This essay examines a selection of interactive artworks, installations and electronically enhanced performances in an attempt to assess the potential value of tangible interfaces and situated interaction for digital live art. I investigate in which way Dourish’s embodiment can offer new interaction affordances and how these can be employed as novel tools for creative expression. Fels’ model of embodiment serves as a basis for the description of relationships between art and audience and is built upon with practical examples from contemporary art. Various forms of digital live art and the ways in which they embody interactivity, tangibility and place specific computing are discussed. The text concludes with an evaluation of the immersive qualities of tangible and situated interaction and a reflection on their significance to digital live art in the public space.