ABSTRACT The recent artworks Albedo of Clouds and Neighbourhood Air adopt weather as primary material for sensory experiences. The art installations included the contributions of scientists, programmers, instrument technicians, social online networks and the vagaries of the weather itself. The projects suggest that creative engagement with meteorological science can activate eco-political “networks” in Latour’s sense, productive of knowledge and potentially transformative. In such “meteorological art,” digital networks not only distribute facts about atmospheric data; they also generate affective forms. Multi-directional flows between weather instrumentation, digital data, media art and meteorological science are enacted in the pursuit of a creative outcome.

ABSTRACT The author, drawing on her experience as a New Zealand artist who has collaborated with meteorologists, suggests that artists may enter climate change discourse by translating (or mis-translating) scientific method into sensory affect. She examines three recent art projects from Australasia that draw on natural phenomena: her own Anemocinegraph (2006–2007), Nola Farman's working prototype The Ice Tower (1998) and Out-of-Sync's ongoing on-line project, Talking about the Weather . The author cites Herbert Marcuse's 1972 essay “Nature and Revolution,” which argues that sensation is the process that binds us materially and socially to the world.