Electric refrigerators and gas stoves did not enter every Argentine home at once. From the 1920s to the 1970s, infrastructure, prices, credit, local production and custom shaped access to these appliances, while radio and cars helped reorganize domestic work and leisure.
Before social networks gathered conversations into a single stream, people wrote by email, debated on Usenet and took part in forums and personal websites. These spaces show that online social life did not begin with Web 2.0.
The move from film to digital sensors transformed photography’s support, reproduction, and circulation—and renewed debate about its value as evidence. Yet framing, light, and point of view still depend on human choices.
Introduced in 1981, the IBM PC did not invent personal computing, but it helped win corporate acceptance and established a reference other manufacturers could reproduce. Its expandable architecture fostered a compatible-computer ecosystem and reshaped the everyday relationship between computers, peripherals, and users.
Email, Usenet, mailing lists and bulletin board systems made early networks places for people to meet long before social platforms became mainstream. The Web did not invent online sociability; it expanded and reorganized communication practices already in motion.
From 1949 to 1952, José María Arguedas and fellow officials recorded around two hundred pieces of traditional Peruvian music. The acetate discs were fragile and difficult to duplicate, shaping what could be recorded, how the material circulated, and which fragments survived.
The iPod was not the first portable digital music player. Its influence came from pairing a distinctive device with iTunes and an easy-to-browse music library, making the organization of songs central to listening on the move.
Preserving a video game does not end with keeping its program. Manuals, magazines, hardware and documents help reconstruct its editions, circulation and presentation, while keeping surviving objects distinct from players’ memories.
Photography 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.
In 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.
A 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.
Digital 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.
