本文擬從語藝觀點來探討新媒體藝術的溝通意涵。研究者將藝術家視 為倡導理念、捍衛價值的言者，藉由其創作，針對攸關社群生活的公共議 題，進行語藝的介入。新媒體藝術家不再只是為藝術而藝術，服膺審美原 則而作，而是讓觀眾藉由互動思索當前人類的處境。研究者以2013年國美 館「超級關係」展覽中兩件新媒體藝術作品為例，探究藝術家如何營造一 個人與人邂逅的場所，創造社會間隙，讓觀眾自由參與，透過體驗來思索 作品的意義。新媒體藝術的互動性，正好為關係美學的及物性做了極佳的 註解。藝術不再是恆久擁有的物品，而是一種人與人交往，不斷形成與發 展的過程。新媒體藝術家邀請觀眾共創作品，觀眾的參與也成為語藝行動 的一部分。換言之，新媒體藝術容納觀眾參與的特性展現了藝術家與觀眾 共構語藝行動的可能性。

This essay explores the rhetorical implications of new media arts. Artists as rhetors who have ideas to advocate and value to defend, perform rhetorical intervention in public agenda concerning community life by their artworks. New media artists may not create their work for the reason of art for art’s sake or following the principle of beauty. Instead, they want the audience to think of human conditions through interaction. The author takes two pieces of new media artworks as examples to show how artists build a place for people to encounter and create social interstice where they could experience the meaning of artworks. The interactivity of new media arts makes a perfect explanation for the transitivity of relational aesthetics. Arts no longer produce some objects to be owned by people forever, but become a developing process of human encounter. The artists invite the audience to co-create their artworks, in a way that the audience’s acts also become parts and parcels of the artists’ rhetorical acts. In other words, new media arts characterized by audience’s participation show the possibility of performing rhetorical acts together by artists and the audience.