No, but you shouldn’t. This is the art of the future.  It has to do with the so-called “power of one.” Rilke:


“A man taken out of his room and, almost without preparation or transition, placed on the heights of a great mountain range, would feel something like that: an unequalled insecurity, an abandonment to the nameless, would almost annihilate him. He would feel he was falling or think he was being catapulted out into space or exploded into a thousand pieces: what a colossal lie his brain would have to invent in order to catch up with and explain the situation of his senses. That is how all distances, all measures, change for the person who becomes solitary; many of these changes occur suddenly and then, as with the man on the mountaintop, unusual fantasies and strange feelings arise, which seem to grow out beyond all that is bearable. But it is necessary for us to experience that too. We must accept our reality as vastly as we possibly can; everything, even the unprecedented, must be possible within it. This is in the end the only kind of courage that is required of us: the courage to face the strangest, most unusual, most inexplicable experiences that can meet us. The fact that people have in this sense been cowardly has done infinite harm to life; the experiences that are called "apparitions," the whole so-called "spirit world," death, all these Things that are so closely related to us, have through our daily defensiveness been so entirely pushed out of life that the senses with which we might have been able to grasp them have atrophied. To say nothing of God. But the fear of the inexplicable has not only impoverished the reality of the individual; it has also narrowed the relationship between one human being and another, which has as it were been lifted out of the riverbed of infinite possibilities and set down in a fallow place on the bank, where nothing happens.”


Could this explain some of the power of the internet? One is able to operate in a somewhat anonymous or solitary manner, in a place where our most “unusual fantasies” and “strange feelings arise.” At the same time, however, there is the multiplicative power of collaboration, through email, messaging, and other online interactions. This then becomes a recipe of two extremes whose coming together was heretofore uncommon. So to the question of whether this new art is better or worse than before, a lot of it comes down to issues of form. Of course, a lot of internet art projects do involve offline components. The internet could serve as a facilitator for a group experience which occurs in the real world. And of course, much of internet-based art is transmitted entirely through the personal computer. The question for an audience then is how much can you be moved by what you see on a computer screen. And the artist would want to know how much can he distinguish himself by the tools and techniques available in such a medium.