The first question raised in this text is: how can one inquire into the relationship between, on the one hand, museum communication and the virtual museum in particular, and, on the other hand, the various types of contemporary cyberknowldge? One possible hypothesis is this: communication in the digital museum articulates the following modes of knowledge circulationg in cyberspace: common sense; professional methodologies; institutional discourses; class ideologies; scientific and technological knowledge of the specialists; ephocal knowledges. Secondly, what discursive technologies are mobilized for the fusion of the modes of knowledge mentioned above? This is Hypothesis 2: the producers of museum information and of its communication, through three central types of discursive technologies, can convey the contents of these substantive types of knowledge: (a) discursive technologies of co-presence, for example conversation, criticism or humor; (b) discursive technologies of classical mass media, such as persuasive press or TV messages; (c) digital media discourses, e.g. through videos embedded in a web page, or channels’ and push technology. Question 3: What rhetorical and hermeneutical negotiations pervade virtual museums, e.g. as for unpaid access? Assumption 3: free digital consumption means a sort of deferred consumption and communication, a construction / deconstruction of meaning to be carried out by civil society. Question 4: What argumentative and interpretive language games stand out in relation to cyberspace access in the virtual museum? Hypothesis 4: accessibility to cyberspace is linked to what could be said to be not so much the delimitation of cyberspace in different circumscribed regions, but the de-limitation of cyberspace. Question 5: How can one understand, sociologically, the diachronic possibility of uninterrupted visitation of the network? Assumption 5: Infinite access to the cultural contents of the network is one of the most striking features of cybertime: dediacronization. Question 6: In what way does the visitor's trail constitute digital texts that flow from the cyber-reading of the numerous information monads present in the virtual museum? Theoretical hypothesis 6: we confront ourselves, not only with an intertextuality of messages - as Umberto Eco and Paolo Fabbri suggest - but we are witnessing a convergence of intertextualities. Question 7: Will the pedagogical forms of dissemination of information about the circulating contents in our planetary societies, go beyond the mere popularization or public diffusion of culture? Hypothesis 7: Today, in a more comprehensive way, we democratize not only the information but also meta-information, in particular through Web 2.0 (blogs, wikis, etc.). Question 8: Is this situation of relative democratization of knowledge, undertaken in part by the digital museum, ocurring peacefully? Hypothesis 8: The mediation of the virtual museum, in terms of the open transmission of knowledge, does not fail to provoke tensions, or cyber-clashes in these cyber-encounters.