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The increased likelihood of extreme heat events is a profoundly important aspect of our global climate emergency, and yet the link between weather and climate remains a difficult subject to communicate. Here, I focus on a graphic that is on its way to becoming viral: Warming Stripes. Warming Stripes use a simple two-colour spectral palette – tints of blue and red, long a feature of weather maps – to signal relative yearly temperatures. Eschewing the argument that such hues have a universal affective capacity, and reflecting on its designer's comments on the potential introduction of a new colour, purple, to indicate extreme heat, I argue that it is as a constructed, learned association between temperature and colour that there is further potential for this visual to intimate a warning. That is, while the potential introduction of purple signals a breach regarding accustomed climatic conditions, what is also breached is our capacity to maintain a standard of measurement by which to capture such conditions. I expand on this argument via reference to a prior of just such a breach, as a forecasted heatwave prompted the Australian Bureau of Meteorology to introduce a new colour to the hot end of its temperature scale: purple. [ABSTRACT FROM AUTHOR]

Fluvial geomorphologists’ advocacy for a culture of care towards rivers is increasingly animated by the potentialities of hyperscale environmental data. Championing catchment-specific responses, it has been argued that intensified datafication of rivers can help them express their own voice. Motivated by this provocation, this paper discusses prosthetic research encounters with the River Feshie in Scotland to tentatively approach the question ‘what is a river’s voice’ in a moment of increasing digitisation and automation of geomorphological fieldwork via technologies of light. Exploring the allowances and excesses of illumination in the scientific imaging of the Feshie, it draws on ‘critical physical geography’ and ‘feminist new materialism’ to conceptualise the geovisualisation of riverscapes as a partial practice of envisioning, rather than a process of total illumination. By highlighting the multiplicity of riverine voices that become co-produced through differently configured sensing ensembles, the paper advocates for a critical fluvial geomorphology that interrogates its assumptions about access to the ‘real’. [ABSTRACT FROM AUTHOR]

The article focuses on Marcia Bjornerud's autobiography 'Turning to Stone', which explores her deep connection with geology and its broader implications. Topics include the challenges faced by geologists in bridging fieldwork with academic and industry demands, the personal and professional impacts of sexism in the field, and the book's broader reflections on humanity's relationship with the Earth amidst contemporary socio-environmental issues.

The motion picture, 'Mary Poppins,' is presented as an allegory for an antiessentialist treatment of scientific geography. Mary Poppins, the heroine of the film, helps the hero George Banks to realise his place in the world. Banks does so after a series of attempts to identify himself with his social surroundings that limit his outlook. Similarly, scientific geography needs to eliminate subjugating itself to other related fields of knowledge. This will help scientific geography develop independent methodologies and goals.