Weather As Medium

An exploration of artworks that use weather or atmosphere as the primary medium, creating new coalitions of collective engagement with the climate crisis. In a time of climate crisis, a growing number of artists use weather or atmosphere as an artistic medium, collaborating with scientists, local communities, and climate activists. Their work mediates scientific modes of knowing and experiential knowledge of weather, probing collective anxieties and raising urgent ecological questions, oscillating between the “big picture systems view” and a ground-based perspective. In this book, Janine Randerson explores a series of meteorological art projects from the 1960s to the present that draw on sources ranging from dynamic, technological, and physical systems to indigenous cosmology. Randerson finds a precursor to today's meteorological art in 1960s artworks that were weather-driven and infused with the new sciences of chaos and indeterminacy, and she examines work from this period by artists including Hans Haacke, Fujiko Nakaya, and Aotearoa-New Zealand kinetic sculptor Len Lye. She looks at live experiences of weather in art, in particular Fluxus performance and contemporary art that makes use of meteorological data streams and software. She describes the use of meteorological instruments, including remote satellite sensors, to create affective atmospheres; online projects and participatory performances that create a new form of “social meteorology”; works that respond directly to climate change, many from the Global South; artist-activists who engage with the earth's diminishing cryosphere; and a speculative art in the form of quasi-scientific experiments. Art's current eddies of activity around the weather, Randerson writes, perturb the scientific hold on facts and offer questions of value in their place.

An exploration of artworks that use weather or atmosphere as the primary medium, creating new coalitions of collective engagement with the climate crisis. In a time of climate crisis, a growing number of artists use weather or atmosphere as an artistic medium, collaborating with scientists, local communities, and climate activists. Their work mediates scientific modes of knowing and experiential knowledge of weather, probing collective anxieties and raising urgent ecological questions, oscillating between the “big picture systems view” and a ground-based perspective. In this book, Janine Randerson explores a series of meteorological art projects from the 1960s to the present that draw on sources ranging from dynamic, technological, and physical systems to indigenous cosmology. Randerson finds a precursor to today's meteorological art in 1960s artworks that were weather-driven and infused with the new sciences of chaos and indeterminacy, and she examines work from this period by artists including Hans Haacke, Fujiko Nakaya, and Aotearoa-New Zealand kinetic sculptor Len Lye. She looks at live experiences of weather in art, in particular Fluxus performance and contemporary art that makes use of meteorological data streams and software. She describes the use of meteorological instruments, including remote satellite sensors, to create affective atmospheres; online projects and participatory performances that create a new form of “social meteorology”; works that respond directly to climate change, many from the Global South; artist-activists who engage with the earth's diminishing cryosphere; and a speculative art in the form of quasi-scientific experiments. Art's current eddies of activity around the weather, Randerson writes, perturb the scientific hold on facts and offer questions of value in their place.

In a time of climate crisis, a growing number of artists use weather or atmosphere as an artistic medium, collaborating with scientists, local communities, and climate activists. Their work mediates scientific modes of knowing and experiential knowledge of weather, probing collective anxieties and raising urgent ecological questions, oscillating between the "big picture systems view" and a ground-based perspective. In this book, Janine Randerson explores a series of meteorological art projects from the 1960s to the present that draw on sources ranging from dynamic, technological, and physical systems to indigenous cosmology.

This book provides an overview of the early years of the European Centre for Medium-Range Weather Forecasts, and reviews the work of the institute over the past 30 years, describing along the way the European approach to medium-range weather forecasting. Its combination of historical view and scientific insight is unique.

Forecasting the weather for the long and medium range is a difficult and scientifically challenging problem. Since the first operational weather prediction by numerical methods was carried out (on the BESK computer in Stockholm, Sweden, 1954) . there has been an ever accelerating development in computer technology. Hand in hand has followed a tremendous increase in the complexity of the atmospheric models used for weather prediction. The ability of these models to predict future states of the atmosphere has also increased rapidly, both due to model development and due to more accurate and plentiful observations of the atmosphere to define the initial . state for model integrations. It may however be argued on theoretical grounds that even if we have an almost perfect model with almost perfect initial data, we will never be able to make an accurate weather prediction more than a few weeks ahead. This is due to the inherent instability of the atmosphere and work in this field was pioneered by E. Lorenz. It is generally referred to as atmospheric predict ability and in the opening chapter of this book Professor Lorenz gives us an overview of the problem of atmospheric predictability. The contributions to this book were originally presented at the 1981 ECMWF Seminar (ECMWF - European Centre for Medium Range Weather Forecasts) which was held at ECMWF in Reading, England, in September 1981.

How do cinematic portrayals of the weather reflect and affect our experience of the world? While weatherly predictability and surprise can impact our daily experience, the history of cinema attests to the stylistic and narrative significance of snow, rain, wind, sunshine, clouds, and skies. Through analysis of films ranging from The Wizard of Oz to The Umbrellas of Cherbourg, from Citizen Kane to In the Mood for Love, Kristi McKim calls our attention to the ways that we read our atmospheres both within and beyond the movies. Building upon meteorological definitions of weather's dynamism and volatility, this book shows how film weather can reveal character interiority, accelerate plot development, inspire stylistic innovation, comprise a momentary attraction, convey the passage of time, and idealize the world at its greatest meaning-making capacity (unlike our weather, film weather always happens on time, whether for tumultuous, romantic, violent, suspenseful, or melodramatic ends). Akin to cinema's structuring of ephemera, cinematic weather suggests aesthetic control over what is fleeting, contingent, wildly environmental, and beyond human capacity to tame. This first book-length study of such a meteorological and cinematic affinity casts film weather as a means of artfully and mechanically conquering contingency through contingency, of taming weather through a medium itself ephemeral and enduring. Using film theory, history, formalist/phenomenological analysis, and eco-criticism, this book casts cinema as weather, insofar as our skies and screens become readable through our interpretation of changing phenomena.

From the acclaimed author of Tubes, a lively and surprising tour through the global network that predicts our weather, the people behind it, and what it reveals about our climate and our planet The weather is the foundation of our daily lives. It’s a staple of small talk, the app on our smartphones, and often the first thing we check each morning. Yet, behind all these humble interactions is the largest and most elaborate piece of infrastructure human beings have ever constructed—a triumph of both science and global cooperation. But what is the weather machine, and who created it? In The Weather Machine, Andrew Blum takes readers on a fascinating journey through the people, places, and tools of forecasting, exploring how the weather went from something we simply observed to something we could actually predict. As he travels across the planet, he visits some of the oldest and most important weather stations and watches the newest satellites blast off. He explores the dogged efforts of forecasters to create a supercomputer model of the atmosphere, while trying to grasp the ongoing relevance of TV weather forecasters. In the increasingly unpredictable world of climate change, correctly understanding the weather is vital. Written with the sharp wit and infectious curiosity Andrew Blum is known for, The Weather Machine pulls back the curtain on a universal part of our everyday lives, illuminating our changing relationships with technology, the planet, and our global community.