數位科技的快速發展造就了豐碩的數位藝術表現，也引發了對於數位美學本質的重新省思。本文試圖從當代數位論述中所謂的「本體論轉向」探討數位美學的思維及其論述建構的可能性，並透過Maurice Merleau-Ponty的體現哲學觀點檢視新媒體藝術、數位科技以及參與者/觀者經驗之間的互動體現關係。本文認為，傳統的美學思維僅僅關注於藝術作品的呈現以及觀賞者的詮釋，但是數位藝術的美學思維卻必須將數位科技的本質結構以及參與者的互動納入思考的範疇。因此，本文在兩個層次上進行數位美學的論述：數位美學的本體層次與表現層次，前者關注於數位科技的介面特性，而後者則關注於數位美學的視覺化、互動性、超文本、超媒體與重複性等表現形式上。依循著此二層次的探討後，本文試圖立論數位美學思維應該回歸到數位科技的科技界面上。

This paper is an interrogation into the phenomenon of rapidly developed digital art in the age of digital revolution. The focus is the aesthetic dimension of new media art (or digital art). The paper proposes a new way of seeing so-called Ontological shift toward digital art by examining the embodied relations of new media art, digital technology and viewers’ experiences in light of Maurice Merleau-Pontian Phenomenology. The paper’s argument for the digital age, arguing that we filter the information and interact with images we perceived to create our experiences of viewing digital art rather than simply receive images as preexisting technical forms. The paper argues this new concept of “digital aesthetics” and new embodied status of the frame corresponds directly to the digital revolution. To this extend, a digital image is not a fixed representation of reality, but is defined by its complete flexibility, interactivity, and accessibility. Moreover, this digital aesthetic experience is not just that the interactivity of new media turns viewers into users; the technological interface of digital artwork itself has become the body’s process of perceiving it.