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.
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.
Victorian Britain, with its maritime economy and strong links between government and scientific enterprises, founded an office to collect meteorological statistics in 1854 in an effort to foster a modern science of the weather. But as the office turned to prediction rather than data collection, the fragile science became a public spectacle, with its forecasts open to daily scrutiny in the newspapers. And meteorology came to assume a pivotal role in debates about the responsibility of scientists and the authority of science. Studying meteorology as a means to examine the historical identity of prediction, Katharine Anderson offers here an engrossing account of forecasting that analyzes scientific practice and ideas about evidence, the organization of science in public life, and the articulation of scientific values in Victorian culture. In Predicting the Weather, Anderson grapples with fundamental questions about the function, intelligibility, and boundaries of scientific work while exposing the public expectations that shaped the practice of science during this period. A cogent analysis of the remarkable history of weather forecasting in Victorian Britain, Predicting the Weather will be essential reading for scholars interested in the public dimensions of science.
"In Masters of Uncertainty, Phaedra Daipha offers a new framework for understanding decision-making practice after spending years immersed in a northeastern office of the National Weather Service. Arguing that forecasters have made a virtue of the unpredictability of the weather, Daipha shows how they enlist an onmivorous appetite for information and improvisational collage techniques to create a locally meaningful forecast on their computer screens. This richly detailed and lucidly written book advances a theory of decision making that foregrounds the pragmatic and situated nature of expert cognition and casts new light on how we make decisions in the digital age"--Page {4] of cover.
