Podcasts about 'the farm'

Students in the Rocky View School Division are getting their hands dirty in a new agricultural program based on a farm. A teacher and students talk about how the program works here on Rural Roots Canada, Amplifying Canadian Agriculture.

On episode 71 of The VedgeTalk Podcast, we chat with Seth Tibbott from Tofurky. In this conversation we covered: - Seth's upbringing and college days. - The catalyst for going vegetarian in the 1970's. - 'The Farm' in Tennessee. - Making his first batch of Tempeh. - The first 15 years before the Tofurky moment. - Creating the first Tofurky Roast. - The new factory in Hood River, OR. + MORE! Hope you enjoy the show!

Crossroads' Chuck Mingo is on the frontline of working to bring racial reconciliation to Greater Cincinnati.  Thousands have gone through the megachurch's six-week "Undivided" program, which emphasizes people of different races and backgrounds to build long-term relationships. Mingo joins That's So Cincinnati podcast to chat about the successful program he started; race relations in the city; Crossroads' growth; and making the leap of faith from a successful business career to ministry. Also this week, TSC cohosts Jason Williams and Sharon Coolidge discuss the role "The Farm" banquet center played in local politics and the upcoming Hamilton County Democratic Party endorsement process. The joys of winter camping, and Jason has goetta for the first time. 

In a round up of some books we think you might pack in your suitcase, we listen back to ... Stuart Turton on 'The Seven Deaths of Evelyn Hardcastle'  (Starts at 1.18) Joanne Ramos on 'The Farm' (7.31) Bart Van Es on 'The Cut Out Girl' (18.45) C.J. Tudor on 'The Chalk Man' and 'The Taking of Annie Thorne' (28.12) Lucy Foley on 'The Hunting Party' (36.40) And for the first time ever, Robert asks Red for The Books of His Life. (49.10)

Episode 15: Hippies Don't Lie - A Week at 'The Farm' by Nine Lives Team

With Kirsty Lang. Oh What a Lovely War, Joan Littlewood's controversial musical satire about the First World War, is being revived in its original home, the Theatre Royal Stratford East. The 1963 production, which Littlewood intended would mock 'the vulgarity of war', was loved by audiences, but detested by some who saw its message as unpatriotic. Critic and historian Kathryn Hughes reviews the production and considers whether the play has the same impact today. After the success of the 'Child 44' trilogy, author Tom Rob Smith has just published a somewhat different type of crime novel. 'The Farm' is a psychological thriller, set in Sweden and England, which keeps the reader guessing throughout. He reveals how the main premise for the novel was inspired by a real life event very close to home. The first series of the television drama, Line Of Duty, found many fans for its study of police corruption. The writer, Jed Mercurio, has now written a second series with a new police officer, Detective Inspector Lindsay Denton played by Keeley Hawes, under investigation. The writer MJ Hyland reviews. How best to translate a novel is a perennial question, but some authors whose works have been published in China have also found the stories themselves being censored. Kirsty hears from journalist Jonathan Fenby and from literary-translation rights specialist Jenny Robson - and US based crime-writer Qiu Xiaolong and Booker Prize winner AS Byatt relate their two very different experiences. Producer: Rebecca Armstrong.

This week: Tom and Duncan talk to super-talented painter Alexis Rockman. There is a lovely series up on the Leo Koenig web site: http://www.leokoenig.com/artist/view/460 The following stolen from the Greenpeace site: Alexis' paintings visualise the hopes and popularly held fears about scientific progress and the wide-ranging effects of human intervention on animal species, ecosystems, and the natural world. We are brought face to face with a future that is at once surreal and unsettlingly familiar. Mutant animals, geometric landscapes, alternative environments either sterilized by science or unredeemably altered due to pollution. All this makes for some uncomfortable viewing. "My position is one of ambivalence as the horse is already out of the barn so to speak; it is not biotechnology that is the problem but corporate America or globalism or colonialism. The implications of using this technology are far more devastating because of the unknowable effects. This is something that is very disturbing and visually compelling to me," explains Alexis. Despite the questions that Alexis' work throws up about humanity's role in shaping a dystopian future, there's no obvious judgement in it. Every element in the art is painstakingly researched. All the biological images have been developed through extensive collaboration with specialists in molecular biology, genetics, natural history and medical science.   "I really have to say these are relatively neutral images even if I use information that tends to make people feel uncomfortable. But I don't see that as negative. I try to show things that are obviously familiar but also inform them with as much cultural and scientific history as I can, so that they are credible. "The stuff that may not be noticed - for instance the geometry of the landscape in 'The Farm'- to me is far more scary than an albino hairless mouse with cartilage growing on its back. I am also trying to make an emotionally resonant image that reaches people. I try to make it as credible as possible without making it boring." Alexis is aware of the political power of his work. As an American, he believes he is well placed to bring attention to the consequences of his homeland's environmental, economic and political policies. "I am of a generation whose relationship with the government and big business comes out of a post-Watergate scepticism. How could my work not have a political effect? I feel like I am in such a privileged position I would find it unconscionable if I didn't take advantage of that as someone who cares about these issues." Collectively, the paintings presented in 'Wonderful World' offer a graphic vision of a bio-engineered near future in which human and animal bodies, crops and plants have been genetically altered to suit a variety of needs - whether commercial, aesthetic, medical or gastronomic. Despite the potentially complex nature of the exhibition he makes a point of not being elitist, as his subject is something that touches every person on the planet. "I don't expect anyone to know anything. That is why I am a populist. If I have a show and people from different demographics come to find out about global warming, I don't want to lose half of my audience due to my arrogance. It has to be decipherable to a six-year-old child. I try to construct it as an onion with different layers of meaning and iconography." The negative consequences of industrial and technological progress are rarely addressed in a modern culture fuelled by the products of multinational entertainment conglomerates. Alexis' paintings hang out on the edge of complacency, forcing us to confront a vision of the future implicit in the choices we, as a society, make today.   This weeks show is dedicated to the memory of Penny Zeidman. http://www.legacy.com/obituaries/chicagotribune/obituary.aspx?n=penny-zeidman&pid=146134890