Joseph-Marie Jacquard, Telar programable, 1804; Charles Babbage, Máquina diferencial, 1822; Louis Daguerre, Daguerrotipe, 1839; Jules Jansen, Revólver fotográfico, 1874; Herman Hollerith, Tarjetas perforadas, 1889; Ada Lovelace, esquema diagrama para computación (Nota G), 1840; Émile Reynaud, Praxinoscope, 1874; Étienne-Jules Marey, Cámara de discos rotatorios, 1883-1884; George Eastman, cámara fotográfica Kodak, 1888; Étienne-Jules Marey, Etudes de physiologie du mouvement Du l’homme, 1891; Eadweard Muybridge, Animal Locomotion, 1887; Sir William Thomson, Máquina de predicción de mareas, 1879-1881; Thomas Edison, Kinetoscope, 1894; Auguste y Louis Lumière, Cinématograhe, 1894; Gustave Le Bon, Psychologie des foules, 1895; Georges Méliès, película Voyage dans la Lune, 1902; Percy Edwin Ludgate, Motor analítico, 1909; Émile Cohl, película Fantasmagorie, 1908; Henry Ford, Sistema de producción en cadena, 1908; Arthur Pollen, sistema de computación analógica Argo, 1909; Frederick Winslow Taylor, Principles of Scientific Management, 1911; Leopold Survage, trabajos preparatorios para la película Rythme Coloré, 1913; Kázimir Malevich, Knife Grinder, 1912-1913; Piet Mondrian, Compostione en lines, 1916-1917; Mary Hallock-Greenewalt, sistema audiovisual Nourathar, 1919; Thomas Wilfred, sistema audiovisual Clavilux, 1919; Walther Gropius, Hans Meyer y Ludwig Mies van der Rohe, escuela Bauhaus, 1919-1933; Walther Ruttman, película Opus I, 1919-1921; Hans Richter, Universelle Sprache, 1920; Naum Gabo y Anton Pevsner, Manifiesto Realisticheskii, 1920; Marcel Duchamp, obra cinética Rotative plaques verre (Optique de précision), 1920; Viking Eggeling, película Symphony Diagonal, 1921; Hans Richter, película Rythmus 21, 1921; Francis Picabia, Totalisateur, 1922; Oskar Fischinger, espectáculo audiovisual R-1 ein Formspiel, 1926; Alan Crosland, película The Jazz Singer, 1927; Laszlo Moholy-Nagy, película Ein Lichtspiel schwarz weiss grau, 1930; Michel Seuphor, revista Cercle et Carré, 1930; Max Bill, Theo Van Doesburg y otros, Manifest Art Concret, 1930; Bertolt Brech, Der Rundfunk als Kommunikationsapparat, 1932; Gustav Tauschek, Memoria de tambor, 1937; George David Birkhoff, Aesthetic Measure, 1933; MoMA, exposición Machine Art, 1934; Walter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, 1936; Alan Turing, On Computable Numbers, With an Application to The Entscheidungsproblem, 1936; George Stibitz, calculadora Modelo K, 1937; Paul Guillame, Psychologie de la Forme, 1937; Konrad Zuse, computadora Z2, 1940; Arthur Dikinson, Computadora digital sin nombre, 1940; Segunda Guerra Mundial, 1940-1945; Universidad de Pennsylvania, computadora ENIAC, 1943; Gobierno británico, computadoras Colossus (Mark 1 y Mark 2), 1943-1948; John von Neumann, Theory of Games and Economic Behaviour, 1944; Ferdinand de Saussure, Cours de linguistique générale, 1945; Linwood G. Dunn, impresora Acme-Dunn, 1946; John Bardeen y Walter Brattain, Transistor bipolar, 1947; Norbert Wiener, Cybernetics: or, Control and Communication in the Animal and the Machine, 1948; Maurice Wilkes/Laboratorio de Matemáticas de la Universidad de Cambridge, computadora ESDAC, 1949; Claude Shannon y W. Weaver, The Mathematical Theory of Communication, 1949; Edmund C. Berkeley, Giant Brains or Machines That Think, 1949; E. H. Gombrich, Experimental Art, 1950; Alan Turing, Computing Machinery and Intelligence, 1950; Ben Laposky, Oscillon Number 4-Electronic Abstraction, 1950; Ferranti, computadora Ferranti Mark I, 1951; John Forbes Nash, Non-Cooperative Games, 1951; Remington Rand, computadora UNIVAC I, 1951; Lucio Fontana, Tv Manifesto, 1952; Alexander S. Douglas, OXO, 1952; Mary Ellen Bute, película Abstronics, 1952; IBM, computadora IBM 360, 1954; Ziff Davis Publishing, revista Popular Computing, 1954; Marc Low, A Million Random Digits with 100,000 Normal Deviates, 1955; Floyd Henry Allport, Theories of Perception and The Concept of Structure, 1955; Max Bense, Aesthetica II y III, 1956; Emmett Williams, The Game Rules, 1956; USA Air Force, Sistema de Defensa S.A.G.E., 1956; IBM, computadora AN/FSQ-7, 1956; IBM, monitor OA-1008, 1956; Equipo 57, película Experiencia Cine I, 1957; Roland Barthes, Mythologies, 1957; IBM, lenguaje FORTRAN, 1957; Russel Kirsch, Walden, 1957; Jordan Belson y Henry Jacobs, conciertos Vortex, 1957-1959; Dennis Gabor, The Electronic Computer as an Artist, 1958; Saul Bass, secuencia de apertura de la película Vertigo, 1958; Philco, televisión Predicta-Zenith, 1959; Charles y Ray Eames, instalación multipantalla Glipmpses of the USA, 1959; Sony Corporation, televisión portátil 8 301 W, 1959; Digital Equipment Corporation, computadora PDP-1, 1959; Howard Bromberg, Howard Discount y Vernon Reeves, lenguaje COBOL, 1960; Ministry of Public Buildings and Works, British Telecom Tower, 1961-1964; Mohamed Atalla/Bell Labs, transistor MOS, 1959; Konrad Zuse, impresora ZUSE Z64, 1960; Kurd Alsleben y Cord Passow, dibujo 5.1960, 1960; Elyot Koyes and Associates, máquina de escribir Selectric 1 Golfwar Typewriter, 1961; Thomas Khun, The Structure of Scientific Revolutions, 1962; Karl Otto Götz, película-acción Density 10:3:2:1, 1962; Motor Heiling, sistema audiovisual Sensorama, 1962; A Michael Noll, Pattern Number One, 1962; Bell Systems, satélite Telstar, 1962; Steve Russel/MIT, SpaceWar!, 1962; Revista Computers and Automation, Computer Art Contest, 1963; Electronics Associates Incorporated, Stained Glass Window, 1963; Ivan Sutherland, software y hardware informático Sketchpad, 1963; Edward Zajac/Bell Labs, película Simulation of a Two-Gyro Gravity Gradient-Attitude Control System, 1963; Kenneth Knowlton/Bell Labs, película A Computer Technique for the Production of Animated Movies, 1963; Georg Nees, Statistiche Graphil, 1964; IBM, computadora 360 con consola 2250, 1964; John G. Kemeny y Thomas E. Kurtz, lenguaje BASIC, 1964; Seymur Cray/Control Data Corporation, computadora CDC6600, 1964; William A. Fetter, Computer Graphics in Communication, 1964; Georg Nees, 23-Ecke, 1964; Herbert Marcusse, One-Dimensional Man, Studies in the Ideology of Advanced Industrial Society, 1964; William A. Fetter, Human Figure (a.k.a. The Boeing Man), 1964; Technische Höchschule/Max Bense, exposición Computer Grafik, 1965; Noam Chomsky, Aspects of The Theory of Syntax, 1965; Galería Howard Wise, exposición Computer Generated Images, 1965; Frieder Nake, Hommage à Paul Klee, 1965; Umberto Eco, Apocallitici e integrati, 1965; William C. Seitz/MoMA, exposición The Responsive Eye, 1965; John Stehura, película Cibernetik 5.3, 1965-1969; Charles Csuri, Sine-Curve Man, 1966-1967; Ronald Nameth, película Andy Warhol’s Exploding Plastic Inevitable, 1966; Jurgen Habermas, Erkenntnis und Interesse, 1966; Leon Harmon y Kenneth Knowlton, Studies in Perception I, 1966; Stan VanderBeek y Kenneth Knowlton, película Poemfield No1, 1967; Donald K. Robbins, Verifying Star, 1967; Experiments in Art and Technology, performance Nine Evenings, 1967; Marshall McLuhan, The Medium is The Massage: An Inventory of Effects, 1967; Peter Berger y Thomas Luckman, The Social Construction of Reality, 1967; John Whitney/IBM, película per·mu·ta·tion, 1968; Stanley Kubrick, película 2001: Space Odyssey, 1968; Georg Nees, Generative Aesthetik, 1968; K. G. Pontus Hultén/MoMA, exposición The Machine as Seen at The End of The Mechanical Age, 1968; Donald D. Spencer, Game Playing with Computers, 1968; Jack Burnham, Beyond Modern Sculpture, 1968; Charles C. Csuri, Sculpture Graphic/Three Dimensional Surface 1968; Computer Technique Group Japan, Computer Movie No1, 1968; Telefunken, ratón Rollkugel, 1968; Jasia Reichardt/ICA, exposición Cybernetic Serendipity: The Computer and The Arts, 1968; Kerry Strand y Larry Jenkins, Plexus, 1968; Vera Molnar, Interruptions, 1968-1969; Centro de Cálculo de la Universidad de Madrid, Seminario de generación automática de formas plásticas, 1969-72; Max Bense, Einfürng in die informations theorestiche Äesthetik, 1969; Arturo Lecci, Slant One, 1969; Frieder Nake, programa informático COMPART ER 56, 1969; Ronald M. Baecker, Interactive Computer-Mediated Animation, 1969; ARPANET, 1969; John Berger, Permanent Red: Essays in Seeing, 1969; Galería Howard Wise, exposición TV as a Creative Medium, 1969; Nam June Paik y Abe Shuya, sintetizador Paik-Abe, 1969-1971; S. Maser, Neue mathemastiche Verfahren zur Berschereinbug und Berechnung ästhetischer Zustände, 1969; Bill Buxton, software Genesys, 1969; Bill Hearn, sintetizador Vidium Colourizing, 1969; Bell Labs, lenguaje UNIX, 1969; Pierre Bordieu y Jean-Claude Passeron, La Reproduction. Éléments pour une théorie du système d’enseignement, 1970; Experiments in Arts and Technology, Pepsi Pavilion/Expo Osaka, 1970; Sterlac, The Body is Obsolete, 1970; Centronics Data Computer Corporation, impresora Centronics 101, 1970; Jack Burnham/Jewish Museum, exposición Software, 1970; Intel, Chip 4004; 1970; Nicholas Negroponte y Architecture Machine Group/M.I.T., Seek, 1970; Gene YoungBlood, Expanded Cinema, 1970; Stephen Beck, sintetizador Direct Video, 1970; John Horton Conway, autómata celular The Game of Life, 1970; Lillian Schwartz y Kenneth Knowlton/Bell Labs, película Pixillation, 1970; revista Radical Software, 1970-1972; Louis Althusser, Idéologie et appareils idéologiques d’État (Notes pour une recherche), 1970; Edward Ihnatowicz, dispositivo interactivo The Senster, 1970; Roland Barthes, L’Empire des signes, 1970; Peter Foldés, película Metadata, 1970; Norman McLaren, película Synchromie, 1971; Herbert W. Franke, Computergraphik/Computerkunst, 1971; Henry Gouraud, Computer Display on Curve Surfaces, 1971; Abraham Moles, Art et ordinateur, 1971; Nolan Bushnell y Ted Dabney, máquina Arcade Computer Space, 1971; J. Huizinga, Homo Ludens: A Study of The Play Elements in Culture, 1971; Ralph Baer/Magnavox, consola Odyssey, 1972; Ed Emswhiller, video Scapemates, 1972; Douglas Engelbart/Xerox Parc, ratón de bola, 1972; Umberto Eco, Towards a Semiotic Enquiry into The Television Message, 1972; Douglas Davis, Art and The Future, 1972; Evans & Sutherland, software Flight Simulator, 1972; Ed Catmull y Fred Parke, película An Animated Hand and Animated Faces, 1972; Allan Alcorn, máquina Arcade Pong, 1972; Harold Cohen, máquina autónoma Aaron, 1973; Steve Rutt, Bill Etra y Louise Etra, videosintetizador Rutt-Etra Scan-Processor, 1973; Daniel Sandin, videosintetizador Image Processor, 1973; Nam June Paik, vídeo Global Groove, 1973; Atari, Gotcha, 1973; Manfred Mohr, película Cubic Limit, 1973-1974; Myron Krueger, obra interactiva Videoplace, 1974; MITS, microcomputadora Altair 8800, 1974; Phil Morton, video Stuck, 1974; Melvin Prueitt, Computer Graphics, 118 Computer Generated Designs, 1974; Andrew Tudor, Image and Influence: Studies in The Sociology of Films, 1974; Theodor Adorno, Curriculum über Kulturindustrie, 1975; Magnavox, consola Odyssey 100, 1975; Martin Newell, concepto de la Utah Teapot, 1975; Atari, consola Home Pong, 1975; Ruth Leavitt, Artist and the Computer, 1976; Steve Bozniak, microcomputadora Apple I, 1976; Abraham Moles, Théorie de L’information et perception esthétique, 1976; Richard Dawkins, The Selfish Gene, 1976; Daniel Bell, The Cultural Contradictions of Capitalism, 1976; Don McArthur y Jeffrey Schier, sintetizador Digital Image Processor, 1976; Sears Tele-Games, consola Super Pong IV, 1976; Atari, Combat, 1977; Umberto Eco, Trattato di semiotica generale, 1976; Magnavox, consola Odyssey 500, 1976; Fairchild, consola Channel F, 1976; RCA, consola Studio II, 1977; Atari, consola Stunt Cycle, 1977; George Lucas, película Star Wars, A New Hope, 1977; Commodore, microcomputadora PET, 1977; Atari, consola VCS (Atari 2600), 1977; Tandy Corporation, microcomputadora TRS-80, 1977; Atari, Adventure, 1978; Nelson L. Max, película DNA with Ethidium, 1978; Philips, consola VideoPac G7000, 1978; Toshihiro Nishikado/Taito, Space Invaders, 1978; Astrovision/Bally, Bally Astrocade Home Computer, 1978; John Roberts, Postmodern Television and The Visual Arts, 1978; Jean Tinnguely, dispositivo interactivo Tokyo Gal, 1978; Melvin Prueitt, Involution, 1978; Coleco, consola Telstar Arcade, 1978; David Em, Transjovian Pipeline, 1979; Atari, microcomputadora Atari 400, 1979; Bell Systems, sistema Videotext, 1979; Nicholas Meyer, película Star Trek, Kahn’s Revenge, 1979; Raymon Williams, The Role of The Mass Media, 1979; Marilyn McCray, Introduction to Electroworks, 1979; Milton Bradley, consola Microvision, 1979; James Blinn/Computer Graphics Laboratory/Jet Propulson Laboratory/NASA, vídeo Voyager I Flies by Jupiter, 1979; Doelker, Christian, Wirklichkeit’ in den Medien, 1979; Loren Carpenter, película Vol Libre, 1980; Toru Iwatani/Namco, máquina Arcade Pac Man, 1980; Douglas Davis, film Video Against Video, 1980; Mattel Electronics, consola Intellivision, 1980; Mattel Electronics, servicio vía satélite Intellivision PlayCable, 1980; Texas Instruments, microcomputadora Texas Instruments Home Computer System TI99/4A, 1980; Nelson L. Max, película Carla’s Island, 1981; Microsoft, lenguaje MS-DOS, 1981; Edward Branigan, The Spectator and Film Space, 1981; Mattel Electronics, Star Strike, 1981; Abraham Moles, L’image Communication funtionelle, 1981; Commodore, ordenador personal VIC-20, 1981; Andy Robinson, revista Computer and Video Games, 1981; Janet Wolf, The Social Production of Art, 1981; Jean Baudrillard, Simulacres et simulation, 1981; Dan Sandin, Tom DeFanti y Mimi Shevitz, vídeo Spiral P.T.L. (Perhaps the Last One), 1981; USA Space Invaders USA National Championship, 1981; Mattel Electronics, Utopia, 1981; CBS, MTV, 1981; Nancy Burson, Beauty Composites. First (left) and Second (right), 1982; Bill Viola, Will There Be Condominius in Data Space, 1982; Ridley Scott, película Blade Runner, 1982; Coleco, consola Colecovision, 1982; Steven Linsberg/MAGI Synthavision/Robert Abel, película Tron, 1982; Sega, Zaxxon, 1982; Nintendo, Donkey Kong, 1982; Atari Games, Marble Madness, 1982; Sinclair, ordenador personal Spectrum ZX, 1982; Chris Crawford, The Art of Computer Game Design, 1982; Commodore, ordenador personal C64, 1982; G.A. Fine, Shared Fantasy: Rol Playing Games as Social Worlds, 1983; Mattel Electronics, consola Intellivision II, 1983; Shigeru Miyamoto/Nintendo, Super Mario Bros., 1983; Gilles Lipovetsky, L’ere du vide. Essais sur lindividualisme contemporain, 1983; Kai Nishi/Bill Gates, sistema MSX, 1983; Philips, consola VideoPac G7200, 1983; Milton Bradley, consola Vectrex, 1983; Ernst H. Gombrich, Art, Rerception and Reallity, 1983; Sega, consola Sg-1000, 1983; Nintendo, consola Famicom, 1983; Furio Colombo, Furia y televisión, 1983; Yoichiro Kawaguchi y Koichi Omura, software LINKS 1, 1982-1983; Lawrence Wright, Perspective in Perspective, 1983; Gilles Deleuze, L’image-mouvement, 1983-1984; Jud Yalkut, The Alternative Video Generation, 1984; Motorola, teléfono móvil Dyna-TAC 8000X, 1984; Sega, consola Sg 1000-II (MARK II), 1984; Frederic Jameson, Postmodernism or The Cultural Logic of Late Capitalism, 1984; Nintendo, F-1 Race, 1984; Nam June Paik, videoacción Good Morning Mr. Orwell, 1984; Atari, consola Atari 7800, 1984; Apple, ordenador personal Macintosh, 1984; Tomas DeFanti, The Mass Impact of Videogame Technology, 1984; Nintendo, periférico R.O.B., 1984; Skidmore, Owings & Merrill, Harbor Elevation of Rowes Wharf, Boston, 1985; Jean-François Lyotard/Centre Pompidou, exposición Les Inmatériaux, 1985; Tokuma Shoten, Family Computer Magazine, 1985; Sega, consola MARK III, 1985; Bjame Stroustrup, lenguaje C++, 1985; J. Gonzalez Requena, Un mundo descorporeizado: para una semiótica del discurso televisivo, 1985; Robert Abel, video Brillance, 1985; Commodore, ordenador personal Amiga 100, 1985; Rebecca Allen/Kraftwerk, video Music Non Stop, 1986; Capcom, Street Fighter, 1986; Jean Fraçois Lyotard, La postmoderne expliqué aux enfants, 1986; John Laesster/Pixar, película Luxo Jr., 1986; Sharp/Nintendo, consola Twin Famicom, 1986; Andy Warhol, Deborah Harry by Amiga, 1986; Nintendo, The Legend of Zelda, 1987; IBM, estándar VGA, 1987; Sega, consola Master System, 1987; Eugeni Bonet, Polivideo: El video en plural, 1987; NEC, consola PC-Engine, 1987; NEC, periférico PC-Engine CD ROM 2, 1988; Jeffrey Shaw, instalación interactiva Legible City, 1988; Sega, consola Mega Drive, 1988; Nintendo, consola Game Boy, 1989; Tim Berners-Lee, World Wide Web, 1989; Marvin Harris, Theories of Culture in Postmodern Times, 1989; Caida del Muro de Berlin, 1989; Amstrad, consola GX4000, 1990; Sega, consola Master System II, 1990; SNK, consola Neo Geo, 1990; Guido van Rossum, lenguaje Python, 1990; Nintendo, consola Super Nintendo, 1990; Giovanni Sartori, Il Videopodere, 1990; Nintendo, sistema Satellaview, 1991; Sega, consola Mega CD, 1990; Maxis, SimCity, 1991; Jean Baudrillard, La Guerre du Golfe n’a pas eu lieu, 1991; Marcos Novak, Liquid Architectures in Cyberspace, 1991; ID Software, Wolfenstein 3D, 1993; Judith Butler, Bodies That Matter: on The Discursive Limits of “Sex”, 1993; Midway Games, Mortal Kombat, 1992; Brenda Laurel y Rachel Strickland, Placeholder, 1992; Carolina Cruz-Neira, Dan Sandin, y Thomas deFanti/Illinois Electronic Visualization Laboratory, sistema de realidad virtual C.A.V.E., 1992; Argonauts, Star Fox, 1993; William Latham, vídeo Biogenesis, 1993; Atari, consola Jaguar, 1993; Panasonic, consola 3DO Interactive Multiplayer, 1993; WHATWG, lenguaje html, 1993; Hachiya Kazuhino, dispositivo interactivo Inter Dis-Communication Machine, 1993; Alain y Fréderic Le Diberdor, Qui a peur des jeux video?, 1993; Ejército de los EE. U.U., sistema GPS, 1993 ;Karl Sims, vídeo Evolving Virtual Creatures, 1994; Sega, consola Sega Saturn, 1994; Sony, consola PlayStation, 1994; Donna Haraway, A Cyborg Manifesto: Science, Technology and Socialist Feminism in The Late Twentieth Century, 1994; SNK, consola Neo Geo CD, 1994; Christa Sommerer & Laurent Mignonneau, E-volve, 1994; Brendan Eich, lenguaje JavaScript, 1995; Gilles Deleuze, Difference and Repetition, 1995; Toshio Iwai, Piano-as Image Media, 1995; John Laessetes/Pixar, película Toy Story, 1995; Nintendo, consola Virtual Boy, 1995; David Rokeby, Transforming Mirrors: Subjetivity and Control in Interactive Media, 1995; Derrick de Kerchove, The Skin of Culture, 1995; Nintendo, consola Nintendo 64, 1996; Victoria Vesna, net.art Bodies@ Incorporated, 1996; Competición Evolution Championship Series, 1996; Nintendo, Super Mario 64, 1996; Peter Weibel, The World as Interface-Towards The Construction of Context-Controlled Event-Worlds, 1996; Core Design, Tomb Raider, 1996; Lev Manovich, On Totalitarian Interactivity, 1996; Satoshi Tajiri, Pokemon, 1996; Jeremy Rifkin, The End of Work: The Decline of The Global Labour Force and The Dawn of The Post-Market Era, 1996; Manuel Castells, The Information Age: Economy, Society and Culture, 1996; Sega, servicio NetLink, 1996; Sterlac, Ping Body, 1996; DMA Design, Grand Theft Auto, 1997; Espen Aarseth, Cybertext: Perspectives on Ergodic Literature, 1997; Giovanni Sartori, Homo videns, 1997; Jon McCormack, película Turbulence, 1997; Santos Zunzunegui, Pensar la imagen, 1998; Apple Inc., ordenador personal IMac, 1998; Sega, consola Dreamcast, 1998; Sonic Team, Sonic Adventure, 1999; William J. Mitchell, E-topía, 1999; John Klima, Ecosystem, 2000; Zygmunt Bauman, Liquid Modernity, 2000; Jeremy Rifkin, The Age of Access, 2000; Will Wright, The Sims, 2000;United Game Artists, Rez, 2001; Sony, consola PlayStation 2, 2001; Neil Postman, Amusent Ourselves to Death: Public Discourse in the Age of Show Bussines, 2001; Microsoft, consola Xbox, 2001; Illusion Sofworks, Mafia. City of Lost Heaven, 2002; E. Aarseth, Playing Research: Methodological Approaches to Game Analysis, 2003; Nintendo, consola Game Boy Advance SP, 2003; Sony, periférico interactivo PlayStation 2 Eyetyoy, 2003; Linden Research Inc, Second Life, 2003.