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Second half of the kickoff 2026 double header!!!! Joined on this episode by the one and only James Nisbet, and it promises to be a doozy! We plan to discuss getting beyond the pre-connect. The purpose of the first line. Supporting search as the engine. The purpose of system based actions as the engine company (don't know what this means but it's provocative) Of course all of our plans as is always the case, will be derailed by the wonderful questions from the audience as we dive down rabbit trails and chase squirrels!
This week local Ayrshire farmers and friends of Cammy, sit down to discuss how lambing and calving 2025 has gone. We hope you enjoy, Cammy & Iona You can find Stow Ag here: https://www.stowag.com/ Leave us a voice note or text with your question at: (+44) 07986 909845 No calls will be answered, and please keep voice notes short. Thanks to our Sponsors: Crystalyx Herdwatch: https://herdwatchng.app.link/FedbyFarmers You Can Support the show here: Buy us a coffee - https://www.buymeacoffee.com/fedbyfarmers Visit our website to see our range of custom made clothing www.fedbyfarmers.co.uk Our podcast releases on Audio platforms at 7am, and on youtube later the same day.
Join Iona and Cammy as they chat with James Nisbet of orchardton Farm, Ochiltree. James will be well known to any Sheep Game viewers as he's appeared often and enjoys the banter. Today he discusses winning the commercial cattle class at the Royal Highland, Royal Welsh and Livescot. We also discuss how much a butcher makes from beef and lamb and chat subsidies. Please check out our clothing brand at www.fedbyfarmers.co.uk
We chat with James Nisbet who talks to us about his career in the fire service, love for engine work, instructing, and much more. --- Support this podcast: https://anchor.fm/firenuggets-inc/support
The very first show of The Pipeman with Jay Bonnifield, James Nisbet, and Kyle Romagus. They will be talking all things water and hose movement.
In our new series speaking to the younger generation, I would like to introduce guest host, Kayley Kennedy. This week she is speaking to top young cattle showman James Nisbet about how he got into showing, and his passion for the job. He includes a couple of animals he says the best he's ever seen, as well as the highlights in his showing career to date. He discusses sourcing his show calves and how that perfect beast is getting more and more scarce! For all his successes, James admits he is always learning, and the older great stockmen still keep a few well guarded secrets!
James Nisbet answers the 5 FIRExTalk interview questions.
It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices
It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices
It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices
It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices
It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices
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