Marcus Cook is a Melbourne based artist whose work consists predominantly of interactive pieces that are accessible by the public. Usually these works contain visuals and audio such as light, projections and sound. During the interview process we learned allot about the site of Testing Grounds and Marcus` take on it as a ‘non space’. He spoke allot about the transitioning nature of the space and how things can be moved, manipulated and replaced. Things can be torn down and build back up again to work in the best way possible with its associated artwork. Marcus used the space on 2 separate occasions to exhibit his work. The area was particularly conducive to his work because of the different shapes and formations of objects around the space. This gave Marcus different levels and areas to experiment with his interactive sensors, enabling the public to utilize their whole bodies to communicate with the art. Marcus spoke about the importance of having the sensors’ interact with the public on multiple levels enabling them to create their own art that would vary and change with each unique user. Standing in front of a sensor doesn’t simply trigger a light or turn something on and off, the sensors measure the space between the person and the sensor and then emit the appropriate sensual reaction. Marcus spoke about the importance of having humans interacting with machines. Lopes (2010) shared similar views on the human, machine relationship and growing importance of interactivity in order to engage contemporary audiences in a modern society. He connected this relationship to that of the video game, a modern form of entertainment with growing use and support. The video game is the ultimate form of interactive art where the user is physically embodying a character and taking on their life. Grant Tavinor opens his book The Art Of Video Games by admitting he “routinely carries out acts of murder and barbarism for fun”. He argues that since the invention of video games 40 years ago, they have “developed from rudimentary artifacts designed to exploit the entertainment capabilitilites of the newly invented computer, into a sophisticated form of popular art.” Marcus has utilized these modern technologies in his artwork too. Both seem to express the importance in exploring “the artistic potential and … producing results arguably equal to other representational arts”. Interactive art is random and unpredictable, the beauty of it is that it happens spontaneously in the here and now and cannot be recreated as it stems from raw and instinctive reactions. This makes these artworks a “space of living memory”. It is the “thrill of seeing something new” that makes these artworks so engaging to their audiences. This is for 2 reasons, one being appreciation for the technical capabilities of the physical product as well as the artistic originality of its user. To experience this type of art it must be experienced “first hand”. It cannot be communicated effectively through a 3rd party observer, via photo or even through video. Both interactive video games and interactive art such as Marcus` give the user “a great deal of choice over exactly what they do”. They have the freedom to make individual choices and decisions they would in the real world but in this enhanced, super heightened and intensified digital world. Interactive art in any form provides an “engaging, emotional and aesthetically rewarding experience”, that connects with audiences on multilayers. One of the things that draws the connection between the structure modern video games and interactive art is their lack of linear structure. Many traditional video games lead players down one path and provided them only one road from a-b with a set number of challenges in between. These games lacked the ability to provide their users with individual creative expression and responsibility that modern video gamers are now entitled to. Marcus spoke about one of his main joys in producing this art was to watch the different ways in which people consumed it and the patterns that would form based on the different variables in the individual as well as their environmental surroundings. Linear structured work does not allow this type of human documentation. In our interview Marcus spoke about the primary challenge in getting the public to engage with the artwork was their hesitance to enter the unknown. Tavinor too spoke about his first open interactive video game experience as “bewildering”. He found himself intimidated by the questions “what should I do” and “what could I do”. I think audiences at present still find the unknown intimidating as they are responsible for the work they produce by interacting with these technologies. I think with the growing popularity of these art forms people will begin to feel more comfortable to explore the boundless opportunities of these open interactive experiences.