 Users explore a work by generating the display via a computational process. For Lopes, the user and audience can be the same, but they need not be. For philosophers of art, the above conception falls just shy of fully excluding performance works from a category of interactive art (Gaut 2010; Kania 2018). Afterall, it can be argued that a musician similarly engages in (1), (2), and (3) when she performs a specific work. If this is the case, the terms ‘user’ and ‘audience’ are not always synonymous, unless it is stipulated that for interactive works the identity of users and audiences are identical. This is atypical of non-interactive performance works where a performer plays for an audience, beyond him or herself. This distinctive user-audience relationship also suggests that adequate appreciation of a work is not granted by merely observing a user interact with it (Kania 2018: 188).