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DIGITAL CODE OF THE MUSEUM AURA

Prof. Alexander S. Drikker1


Prof. Eugene A. Makovetsky 2
1, 2
Saint Petersburg State University, Russian Federation

ABSTRACT
Works of art, museum pieces cause strong emotional feelings from a viewer. Such influence traditionally
contacts with emanation of a museum object. The aura of a sacral unique subject in museum-temple is perceived
as his organic attribute. However the prompt pace of civilization actively transforms a museum. The technical
reproducibility washes away aura of museum pieces.
The explanation of this phenomenon can be found if to believe that during an era of technical reproduction
not the work of art with its emanation, but museum atmosphere experiences pressure first of all. Perception and
imagination of a viewer fades out in depleted poor atmosphere. Neither Leonardo's picture, nor a game of pianist
will cause deep emotional experiences if they will not meet of their own viewer. A work of art is only medium,
mediator between artist and viewer. It confirms lack of material traces of aura. And the viewer brings with
himself the energy for very strong art excitement. The originals are not a score of opera or novel text, it is some
emotional projecting of the artist, of his spiritual inspiration.
The viewer in the museum has to know visual language of graphic signs, which seems to all available.
However the civilized modern glance is a superficial, sliding look. Rational consciousness, having visually
identified an irritant, doesn't hold attention on it, fixing only the general informative contour. While the artist
doesn't copy an object, but he enters in intimate relationship with the subject (Mount Sainte-Victoire or Van
Gogh's chair), these relations are result of fixed, concentrated contemplation. Similar sympathetic vision gives
rise to aura which inspirits the viewer in zoological, natural-science, historical or technical museum.
And just technology which has buried aura gives hope for revival of a similar look. Present progress of IT is
capable to concentrate and to adjust a viewer already today. But feelings when forming an image interact with
personal experience, with remembrance. The incentives which are capable to awaken interest and to activate
attention of viewer, it is possible to find only in this experience. Today's visitor of museum – user -- most fully is
reflected in network which contains a huge set of his personal data. It is fine base to detect and analyze
preferences to connect the interests of the visitor of provincial museum of local lore with history of mammoth
which roamed in vicinities 15000 years ago. Software-based initiation of associations is a promising way to
intensify the personal choice.
Though "society hasn't ripened yet to turn a technical progress into own tool", expansion of virtuality, taking
root into mind and mentality more and more deeply, develops accustoming and is potentially capable to influence
perception considerably. Heartless dematerialization in digital progress accelerates an emotional advancement of
artificial intelligence and gives a new hope to see Renaissance of museum aura.
Keywords: Museum, aura, reproducibility, virtuality, original