The study mainly discusses appreciation of interactive art works seen from the perspective of play attributes that make spectators glimpse the truth of things. The general studies of interactivity, as one of remarkable features in contemporary art, are regarding the relation between the effects of digital media and interactivity as well as video games. From the preceding discussion, I analyze the effects of the appreciating interactive art works which are focused on new sensory systems, the methods to intuit the essence of the art works. Based on the concept, as I investigate the play attributes found in the interactive art works, this study gives attention to the possibility that if the spectators can reach the inherent aspects of interactive art works, while interacting them. Thus to discuss the properties of the play, this article studies play concept of Johan Huizinga(1872-1945), psychologist and anthropologist and play theory of Hans Georg Gadamer(1900-2002) who considers play as a metaphor for art. As Huizinga thinks acting is the important attribute of play, Gadamer argues whenever the term 'play' is used, we should think about 'to-and tro movement' and the movement is absence of goal as well as endlessly renews through repetition. Then what we should pay attention to, seeing the essence of art and play as similar? That is, Gadamer claims, we can understand the truth of things through the play. To apply the play concept to the interactive art works, I research the works of Maurice Benayoun(1957 - ), French interactive artist. By employing interactivity, he attempts to extend and affect the experience of his art works to one of social phenomenon. Striving this, spectators can widen and deepen the breadth of their intuition and recognize the essence of art works. It is the interactive art works that can be the apex of the transformation of structure from the play to the art. The endless repetitive process of play, which is free creation-annihilation process, is similar with the interactive experience of spectators that is variable, de-centered, and multi-sensory. The pure action of the play lets us recognize, sense and accept the world and through the system of interactive art experience, we can expand the horizons of perception. Interactive art works with these play attributes are capable of playing the role that the spectators glimpse the truth of things and experience the world around them.

Focused on the performance of interactivity in the appreciation of media art, this study is associated with the continually changed art texts and a participator's physical reactions to savor the art. Digital works of art emphasizing interactivity usually decentralize and disperse the responsibility and the central role for creating and producing the art works. Proper procedure of the work is generated by actions such as clicking the mouse, controlling the joy stick or actual movement of anticipators' bodies. The art works are influenced by participators' interactivity, which makes the leading roles and the responsibility for creating art scattered and divided. These features are similar with those of the ‘Rhizome’ which Gilles Deleuze(1925~1995) and Félix Guattari(1930~1992) have discussed. In their argument, ‘Rhizome’ is an interval or being ‘between’, which keeps changing. ‘Rhizome’ is a state in which the individual and the work of art never reach the conclusion, only a phenomenon of eternally altering. Like ‘Rhizome’, this sort of art work has the decentralized system, opens for several directions, and activates the system which is changeable as linked items increased or decreased. These works stimulate the individual to perform and act while appreciating the art piece. In terms of processing and preceeding, interactivity is the important equipment and catalyzer. Through these procedures, the pieces can be the ‘floating work of art’ combined and condensed with the whole participators' reactions. The ‘floating work of art’ is neither the expression of an individual nor that of one particular group. Multidimensional influence of the web is the web which is constantly reorganizing and producing in its connective state. This connective state is activated by interactivity. The Rhizomatic system embodies the floating work of art process. Due to each individual perceiving art in individualistic terms, there is no dominating powers or central points. I regard this art works possessing above traits as the work of art with Rhizomatic system. The work of art with the Rhizomatic system is embodied through interactivity and because physical action activates the process of appreciation, a participator can actually experience and practice the philosophy. Ultimately the Rhizomatic speculation occurs during the interactivity of appreciating the Rhizomatic art pieces. The Rhizomatic system penetrates into the intuitive area beyond our recognition and thoughts, as we are engaged in the connective process. With the methods and manners of interactive art, we can possibly reconsider the system as a tool in which the participator is directly able to link experience and theory to the philosophies of Deleuze and Guattari.

본 연구는 피부에 가해지는 직물촉각 자극에 따라 나타나는 정서와 관련된 뇌파특징을 알아보려는 기초연구이다. 실험l에서는 촉각에 의한 정서가 생리적인 측정치를 통해 구분될 수 있는지를 알아보고자, 피험자에게 물리적 특성이 극단적으로 다른 자극을 선택하여 실험을 실시하였다. 20명의 대학생 치험자 (20-25세)에게 자극이 무선적으로 제시되었고, 각 자극제시후 피험자는 제시자극에 대한 느낌을 주관적 정서척도로 평정하였다. 뇌파는 양쪽 귓볼(A1, A2)을 기준전극으로 하여 F3, F4, C3, C4, T4, P3, P4, O1, O2에서 측정되었고, 측정된 뇌파는 FFT방법으로 분석되었다. 각 피험자의 주관적 평가 결과에 따라 가장 쾌한 자극과 가장 불쾌한 자극이 제시되었을 때 측정한 뇌파의 분석결과를 비교하였다. 전두엽, 두정엽, 후두엽 영역에서 쾌자극 제시시에 alpha파가 유의미하게 높은 값을 나타내었고, 후두엽 영역에서 불쾌자극 제시시 beta가가 유의미하게 높게 나타났다. 물리적 특성이 유사한 다섯 가지 직물자극을 가진 실험 ll에서와 유사한 절차에 다섯 가지 직물자극을 가진 실험 1에서와 유사한 절차에 의해 실험ll가 실시되었다. 실험l의 결과에 근거하여 측정 부위를 F3, F4, P3, P4, O1, O2로 축소되었다. 쾌자극 제시시의 뇌파는 불쾌자극 제시시보다 slow alpha(8-10Hz)파의 출현량이 많은 반면, slow beta(13-20Hz)파의 출현량은 적었다. 결론적으로 직물촉각자극에 의해 유발되는 심리적 반응에 특정적인 뇌파반응이 존재하며, 이는 촉각에 의해 유발되는 주관적인 쾌.불쾌정서를 객관적으로 측정하기 위한 지표로서 뇌파특징을 사용할 수 있음을 의미한다.