Immersion is a much-loved word in the domain of media art. It is through immersion that the audiences are often made to engage with the media artworks, through technical devices and medial dispositive that are at the intersection of culture and materiality in a post-digital era. In this mode of artistic representation, immersion operates as a context for realizing the production of presence as an illusion of non- mediation (Reiter, Grimshaw et al). The main concern of this proposed paper is whether the audience tends to become a passive and non-acting guest within the immersive space often constructed by an authoritarian and technocratic consumer- corporate culture. I will argue in the paper that in this mode of non-activity the audience may lose the motivation to question the content and context of the work by falling into a sensual and indulgent mode of experience, therefore allowing the consumerist-corporate powers to take over the free will of the audience (Lukas et al). From the position of a socially and environmentally committed media artist myself, in this paper I will argue for producing a discursive context rather than an immersive one in forthcoming media artworks that aim to represent contemporary crisis such as climate breakdown in the anthropocenic conditions, and critically engaging with the often-ignored and invisible but inevitable emergency situations. I will examine the possibility to create artworks where the critical individuality of the audience is carefully considered and taken into account as a crucial parameter for the evaluation and dissemination of the artwork in this crisis and emergency. I will discuss a number of artworks with a self-reflective analysis to develop and substantiate my argument.