Today has been about rhythms. I organised and choreographed so many rhythms for myself and others, but the most intense was chairing a meeting with Soph and two Croatian scientists with whom I have been in email contact for months, and whose work I have studied extensively in order to include in a recent article on 'wind's animacies' and dust over the Mediterranean and Adriatic Sea. After so many protracted email exchanges and engaging slowly and carefully with their scientific work these last months, meeting them online was an experience of personality-encounter, joy, Croatian-language exchanges and rapid firing of questions (though I didn't manage to ask all the questions on my list). Later, during a research group seminar on ‘research rhythms’, we read aloud and discussed fragments of writing that suggested different rhythms, whether poetic, scholarly, scalar, material, or musical. The notion of ‘rhythming’ in research and a general tuning to the ‘science of the word’ is examined in an essay called "Rhythm, or On Sylvia Wynter's Science of the Word" by Katherine McKittrick, Frances H. O'Shaughnessy and Kendall Witaszek (2018). Starting from the work of poet and philosopher Aime Césaire, the authors write: “Césaire’s observation—that a creative science reckons with how poetic knowledge “is born in the great silence of scientific knowledge”—calls on the harmonious structures of collaborative thought in order to reconceptualize what it means to be human”. In other words, a 'creative science' suggests that there are ways to speak and enunciate research (including science) that are more truly collaborative and so rhythmic. I was immediately reminded of the interdisciplinary collaboration of the Croatian scientists and their willingness to be in dialogue with me and Soph on the call. McKittrick et al (2018) continue: “Like Césaire, Wynter does not turn away from scientific knowledge and privilege poetic knowledge, but rather shows that science of the word is an articulation of science and poetics together. This provides a “fulfilling knowledge,” one that understands the human in its most actualized form through the “climate of emotion and imagination.”” I love the idea of ‘science of the word’, that through a sensitivity to the craft of writing and ‘making’ words we are enacting a science that can perhaps see through the ‘silences’ of normative Science, which as the authors outline, has been responsible for articulating a version of nature that makes it possible to imagine and enact culture as separate to nature. We can ‘think science and poetics together’ in ‘fulfilling’, actualised and emotional ways. This is where I hope the collaboration and conversation with the scientists is going, though I know it is unfair to presume or predict outcomes. In the mean time, I want to return to their articles with an attention for 'science of the word' and 'narrative devices'.

I wake up having had a nightmare, but it is really a memory of a real event that was playing out in my dreams. In the memory, I am seeing one of my PhD students get publicly attacked by a senior professor (who is also someone I respect and in some ways depend on). I run through all the ways I could have acted differently in that moment. I visualise myself standing up in front of the room and hitting back. It plays and plays, until I manage to have breakfast. By lunchtime, though, I am lost in the flow of an article I'm trying to finish before holiday. As a visual contribution to the article, after lunch I experiment with making a satellite image (one that features a current of 'Saharan Dust' moving northward over the Mediterranean) into a 'thaumatrope': an analog, double sided, spinning device that creates an optical 'illusion' of blurred borders, animated shadows, and miscible surfaces. It feels good playing with a satellite image not on a digital screen (as I overwhelmingly do in open-weather) and rather in tactile, DIY form, using a tool that is reminiscent of children's games. For me, the thaumatrope creates a kind of optical 'irritation' of moving forms, nebulous shapes and shadows, and disappearing or fading-out land and sea edges. It also seems to 'agitate' the cartographic orientation devices that we use when we see the coastline of North Africa and the 'boot' of Italy. Writing of images of the monsoon, Harshavardhan Bhat writes, "Satellite images empowered by spectroradiometer science and international coalitions begin to not just inform the science of the state but the imaginary that the monsoon unifies the entity called South Asia as part of a planetary system... This is a gift to political theory as the monsoon then becomes this technology through which the planetary infrastructure of surveillance and governance slowly unfold, silencing the complex work of the air of the monsoon" (2022: 240). Does the thaumatrope help to destabilise the 'unified entity' of the Scirocco or Jugo wind that brings 'Saharan Dust' to Europe? Does seeing a satellite image flicker and blur between channels demonstrate something about the 'slippages' of materials and elements in satellite imagery, inviting us to see beyond the 'optical ontology of pixels'? In contrast to a regional 'event', can we recognise something about the 'complex work of the air'?

'So humid' proclaims T as we walk to Hackney Central to catch the overground to Stratford on a rare trip to the Westfield Mall. The air is misty with a light rain, though it is just as warm as it has been under bright sun for the last week or so. On the overground, two Moms are taking a large group of young boys paintballing. We arrive at the Mall hoping to be early enough to evade most crowds, but we find we are not the only people waiting for the Adidas store to open at noon. As soon as the metal gates have been pulled back, throngs of people enter, and it is almost impossible to locate and calmly try on shoes. We persevere in JD, Footlocker and Office before both me and T begin to feel physically unwell from the press of the crowds, the 'hall of mirrors' that is every sports apparel store, the stress of finding our way around, and the ultra loud grime tracks that are booming from every corner (though some lyrics have clearly been redacted for children's ears). We flee after no more than 45 minutes and head home, shoeless.

Last night I finished 'The Well of Loneliness' by Radclyffe Hall, first published (and then banned because of its lesbian content) in the UK in 1928. It follows the life of Stephen Gordon, a woman from a rich family who, in the words of the time, demonstrates "sexual inversion" from an early age. Her life story moves from the rejection of her mother and expulsion from her home in the English Countryside, to driving an ambulance in World War II, to moving to Paris where she can live a little more openly with her partner Mary. To find places where they can be and dance in public, Stephen and Mary visit 'the bars' in Paris where queer people can go without fear of prosecution, yet these places are also full of despair, substance abuse and sadness. At the end of the book, and though it breaks her heart, Stephen pushes Mary away from her, as she sees that Mary could have the possibility of a 'normal' life with a man called Martin. In the last few lines of the book, Stephen, in anguish, pleads to God: "give us also the right to our existence!". I think of how much has changed in the 100 years since the publication of The Well. I can live together with T, I can live an openly queer life, and I can freely access and read this book. Yet the 'pull' of 'normal' has not lost its strength. Society's 'straightening devices' work in new and different ways today, but they still work. Living obliquely or 'slantwise' requires unusual and surprising effort at times. And in an even odder development, queer identities and politics are now being used to 'pinkwash' the actions of corporations or governments committing acts of violence. In many ways, and in Ahmed's terms, society today might be oriented 'to' different things on the surface, but in many ways it is still oriented 'around' the same 'straightening' logic.

I awoke this morning not having slept because of the heat. T and I had left the bedroom and living room windows open but there was little breeze. In the middle of the night, the bedroom blinds started knocking against the window and I dreamed someone was trying to get in. Foxes screamed (or intensely rejoiced?) at 3am in the garden. In Waterloo station at 7:30am, an old, bearded, probably homeless man stood still with his eyes closed in the middle of the river of city commuters emerging from the tube and walking to the train platforms. I had to cross the current by hopping a few feet at a time through moving bodies in order to speak to him. He had an American accent but I shied away from asking about his origins. He didn't open his eyes when he spoke. By the time I bought him a coffee, he had got another one from someone else. We joked about the double coffee situation before I re-entered the commuter river. When I left he had opened his eyes, gazing straight ahead.

Hackney Downs was golden and glowing this evening, as the city held on to its heat. My arms and shins throbbed slightly from a fast cycle ride from Bloomsbury. I thought about my meeting with J earlier today. We had sat in Russell Square on an uncomfortable metal table, discussing place-based weather knowledges, hierarchies in academia, performance journals and practitioners, and a possible open-weather automatic ground station in Western Australia. J mentioned many collaborators, institutions and places who I imagined with fictional appearances and atmospheres. As I recorded the satellite pass, reflecting on the possible station in Australia, two people came over to speak to me. They appreciated the measuring tape. Their names were Alex and Tamsin, and Alex kindly took the attached photo (thanks Alex!).

This is day two of measuring tape Yagi antenna experiments. I missed all of the 'good' passes in the morning, so I tried for a NOAA-15 pass in the early evening that peaked in elevation at 17 degrees to the East. In contrast to my experience yesterday, where the Yagi effortlessly picked up the signal of NOAA-18 at a max elevation of 45 degrees to the East, this lower elevation pass turned out to be a struggle for the Yagi. I felt either I was not being precise enough with my aiming, or the pass just wasn't high enough for a signal to be well received by the measuring tape components. As I tracked the satellite, I became uncomfortably conscious that I was pointing this conspicuously large antenna almost horizontally over an open field where some young boys were playing football. I hoped I wouldn't be noticed by an anxious parent or onlooker.

Today, the headlines say that the ICJ is delivering 'a new ruling on Israel's war in Gaza'. In doing so, reporters state, the ICJ could order a halt to Israel's offensive. This is coming months after the ICJ ruled that Israel was plausibly committing genocide back in January, and many thousands of deaths later. Meanwhile, Israeli forces intensify attacks in Jabalia and Rafah. Meanwhile, the Guardian warns that we are about to experience the busiest bank holiday in years with more than half the nation's cars on the road this upcoming weekend. Meanwhile, this last week's heavy rains have caused playgrounds in East London to flood with sewage, according to my geography colleague who lives on a boat and works as a river guardian. Meanwhile, students in my department are taking an exam in a third year cultural geography course on commodities. The university campus is green, leafy and quiet; there are no visible acts of protest, no encampment, no sit-in or lie-in. Yet, from a union meeting earlier in the week, I know the university has passed new policy making it more difficult for students to engage in protest in the form of encampments, though people objected to this new policy being called 'draconian'. In a poem titled 'Fuck your lecture on craft, my people are dying' Noor Hindi writes "Colonizers write about flowers / I tell you about children throwing rocks at Israeli tanks / seconds before becoming daisies". Later she writes, "Metaphors about death are for poets who think ghosts care about sound / When I die, I promise to haunt you forever".

The solar elevation was only 10.2 degrees as NOAA-15 passed overhead in the early evening today. The chestnut trees, now dense with foliage and pink-white flowers, cast long shadows on the grass. A man and a young woman (I presumed his daughter) walked up behind me, the man asking 'are you in touch with outer space today?' or some variation. I explained the image loading in on the screen, though it was too dark to make out land and sea borders, and I fear it might have looked very abstract to them. As I left the park to do an errand I noted a burst of blue underneath a sycamore tree and identified the plant as 'green alkanet'. Reading later, I learned that the five petalled, deep blue flowers of green alkanet are edible and can be added to salads and drinks. The roots were traditionally used for red dye. And the leaves, though mildly toxic, have various medicinal properties, recommended for treatment of coughs, digestive issues and fevers. When crushed and combined with vinegar and rose water they are also an effective remedy for burns and ulcers. As I walked through the neighbourhood to the grocery store, I noticed how much green alkanet was springing out of cracks in brick, in shady corners and in other uncared-for places.

Myddelton Square Gardens is the name of a green, flower-filled square on top of a hill in Islington, and in which St Marks Church stands. According to the St Marks website, it is 'a country church in an urban setting'. As I held my V-dipole antenna to the sky, I tried to imagine where I was standing 'as country' without the church or surrounding three-story Victorian buildings. The Thames would probably be glistening in the distance, widening on its way to the sea. Or, given the density of the mist in the morning air, the hill would be shrouded in a small cloud, wrapped up without a view of the horizon.

Hackney Downs was golden in the late afternoon light, dogs frolicking and wrestling with each other across the grass. I had chosen a place for my ground station in the thicket of the action. A woman kept yelling for 'Eric!!!' though she didn't seem worried, it was more of a 'come on!' kind of yell. Eric turned out to be a small bulldog who paid zero attention to the calling of his name as he stole tennis balls from other dogs. The satellite image I collected was unusually dark- I wondered whether this could be because of 'night time' mode, or because I am live-decoding with SDR ++ for only the second time and some settings are off.

I arrived in Shoreditch Park after meeting a friend for a coffee on the Strand. It was very cold but people were lounging on the grass and strolling around the park making every effort to enjoy a semi-sunny early evening. The 'radio weather' was very active. The amplitude of the signal jumped around wildly, and the waterfall display was checkered and criss-crossed by lines of radiation. I belatedly took a screenshot to record this, but only after I had unplugged my antenna so it is not as representative as I hoped. I wondered about very tall, black streetlights installed throughout the park that looked like they had cameras or other attachments on them. The signal of NOAA-15 would jump into audibility for one or two seconds and then get swallowed up by interference, even at the height of the pass.

Today is the first day I felt a slight note of spring in the air. When I woke up at 7am there was already plenty of light in the garden. On my cycle ride to Bloomsbury, my hands didn't feel the bite of cold on my handlebars. I was overdressed for the temperature, and had to unzip my coat halfway through the ride. Later in the evening I perched on our flat's back windowsill holding my radio antenna in full exposure to the night air.

Ashen, cinereal, dusky, smoky, slated, drab, grey: this is how I would describe my experience of the weather today. It is in many ways unremarkable weather, as it is not very cold, nor very wet, nor stormy or very windy. It is simply grey- a matte feeling of the colour like it surrounds you everywhere, inside and outside, dampening even your thoughts.

A break in the rain allowed me to duck outside to catch a NOAA-15 pass. The sun had set already, and very few people were out in the park and nearby streets. I searched for a bench near a streetlamp and assembled my ground station. I sat on the bench in the orbit of light provided by the streetlamp and extended the antenna, its metal dipoles glinting.

I assembled my antenna on a bench in a dim pool of lamplight after sunset in the local park. I had just come back from the march for Palestine and still had my placard with me. As I was already so cold and tired from being out at the march all day, and the park was even colder than the streets, I struggled to concentrate, almost dropping my antenna and laptop.

A storm has passed through southern California overnight, and there are still impressive clouds in the sky. The air is brisk and full of water. I captured an image from NOAA-15 which turned out without glitches but unusually dark – as if the satellite was somehow sensing the atmosphere on the ground.