Interactivity is long recognized as a key characteristic of new media. But what does this mean and why is it interesting? Generally, programmers and designers of digital experiences describe interactivity in levels — low, medium and high. Low-level interactivity gives the user the ability to navigate through static, linear material at her or his own pace. Medium-level interactivity gives the user the ability to choose between multiple predetermined outcomes. High-level interactivity offers meaningful interaction between originator and participant, as well as among participants. As a result of high-level interactivity audiences become authors. My ‘own’ art locates itself here, where as Eduardo Kac puts it in Telepresence and Bio Art, “interactivity destroys the contemplative notion of beholder or connoisseur to replace it with the experiential notion of user or participant.” (Kac 2005, p. 5) Art in this context moves away from representation towards communication. This naturally problematizes the very notion of art as the artist loses his or her privileged position in the “dissolution of the artist in the user and vice-versa.” ((Kac 2005, p. 7) By sharing authorship the artist surrenders authority, giving up a piece of the present for the whole of the future. The digital aesthetic, in this context, becomes an active dialogical one involving questions of ethics because if the artist is to share responsibility with the public, then the public must interact responsibly to complete the making of the art. This dialogical aesthetic, an aesthetic of ethics, gives way to a generative one in which artists and participants are willing to risk not knowing the future so as to make it possible.