Museum aura in a digital format

In conditions of rough social changes and of ICT of development a museum-temple gives way to modern post-museum. Whether the museum-temple era came to end, or its potential can be demanded? In search of the answer, combining the social-analitical view (Benjamin) with a psychological analysis (Vygotsky), we will address a question of aura which traditionally defined emotional influence of museum exposition. Since moment when Benjamin noted that technical reproduction washes away aura, a scales of high-quality reproduction in network environment grew in thousands times and decisively devaluated sacrality of a museum space. Besides a democratic museum is guided by inquiry of a mass visitor with his specific perception. An ability of museum collections to cause the strongest "power" influence, powerful passions does not raise doubts. However, attempts to find the concrete localization, material traces inducing a mysterious field and defining surprising impact on a viewer do not lead to anything. In that case it is more logical to connect a disappearance of aura with a viewer. Author's creation, museum exhibit "will not take place", without having met the viewer, his response. Art passion, emotional expenditure are provided not with external influence, but by himself viewer, his mental energy and experience. If following Vygotsky behind esthetic signs it can see author's experiences, then a suit of Eskimo and a painting - only certain sign-emotional display of internal insight of the author - of the original. A masterpiece, an exhibit are only a mediator between the viewer and the author. A museum visitor on an exposition uses visual language, reading clear and available graphic signs. However a museum demands not reading of information, but a contemplate, concentrated look lost in rational acceleration. Whether it is possible to revive this look and aura? Digital technologies which were a reason of disappearance of aura give a such hope. ICT technologies can be used not only as an entertainment for a bored tourist. Their potential is more that potential that is demanded in educational, educational programs. Only relying on experience and interests of viewer it is possible to adjust his on meeting with museum, with art. Experience and inquiries of the modern visitor - the network user - most full of are reflected in an array of network data. The analysis of these data (preferences) creates base to find connection of personal tastes and khowledge with those impressions which museum can offer. Similar programming of associations, special virtual assistance can influence perception, initiating interest, bright emotions which leave marks in memory and promote growing. Perhaps, a viewer supported by "emotional" program progress will find aura in museum again.

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