From these relationships have arisen extensive collaborative efforts in artistic ventures. The ability to combine and exchange creative forces from remote areas of the world is an entirely new consideration. These net projects do not fit into a readily identifiable category of art and have consequentially been dismissed out of hand as incongruous with other visual arts. It is the unfamiliar context which critics and the public find problematic. The argument, "if it wasn't for the software, so-and-so would be totally inept," creeps into conversations about computer-based art. Is the categorization of art so rigid that it cannot accommodate new mediums? Similar to the "my second-grader could do that" response to abstract expressionism, computer art will need greater exposure to overcome skepticism and gain acceptance.

Art museums and galleries have sterilized art. Consider the library-quality behavior exhibited by visitors of official art spaces. They speak in hushed voices so as not to disturb the others, thereby eliminating shared experience or divergent viewpoints with the exception of their companions. Interaction with art is neither encouraged nor facilitated by these traditional spaces.

Net art often challenges the traditional boundaries of artist and audience. Some art on the web encourages direct reaction and response. Often the audience is permitted access to the artist him/herself or can even locate expressions from others that have experienced the work and include their own take. Sites like "Worlds Apart, Starter Worlds" present visually stimulating three-dimensional spaces which the visitor navigates through using keystrokes and a mouse.

The intended malleability of some net art introduces an entirely new dynamic to the equation. The work is no longer static, and the audience now becomes a truly active participant, not only taking an impression from the piece but also adding to it. "Works of art in the immaterial domain are never finished, they are simply introduced (initialized) and placed (contextualized) for participation and interaction: the audience may add to, alter, customize, pass on, subtract from the work, etc. The identity or address of the work is therefore shared by the artist and the audience." The art flows with life and is infused with the energy of not a solitary creator but the integrated energies of any number of individuals.

Art can be viewed as a pulse reading of the society in which it is created. It is also a creative, emotional or political response to our world. These expressions most often arise from human experience and expose a core feature of the self. It is this that links art with spirituality. Net art encourages the conversation of human connection across networks. According to Martin Buber, it is this interaction which will catalyze a return to peace. "I believe, despite all, that the peoples in this hour can enter into dialogue, into a genuine dialogue with one another. In a genuine dialogue each of the partners, even when he stands in opposition to the other, heeds, affirms, and confirms his opponent as an existing other. Only so can conflict certainly not be eliminated from the world, but be humanly arbitrated and led towards its overcoming."

Indeed, the technological advances of humans have been gained at the expense of spirituality. Yet, with the evolution of Internet accessibility, the pendulum has begun to shift in the opposite direction, raising awareness of our inherent interconnectedness as people.