the projects complement one another. My colleague Francesca Emiliano and I carefully built this structure for this year’s pitches, creating logical connections. For instance, the maritime-themed DeMaré by Emilia Sánchez Chiquetti was paired with the underwater headset project MeRCURY by PYARé (Pierre Friquet), followed by the ecology-related project EISBÄR: A FANTASTICAL JOURNEY by Huichieh Danielle Yen. Each presentation wove a thread that connected the different perspectives of XR.
This year, many decision-makers in the artistic field started showing interest in entrepreneurship projects, even though they came from a creative background. We appreciated this leap. Stepping out of the comfort zone to explore what lies between these two areas could prove to be really interesting for the future of our industry. There’s much to gain by finding common ground and cross-fertilizing skills and use cases. I firmly believe that breaking down barriers can lead to stronger collaborations and more innovative projects, and this is the message we aimed to convey during this edition.
The narrative Renaissance of XR
F. A. – In recent years, the extended reality (XR) landscape has made a remarkable leap in both narrative and technological aspects. I remember the early XR projects of 2015-2016, where the storytelling was often fragmented, with clunky transitions between scenes, unnatural movements, and interactions that struggled to engage. Today, however, we’ve entered a kind of narrative Renaissance: stories are being created and presented in an increasingly immersive and refined manner, using the XR medium in intelligent and creative ways.
The projects we see now tackle pressing contemporary issues with innovative approaches. This applies not only to storytelling but also to startups that are pushing the boundaries of technology. For example, we are seeing portable holograms, applications for mental well-being, and even headsets capable of working underwater. Creativity is paired with a desire to experiment, and today’s technology finally allows us to bring ideas to life that, just a few years ago, would have seemed impossible.
Among the projects we’ve selected, there are also ambitious ideas with significant social impact. Some aim to reduce racism in Africa, while others focus on raising awareness of climate change. Others are exploring profound topics, such as the relationship with the deceased and how XR can change our perception of death, as seen in an Italian project.
These works, whether focused on entrepreneurship or content creation, demonstrate strong ideas and beliefs. Project holders are bold and take a stance.
Practical curation of a market: creating truly meaningful connections through careful matchmaking
F. A. – On December 6th, as part of the IMPULSE Programme, I took part in a panel titled The Role of Festivals in XR Content Development, during which Laetitia Bochud, president of the board of directors at XR4Europe, who initiated the IMPULSE Programme, moderated the discussion around the management of the Programme during Immersive Tech Week.
I find that the practical aspects of this work are rarely discussed. Often, when listening to prominent figures in the industry, we hear about general concepts like the importance of intention or careful planning. However, the execution and practical details are rarely addressed. This is one of the reasons I give talks at universities, where I explain in concrete terms how our work unfolds – a work that, in Europe today, very few people do.
For example, when we organize the meeting part of the market, we always make sure to avoid awkward situations where people sit across from each other with nothing to say. Therefore, at IMPULSE, we always begin with all decision-makers organizing their meetings.
It’s natural that every project wants to meet the most famous people, those known for having funds available. However, they often overlook other persons who may not be as well-known, but who possess great knowledge, an impeccable work ethic, and an awareness that makes them indispensable in the industry… or those who simply think outside the box! These individuals tend to stay behind the scenes by choice, but their value is undeniable.
Now, while meetings requested by decision-makers are automatically approved, requests from projects must be accepted by the decision-maker. We have worked extensively with those managing the matchmaking platform to ensure that this process is smooth and functional.
This approach actually opens up new possibilities for participants, allowing them to explore unexpected collaborations. They may find themselves talking to a decision-maker they didn’t initially know, and discover unforeseen synergies. Several projects from our IMPULSE Programme have achieved great success. For example, Oto’s Planet by Gwenael François was selected at IMPULSE in 2022, won prestigious awards, and Human Violins – Prelude by Ioana Mischie, also selected at IMPULSE in 2022, found a co-producer via the Programme before travelling to the rest of the world. Many startups we have supported have also grown significantly.
This is why I am optimistic about the IMPULSE Programme; despite it being small, it has ambitions and works as a springboard. It’s an ideal starting point to help projects take their first steps toward larger markets and more substantial financial opportunities. I believe we provide that initial push that can make a difference.
Practical curation of a market: a deeply human approach to the industry
F. A. – Beyond these more practical aspects, the biggest piece of advice I can give is to always add a human touch to what we do. It’s essential, because often, at the markets I’ve attended, there’s a rigid and packed schedule with many meetings, panels, and presentations. Even though, at times, I have to play the bad cop and say no to certain requests, I believe it’s crucial to maintain an open dialogue with decision-makers and the selected projects.
For example, we always try to explain to the participants that a market is not just about “finding money” to move a project forward. It’s also about making contacts: the people they meet may suggest other key figures, offer mentorship, help them navigate the European market, and point them in the right direction for funding or distribution. Furthermore, the meetings with decision-makers we offer help participants better understand the lifecycle of a project: what to do, what to avoid, and how to channel their energy in the right direction.
Personally, I really appreciate working in a market of this size. It can’t be called a small market, because we have 24 projects, a significant number, but still manageable, allowing us to follow each project individually, with a personalized approach, and maintaining direct communication with every participant. My colleague Francesca Emiliano and I speak with each of them, addressing practical issues such as support for visas, and what to do or avoid during their stay. We prepare the participants through workshops, to help them present their projects in the best possible way to the audience and decision-makers. Additionally, we organize Q&A sessions to explain what to expect from the festival, providing clear guidance on what will happen during the three days of the market.
This personal approach was inspired by other festivals, such as IFFR. Bringing it to Immersive Tech Week was made easier thanks to my colleague Kirsty van der Plas, who taught me how important the human touch is in our work. She always repeated this to me, when she was coordinating the IMPULSE Funding Market at Immersive Tech Week before me, and I continue to carry forward her vision. It is, in this sense, rather close to the hospitality trade.
After all, it’s necessary to remember that the projects should always come first. They are the ones who need to get the most benefit from the market we organize. Our goal is, and must remain, to help artists and startups grow, get into this world, and create as many useful contacts as possible during the three days of the festival.
Participants should have a clear understanding of what they need to do next to develop their project, build a career in this field, and take the next steps. In my opinion, this is what truly matters, and for all of this, we owe thanks to Laetitia Bochud, Benjamin de Wit – the festival director at Immersive Tech Week, the whole Immersive Tech Week team, Alexandra Gerard, the festival director at Stereopsia, Inke Van Loocke and Jolinde den Haas, who initially supported the initiative at IFFR Pro, as well as Laval Virtual, NewImages as partners, and XR4Europe for its constructive support.
Leave a Reply
You must be logged in to post a comment.