ABSTRACT
The author envisages the environment as a clutter of solid objects mounted on a baseboard that has led many philosophers and theorists to suppress the aerial dimension of bodily movement and experience. In such fields as anthropology, archaeology and material culture studies, for example, it has long been conventional to think of the 'material world' as comprising the two broad components of landscape and artefacts. The author began his entry for every day of fieldwork in Finnish Lapland with a brief description of what the weather was like. One cannot reverse the time of weather or weathering. The overwhelming ambition in the post-Renaissance history of architecture has been to keep the weather out. Even the residents of the hyper-modern city have to contend with the weather, despite their best efforts to banish it to the exterior of their air-conditioned buildings.
