Agustina Tiseyra
* ( ENTRANCE) Introduction
DIGITAL MUSEUMS: A new approach to emotional archiving.
By Agustina Tiseyra, 2026.
Since the beginning of mass media and the progressive development of digital technologies, cultural experience increasingly unfolds within environments dominated by technical mediation and the continuous circulation of images. Previously, encountering artworks required being in a specific place and temporal conditions.
Contemporary society operates through a funnel of stimuli. This saturation often generates weaker artworks and disconnection (Debord, 1967). The research approach is structured around the connection of three concepts that depend on each other: time, space, and experience (Coccia & Grau, 2018; Debord 1967).
During the eighteenth-century museums were considered educational institutions Today, these institutions produce different experiences that guide the contemporary subject to encounters of reflection and participation.
Currently digital mediation intensifies the erosion of this aura promoting an immediate replace of images. (Benjamin, 1936). Therefore, it becomes necessary to understand what happens to the experience of an artwork when artworks are mediated by interfaces designed for endless circulation. If the aura resides in the distance, the screen-based interaction is the main character which brings everything closer and consumed. In this context, the aura depends on some simple practices like scrolling or a clicking.
Erik Kessels, 24 Hrs in Photos, 2011.
AUTHENTICITY
(Object)
EXPERIECE
(Action)
REPRESENTACION
(Participant)
Residue
MUSEUM AS
SENSIBLE ARCHIVE
Post experience
Active
Participation
Interfaces +
Art Direction
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Thomas Struth, Audience 06 Firenze, 2004.
RESEARCH QUESTION:
METHODOLOGY:
Primary and Secondary research
This research is based on the implementation of art direction and
creative strategies though developments and theoretical approaches in museology, contemporary debates and the circulation of digital environments concepts.
How can Art Direction use digital media to produce a lasting aesthetic experience and transform it into a ‘sensible residue’ capable of enduring in this hyper-stimulated environment?
* ( ROOM I) The Museum as Spacial Condition
16t - 17th centuries. Wunderkammern (Cabinets of Curiosities)
*It was more important to be amazed than educate (Foucault, 1966).
Late eighteenth century Birth of the public museum
*Opening of the Louvre Museum (Paris) in 1793 changed a decisive shift: what had previously been restricted to private ownership became accessible to all citizens.
*The artwork collections were systematized under an innovative approach: pedagogical.
1936 Aura and mechanical reproduction
1960s Representation: society as spectator
*The individual becomes spectators instead of participants of their own life
Felix Gonzalez- Torres, Untitled (Portrait of Ross in LA) 1991.
Thomas Ruff, Portraits, 1981–1991.
CHAPTER I
ROL: SPECTATOR to PARTICIPANT
Artistic practices: introducing participation
*Happenings, Fluxus,
*Relational aesthetics. (Late twentieth century)
the artwork as a space of interaction between participants.
COLLECTIVE MEMORY CASE STUDIO 10 CORSO COMO
* ( ROOM II) Toward a sensitive Experience
Collective memory is when an experience continues after the visit, supported by spatial and aesthetic design designated to last.
Transitory Museum: curated environment with different filds.
PARTICIPATION EXPERIENCE MEMORY
CHAPTER II
* ( ROOM III) From interface to experience
Participation constitutes an emergent experience. Participants explore different encounters by interactive installations, which increase the possibility of generating a lasting trace.
CHAPTER III
NEW INTERFACES:
MoMA 1996
Google Art and Culture
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Google Arts & Culture, website 2026.
USER TO PARTICIPANT
HD images, make collections
and share and download content
Franz E. Walther, New Forms of Interaction, 1960.
RIJKMUSEUM
“user” was widely used
in the 1970s. Evolution.
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Rijkmuseum website sections, 2026.
A cohesive narrative that brings all
collections together in one place.
CURATOR OF DIGITA MUSEUM PRACTICE
Olafur Eliasson, Your rainbow panorama 2006-2011.
CULTURAL LABS
Generating slower forms
of encounter
TeamLab: The infinitive Crystal Universe, 2028.
CHAPTER IV
* ( ROOM VI) The post experience... What happens next?
*The main issue is no longer access to images, but their ability to remain after the encounter.
*The experience is “saved” only when it leaves a sensible residue in the viewer.
Perception becomes experience: The residue appears when the experience goes beyond the immediate moment and creates a bond between the participant, space, and time.
*Art director’s role is to design conditions that transform the visit into a meaningful and lasting experience.
Wolfgang Tillmans, Lüneburg (self), 2020.
Kusama, Infinity Mirror Room, 1965.
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O. Eliasson, The weather Project, 2003.
Saint Laurent, SS 2020.
EXAMPLES
Yayoi Kusama by Louis Vuitton, 2023.
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Pietro Terzini x Stella McCartney Store, 2021.
Gucci AW 2026, inspired in La Galleria degli Uffizi
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How artworks are able to persist and re generate a new experience.
RESULTS
PRIMARY RESEARCH RESULTS: SURVEY + COMPARATIVE TABLE
1ºThis study uses a comparative image-based method to explore whether aesthetic can persist over time to support Debord approaches. The survey demonstrates how individuals behave through the circulation of images. A total of 20 participants aged 20–30 were evaluated. They were presented with different images to select from social networks based on fluid content. As a result images without a clear art direction strategy do not generate a residue.
2º Over 15 museums were evaluated. The table recorded institutional data and digital features like open access to collections, learning and educational programs and usability indicators (navigation, mobile UX, and page speed). It was demonstrated that websites need interactive tools such as the ability to download material, explore artists and essays, and an attractive editorial design.
SECONDARY RESEARCH: IMAGE VISUAL BASED
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* ( EXIT) CONCLUSION
*The relationship between artwork and audience has progressively transformed.
WUNDERKAMMERN →. MUSEUMS (EDUCATIONAL) →. COLLECTIVE PARTICIPATION → DIGITAL SPACE
*Participation becomes a contemporary condition because it allows that the interaction persists through web archives, immersive installations, scrolling in social networks, taking a photograph, or participating in culture labs.
*Nevertheless, this integration takes place within a context of accelerated image circulation and the contemporary challenge is ensuring that these encounters produce duration.
ART DIRECTOR →.MEDIATOR →.STRATEGIC DESIGN →.ENDLESS ECPERIENCE
*Art director´s rol : conditions capable of transforming the visit into an experience and
preventing it from being reduced to instantaneous fast consumption.
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Alexei Shulgin, 386 DX (1998–2013).