A cautious reading of Spanish television’s evolution from the 1970s to the 2000s, considering technical, cultural and archival changes without turning television memory into a chronology of nostalgia.
A critical reading of the major console narratives from the 1970s to the 1990s: from early home systems to Famicom, the North American crash, 16-bit competition, and differences between markets.
Founded in 1956 and now known as Tōei Animation, Tōei Dōga appears in the sources as a decisive studio for professional training and the development of Japanese animation. This feature places that claim within the available material and historical context without turning it into a total history of anime.
Museum computing can structure records, images, movements and conservation reports. Yet the consulted sources stress a decisive limit: without contextual documentation, an object is reduced to an isolated item.
A reading of the pre-web Internet as a working infrastructure: connected computers, remote access, file transfer, email, and the still incomplete search for ways to organise distributed information.
Archives, scores, recorded media and documentation of musical activity form a heritage that requires context, cataloguing and routes of access. Drawing on institutional and academic sources, this analysis explains why preserving music is not simply a matter of digitisation.
Museum archives show that conservation is not simply about storing objects. Drawing on institutional cases and resources from Spain and Latin America, this article examines how documents, photographs, moving images and electronic technologies support research, access and cultural memory.
Introduced by IBM on 12 August 1981, the 5150 did not inaugurate the personal computer, but it helped establish a path of expansion based on an architecture other manufacturers could adopt. This analysis separates documented facts from interpretations of its influence.
Museum presence on the Internet did not begin as an immersive experience. Starting with documented cases at the Library of Congress in 1992 and the Berkeley Art Museum and Pacific Film Archive in 1994, this article examines what changed when collections and documentation moved online—and why accessibility cannot replace context.
The planned new Film Museum in the former NO-DO building offers a way to reconsider what preserving film heritage means: not merely safeguarding copies, but also caring for media, documentation, cultural uses and the conditions of access that make audiovisual history intelligible.
Museums, archives and collections show that video-game history cannot be contained in a ROM or a console alone: it also includes documentation, promotional material, software, hardware and the criteria used to present them to the public.
Early broadcasts and early television archives did not rely on videotape. The available documentation identifies motion-picture filming and film processing as the only way to record programmes until 1956, while Spanish demonstrations in 1948 anticipated the medium’s public arrival.
