In this chapter, Stern refines the methodology of analyzing and criticizing interactive art pieces. He concludes that the traditional critiques “tend to stop” after the examination of the artistic inquiry and the description of the piece. To complete the “Implicit Body Framework” that he defines, the inter-activity and relationality of a piece also have to be paid attention to and carefully examined, particularly in the context of interactive arts. These two latter areas would help us fully appreciate and extract the essence of an interactive piece.
In my opinion, the conventional areas of analysis cover the same areas as people would analyze other forms of arts, while the added aspects are tailored interactive pieces. The interactions utilize the audience’s body to create meanings. For an interactive piece to be strong, it has to explore new configurations of the body and the universe, just as a great painting must provide new configurations of patterns, colors, and textures. The body and its bold and yet deliberate embodiments, or say the inter-activity and relationality, are the strength of the interactive arts. Creating something worth thinking with its exclusive power is the main “thematics” of interactive arts.
To correspond to this framework as an artist, one should reflect and refine the strength of his/her working piece. Besides the artistic and conceptual structure of the work, the craft of its own media weighs a lot in the pursuit of meanings.