Blinking away fog as it collects between eyelashes – this article begins with a night walk in Venice and a reflection on an embodied encounter with countless suspended water particles. Here I consider fog as a political materiality in an expanded cultural and meteorological context, where, rather than simply limiting visibility, fog acts as an unexpected lens onto slow forms of pollution. In doing so, I turn to the scientific term ‘occult deposition’ – the settling of unsensed pollutants carried by fogs, mists, clouds, dew, and frosts onto surfaces, vegetation, and skin – and adapt it to develop the concept of ‘occult meteorology’. By doing so, I work towards reorienting the cultural significance of the occult. With this reorientation, instead of limiting human sensing, or harbouring unknown and threatening supernatural presences, fog is the intensity of sensing, relationally mediating through eyes, mouths and skins. Here bodies are submerged in everyday and imperceptibly polluted environments even above the surface of water, while fog disorients vast infrastructural systems, from commercial flight to petrochemical logistics. Thinking alongside Esther Leslie and Craig Martin, this article brings earth sciences into encounter with literature and cinema to attend to fog as both metaphor and materiality in the context of environmental degradation.