Contributors were encouraged to include the discussions, observations, and knowledge that were discussed within the lab, and combine this with their personal interests, theoretical knowledge, and different larger fields of academic or artistic research.
In his article ‘A Story About Data and Data Comprehension’, technologist Kasper de Vries investigates the evolution of data, focusing on its collection and the various forms it can take. From ancient inscriptions to modern computerized systems, technological advancements have revolutionized the way we gather and interpret data.
Researcher and curator Bilyana Palankasova reflects on topics discussed during the lab in her article ‘Can satellites see through clouds?‘. She examines two instances of creative practices related to weather sensing through a socio-material lens, aiming to uncover the potential for empowerment by rendering the global telecommunication infrastructure visible.
In her essay, ‘Pluvial Biopolitics’, hydrofeminist practitioner Chiara Pitrola delves into the connections between gender, weather, and sound. She conducts a specific examination of the Shangwe community in Zimbabwe and their rainmaking songs as a case study.
Interdisciplinary researcher, writer, and media-maker Maya Livio investigates how nonhuman entities have been utilised as climate sensors and the questions they raise regarding the unequal distribution of heat, in her piece, ‘Mammal Meteorology’.
In her article, ‘POINT CLOUD: The metaphor of the cloud, micro to macro’, Valentine Maurice explores how we can utilise microphenomena in order to understand “history” through a transversal, non-linear lens.
Designers Ekaterina Volkova and Julien Thomas wonder whether ‘Can I Turn into a Slug, Please?’. In their collaborative piece, they reflect on their personal relationships with the weather, exploring the role of tangibility in establishing new connections with the atmosphere and pondering whether artistic practices can introduce novel ways of positioning ourselves in relation to climate change.
In ‘Weathering Computing’, artist and researcher Kevin Walker traces the intricate connections between computing and weather, which operate in both directions and across various scales, including within computers and globally through networks, data centres, and cloud technologies.
In her essay titled ‘Heat Environments’, artistic researcher Karolina Sobecka immerses readers in an artificial tropical climate and delves into the historical engagement with thermal regimes. Historian of science
Climate researcher Robert-Jan Wille emphasizes the significance of historical literacy in ‘Towards a Forensics of Climate Knowledge’ , highlighting how archives can enlighten us about the origins of climatological and meteorological knowledge systems, the transformation of visibility into invisibility, and the emergence of once -invisible technologies when they malfunctioned.
Finally, in ‘Sensorial Weather-Journeying’ , designers Laura Papke and Jan Christian Schulz reflect on the interplay between both sense- and sensor-mediated weather phenomena, shedding light on their impact on our sensory experiences and our understanding of the past, present, and future.