Weather prediction by numerical process

Weather Prediction By Numerical Process is a performance where the weather is forecast through human labour, thus turning the act of calculating the computation into a social action. It is a tribute to the heroic effort of Lewis Fry Richardson, a pacifist quaker who spent his time as a medic during World War I, calculating the first numerical weather forecast by hand. Working before the days of electronic computers, he had the utopian dream that the nations of the world would come together to create a vast “human computer” consisting of many thousands of "calculators" who would work around the clock to calculate the weather for the good of all humankind. 

In a post-climate-change world in need of explanatory myths and rituals, Richardson’s epic calculation deserves to be mythologised as one of the founding moments of a new science. For this installation, the artists have ritualistically re-enacted a small part of this calculation by hand. The installation forms part of a larger work in which the artists hope to produce a large scale participatory performance which will realise Lewis Fry Richardson's original vision.

A collaboration between Lise Autogena & Joshua Portway, Jutta Thielen-del Pozo (JRC)​, Florian Pappenberger (ECMWF). Scientific advisors: Peter Lynch, University College Dublin and Leonard A Smith, Mathematical Institute, University of Oxford. Supported by The European Centre for Medium-Range Weather Forecasts (ECMWF) and Sheffield Hallam University

Background

 
Richardson’s “Forecast Factory”Sketch by A. Lannerback (© Dagens Nyheter, Stockholm).

Richardson’s “Forecast Factory”

Sketch by A. Lannerback (© Dagens Nyheter, Stockholm).

 

Weather Prediction By Numerical Process is a tribute to a defining moment in the history of climate and weather forecasting. Between 1916 and 1919 Lewis Fry Richardson produced the first modern weather forecast. As a quaker and pacifist, he worked as a medic during the first world war while using any spare time he could find to work on his idea: to forecast the weather mathematically. His forecast was very primitive compared to today’s calculations, although it required hundreds of thousands of individual computations. Since electronic computers didn’t exist, he had to do every single calculation by hand, methodically working day after day on this massive task, while trying to survive the horror of the trenches. Today’s weather and climate science has been built upon this single feat of perseverance.

When Richardson returned from the war and verified his work, he realised that he had made a fundamental mistake which meant that his calculations produced very unrealistic results. Nonetheless, he was convinced that his technique was viable and that it could be used to produce a realistic forecast, but he also realised the monumental human effort that would be required to achieve this task. A realtime weather forecast, in the days before electonic computers, would have been a mamoth undertaking on the scale of the moon landings or the manhattan project - Richardson estimated it would require 64000 human “computers” working around the clock. But in his utopian vision, the tremendous benfits of such a massive (presumably international) collaboration would have made it worthwhile.

We found ourselves very moved by Richardson’s idealism and integrity (for instance, he abandoned all of his work on weather forecasting when he realised it could be co-opted for military puroposes), and by his romantic vision of the forecast factory.

Several of our previous projects have been concerned in one way or another with the aesthetics of data (eg. Black Shoals, Most Blue Skies) and working with numbers and calculations at this slow, fallible, human scale has given us a new persepctive on our relationship to data.

The Performance

 

The performance takes place at a work desk, scattered with index cards, pens, and rubber stamps. The rubber stamps are used to stamp the cards with calculation forms that describe the process of the calculations - a blank index card is rubber stamped to create a form, then some of the fields on the form are filled in using other rubber stamps, after which numbers are copied into the form from other index cards, then the “computer” works through the form step by step performing the calculations specified. At the end of the calculation the card is pinned to a grid on the wall - the specific location specified by rubber stamped numbers on the card. Each card takes approximately five minutes to complete. Over time the grid on the wall fills up with completed calculations - once the grid is full, a new set of blank index cards is used and a new grid (a new iteration of the calculation) is started. The grids represent a map of europe, with each card in the grid containing the atmospheric data (windspeed or pressure) for that position on the map. Each grid represents the state of the weather 45 minutes after the previous grid.

(In the performances at the JRC and at Bozar - with the subtitle “a forecast for europe” - the date chosen for the weather prediction was “Brexit day” -29/10/19)

Extract from “Weather Prediction By Numerical Process” By Lewis Fry Richardson

THE SPEED AND ORGANIZATION OF COMPUTING

It took me the best part of six weeks to draw up the computing forms and to work out the new distribution in two vertical columns for the first time. My office was a heap of hay in a cold rest billet. With practice the work of an average computer might go perhaps ten times faster. If the time-step were 3 hours, then 32 individuals could just compute two points so as to keep pace with the weather, if we allow nothing for the very great gain in speed which is invariably noticed when a complicated operation is divided up into simpler parts, upon which individuals specialize. If the coordinate chequer were 200 km square in plan, there would be 3200 columns on the complete map of the globe. In the tropics the weather is often foreknown that we may say 2000 active columns. So that 32 x 2000=64,000 computers would be needed to race the weather for the whole globe. That is a staggering figure. Perhaps in some years' time it may be possible to report a simplification of the process. But in any case, the organization indicated is a central forecast-factory for the whole globe, or for portions extending to boundaries where the weather is steady, with individual computers specializing on the separate equations. Let us hope for their sakes that they are moved on from time to time to new operations.

After so much hard reasoning, may one play with a fantasy? Imagine a large hall like a theatre, except that the circles and galleries go right round through the space usually occupied by the stage. The walls of this chamber are painted to form a map of the globe. The ceiling represents the north polar regions, England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the antarctic in the pit. A myriad computers are at work upon the weather of the part of the map where each sits, but each computer attends only to one equation or part of an equation. The work of each region is coordinated by an official of higher rank. Numerous little “night signs" display the instantaneous values so that neighbouring computers can read them. Each number is thus displayed in three adjacent zones so as to maintain communication to the North and South on the map. From the floor of the pit a tall pillar rises to half the height of the hall. It carries a large pulpit on its top. In this sits the man in charge of the whole theatre; he is surrounded by several assistants and messengers. One of his duties is to maintain a uniform speed of progress in all parts of the globe. In this respect he is like the conductor of an orchestra in which the instruments are slide-rules and calculating machines. But instead of waving a baton he turns a beam of rosy light upon any region that is running ahead of the rest, and a beam of blue light upon those who are behindhand.

Four senior clerks in the central pulpit are collecting the future weather as fast as it is being computed, and despatching it by pneumatic carrier to a quiet room. There it will be coded and telephoned to the radio transmitting station. Messengers carry piles of used computing forms down to a storehouse in the cellar. In a neighbouring building there is a research department, where they invent improvements. But there is much experimenting on a small scale before any change is made in the complex routine of the computing theatre. In a basement an enthusiast is observing eddies in the liquid lining of a huge spinning bowl, but so far the arithmetic proves the better way. In another building are all the usual financial, correspondence and administrative offices. Outside are playing fields, houses, mountains and lakes, for it was thought that those who compute the weather should breathe of it freely.

Project Team

 

Core team

Joshua Portway, artist

Lise Autogena, artist, Professor of Cross Disciplinary Art, Sheffield Hallam University

Jutta Thielen Del-Pozo, Head of Unit, JRC Scientific Development

Florian Pappenberger, Director of Forecasts at The European Centre for Medium Range Weather Forecasts

Scientific Consultants

Peter Lynch, Emeritus Professor, School of Mathematics & Statistics, University College Dublin.

Leonard A Smith, Mathematical Institute, University of Oxford

 

Funded by

EU Commission’s Joint Research Centre

European Centre for Medium Range Weather Forecasts (ECMWF)

Sheffield Hallam University

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