This paper examines Human Computer Interaction artworks and how notions of interactivity are evolving due to the presence of expanding architectonic schemes in and around these artworks. This research draws on sources that use rapid ethnographic methodologies to collect data and argues for a redefinition of current understandings of interactivity within the field of multimedia and art practice. My research has been practice based and is reflected in the arworks and writing that I have produced. Participants' highly differential levels of commitment with an artwork while examining understandings of co-creativity are explored. Artworks of contemporary artists who use Human Computer Interaction and computer technologies to experiment with the idea of expansiveness through spectator participation in the field of HCI artworks are discussed. In varying degrees, and due to varying aspects of immateriality, artworks are considered as being extended beyond the confines of both the multimedia interface and even the architectural structure of the art gallery or exhibition space. Terms such as architectonics, touchpoints, configuration and agora are employed when describing interactive processes in the field of Fine Art installation. Modernist writer and critic R.H. Wilenski is referenced regarding the relationships between art, architecture and the artist/spectator. Current and past understandings of interactivity, as well as terms used by contemporary interface designers such as Don Norman and Dan Saffer are used in relation to the study of HCI artworks. In addition, this paper focuses on the modes in which audiences 'look away' and use a range of devices that exist around artworks to expand the architectonic schemes in and around them.