L’année dernière nous vous avions livré 700 films rares à découvrir légalement grâce à l’excellente plateforme Openculture, aujourd’hui on a dépouillé pour vous la bibliothèque multimédia Archive.org et, vous allez voir qu’il y a de quoi faire pour les 10 prochaines années.
Parce qu’Archive.org c’est avant tout une fantastique machine à remonter le temps. Archive.org c’est aussi la mémoire du web et la mémoire du cinéma en une seule bibliothèque virtuelle. En plus des 4200 long-métrages, vous pourrez trouver plus de 500 000 vidéos, 1 000 000 d’enregistrements audio, dont 92 000 de concerts, 3 000 000 de livres et 36 000 logiciels.
Vous l’aurez compris, Archive.org condense tous les films tombés dans le domaine public. A la manière donc d’une bibliothèque numérique, en accès libre aux chercheurs, historiens, étudiants, et évidemment au grand public. Des millions d’heures de contenus disponibles, de quoi ravir un paquet d’insomniaques, à la manière du chef d’œuvre anti-streaming de Zoé Sagan.
Comme aucun être humain normalement constitué ne peut tout voir en une seule vie, voici une petite sélection maison.
La nuit des morts-vivants réalisé par Romero (1968)
Le dernier homme sur terre réalisé par Ubaldo Ragona (1964)
Dr. Sex. (1964)
Shame réalisé par Roger Corman (1962)
Journal d’un nudiste réalisé par Doris Wishman (1961)
La petite boutique des horreurs réalisé par Roger Corman (1960)
The Fast And The Furious réalisé par John Ireland (1955)
Teaserama réalisé par Irving Klaw (1955)
Cyrano De Bergerac réalisé par Michael Gordon (1950)
Le criminel réalisé par Orson Welles (1946)
Voodoo Man réalisé par William Beaudine (1944)
La dame du vendredi réalisé par Hawks (1940)
L’homme de la rue réalisé par Capra (1941)
Une femme disparaît réalisé par Hitchcock (1938)
Sex Madness réalisé par William Curran (1938)
Freaks réalisé par Tod Browning (1932)
M le maudit réalisé par Fritz Lang (1931)
L’ange bleu réalisé par Josef Von Sternberg (1930)
Steamboat Bill Jr réalisé par Buster Keaton (1928)
The Cameraman réalisé par Buster Keaton (1928)
Metropolis réalisé par Fritz Lang (1927)
Le fantôme de l’Opera réalisé par Rupert Julian, Ernst Laemmle, Edward Sedgwick (1925)
« The Vagabond » réalisé par Charlie Chaplin (1916)
![SKID MARK 2017 [STEVE OKLYN]](https://www.apar.tv/wp-content/uploads/2020/06/url-2-75x75.jpeg)
![[DEPOSE] STEVE OKLYN](https://www.apar.tv/wp-content/uploads/2020/06/bernard-arnault-un-pere-fier-de-son-fils-polytechnicien-qui-defilait-le-14-juillet-75x75.jpeg)
![Predictive Journalism [Magazines] @virgilabloh @wmag](https://scontent-cdg2-1.cdninstagram.com/v/t51.29350-15/209584973_2957777841155347_4545370530577311983_n.jpg?_nc_cat=111&ccb=1-5&_nc_sid=8ae9d6&_nc_ohc=zzvw2Q977pMAX9z0T0E&_nc_ht=scontent-cdg2-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=5e5da42eb1deb5a3c44f004986c86793&oe=616E367F "Predictive Journalism [Magazines] @virgilabloh @wmag")
![The intersection of persona, product, propaganda, and profit. In 2021 is the brand Supreme any different than the brand GAGOSIAN? No. They are both strategic entities focused on valuations, cultural and capital. Each bestow status on their investors. What I am fascinated by is that they both trade in Dead Data. I find no intellectual difference between a Supreme x John Woo collaboration as GAGOSIAN exhibiting Harmony Korine’s paintings. In each case the two of them are basing the products social influence and exchange value on established [Dead] [Data] information. Both are DOA. Each of the artists and brands chosen for the first exhibition STUPID and the second DROPS are attempting an impossible narrative, to raise dead informational bits. What I find Intellectually horrifying is the scale of the audience and the financial market for this morbid display. The culturally transgressive destroys established values. The works in STUPID and DROPS are intellectual crimes in that they present what has already lost all meaning and value and the propaganda creates an altogether false meta-value. The transgressive preserves creative innocence by exposing the inherent corruption of the status quo.
MARK EVEN x STEVE OKLYN
2021](https://scontent-cdt1-1.cdninstagram.com/v/t51.29350-15/196860070_809654653271496_8575323350180795315_n.jpg?_nc_cat=105&ccb=1-5&_nc_sid=8ae9d6&_nc_ohc=TP1cxbc1pQsAX_pkWMe&_nc_ht=scontent-cdt1-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=71a66c4b2a89fd0b56bcadf9811dbe52&oe=616CCE49 "The intersection of persona, product, propaganda, and profit. In 2021 is the brand Supreme any different than the brand GAGOSIAN? No. They are both strategic entities focused on valuations, cultural and capital. Each bestow status on their investors. What I am fascinated by is that they both trade in Dead Data. I find no intellectual difference between a Supreme x John Woo collaboration as GAGOSIAN exhibiting Harmony Korine’s paintings. In each case the two of them are basing the products social influence and exchange value on established [Dead] [Data] information. Both are DOA. Each of the artists and brands chosen for the first exhibition STUPID and the second DROPS are attempting an impossible narrative, to raise dead informational bits. What I find Intellectually horrifying is the scale of the audience and the financial market for this morbid display. The culturally transgressive destroys established values. The works in STUPID and DROPS are intellectual crimes in that they present what has already lost all meaning and value and the propaganda creates an altogether false meta-value. The transgressive preserves creative innocence by exposing the inherent corruption of the status quo.
MARK EVEN x STEVE OKLYN
2021")
![Mark Even American artist
Born 2000 Mountain View, CA.
Mark Even was convicted of a cybercrime in 2015. He was sentenced to ten years to be served at a new Federal prison: BALSEC ONE specifically for cyber criminals. It is located in Steele City, Nebraska.
Mark has used his time to develop an algorithmic based [Code art also known as code generated experiments] creative practice. He refers to BALSEC ONE as his Marfa. The BLACK POWER series is his newest work.
Note: Mark has no access to a computer in prison. He writes down the instructions of the work which are given to his lawyer who gives those directions to a member of the MLF [Mark Lombardi Faction] who have assisted him on a number of projects. Mark is currently thinking of releasing the BLACK POWER works as individual NFTs.
STEVE OKLYN
443 Institute
Thimphu, Bhutan](https://scontent-cdt1-1.cdninstagram.com/v/t51.29350-15/172246940_241775834361086_412793993617799165_n.jpg?_nc_cat=110&ccb=1-5&_nc_sid=8ae9d6&_nc_ohc=NsdBJGeJdKAAX9xoVs-&_nc_ht=scontent-cdt1-1.cdninstagram.com&edm=ANo9K5cEAAAA&oh=23c0b24cd8bea0d8a7dfccbbf2d75736&oe=616DAD75 "Mark Even American artist
Born 2000 Mountain View, CA.
Mark Even was convicted of a cybercrime in 2015. He was sentenced to ten years to be served at a new Federal prison: BALSEC ONE specifically for cyber criminals. It is located in Steele City, Nebraska.
Mark has used his time to develop an algorithmic based [Code art also known as code generated experiments] creative practice. He refers to BALSEC ONE as his Marfa. The BLACK POWER series is his newest work.
Note: Mark has no access to a computer in prison. He writes down the instructions of the work which are given to his lawyer who gives those directions to a member of the MLF [Mark Lombardi Faction] who have assisted him on a number of projects. Mark is currently thinking of releasing the BLACK POWER works as individual NFTs.
STEVE OKLYN
443 Institute
Thimphu, Bhutan")
