The Internet Archive Makes 2,500 More Classic MS-DOS Video Games Free to Play Online: Alone in the Dark, Doom, Microsoft Adventure, and Others

in Games, Internet Archive | October 21st, 2019

Back in 2015 we let you know that the Internet Archive made 2,400 computer games from the era of MS-DOS free to play online: titles like Commander Keen, Scorched Earth, and Prince of Persia may have brought back fond 1990s gaming memories, as well as promised hours of more such enjoyment here in the 21st century. That set of games included Id Software’s Wolfenstein 3D, which created the genre of the first-person shooter as we know it, but the Internet Archive’s latest DOS-game upload — an addition of more than 2,500 titles — includes its follow-up Doom, which took computer gaming itself to, as it were, a new level.

The Internet Archive’s Jason Scott calls this “our biggest update yet, ranging from tiny recent independent productions to long-forgotten big-name releases from decades ago.” After detailing some of the technical challenges he and his team faced in getting many of the games to work properly in web browsers on modern computers — “a lot has changed under the hood and programs were sometimes only written to work on very specific hardware and a very specific setup” — he makes a few recommendations from this newest crop of games.

Scott’s picks include Microsoft Adventure, the DOS version of the very first computer adventure game; the 1960s-themed racer Street Rod; and Super Munchers, one in a line of educational titles all of us of a certain generation will remember from our classroom computers. Oddities highlighted by classic game enthusiasts around the internet include Mr. Blobby, based on the eponymous character from the BBC comedy show Noel’s House Party; the undoubtedly thrilling simulator President Elect — 1988 Edition; and Zool, the only ninja-space-alien platformer sponsored by lollipop brand Chupa Chups.

This addition of 2,500 computer game s to the Internet Archive also brings in no few undisputed classics whose influence on the art and design of games is still felt today: Alone in the Dark, for example, progenitor of the entire survival-horror genre; Microsoft Flight Simulator, inspiration for a generation of pilots; and SimCity 2000, inspiration for a generation of urban planners. Among the adventure games, one of the strongest genres of the MS-DOS era, we have Discworld, based on Terry Pratchett’s comedic fantasy novels, and from the mind of Harlan Ellison the somewhat less comedic I Have No Mouth and I Must Scream. One glance at the Internet Archive’s updated computer game collection reveals that, no matter how many games you played in the 90s, you’ll never be able to play them all.

Get more information on the new batch of games at the Internet Archive.

via Boing Boing

Free: Play 2,400 Vintage Computer Games in Your Web Browser

Play a Collection of Classic Handheld Video Games at the Internet Archive: Pac-Man, Donkey Kong, Tron and MC Hammer

1,100 Classic Arcade Machines Added to the Internet Arcade: Play Them Free Online

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Banksy Launches a New Online Store: Make Purchases Through October 28

in Art | October 18th, 2019

Has Banksy sold out? Fans and critics alike of the street-art provocateur-turned-globally recognizable brand can argue that question endlessly. But we do know, at least, that Banksy sells: earlier this month he broke his own record when his 2009 painting Devolved Parliament went for £9.88 million (about $12.20 million USD) at Sotheby’s. Not all the followers attracted by Banksy’s anti-capitalistic, anti-corporate, anti-wealth image can afford to pay quite so much for a Banksy of their own, but if they can come up with anything from £10 to £850.00, they stand as much of a chance as anyone else of making a purchase from the artist’s newly opened online store, Gross Domestic Product, the second phase of a project that began, as many of Banksy’s ventures have, on a London street.

In this case it wasn’t a mural but a shop, or rather, an installation designed to look like a shop, “opened” right in time for Frieze Week, when the art world passes through the city. “Taking up large windows facing the street, the shop, ‘where art irritates life,’ is a classic display of the artist’s ingenuity and razor-sharp sense of reason and humor,” writes Juxtapoz’s Sasha Bogojev.

Its stock included a “baby crib surveillance mobile toy, along with ‘early learning counting set’ consisting of wooden figures of refugees, welcome mats made from life vests salvaged from the shores of the Mediterranean, disco ball made from old police helmets, plates/clocks with running rats, works on canvas, cushions, and even badly done ‘Banksky’ T‑shirts, mugs and plates.” Much to the dismay of many a Frieze-goer, nothing in Banksy’s brick-and-mortar store was available for sale.

But everything in Banksy’s online store is: “GrossDomesticProduct.com offers a wide range of household products, artworks and basically a whole range of Banksy™ knick-knacks,” writes Bogojev. “From mugs for which ‘the artist got the kids to do it, then signed the result,’ sculptural edition made in collaboration with Escif, learning sets, t‑shirts” — one modeled after Girl with Balloon, shredded bottom half and all — “soft toys, clocks, all the way to two new print editions.” Such is Banksy’s popularity that you might well assume everything has already run out, but no: each hopeful buyer can register to purchase one item — but just one — until October 28th, at which point a lottery process will determine which of them will actually have the privilege of making their desired purchases. In the highly likely event of “demand outstripping supply,” Gross Domestic Product will use as a determining factor applicants’ responses, consisting of fifty words or fewer, to the question, “Why does art matter?”

One hopes that when this latest Banksy stunt has finished, the winning responses to that question will be made public; the art-world commentariat would certainly make much of an answer from Banksy himself. But Banksy-watchers know that the artist, whatever his real identity, is always on the move: no sooner have we learned of his latest piece of work, whatever form it takes, than he’s primed the next one to drop. Banksy has described Gross Domestic Product as legally motivated, prompted by a greeting card company’s attempts “to seize legal custody of the name Banksy from the artist, who has been advised the best way to prevent this is to sell his own range of branded merchandise.” If anyone makes Banksy greeting cards, it’s going to be Banksy. And if he were to announce his own Hallmark Store, lines would surely start forming right away.

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Patti Smith Presents Top Webby Award to Banksy; He Accepts with Self-Mocking Video

The Always Bankable Banksy

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 2 ) |

Watch Teenage Kurt Cobain and Friends’ Horror Movie from 1984

in Film | October 18th, 2019

Because Kurt Cobain died so young (and some would say so mysteriously) his pre-Nirvana works can be over-examined as harbingers of his fate. Maybe death was always riding hard on his tail, these works can tell us, though any number of proto-grunge teens in the Pacific Northwest would have been writing about death and the devil. That’s the cool stuff, man.

A Super 8 film made by a 17-year-old Cobain, Dale Crover (future drummer of the Melvins) and Nirvana bass player Krist Novoselic popped up among bootleg collectors in 1998, and dates from 1984. Fans dubbed it “Kurt’s Bloody Suicide” to juice its value, back in the days when you actually had to buy bootlegs and then later be very disappointed. Now it’s up on YouTube as “Kurt Cobain Horror Movies.”

Crover has described it as “fucking around with a camera,” which indeed it is, but with some intent. It features Kurt in a Mr. T mask, lighting candles in a pentagram and snorting up a pile of cocaine (no doubt using a hidden vacuum cleaner). Then some odd shots of a Mr. T puppet, somebody’s mom at the window, a black labrador, very brief attempts at stop motion, somebody’s granddad, shots of downtown Aberdeen, Washington, and more goofing off (with a guitar!).

Then we get to the “money shot,” so to speak, with Cobain fake slitting his throat and stabbing himself. There’s some more knife violence, then a shot of a cat, a shot of a dog, some fake gun violence, plenty of shots of a pet turtle, and finally back to a horror movie: a bloody Virgin Mary, and some stabbings and some decent fake wounds. (However, the traveling shot of the running dog gets my vote for most skillful.)

Should we read anything into the gore and Satanism? (“This kid was a ticking time bomb,” says one YouTuber.)

I’d say no…and yes. There’s something fun about watching these bored teens making a film for their own entertainment. It’s silly, unfocused, but definitely an indication that these guys wanted out of their boring town and they’d have to create something to do that. Nirvana was right around the corner…

via Dangerous Minds

How Nirvana’s Iconic “Smells Like Teen Spirit” Came to Be: An Animated Video Narrated by T‑Bone Burnett Tells the True Story

Animated Video: Kurt Cobain on Teenage Angst, Sexuality & Finding Salvation in Punk Music

Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.

by Ted Mills | Permalink | Make a Comment ( None ) |

Chill Out to 70 Hours of Oceanscape Nature Videos Filmed by BBC Earth

in Biology, Environment, Life, Nature, Science, Television | October 18th, 2019

Those who harbor a deep-seated fear of the water may want to look for other methods of stress relief than BBC Earth’s relaxing 10-hour video loops, but everyone else is encouraged to take a dip in these stunning natural worlds, presented without commentary or background music.

All seven 10-hour playlists are salt-water based: coral reefs, coastlines, deep ocean, open ocean, frozen seas, ocean surfaces, and sea forests.

As in most compelling nature documentaries, non-human creatures loom large, but unlike such BBC Earth offerings as Creepiest Insect Moments or Ants Attack Termite Mounds, there’s a benign, live-and-let-live vibe to the proceedings.

Unsurprisingly, the photography is breathtaking, and the uses of these marathon-length portraits are manifold: meditation tool, sleep aid, child soother, social media decompressor, travelogue, and—less calmingly—call to action.

Science tells us that many of these life forms, and the ocean in which they dwell, are in serious danger, thanks to decades of human disregard for the environment. This is an opportunity to immerse ourselves in what we stand to lose while it’s still possible to do something about it.

If that thought seems too depressing, there’s also strong scientific evidence that nature documentaries such as these promote increased feelings of wellbeing

What are you waiting for?

Click here to travel the oceans with polar bears, jellyfish, dolphins, seahorses, brightly colored tropical fish and other creatures of the deep, compliments of BBC’s Earth’s Oceanscapes playlists.

Bob Odenkirk & Errol Morris Create Comedic Shorts to Help You Take Action Against Global Warming: Watch Them Online

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Join her in NYC on Monday, November 4 when her monthly book-based variety show, Necromancers of the Public Domain celebrates Louise Jordan Miln’s “Wooings and Weddings in Many Climes (1900). Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

How to Paint Like Willem De Kooning: Watch Visual Primers from the Museum of Modern Art

in Art | October 17th, 2019

Before you learn how to paint like Dutch American Abstract Expressionist Willem de Kooning, you might ask, why should you paint like Willem De Kooning? Shouldn’t every artist have his or her own inimitable personal style? We might ask, why learn to play piano like Nina Simone or write prose like William Faulkner? If you stop at mere imitation, there may be no good reason to mimic the masters.

But if you take their techniques and make them yours—steal, if you will, their best parts for your work—then, with enough talent and persistence, you might be on your way toward an inimitable personal style of your own. Or, you could simply watch these videos on how to paint like De Kooning to get a vivid, live-action demonstration of how the artist himself did it.

You need never have held a paintbrush to appreciate the Museum of Modern Art’s “How to Paint Like” series, featuring videos of MoMA educator and conservator Cory D’Augustine, who shows us how to imitate the methods of not only of De Kooning, but also Jackson Pollock, Mark Rothko, and Agnes Martin. All of these tutorials come from D’Augustine’s Coursera class “In the Studio: Postwar Abstract Painting.”

And as his other videos, here D’Augustine offers a comprehensive overview of the artist’s tools and techniques: low-viscosity oil paint held in large quantities in bowls, rather than small blobs of paint on a palette; the big powerful full-body gestures to achieve “action painting.” If you are trying this at home, be advised, D’Augustine moves fast, assuming a lot of prior experience and a serious artist’s collection of supplies. Think more Bob Vila than Bob Ross—you will need a good set of tools. But if you’re aspiring to paint like De Kooning, odds are you’ve got it covered.

D’Augustine has also been responsive to critics in the comments, releasing the follow up Part 2 video, above, to address the absurdity of actually “doing a De Kooning-esque painting in a day.” Additionally, as he notes above, De Kooning “reinvented himself again and again and again,” meaning “there certainly isn’t one way, there certainly aren’t a hundred ways, to make a De Kooning since he was relentlessly inventive.”

That is to say, we’re seeing a curated selection of De Kooning’s materials and application techniques, which still may be quite enough to influence a budding painter on the way to a unique technique of her own—or to inform De Kooning fans who do not paint, but who have stood before his fearfully, brutally energetic canvases and wondered how they came to be.

Jackson Pollock 51: Short Film Captures the Painter Creating Abstract Expressionist Art

How the CIA Secretly Funded Abstract Expressionism During the Cold War

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

The Politics & Philosophy of the Bauhaus Design Movement: A Short Introduction

in Art, Design, History, Politics | October 17th, 2019

This year marks the centennial of the Bauhaus, the German art-and-design school and movement whose influence now makes itself felt all over the world. The clean lines and clarity of function exhibited by Bauhaus buildings, imagery, and objects — the very definition of what we still describe as “modern” — appeal in a way that transcends not just time and space but culture and tradition, and that’s just as the school’s founder Walter Gropius intended. A forward-looking utopian internationalist, Gropius seized the moment in the Germany left ruined by the First World War to make his ideals clear in the Bauhaus Manifesto: “Together let us call for, devise, and create the construction of the future, comprising everything in one form,” he writes: “architecture, sculpture and painting.”

In about a dozen years, however, a group with very little time for the Bauhaus project would suddenly rise to prominence in Germany: the Nazi party. “Their right-wing ideology called for a return to traditional German values,” says reporter Michael Tapp in the Quartz video above, “and their messaging carried a typeface: Fraktur.” Put forth by the nazis as the “true” German font, Fraktur was “based on Gothic script that had been synonymous with the German national identity for 800 years.” On the other end of the ideological spectrum, the Bauhaus created “a radical new kind of typography,” which Museum of Modern Art curator Barry Bergdoll describes as “politically charged”: “The Germans are probably the only users of the Roman alphabet who had given typescript a nationalist sense. To refuse it and redesign the alphabet completely in the opposite direction is to free it of these national associations.”

The culture of the Bauhaus also provoked public discomfort: “Locals railed against the strange, androgynous students, their foreign masters, their surreal parties, and the house band that played jazz and Slavic folk music,” writes Darran Anderson at Citylab. “Newspapers and right-wing political parties cynically tapped into the opposition and fueled it, intensifying its anti-Semitism and emphasizing that the school was a cosmopolitan threat to supposed national purity.” Gropius, for his part, “worked tirelessly to keep the school alive,” preventing students from attending protests and gathering up leaflets printed by fellow Bauhaus instructor Oskar Schlemmer calling the school a “rallying point for all those who, with faith in the future and willingness to storm the heavens, wish to build the cathedral of socialism.” In their zeal to purge “degenerate art,” the Nazis closed the Bauhaus’ Dessau school in 1932 and its Berlin branch the following year.

Though some of his followers may have been firebrands, Gropius himself “was typically a moderating influence,” writes Anderson, “preferring to achieve his socially conscious progressivism through design rather than politics; creating housing for workers and safe, clean workplaces filled with light and air (like the Fagus Factory) rather than agitating for them.” He also openly declared the apolitical nature of the Bauhaus early on, but historians of the movement can still debate how apolitical it remained, during its lifetime as well as in its lasting effects. A 2009 MoMA exhibition even drew attention to the Bauhaus figures who worked with the Nazis, most notably the painter and architect Franz Ehrlich. But as Anderson puts it, “there are many Bauhaus tales,” and together “they show not a simple Bauhaus-versus-the-Nazis dichotomy but rather how, to varying degrees of bravery and caprice, individuals try to survive in the face of tyranny.”

How the Radical Buildings of the Bauhaus Revolutionized Architecture: A Short Introduction

The Bauhaus Bookshelf: Download Original Bauhaus Books, Journals, Manifestos & Ads That Still Inspire Designers Worldwide

An Oral History of the Bauhaus: Hear Rare Interviews (in English) with Walter Gropius, Ludwig Mies van der Rohe & More

Bauhaus, Modernism & Other Design Movements Explained by New Animated Video Series

The Nazi’s Philistine Grudge Against Abstract Art and The “Degenerate Art Exhibition” of 1937

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Stream Dozens of Classic & Contemporary Horror Movies Free Online in October

in Film | October 16th, 2019

There is a paradox in the genre we call horror. Its main engine has remained constant for millennia—primal fears of death (and afterlife), and relatedly inescapable phenomena like birth, aging, and sickness. At the same time, horror is always contemporary, reflecting “society’s collective anxieties throughout the decades,” writes Lauren McGrail at the Lights Film School blog.

We can see this in horror movies, dividing them by decade according to their most pressing concerns. 1920s German expressionism recoiled from the growing threat of fascism. The 1930s and 40s created a cult of personality around deathless horror icons.

“In the 1950s,” McGrail writes, “the fear of invasion and atomic war fueled films in which the effects of radiation created larger-than-life monsters.” The 60s saw deviancy everywhere, especially among the supposedly normal.

“In the 1970s, Hollywood looked inward, inventing threats that sprung from within,” sometimes quite literally. The ‘80s dealt in panic over satanism, teenage promiscuity, and childhood abuse. The ‘90s gave us charming sociopathic killers, horror parodies, (and bees). “More recently, an uptick in prestigious ‘elevated horror’ films is tackling modern social issues head-on.” Get Out uses disorienting shocks and scares for a heady examination of racism. Midsommer represents the fear of isolationist, homogeneous communities (ethnostate horror, if you will).

Kanopy, the free film streaming service, has made its horror film catalogue available online, allowing us to test this theory by watching classic movies from nearly every decade of cinema history. They’ve included a generous portion of recent highly acclaimed horror films, like Ari Aster’s Hereditary, Robert Eggers’ The Witch, and Tomas Alfredson’s Let the Right One In. There are classic subgenre-defining films like George Romero’s Night of the Living Dead and Robert Wiene’s Cabinet of Dr. Caligari.

Even the oldest of horror movie tropes get updated every few years to illustrate contemporary social conflicts. Frankenstein and his monster, Dracula: such 19th century literary characters came to life on celluloid again and again in the first half of the 20th century, when Hollywood horror was still figuring itself out. These oft-campy characters aren’t well-represented in the Kanopy collection. But there are offbeat psychological thrillers like Denis Villeneuve’s Enemy, crime thrillers about real monsters like David Fincher’s Zodiac, and horror comedies like Kevin Smith’s Tusk.

The horror film arrived before the 19th century ended, with Georges Méliès’ 1896 The Haunted Castle, a visual effects feast for 1890s filmgoers’ eyes. Its imagery now calls to mind a seasonal candy aisle—bats, witches, devils, skeletons, and a bubbling cauldron. Fall is a commercial bonanza for fun-sized candy bars and scary movies. Like pharmacies stocking giant bags of candy come summer’s end, no major studio should find itself without a horror release—or re-release—this time of year.

Halloween—the harvest-festival-turned-quasi-Christian/occult-ceremony-turned-major-shopping-season—may do as much to keep horror alive in popular culture as Christmas does for films about family dysfunction. Whether they’re digging up the corpses of ancient evils or inventing new metaphors for old-fashioned fears, horror films give Halloween its best costume ideas, and the best reason to gather up friends and family and get scared out of your wits together (ideally).

Should you be hosting such a gathering, or looking to freak yourself out, you’ll find contemporary horror aplenty free to stream at Kanopy. All you’ll need is your local library card. (To check and see whether your library–or university–is among Kanopy’s partners, just type it into the search window on this page.) “We stream thoughtful entertainment to your preferred device with no fees and no commercials by partnering with public libraries and universities,” says Kanopy’s about page, explaining that you need only “log in with your library membership and enjoy our diverse catalog with new titles added every month.” A very small price to pay indeed for such high-quality content. Enter Kanopy’s horror collection here.

Martin Scorsese Creates a List of the 11 Scariest Horror Films

Time Out London Presents The 100 Best Horror Films: Start by Watching Four Horror Classics Free Online

What Makes a Good Horror Movie? The Answer Revealed with a Journey Through Classic Horror Films Clips

Stephen King’s 22 Favorite Movies: Full of Horror & Suspense

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness.

by Josh Jones | Permalink | Make a Comment ( 1 ) |

How Magazine Pages Were Created Before Computers: A Veteran of the London Review of Books Demonstrates the Meticulous, Manual Process

in Design, History, Magazines | October 16th, 2019

The London Review of Books is celebrating its 40th anniversary, but somehow the magazine has always felt older than that: not like the product of a stuffier age, but of a more textually and intellectually lavish one than the late 1970s. Pick up an early issue and you’ll see that, as much as it has evolved in the details, the basic project of the LRB remains the same: publishing essays of the highest quality on a variety of subjects literary, political, and otherwise, allowing their writers a length sufficient for proper engagement of both subject and reader, and — perhaps most admirably of all — refusing, in this age of internet media, to burden them with semi-relevant pictures and clickbait headlines.

“Much in those early numbers still looks fresh,” writes Susannah Clapp, who worked at the LRB during its first thirteen years. “But the apparatus and surroundings that produced them seem antique. Typewriters. Letters covered in blotches of Tipp-Ex, for which the office name was ‘eczema.’ No screens; hand-drawn maps for layout; tins of Cow Gum.” The cow gum was an essential tool of the trade for Bryony Dalefield, who since 1982 has worked “pretty near continuously” for the LRB as what’s called a “paste-up artist.” In the video above, she describes how her job — whose title remains “pleasingly still in the vocabulary in the digital age” — once involved “literally cutting up copy and pasting it onto a board so it could be sent to the printers and photographed for printing.”

Dalefield doesn’t just recount the process but performs it, summoning a presumably long-dormant but well-honed suite of skills to paste up a current page of the LRB just as she did it in the 80s. First she takes the text of an article, fresh from the print shop, and cuts it into columns with scissors. Then she spreads the Cow Gum, with its “strong petrol smell,” to fix the columns to the board, fearing all the while that she’ll stick them on out of order. Even in order, they usually require the addition or removal of words to fit just right on the page, and at the LRB, a publication to whose meticulous editing process each and every contributor can attest, another round of edits follows the first pasting. We then see why X‑ACTO knives are called that, since using one to replace individual words and phrases on paper demands no small degree of exactitude.

With the wrong bits cut out and the right ones pasted in and held down with Magic Tape, the completed page is ready to be sent back to the printer. Pasting-up, which Dalefield frames as a marrying of the work of editors and typographers, will seem astonishingly labor-intensive to most anyone under the age of 50, few of whom even know how magazines and newspapers put together their pages before the advent of desktop publishing. But the very word “desktop,” in the computer-interface sense, speaks to the metaphorical persistence of the old ways through what Dalefield calls the “falling out of trades” in the digital age. I myself have done a fair bit of “cutting,” “copying,” and “pasting” writing this very post — but I suppose I never did say, “Oh, that’s very sticky” while doing so.

The Art of Collotype: See a Near Extinct Printing Technique, as Lovingly Practiced by a Japanese Master Craftsman

Mark Twain Wrote the First Book Ever Written With a Typewriter

The Art of Making Old-Fashioned, Hand-Printed Books

How to Jumpstart Your Creative Process with William S. Burroughs’ Cut-Up Technique

J.G. Ballard’s Experimental Text Collages: His 1958 Foray into Avant-Garde Literature

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 6 ) |

The Internet Archive Makes 2,500 More Classic MS-DOS Video Games Free to Play Online: Alone in the Dark, Doom, Microsoft Adventure, and Others

Banksy Launches a New Online Store: Make Purchases Through October 28

Watch Teenage Kurt Cobain and Friends’ Horror Movie from 1984

Chill Out to 70 Hours of Oceanscape Nature Videos Filmed by BBC Earth

How to Paint Like Willem De Kooning: Watch Visual Primers from the Museum of Modern Art

The Politics & Philosophy of the Bauhaus Design Movement: A Short Introduction

Stream Dozens of Classic & Contemporary Horror Movies Free Online in October

How Magazine Pages Were Created Before Computers: A Veteran of the London Review of Books Demonstrates the Meticulous, Manual Process

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