Archive of technology, entertainment and everyday life
A photograph can present a product on its own; a video arranges shots, movement and duration over time. That formal difference also changes how images are planned for a catalogue or a product launch.
Open storyNeo-retro design combines references from different periods to give products an impression of tradition and craft. Research on coffee packaging identifies the devices that create this look—and shows why the associations of authenticity they evoke do not, on their own, establish a brand’s history or a product’s qualities.
Open storyPhotography and video share composition, framing and lighting, but they organize those tools differently. In moving images, changes within a shot, duration and editing make time a creative material in its own right.
Open storyLow-rise denim, boho styling, skinny jeans and sportswear coexisted in a decade without a single dominant silhouette. Magazines, television and the circulation of images online helped spread garments and references, though celebrity photographs and runways did not represent how everyone dressed.
Open storyIn the 1970s and 1980s, motorcycling diversified: large road engines, competition-inspired sports bikes and trail machines for paved roads and tracks emerged alongside one another in a rapidly changing industry.
Open storyA CER.es catalogue record identifies a picture-card album titled *Historia del Circo*. The record helps identify an item, but by itself it cannot describe every variant or establish a value.
Open storyA camera can take photographs and record video, but each medium organizes images differently. In audiovisual work, composition, framing and lighting unfold over time; duration and editing turn shots into a rhythmic sequence.
Open storyNeo-retro design combines graphic codes from different periods to give contemporary packaging an impression of craft and authenticity. A study of package design identifies the devices behind that effect and explores the associations they evoke—without treating them as proof of a brand’s history or how its products are made.
Open storyIn 1962, Steve Russell and others in the MIT community created Spacewar! for the PDP-1. Its duel between two ships made the university computer more than a calculating tool: it also became a gathering place for competition and experimentation with digital play.
Open storyDigital photography changed more than the recording medium: it reorganised capture and processing, accelerated the circulation of images, and raised new questions about archives and trust. From the CCD to the spread of digital cameras, this is a history that distinguishes the possibility of editing from proof that an image was altered.
Open storyBetween 1949 and 1952, José María Arguedas and Peruvian officials recorded around two hundred pieces in an effort to establish a public folklore archive. Fragile discs, scarce resources, and a difficult international partnership shaped what could be recorded—and what survived.
Open storyRough textures, mixed typefaces and ornament can make a contemporary product look rooted in the past. A study of coffee packaging identifies these devices and the associations they evoke, while distinguishing visual impressions from a brand’s actual history.
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