Dimos Dimitriou     

• Based to the interacting with the web user . The real medium is this human action, with its qualities that I searched for this first time to reach out. One essential component is Time. The time consumed under a certain action, (when this action remains the same for a longer period, than the usual time period consumed for this action).
• It seems that the long timing action functions as an “under-script” of any human action, to be recognized and to be embodied as an architectural or musical rhythm. This long timing action it seems to be a carrier for the expressions.
• So, this continuous action, opens the user (or actor, or spectator) to the condition of the attendance of “another’s” action. Even the machines protocols and scripts begin to be recognizable as scripts that are directly embodied, and as such are scripts-directions of action, opened by an ”other” human.
• Interactivity, when is embodied as such by the actor, works as an interhuman connection. The machine’s scripts and protocols are distanced from an immediate embodiment. This imaginary idea directs us to a distanced view of the object of the expression (scripts or any human work object in general).
• Being distanced from the immediacy of expression or action’s objects is a condition to perceive others actions as artworks.
• Well, this directs us to pose questions about which are some of our “art reproducing conditions”. Here, instead of posing the conditions to the language or to the representation of the nature’s chaos, is opened another condition. The interhuman action and here came out the interactivity’s qualities.

• Web, either as a communication mediated object, either as an amount of non sense objects, is embodied as an expansion of our common concept of the space.
• The space is no more a centrifugal radial expansion of me, but a multi centered mediations of others, that we embody by moving through them.
• The image we have for the space is related to articulations of others’ actions we meet daily. The others’ mediations of the space are the concretized dynamical paths, for new space’s images, activated by everybody.
• We are expanding our heavy-to-move conception of the space. We are deeply concentrated to the others conceptions. We are concentrated to an every-moment open dispersion.
• The dimension of the space is referred exactly to the number of acting people now.
• We embody the space as our continuous movement, to everyday new articulations. The space is in an articulated movement.

1. New pages added by spectators’ movement.
2. New pages added by spectators’ movement.
3. New pages added by spectators’ movement.

• Interactive is the thread when is viewed by a spectator’s eye.
• All art is interactive. The spectator is the other pole of the artist that interacts with the work. The work of art as all mediums viewed from the perspective of the communication is a highly interactive field.
• The eyes of all the persons in the Las meninas (Velasquez) are looking out of the painting field. The field of the medium is located to the interhuman field, and this is already the field of interactivity.
• Interactivity means, “execute a role posted by another person or by a social behavior”. So, it means execute the language’s codes and signs following the language as a path scripted by another. Interactivity under this view means explore the language’s paths while exploring its uses.
• Interactivity is directly connected with the real uses of a language as communication field between humans. And all the uses discovered, are possibly communicated uses in an interhuman field. And this means that all the real uses are the possible paths of a language. In other words interactivity signs the borders of an interhuman use of the language.