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Project Description
The little brother of all the tiny houses. A modern and practical design on a 5.5 m trailer, it is the suitable tiny residential space for a single person or a weekend retreat for two. It has a shed roof that gives it a modern, contemporary roof. Inside the space is tight, but multi- functional, because of the living area, small size kitchen, desk and bathroom.
The loft is a space for two and also an astronomical screen, as it features a skylight.
This tiny can also be designed as an office, backyard extra space for guests, teenagers or art atelier. Its mini size makes it easier to move around.
|5.5 m
|2.52 m
|Interior space
|15.4 m2
|2 – 3 people
Where can you see it?
This tiny can be seen in Marche-en-Famenne, Belgium where it resides.


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Neil Young's new live record gives his dismal '80s a bright spot
Posted by Grayson Currin on
The accepted wisdom regarding Neil Young's career is that, unless you're really willing to dig for gems, you'd bdo best to skip his '80s output. In the decade-plus that came before the reign of Reagan, Young released some of rock's most memorable songs–"Cinnamon Girl," "Southern Man," "Down by the River," or for a few years, pretty much everything he touched. And after the '80s, he occasionally approached the apogee of his output, with Ragged Glory, Harvest Moon, Mirror Ball and a personal favorite, Silver & Gold. But when you have to comb through about a decade's worth of material to realize the (relatively low) highlights are "Hippie Dream," "This Note's For You," and, uhh, "Inca Queen," you'd do best to find alternative ways to spend your time.
But A Treasure, released today by Reprise Records, collects 12 tracks recorded live by Young and a band of country music all-stars he called the International Harvesters in 1984 and 1985. You might recognize some of this work from Old Ways, his 1985 fuck-you-it's-country statement from Geffen, and you'll eventually spot the woozy, warped number as a rebuilt "Flying on the Ground is Wrong," the Buffalo Springfield hit. But five of these songs have never been released, and even the songs that you know spring with a new vitality that, given Young's reputation during this era, you might not expect. He sounds like he's having fun, and the band behind him sounds both well-rehearsed and ultimately fluid. Young's released a lot of live records over the years, especially with his Archives series. This one's worth your time.
As good as A Treasure is as a live set, it also succeeds contextually, forgiving the bulk of Young's dismal '80s output and adding an enjoyable adventure in the middle of a decade that, for his career, didn't really have many. With its brittle electric chew, an unreleased song like "Grey Riders" serves as a chain between Tonight's the Night and Ragged Glory; his ease in front of and natural affinity for the country band at his back on the fairly perfect "Nothing is Perfect" links Harvest to Harvest Moon and Silver & Gold. It's an oasis for a portion of Young's career that's long needed it. Don't treat the date like a warning label; treat it like a chance at new appreciation.
Something you like about Neil in the '80s that we don't? Yell at us.

subset: commoncrawl


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Smart Outdoor Wi-Fi Security Camera
UPC Code - Item #
Weatherproof outdoor camera can withstand rain, snow, dust, and wind. Keep your home safe and secure inside and out. Can be set to record 24/7 or just when motion is detected.
- Control, stream, and playback videos via app from anywhere
- Records video at 720 HD quality and 107° field of view
- IP-65 weatherproof, protects against wind, rain, dust, and snow
- Infrared for night time use
- Records in segments w/ automatic recycling & built in 8GB Memory
- Includes wall plug adapter and 5ft cord (Camera must be plugged in at all times)
- No hub required, works off your existing Wi-Fi network
Product Description
See what's included in the App
A: On the "All Devices" screen press the + sign at the bottom.
Q: How do I locate the QR code to set up my device?
A: Located on a hangtag inside the box and on the actual product
Q: What are 'Groups'?
A: Groups are a way for you to group items together. Examples of groups could be; Upstairs, Outside, Kitchen, Playroom, Bedroom, Vacation Home…
Q: Can I combine devices from my different homes in one app?
A: Yes! If you are putting devices in different geographical locations then you can access them all within the Simple Home App without switching between locations. Here is a good place to use groups to separate the different locations, like Home and Vacation Home.
Q: What are 'Favorites"?
A: Favorites are where you can have the devices you use the most show up. To add a device to a favorite, simply press the little star on the device screen.
Q: How to see more options and settings for the camera?
A: Press the 3 little dots in a circle at the top right corner of the specific camera's photo.
Q: What are 'Actions'?
A: Actions are our way of saying "If this happens then that happens." An example would be: If the motion detector detects motion, then the LED should turn on.
Q: What are 'Schedules"?
A: Schedules is where you can view and make schedules for your wall plugs and LED's to turn on and off.
Q: How do I get more help?
A: We are always here to help! Email us at email@example.com or call our customer service at 855-999-8041


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The United Methodist Church closes churches on average 332 churches every year (statistic courtesy of Ken Sloane, GBOD Path1). In your annual conference session this year there was no doubt a resolution to close one, two or more churches for the coming year. Membership, in the United States, has been on the decline for decades. In 2009 the United States membership for the United Methodist Church was just under 7.8 million people. This is a 1.3 million member drop from the beginning of the decade. The active movement of local populations has oftentimes left churches without a population to even pull a membership from.
How do we honor the ministry of our dying churches and yet move forward?
Pastor Brad Smith offers this Eulogy for a Country Church, Rehoboth United Methodist Church in Pulaski Tennessee which he will preach at their last service as a Methodist Church, closing down 200 years of history.
Rehoboth United Methodist Church survived the Civil War, the Great Depression, two World Wars, the turmoil of civil rights, and over 200 years of ups and downs. Many pastors began their ministries at Rehoboth. In the 1960s and 70s, ministerial students from Martin Methodist College served as pastor of Rehoboth. Many people still have a connection to this small church. Many people were baptized. Many couples were married. Many people were laid to rest at Rehoboth United Methodist Church.
As with the story of many country churches, Rehoboth saw a steady decline over the last 40 years. There is no one reason and it is not one person's fault, but there are many factors that contributed to the closing of Rehoboth. The area where Rehoboth stands has changed from a small community to the edge of an industrial park. People have left with no one coming in to replace them. This is the story that repeats itself all over the United Methodist connection. Maybe, in the end, it was just God's time.
Rehoboth may hold its final service on Sunday, but as long as one person remains who holds cherished memories of this "church in the wildwood" and as long as those who first met Christ in this church continue to proclaim the Good News then Rehoboth will continue to be a part of the Body of Christ.


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To that end he worked to find corporate sponsors to fund a steam locomotive carrying 10 cars of artifacts central to America's history and identity. The red-white-and-blue engine dubbed American Freedom Train went from city to city, a traveling museum for families to enjoy in the run-up to the Bicentennial year. Rowland was inspired by a similar event in the late 1940s, also called the Freedom Train.
These displays included George Washington's own copy of the Constitution featuring his handwritten notes, clerical robes belonging to and worn by Dr. Martin Luther King, Judy Garland's Wizard of Oz costume, Joe Frazier's boxing shorts, and a moon rock. There were stops in each of the lower 48 states.
A pennant just like this one hung on my bedroom wall.
Seven million people boarded America's Freedom Train, and I was one of them when it was stationed just west of Cleveland Stadium from May 14-20, 1975. This is a hazy memory for me, as I wasn't yet seven, but I was aware it was a very special event. The attraction concluded on December 31, 1976 in Miami, Florida.
"President Ford strongly urged parents and teachers 'to make sure that your children and students take advantage of this wonderful opportunity.'"
All aboard, America!


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In June 2011, the town of Montville, Connecticut signed an agreement with Rand-Whitney Containerboard, a producer of paperboard products, stipulating that the town would help the company seek ways to improve its system for the treatment of highly acidic, chemical wastewater. Though the town explored the option of retaining Rand-Whitney's existing treatment system, an independent engineering firm projected that upgrading the system to meet state and federal requirements would cost $32 million—far more than building new. When the time came to decide the best approach to building, the construction-management-at-risk model made the most sense for Montville.
The town applied for and received a $5 million grant from the Connecticut Department of Energy and Environmental Protection (DEEP). The grant was offered to the town this March, with another $1.5 million in funding to come from Rand-Whitney for construction of the new anaerobic digestion pre-treatment system. Montville felt strongly that a construction-management-at-risk contracting approach offered them more control and accountability than the conventional design/bid/build approach, and hired Woodard & Curran to design and build the system.
The DEEP was initially hesitant to approve the design/construction management-at-risk approach over the more familiar design/bid/build that it prefers. The systems aren't entirely dissimilar—Woodard & Curran's role as construction manager is comparable to the role of the general contractor in a typical design/bid/build project.
The state's initial resistance to the construction management method mostly stemmed from other towns' experiences where costs escalated quickly when the engineer made changes to building designs or timelines. In this case, the mayor of Montville, Ronald McDaniel, felt strongly enough that the design/construction management model was preferable that he wrote a letter to the DEEP addressing their concerns and requesting closer consideration of this model.
Ultimately, one of the things that makes this method attractive to both the state and town governments is the "at-risk" aspect of the model. This refers to the fact that Woodard & Curran holds the risk of hiring out the construction work to trade contractors after settling on a negotiated price for the project's completion. "What we think is that, at the end of the day, we're going to have a better model for controlling costs," says Mayor McDaniel.
Apart from holding the financial risk, Woodard & Curran adds value to the project by offering impartial, expert advice to the project owner regarding issues that may arise with scheduling and budget. The firm is also the point of contact for the project's multiple contractors, saving the owners time and effort: "I'm not going after 14 different contractors if something fails," as McDaniel put it.
The DEEP's approval of the construction management is a good indicator of the value this delivery method brings to complex, technically sophisticated projects. Not only does the owner benefit from having one point of contact throughout the project, but the construction management system allows the owner to hedge their financial risk while relieving them of the task of hiring and overseeing individual contractors. The construction manager is also accountable for schedule and budget, so the project owner doesn't have to manage the day-to-day details. The use of this delivery method, which is designed to be advantageous to all parties, only adds to the already promising long-term benefits of Montville's project as a whole.


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- March 30, 2015
- New Jersey
of Lucy's Passing
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"To my Aunt Lucy "Lou Lou" thank you for all the love you gave me One of many nephews "Nigg"
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Sunday Fun with Jogja Picnic Communities
December 10, 2015 - Uncategory
Jogja is a place with many vibrant communities and clubs, such as the academics, social movement, environmental activism, and even fun. Some of those fun and educational groups are Piknik Asik Jogja and Piknik Museum. As the names imply, the activities are not far from fun, food, drink and enjoying the breeze.
Indmira, a research-based company, joined Piknik Asik Jogja and Piknik Museum to enjoy healthy and delicious meals prepared by the chef duo of Letusee Salad Yk. The menu consisted of Salad Cup, Noodle Salad, and infused water. The ingredients for the Salad Cup were green leaf lettuce, shredded cucumbers with salsa dressing. The Noodle Salad contained mie lethek (rice noodle), sawi, grilled eggplant, and dabu-dabu dressing. The meals were served on banana leaf cups. And the drink was cold mint and lime infused water.
There was also a tea booth by Lokalti cafe. This cafe sells all kinds of tea from all over Indonesia. But on this occassion, they provided only two of their best selections: jasmine tea and dark tea, an in house secret blend. Each warm cup cost Rp. 1000 and all the proceeds went to Coin A Chance (CAC) foundation, a social movement community striving to provide school supplies from the underprivileged.
The picnic took place on Sunday afternoon, 31 May 2015, at an historic place called Candi Gebang in Depok, Sleman. This cultural and historical site has a 1000 year old small Hindu temple and well manicured ground, a perfect place for fun and educational family activities.
The event was opened up by the organizers from Piknik Asik and followed by introductions by everyone present. And before everyone got to enjoy the refreshments, Letusee and Lokalti gave some explanation and told some stories of the items on the menu. This is an exciting and fun gathering that allows us to meet new people and enjoy healthy food. Are you not interested in joining? (An)


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Earlier this year, Apple Inc. agreed to pay Proview Technology Shenzhen—a China-based subsidiary of Taiwan's Proview Electronics—USD 60 million to avoid a protracted legal dispute over the iPad trademark in China. This past May, the United States Court of Appeals for the Second Circuit heard oral arguments regarding Richard Prince's appeal on the standing Cariou v. Prince (2011) copyright infringement decision, which held that Prince's unauthorized use of French photographer Patrick Cariou's photographs was not fair use under US law.
Intellectual property issues aside, it would seem that these two cases have little in common. Yet although they are different in medium and industry, they signal the kinds of forthcoming legal battles between Asian and American artistic communities over cultural and aesthetic property rights.
Although issues regarding the repatriation of cultural artifacts and art theft have been prominent in both the American and Asian legal and art communities for some time now, it is only a matter of time before disputes over artists' rights pit Asian artists and art institutions against their American counterparts, particularly given the growth in arts infrastructure across Asia. Complicating these forthcoming disagreements will be the "differing" factors of culture, language, history and art history, as well as the legal issues regarding jurisdiction, applicable laws and enforcement. Indeed, it is a challenging and exciting time to be making contemporary art. This will only be heightened as different legal spheres merge.
Law plays a large role in the art world, but here I will briefly outline the field described as "art law," concerning legal issues arising around the production, reproduction, exhibition, expression, dissemination, access and the sale and collecting of artworks and cultural objects. This includes the business aspect of these activities: management and administration, as well as intellectual-property rights, free speech, gallery and museum exhibitions and loans, condition reports, insurance, as well as customs and tax issues. On a different but related register are the civil and criminal laws affecting illegal importing and exporting of artworks, art theft,
art crime and forgeries.
Although art law has existed in various forms for a while now, the acceptance of juridical norms and legal regulations by the international art world has not. This disjunction is commonsensical if one accepts the traditional role of art as one that contests and subverts rules, regulations, codes and laws. However, this "Wild West" scenario is one that favored—and to a large extent still favors—those with power and wealth within the art world.
However, the emergence of and growing global access to the internet has given most everyone immediate access to vast and historically obtuse types of information. Individual artists and independent operators have benefited from this digital immediacy. They have begun to immerse themselves in economic theories, business transactions, legal theories and doctrines. What was once only available in the physical tundra known as law school is now available to paint-covered fingertips. This autodidact model has led to a more democratic approach to obtaining legal knowledge and one that may, through its enforcement, create a more just, regulated art world, but one that is also more controversial and embattled.
Increasingly, if one wants to play within the art world, one must have a certain understanding and grasp of the rules of the game. Let me be precise: by this I mean the growing need to understand the increasing legal norms that affect the production and reception of culture. Gaining a general understanding of the legal regulations affecting one's practice in one's own country is intimidating indeed. Even more daunting is the overwhelming complexity of laws in the international arena.
Nevertheless, some issues that affect any contemporary artist include intellectual property and moral-rights, oral and written agreements, the formation of business entities, as well as censorship and free speech. Most producers and owners of contemporary artwork will encounter intellectual property issues, which might include copyright and trademark laws, as well as moral rights and rights of privacy and publicity.
The production, exhibition, dissemination and ownership of artworks may also include oral and written contracts that encompass artist/gallery consignment agreements, work-for-hire agreements, studio assistant agreements and public/private commission agreements. At some point, and for liability protection, certain artists will want to create a legal business entity. For-profit galleries and nonprofit art spaces and organizations may also want to do the same. Contemporary art practices complicate the application of these legal rules to the game of art. As indicated above, the diversity and independence of cultural, ethnic, linguistic, historical and art historical factors further confound this matter.
One such scenario would posit a Chinese artist whose practice consists of photographing sculptural pieces located in public spaces and for public use. The artist also sells these photographs for profit. All of these activities—the photographing, exhibition and sale of the photographs—would be perfectly legal under Chinese copyright law so long as the photographs were used in a reasonable manner and scope. However, if the same Chinese artist were commissioned by a US institution or gallery to photograph sculptures in public space, within the US, and then exhibit these same photographs, the Chinese artist would most likely infringe the sculpture's copyright owners' derivative and reproduction rights under US copyright law. The artist would most certainly raise a fair use defense, but without being able to prove a "transformative" use—criticism, commentary or parody, for example—the Chinese artist would likely be found liable of copyright infringement under US law. If there was infringement, that artist would also be barred from selling any of these photographs and may be ordered to release any and all materials used to produce the images, and the photographs themselves, to the lawful copyright owners. In this scenario, it is quite clear that the Chinese artist's practice would be altered drastically, if not completely eviscerated.
The increased presence of the law in artistic production, dissemination and reception can also mute and censor the rawness and creative energy of art. We must continue to depend on art as a viable form of "outlaw" behavior, which differs from illegal acts. Artistic practice will continue to test the legal doctrines of obscenity laws and the flexibility of contemporary fair-use standards under copyright law. However, there are certain issues, such as the current strength of moral-rights laws in the US, which law cannot address, much less remedy or make visible. In this regard, we must not allow art—either its discourse or its practice—to become subservient to law. We must continually seek ways in which art can address those issues that law cannot access or change. We must ask what the creative process can do to challenge and change regulations, bureaucracy, stagnation and corporate mindlessness. We must champion a creative process that furthers this kind of art.
The game of chess has for some time been a motif for art-making and a recurring theme in art-world praxis. If we want to imagine another simulated space and prepare ourselves for the upcoming negotiations, communications and battles, we would be well-advised to expand our board game repertoire to include Go (weiqi in Chinese), the strategic adversarial game that originated in China more than 2,500 years ago.


text: From the account of Sylvanus Wood: Whoever these lines come before may depend on the fact that I, Sylvanus Wood, was born in Woburn, but in that part now called Burlington, Middlesex County, Massachusets, twelve miles from Boston, and there I learned to make boots and shoes. There I joined a minute company, disciplined with activity by a man who was in the fight on the Abrahams Plains with the brave General Wolfe, and in fifteen months hostilities commenced. I was then established in my trade two miles east of Lexington meetinghouse, on west border of Woburn, and on the nineteenth morn of April, 1775, Robert Douglass and myself heard Lexington bell about one hour before day. We concluded that trouble was near. We waited for no man but hastened and joined Captain Parker's company at the breaking of the day. Douglass and myself stood together in the center of said comapany when the enemy first fired. The English soon were on their march for Concord. I helped carry six dead into the meetinghouse and then set out after the enemy and had not an armed man to go with me, but before I arrived at Concord I see one . . .