參與者自發性的肢體介入常被視為構成互動藝術之基本要件；然而事實上，設置於開放公共空間的藝術作品常被賦予多重目的，其中甚至有許多並未將與「人」自發性參與的肢體互動，作為體現作品之主要條件。因此也衍生出一個值得探究的問題；參與者對互動作品的「直接」 肢體互動，是否仍應被視為一個不可或缺的條件，特別是在開放公共空間展示的作品。透過針對上述問題的研究，本文提出一個非常重要但鮮少被討論，屬於互動藝術的重要特質—「場域環境互動」；即作品的呈現受環境元素或情境影響，而非僅仰賴「人」主動的介入，或透過肢體與作品直接的接觸。在此一條件基礎上，若創作者以較開放性的態度，將 「互動」視為創作媒材；不僅僅是對「誰」，同時必須考慮作品於展出的空間將遭受到「什麼」或者將與「什麼」外在環境條件相互作用。如此，創作的空間則能被延展，同時能更適切的體現作品之創作目的與意涵。

The spontaneous and physical engagement of participants is often regarded as fundamental in the realm of interactive art. However art works exhibited in public spaces are often imbued with multiple purposes; many do not regard peoples' direct intervention as a key element herein. This brings up the issue of whether a participant's direct interaction with art works, in particular with those displayed in spaces accessible to the public, is deemed to be fundamental or not. This article proposes a concept 'Ambient Interaction', a largely unexplored but important characteristic of interactive art; rather than exclusively through people's spontaneous and physical interaction, art works become realized via situational and environmental influences. It is thus argued that art practitioners would benefit from a wider recognition of not only whom, but what their art works will encounter and interact with; so doing, their creativity can be expanded, whilst the purpose and meaning of an art work can be presented effectively.