Informatization and use of digital tools in cultural practices correlates with the general level of society informatization and its needs for the further spread of network technologies, which today have covered all spheres of socio-cultural activities. As we know, informatization expands the possibilities for information monitoring of every person needs in the society. Each person leaves evidence of interests in some goods or services by requests on online stores, search engines. And even users who have expertise in hiding personal data understand that the results of their online activity somehow become the object of Internet surveillance. The comprehensiveness of the network activities monitoring conditions still remains socially acceptable, which is justified by the opportunities to evaluate interactivity, the adequacy of demand and supply, to calculate by algorithms not only consumer or political preferences, but also the creative potential, individual cultural aspirations in the process of intensive online social media activity.
Cultural institutions, in the process of implementing their modern strategies, missions and work plans, strive to increase the visitor’s quantity and improve the audience’s loyalty, so this can be effectively carried out with the information technologies help. Cultural practices become interactive and worldwide available for participation regardless of physical capabilities and other limitations of persons. Digital interfaces create opportunities for organizing consulting work with the target audience. However, such conditions of access to cultural content becomes an everyday part of digitized open society’ existence [1]. The social diffusion of information technology adds to the confusion between cultural and digital practices, as the lines between cultural consumption on the global network and digital leisure can mix up.
Since the end of the 1990s, the use analysis of museum institutions digital resources has created an opportunity to predict the development of practical demand for the museum work results, which contributes to the adequate cultural institutions environment transformation. The cultural content sector of the global network is a subject of economic exploitation, which allows certain regions to increase their own investment attractiveness and popularize cultural heritage. Today, strategies for the globalization of cultural heritage are becoming popular in the world, which is also related to the economic impact realization on society. A web based on data semantics makes reports on interconnected and tracked content available to someone who is interested [2].
Museums are thus developing innovative experiments that inspire beyond this cultural sector. They diversify mediations and cultural prescription by relying on the craze for mobile applications, augmented reality, 3D-immersion and the participatory Web [3].
Thus, cultural institutions, art institutions develop innovative experiments that are equally in the cultural sector and in the field of IT. They diversify mediation and the process of culture and art products consumption, relying on the virtual reality, 3D immersion and interactive participation in online events. The cultural dialogue’ development prospects depend on the network’s ability to increase its data processing capacity.