The authors discuss a series of artworks produced since 2009, including The Southern Ocean Studies (2012), The Northern Polar Studies (2014) and Carbon Topographies (2020). Through this work they explore how climate models can be employed to develop data-driven imaginaries of climate change, its impacts and causes. They argue for the experiential potential of this information for producing differently situated ways of knowing climate, framing this through a methodological approach described as “data manifestation.”

This article discusses a series of artworks named CODEX, produced by the authors as part of a collaborative research project between the Centre for Research in Education, Art and Media (CREAM), University of Westminster and the Oxford Internet Institute. Taking the form of experimental maps, large-scale installations and prints, the series shows how big data can be employed to reflect upon social phenomena through the formulation of critical, aesthetic and speculative geographies.