This chapter proposes the concept of a “meteorology of touch” to examine how touch does not only take place between human bodies but also between human and non-human as well as across non-human bodies. William Forsythe’s performance installation White Bouncy Castle, with its bouncy white walls that are used by the audience to jump around, as well as the pouring rain in Meg Stuart’s staged performance Blessed foreground the various ways touch occurs in our world. Using the description of the performances the chapter reevaluates Heidegger’s credo that only humans have the capability to touch and argues for a notion of touch that can happen between and in all material configurations.