20世纪60年代以来高速发展的计算机技术和网络通信技术，催生了被称为“第四媒体”的网络，创造了崭新的虚拟世界，极大地影响了人们的生活。在此基础上，20世纪的艺术领域也发生了最令人震撼的变革，即以网络艺术为代表的多媒体艺术的兴起。本文试图通过对作为多媒体艺术重要组成部分的网络艺术的探讨，揭示这一艺术革新中所蕴含的美学意义。本文认为交互性是最能体现网络艺术美学意义的审美特征之一。因此，在本文的研究中将以网络艺术的交互性为切入点梳理网络艺术的相关问题。 全文分为四个部分。在第一部分中，文章试图对交互性与网络艺术的概念进行清晰的界定。首先，分析了交互性的概念及其产生的技术条件与人文条件，并对信息技术决定论进行批判性思考。接着，分析了网络艺术的部分早期定义，比较了网络艺术、多媒体艺术、互联网艺术与万维网艺术等几种易混淆的概念，并以交互性的视角提出本文对网络艺术的界定。之后，通过探寻网络艺术的发展历程，提出其在不同时期的阶段性特征。 第二部分是本文的重点。在这部分中，文章从交互性入手考察了网络艺术的审美活动。首先，梳理了以往不同艺术时期审美活动中体现出的交互性特征，并明确其观念传承。然后，分别对封闭式网络艺术和开放式网络艺术的审美活动进行分析。本文认为开放式网络艺术的审美活动与传统艺术审美活动的最大不同在于，前者在主体间性、文本间性以及主体和文本间性三个方面充分体现出交互性的审美特性。 在第三部分中，文章通过分析网络艺术对人类现实生活的影响，揭示虚拟的网络艺术世界与现实世界之间也通过人的活动存在着一定的交互关系。它可以满足人们的部分自我认同需要，并使人们认识到对自身有限性的超越始终要在精神自由的世界中实现，从而深刻反思网络艺术的优越性与局限性。 在结尾部分，文章从美学对于人性终极关怀的角度，简要分析网络艺术存在与发展的合理性与可行性，提出其正在遭遇的瓶颈问题与发展指向，并表明网络艺术是人类突破自身有限性的努力与尝试，体现了人类对于自由境界的向往与追求。

Since the early 60's in the 20th century, the rapid development of computer technology and network communication technology, known as the birth of the network which is called the "Fourth Media", has created a new virtual world and greatly affected our lives. On this basis, the art of the 20th century also occurred in the area of the most shocking change, that is, the rise of multimedia art represented by net art. To reveal the aesthetic significance in this innovation, the article attempts to research on net art as an important component of multimedia art. This article holds that interactive is one of the aesthetic characteristics and it is the best way to reflect the aesthetic significance .Hence, this article will analyze some related issues of net art with interactive as an entry point . The full text is divided into four parts. In the first part, the article attempts to define the concepts of interactive and net art clearly. At the very beginning, the article analyzes the concept of interactive and its technology basis and the cultural foundation. Then, the article will show some early definition of net art, and distinguish net art with other confusing concepts, such as multimedia art, Internet art, web art and so on. Finally, the article will define net art on the perspective of interactive. After that, there will be an investigation on the development history of net art and its initial characteristics in these different periods. The second part is the main body of this article. In this section, the article studies the aesthetic activities of net art on the perspective of interactive. Firstly, the article is to know how the art activities in different periods reflect on the interactive features, and demonstrate the inheritance of concept. Secondly, it is an analysis of the aesthetic activities in the closed net art and the open net art. Therefore, this article will make a conclusion that the biggest difference between open net art activities and traditional art activities is, the former shows fully the interactive as a kind of aesthetic features in three aspects, which is called intersubjectivity, intertextuality, and the union of subject and text. The third part reveals that it builds a certain degree of mutual relationship between the virtual net art world and the real world through the activities, following the analysis of the net art’s impact on the real life. It can meet our needs for self-identity, and also make people have an awareness of the limited nature of their own, which can only come true in the freedom spirit world. After that, we will discuss deeply on the superiority and the limitations of net art. At the end, considering about the ultimate care given by aesthetic, it will give a brief analysis of the rationality and feasibility of net art’s existence and development. What’s more, we will fix out the direction of net art development and its difficult. The practice of net art indicates the attempts of the breakthrough for human self-limited nature and the pursuit of freedom.