The musical or acoustic term “immersion” or « spatialization » indicates that the sounds might come from several places in the hall, in addition to the front stage or to the movie screen. These sounds are able to move themselves in the hall space, sometimes in very complex ways. But differently of the rhythm-space harmony, the term « immersion» does not presuppose any specific rule applied to the musical “conversations” between the poles located out of the stage, to the time-space organization of the sound movements, nor to their localization in the hall.
The « ambientation » very practiced today is usually an acoustic immersion by the depth of the sounds which allows the spectator to « feel » the hall dimensions by the perception of the sound propagation in space. The ambientation, a very complex art too, either does not presuppose any special musical language building the time-space organization of the sound movements nor the localization of the sound sources in the hall, differently of the rhythm-space harmony.
Rhythm-space harmony differs from immersion or ambientation by being a musical language in 3D, obeying to very precise rules, based on the natural laws of the physical and temporal proxemics [1].