Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Interview | Giulia Spernazza

    Interview | Giulia Spernazza

    Jaye Rhee at the Festival of Time

    Jaye Rhee at the Festival of Time

    Mutations at CUBO

    Mutations at CUBO

    Weather Engines at Onassis Stegi

    Weather Engines at Onassis Stegi

    Interview | Domenico Quaranta

    Interview | Domenico Quaranta

    Ars Electronica. Digital Museum Incubator

    Ars Electronica. Digital Museum Incubator

    Cristian Rizzuti. ECCE HOMO

    Cristian Rizzuti. ECCE HOMO

    Dialogue: James Bridle and Jonas Staal

    Dialogue: James Bridle and Jonas Staal

    Cristian Rizzuti. Vanishing Points at VOGA

    Cristian Rizzuti. Vanishing Points at VOGA

  • FRAME
    FRAME > Waste I – 4

    FRAME > Waste I – 4

    FRAME > All the Light You See

    FRAME > All the Light You See

    FRAME > Diplomazija astuta

    FRAME > Diplomazija astuta

    FRAME > VIGIL

    FRAME > VIGIL

    FRAME > Telemedicine

    FRAME > Telemedicine

    FRAME > Angry Sugar

    FRAME > Angry Sugar

    FRAME > SUN SIGNALS

    FRAME > SUN SIGNALS

    FRAME > Dark Suns Bright Waves

    FRAME > Dark Suns Bright Waves

    FRAME > Phantom as Other

    FRAME > Phantom as Other

  • VIDEO POST
    VIDEO POST > New Campo Marzio

    VIDEO POST > New Campo Marzio

    VIDEO POST > Living Architecture

    VIDEO POST > Living Architecture

    VIDEO POST > Cryptochrochet

    VIDEO POST > Cryptochrochet

    VIDEO POST > Chroma III

    VIDEO POST > Chroma III

    VIDEO POST > MB-CO2

    VIDEO POST > MB-CO2

    VIDEO POST > Speculative AI

    VIDEO POST > Speculative AI

    VIDEO POST > REFLECTION

    VIDEO POST > REFLECTION

    VIDEO POST > Pendule Acoustique

    VIDEO POST > Pendule Acoustique

    VIDEO POST > We Harvest Wind

    VIDEO POST > We Harvest Wind

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Interview | Giulia Spernazza

    Interview | Giulia Spernazza

    Jaye Rhee at the Festival of Time

    Jaye Rhee at the Festival of Time

    Mutations at CUBO

    Mutations at CUBO

    Weather Engines at Onassis Stegi

    Weather Engines at Onassis Stegi

    Interview | Domenico Quaranta

    Interview | Domenico Quaranta

    Ars Electronica. Digital Museum Incubator

    Ars Electronica. Digital Museum Incubator

    Cristian Rizzuti. ECCE HOMO

    Cristian Rizzuti. ECCE HOMO

    Dialogue: James Bridle and Jonas Staal

    Dialogue: James Bridle and Jonas Staal

    Cristian Rizzuti. Vanishing Points at VOGA

    Cristian Rizzuti. Vanishing Points at VOGA

  • FRAME
    FRAME > Waste I – 4

    FRAME > Waste I – 4

    FRAME > All the Light You See

    FRAME > All the Light You See

    FRAME > Diplomazija astuta

    FRAME > Diplomazija astuta

    FRAME > VIGIL

    FRAME > VIGIL

    FRAME > Telemedicine

    FRAME > Telemedicine

    FRAME > Angry Sugar

    FRAME > Angry Sugar

    FRAME > SUN SIGNALS

    FRAME > SUN SIGNALS

    FRAME > Dark Suns Bright Waves

    FRAME > Dark Suns Bright Waves

    FRAME > Phantom as Other

    FRAME > Phantom as Other

  • VIDEO POST
    VIDEO POST > New Campo Marzio

    VIDEO POST > New Campo Marzio

    VIDEO POST > Living Architecture

    VIDEO POST > Living Architecture

    VIDEO POST > Cryptochrochet

    VIDEO POST > Cryptochrochet

    VIDEO POST > Chroma III

    VIDEO POST > Chroma III

    VIDEO POST > MB-CO2

    VIDEO POST > MB-CO2

    VIDEO POST > Speculative AI

    VIDEO POST > Speculative AI

    VIDEO POST > REFLECTION

    VIDEO POST > REFLECTION

    VIDEO POST > Pendule Acoustique

    VIDEO POST > Pendule Acoustique

    VIDEO POST > We Harvest Wind

    VIDEO POST > We Harvest Wind

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
Arshake
No Result
View All Result
Home books

Janine Randerson. Weather as Medium

Weather as Medium is a book and an exploration of artworks that use weather or atmosphere as the primary medium, toward a meteorologica art

Elena Giulia Rossi by Elena Giulia Rossi
18/01/2020
in books, focus, Science
Janine Randerson. Weather as Medium

Last year, the artist and theorist Janine Randerson, active in the field of research into art and climate from completely unsuspecting times, came out with Weather as Medium, a book published by the prestigious publishing house MIT for the Leonardo series. “I treat the weather as a lively provocateur, collaborator, and catalyst for vital ecocritical conversations” From this assumption, Randerson crosses the relationship between art and climate over time, starting with a broad and documented introduction to the relationship between art and climate in tradition: the use of the elements in the practise of rituals as well as in art, as well as its nature as a ‘subject-object’ shared between art and science. Weather becomes a ‘creative tool’, towards a type of meteorological art, as the title of the publication itself says, and comes to focus on works that use data provided by science, and mediated by scientific instruments, the latter being the object of great attention by the author herself, who elects them as ‘compelling entities in themselves‘ (p. 44). In the selection of works and topics, Randerson believes that attention to the local is important. Many of her stories testify to experiences of indigenous communities in the Global South (particularly in Aotearoa in New Zealand, where she conducted a residency project) that merges and flow into the global debate.

The projects of Hans Haacke, David Mendalla and Walter De Maria are among the historical works that raise the curtain on weather as a ‘vehicle of transformation’. Each one offers a different angle, all highlighting the role of the public: the public present in the physical place, as well as the public that assimilates the works mediated by the various distribution channels. In retracing the Fluxus works that employ weather as a medium, she identifies Cloud Music by R. Watts, David Behman and D. Diamond, where the passage of clouds was transformed into sound by an algorithmic process, as pivotal reference in between late modernist meteorological art and the latest digital developments.

In the digital age, the visualisation of data becomes crucial. The consignment of this data to the public is made possible by ways of thinking and acting that are in turn aimed at contributing to great changes. On the other hand, visualisation is persuasion (Latour, 1986) and Randerson agrees with his thinking and vision about visualisation historically, she argues that contemporary artists politicize and transform the same weather data that drives the technosciences. Art interposes itself in the interstices of these visualisations, offers different points of observation, and prepares for a critical look at things.

 The practice of data sonification (Andrea Polli, Phil Dadson, Joyce Hinterding and Daid Haine); research on the role of instrumentation, such as that conducted by Randerson herself, Marco Pelihan, and Anaïs Tondeur, the use of ice as an empathic tool, the call to an active participation with more explicitly expressed activist works, are some of the ways of appropriating the climate through the data that express it.

Randerson does not neglect what has always proved to be of radical importance in the transition from one era to another: speculative storytelling. What happens when we reimagine our meteorological future? This is the question that gives form to the understanding that closes the book and opens up to future continuation. The book, brimming with examples, therefore launches a direction to take, a path traced in the furrow marked by the need for dialogue between art, science, indigenous peoples, human and non-human. “Art – concludes Randerson – invites us to think about the origins of the technical image. As visualizations become an increasingly natural part of our environment, we need to attend to their conditions of production”(p.59).


Janine Randerson, Weather as Medium. Toward a Meteorological Art, series: Leonardo book, The MIT Press, Cambridge, Massachusetts; London, England 2019

 

 

Tags: arsbookclimate artJanine RandersonLeonardometeorological artMITreviewsoundscapeweather art
ShareTweetShareSend
Previous Post

Filigrana at Palazzo Vizzani

Next Post

VIDEO POST > Bio Algorithmic Politics

Next Post
VIDEO POST > Bio Algorithmic Politics

VIDEO POST > Bio Algorithmic Politics

CALLS

Call for submissions>  Research grant for Italian Art
Calls

Call for submissions> Research grant for Italian Art

07/04/2022
Call for submissions> ISPA (Italian Sustainability Photo Award)
Calls

Call for submissions> ISPA (Italian Sustainability Photo Award)

17/02/2022
Call for submissions > Residenze Digitali
Calls

Call for submissions > Residenze Digitali

01/02/2022
Call for submissions: Blitz
Calls

Call for submissions: Blitz

17/11/2021

CRITICAL GROUNDS

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.
Critical Grounds

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.

08/07/2020
Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO
Critical Grounds

Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO

26/11/2019
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2012-2022 – ARSHAKE

No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it

© 2012-2022 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.