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The stories we tell and are told, the images we see and share, and the ways we communicate find new paths and are expressed in new forms of networks, other agoras (to borrow Foley’sterminology), and at a faster pace. Nonetheless, we ought to examine what the novelty of contemporary storytelling consists in when it conquers digital forms and environments. Likewise, the digital brings us new tools and means of accessing data – but how much have our disciplines, methods, approaches and concepts actually changed? And how much have we assessedthe capacity of our disciplines to adapt to embrace the study of what takes place online and inrelation to the digital? From this vantage point, the present article pays particular attention tothe footprints and the traceability of our doings and our data, in order to highlight the ows,continuity and ruptures of what we do and tell. Based on examples from a variety of contexts, I illustrate how our quest for renewal, novelty and innovation is strongly anchored in, subjectto and dependent upon our habits, old-fashioned ways and ability to observe the world aroundus. Further, I argue that in research, in a similar way to storytelling, vintage is of equal valueto novelty and originality.