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#off-grid
mensfactory · 2 months
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Atlas ATV
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keepingitneutral · 4 months
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DublDom Kandalaksha, Kandalaksha, Russia,
DublDom in Association with Bio Architects
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ultimatepad · 10 months
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Vollebak, Nova Scotia, Canada,
Courtesy: BIG
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mensministry · 2 years
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Off-Grid Inn, Unit 2, Fall Creek, Wisconsin, United States,
Designed by Danny Lindstrom and built with Duff Davidson
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etakeh · 3 months
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@autumngracy , here we go.
Bugging out with Margaret Killjoy.
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There's another where she shows off her off-grid house.
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I wonder how it's going now. She's got a podcast, but I haven't listened to it because it's about cool people and I'm still catching up on bastards.
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amalgamasreal · 8 months
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It’s always cool to see documentaries about the type of house that you yourself live in.
It’s not for everyone but I wouldn’t change anything about it.....except all the shit I’ve got planned to change in the near future, but we’ll ignore that. 🤣
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glennkotche · 6 months
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Exterior - Contemporary Exterior Inspiration for a small contemporary gray one-story metal house exterior remodel with a shed roof and a metal roof
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dnvdk · 1 year
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Richard Proenneke lived in his self-built cabin from 1969 to 1999 and documented the process of building and living in nature both by himself and a filmmaker. Beautiful example of alternative living and extreme simplicity while showing his immense knowledge and ingenuity. Special mention of the hand-build bear cache. Full film only available on DVD (!) but the two samples of each edition are well worth it. Part 1 and Part 2. Edit: the YouTube channel of the filmmaker Bob Swerer shows a couple more clips that are equally compelling. See here.
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offgridinspiration · 9 months
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hellyeahheroes · 9 months
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Down the Off-Grid Rabbit Hole by Maggie Mae Fish
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loiswasadevil · 2 years
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can you talk more about your experiences off the grid? i see a lot of tiktoks about off grid living
Sure. i'm sure you've seen my posts, but any tiktok video you see about "off grid living" is just hypocritical. You cannot be off the grid and have a tiktok account. MY experience with off grid living was we had no technology but a radio. and we had to churn our own butter, and make flour from seeds and drink disgusting milk. I fucking despise "cottagecore" for that very reason, it's not cute to forage out in the woods, its primitive. All the tiktoks lie, they want to make it seem cute but it's grueling. it's not living. There are things that nature cannot prevent. And also, like the tiktoks show, living from a PASTEL COLOURED VAN is not "off grid living", its not even camping. We also grew our own potatoes and ate rabbits. And we had to wear long socks so we wouldn't get tics i fucking hated those socks, i never wore them. True off grid life (what i experienced) is not having ANY CONTACT with the world. my dad would only let us listen to classical channels on the radio, he would only listen to the news with mom in private, me and jonas didn't have "the luxury to be informed." which reminds me our clocks were sundials, which i do actually think are pretty cool. We were pretty much cut off from all media, so we would make up our own episodes of Family guy and The Simpsons, sometimes in writing or drawing forms, my dad would burn them when he found them because it was from dirty cartoons. Having a cat in your backpack is not "off grid living", it's a lie for tiktok and instagram. Those videos piss me off and i hate whatever algorithm recommends them to me. I use social media for a reason and its NOT to think about off grid living, a time when i was isolated from the world and could only dream of having a myspace or a tumblr.
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mensfactory · 5 months
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Newlands Overlander
Concept by Jobin Sunil
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keepingitneutral · 1 year
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Villa ITO, Poveña, San Miguel de Allende, Guanajuato, Mexico,
The Clark Group
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joemuggs · 10 months
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The Lonnnnng View
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The brilliant Charlie Fracture just sent me his new blog post, Let's Take It Slow: The Wonders Of Slowing Down Music And The Importance Of The Long Form Listening Experience, saying "thought you might enjoy reading it". And I did, I really did. It REALLY spoke to me. I love slowing things down, I'm always doing it when DJing, as on this short mix when I took early hardcore rave and slowed it back towards the speed of the hip hop it was sampling. And I thought, hmm, I'm sure I've written about this somewhere... after a bit of head scratching and searching through old emails, I found the following article from the 2012 WIRE end of year issue. It's a bit sprawling, but it's on to something, you know... and somehow looking back over decades (as Charlie's piece does too) suits this topic. So.........
👇🏻
Off the grid
Club music's relationship to its own regularity has always been complicated, but 2012 saw these complications multiplying and the music pushing at its patterns and grids in some radical ways. While for many the story was of a retreat to the safety of familiar forms – mid-nineties house and techno in particular dominated, with a jungle revival nascent – in darker corners things were pulsing and warping, starting to ooze and waft around the steady four-square rhythm patterns that have been foundational at least since the invention of the sequencer. This was not a new genre or style in the conventional sense, rather the convergence of some key trends in 21st century music, the coming to a head of certain pressures, creating an uneasy but thrilling sense of potentiality. These are: slowness, rhythmic slippage, and a more physically expressive interaction with the digital means of production.
The tendency to slowing has been brewing for a long time but was everywhere this year. In 2012 the likes of Andy Stott, Demdike Stare, Raime, Holy Other, Old Apparatus, How To Dress Well, Lukid, Om Unit, Hype Williams and Downliners Sekt all dropped releases with rhythms so stretched that they become textural waves rather than percussion, magnified so that every surface of every sound becomes an environment. The tracks, when played on suitably sizeable speakers, are chambers into which one can enter – sometimes desolate and forbidding as with Raime, sometimes voluptuous and dangerously seductive like Holy Other, sometimes Tron-like and glossy like Om Unit, sometimes fantastical and bejewelled, as in the baroque complexity of this year’s EPs by Old Apparatus. This was “post-dubstep” not in the standard sense of simply applying dubstep's tropes to new rhythms, but in building from first principles entirely new takes on what it could have been.
Dubstep itself had an eye on those first principles, too. This was the year that the “dungeon sound” became prominent: the creepy-crawling update of the earliest half-step rhythms with added production finesse and technologically-enabled sense of detail saw the stock of originators like Distance, Tunnidge and Kryptic Minds, and newer talents like Mancunians Compa and Biome rising. It was a reminder that dubstep's original appeal was about bodily immersion and undulating push-pull physical dynamics rather than about the rave rush and the spectacle of the “drop”. Though we were reminded by the increased profile of Digital Mystikz's Coki – incredibly only now after a decade of dubstep production becoming a full-time musician and launching his own label – that even the harder end of dubstep doesn't have to be predicated on percussive impact: at the heart of even Coki's most violent tunes is always the sluggish undercurrent of his preposterously fractal, semi-liquified “scrambled egg” bass tones.
Even drum'n'bass continued a relationship with slowness. While one end of the scene intensified like commercial dubstep into hyper-pop, reaching vast new audiences, the spaced-out half-tempo “Autonomic” tendency of the last couple of years continued to develop. An album from ASC, various releases on the Space Cadets label, and most fascinatingly a terrifyingly psychedelic EP by Archer & Asanyeh on Romania's DubKraft label all turned d'n'b's velocity in on itself, creating suspenseful, gravity-loosened environments in place of demented drive. House rhythms, too, proved capable of suspending time, particular in the hadns of those re-examining the sparser strains of UK Funky and its potential to draw dubstep and Grime’s sonorities and double-time funk into a more considered space. Wen, Visionist, Beneath, Filter Dread, Shy One, DVA and Cooly G all to some degree created eerie, strangely static rhythms in this way. And throughout the underground, like an underlying pulse that influences all around it, increasingly ran samples of or references to the ‘trap’ sound of US hiphop: layered 808 kicks separated by large space through sheer necessity due to their gigantic size, and looping pitched-down vocal samples running throughout, a 21st century counterpart to the dread signals of reggae vocalists that were cut up into 1990s Jungle.
As Bristol DJ/producer Pinch put it in his Wire Invisible Jukebox interview (The Wire 346), “the way we perceive tempo and the rhythms we're most affiliated with does change, based on situations you're in and the way you tune your head to the world.” What it seems the new techniques of music creation allow is getting closer and closer to real-time manipulation of these changes, to “tune” not just the head but the whole nervous system of the listener in more and more precise ways: where the rhythmic codes of other dance rhythms may aim for the head, hips and feet, the enveloping flows and larger spaces between beats of slower music speak to the entire body as a whole. All of this is about the positioning of bodies in relation to music, allowing new ways of coming close to and entering into the music: about sculpting the affect of the sound in four dimensions. And it's technologically-enabled, the ability to zoom into the finest detail and view all the inhuman complexity of those sonic surfaces and spaces a function of just how much information is being pushed through digital signal processing (DSP) now: we are reminded in no uncertain terms that the dancefloor experience is the interface with that vertiginous information flow. As the hyper-acceleration of jungle illustrated the foaming wave of the digital future cresting as it rushed towards us, so this tendency speaks, perhaps, of it having broken and immersed us.
Rhythmic slippage is directly related to the way that slowing music makes it come in waves as much as beats or pulses. Dubstep, as mentioned, continued to prove it was about tones that undulate around and over the beat as much as the beat itself. Chicago's footworking sounds established that their determinedly tricksy rhythms were here to stay as part of the international dance language. The psychedelic hip hop of Flying Lotus and co has been elaborating on the lurch of J Dilla and the astral analogue funk of Sa-Ra for some years now, but in 2012 we saw plenty of proof in tracks like Fly-Lo's “Pretty Boy Strut”, Mark Pritchard's beats for Wiley, and the gloriously juddering melting pots of Geiom's and dÉbruit's albums, that this too is now established globally as dancefloor-rocking music, not just some over-elaborated gentrification or neo-triphop. It's no coincidence that the London club night where Kutmah, Om Unit, Kidkanevil, Blue Daisy & Offshore play these decentred beats is called “Tempo Clash”: this is, again, about grooves slithering out of expected tempo constraints, and more generally out of expected patterns.
Once again, this was about the body in relation to data: about the physicality of musical (re)production, the sampling of complex jazz playing, the hands dancing across MPC pads, the passed-down skills of the scratch DJ being applied to CDJs, touchscreens and other Ableton controllers. Whether in footworking beats or Fly-Lo's Brainfeeder imperative, it was the return of the repressed b-boy drive, a deranged scrawling of digital wildstyle lines across the weird, wired world. And again this was a tendency that had been building for some while, but in 2012 it became apparent that a convergence was taking place between tempo meltdown, rhythmic looseness and this new sense of placing of the body in relationship to the music. We begun to see – in dramatic contrast to the overtly cerebral abstractions of 1990s “IDM” – how the input-output between fleshy bodies and digital transmission systems could be made bigger, sloppier, stranger and more involving.
In this there were close parallels with The New Aesthetic – the (mainly) visual movement that coalesced in the spring of 2012 around a panel organised by British theorist James Bridle and popularised by Bruce Sterling. The New Aesthetic zooms in on the cracks in our day-to-day datasphere, glitches in normality, the sudden Turing Test fails, the moments when the comforting shields of digital culture wobble and you see the bots' myriad eyes peering out at you and assessing you. It's about revelling in ruptures between what we have naively cast as two separate worlds: the physical and the digital. The New Aesthetic – and the lurching, pulsating weirdings of electronic club music that warp and crack the regularity of sequencer patterns – are about the horror and thrill of realising that what is inside the computer and what is outside are all the same system, that we are submerged in floods of data.
It may even be that Burroughs's adage that “when you cut open the present, the future bleeds out” has some traction here: by defamiliarising the rhythms of common genres, by warping and cracking them, we may be discovering ways through the illusory impasse of the everything-available-all-at-once overwhelming by the past and present. Certainly these techniques are a way of breaking the comfort and ease that readily available sound manipulation technology – in particular the omnipresent Ableton Live – engender. Whether it's the excessively sensual surges of sound in Holy Other, the flailing iPad abuse of Gaslamp Killer or the rusted and irregular-edged grime of Filter Dread and Sd Laika, everything here can be seen as a reaction to the predictably mixed and mixable flows of the Ableton DJ generation. When precision and perfection become easier than making errors, magnifying and repeating errors suddenly seems hugely compelling.
Whether it can go further, or whether these remain just pockets of resistance, is questionable. Dance by its very nature is predicated on some degree of regularity and coherence, and the global forces of “EDM” – the all-encompassing term used since house and dubstep bizarrely gatecrashed the US mainstream at the turn of the decade – seem to increase the pressure to conformity and easily-packaged units of DJ culture. Again in The Wire, Pinch talked of wanting to emulate the freedom of tempo and metre in the Qawwali music that he has often taken inspiration from but bemoaned his lack of the “musical intelligence” of the Qawwali musicians – hinting towards an entirely new understanding of the production of rhythm that needs to be collectively built to cope with the possibilities of more flexible and expressive technology.
Dr Matt Yee-King, teacher of Computer Music at Goldsmiths college, and researcher into technological interfaces between sound, mind and information says: “musicians might start to realise that the best way to escape the grid is not to use the grid,” that is to abandon sequencers entirely in favour of all-live coding and manipulation, but it is still extraordinarily rare that club musicians and DJs feel able to break loose completely from the metronomic diktats of sequencing tools like Ableton. The grids are still in place. The slippage and melting of rhythmic and tempo constraints that have come to a head in 2012 are not a revolution in themselves, and whether one is possible is yet to be proved. Could a digital Coltrane or Hendrix, or a collective sound as improvisatory and free as Qawwali, emerge from these new opportunities, and actually become a part of the world's nightlife rituals? For the first time maybe since the peak of jungle's rhythmic fury, these extreme possibilities don't seem entirely ridiculous.
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Vandaag een lekker wandelingetje gemaakt in de natuur van het prachtige Grave. Helemaal 1 met de omgeving. Het geluid van meeuwen op de achtergrond, het razende water van het gemaal. Het gemaal van Sasse is een mooie rustige plek gelegen naast een bunker uit de 2e wereldoorlog.
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prep4tomoro · 1 year
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Making a Root Cellar; Refrigeration Without a Refrigerator:
Root Cellars are an excellent way to store/refrigerate food. Once upon a time, root cellars were the only way people had to preserve their food. It's still a great way to store fruits and vegetables, especially when you need to store more than you have room indoors and without electricity. Take advantage of nature's "ice box." All it takes is a shovel, a little elbow grease and a trash can to Make a Mini Root Cellar In The Backyard In Less Than Two Hours. Depending on the need and resources, there are many DIY Root Cellar Plans and Ideas to Keep Your Harvest Fresh Without Refrigerators. Turn an Old Refrigerator Into A Root Cellar Build a Root Cellar or Survival Bunker [Reference Link]
[14-Point Emergency Preps Checklist] [Basic Emergency Kit] [Learn to be More Self-Sufficient] [The Ultimate Preparation] [5six7 Menu]
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