De Arte

Interactive art and embodiment: The implicit body as performance
Reviewed by Rob Myers for De Arte
Nathaniel Stern. Interactive art and embodiment: The implicit body as performance. 2013. Canterbury: Glyphi Limited. £ 18.99.

This review is copyrighted and available from Sabinet, though some highlights follow:

Abstract
In Interactive art and embodiment, artist and art theorist Nathaniel Stern develops and applies a rigorous set of frameworks for reconsidering the concepts of interactive multimedia, performance, and the creation of bodily meaning and experience. Stern begins by building a lineage for his novel understanding of these ideas. He then develops a framework for the critical evaluation of interactive art based on this understanding, and applies it to some exemplary artworks. Finally he applies the parts of this framework that are relevant for non-interactive multimedia art to some well-known examples of that genre in order to show their further applicability.

“The book as a whole continues this concern both with bodily experience through interactive art and with grounding discourse in examples of art and criticism.”

“By collapsing and making strange what we think we know both intuitively and critically about our bodies as ‘performed and emerging emergence’, Stern lays the concept of the body open to productive re-thinking.”

“Interactive art, Stern argues, can interrupt and intervene in the performance of bodily relationality. ‘Moving- thinking-feeling’ is both limited by and amplified by art, as it is by games or drama.”

“Stern’s use of examples – both familiar and unfamiliar – illustrates the strength of the implicit body framework and makes it useful both to critics and to artists who wish to better understand what makes successful interactive art.”

“The implicit body framework concentrates on artistic enquiry and process rather than the ontology of such a piece, and on the experience of it as interaction and interactivity, beyond merely describing its technological construction or mechanical appearance. Doing so allows interactive art to stand or fall on its merits as interactive art, and highlights the value of a work…”

“Interactive art and embodiment makes a considerable contribution to the state of criticism andtheory of interactive art. It is useful for critics, theorists and artists who wish to further their understanding of interactive art and serves as an introduction to its worth for those unfamiliar with or unconvinced by it.”

Read the entire review in De Arte

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