Podcast appearances and mentions of james nisbet

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