This paper analyses vertical vision by tracing its possible genealogy and exploring the forms it takes in the contemporary city. In the first section, vertical vision is situated in the context of its cosmographic tenets. In the second section, the critique of verticality is complemented by a topological approach where vertical vision can be seen folding into a novel visual grammar. The lineaments of this grammar can be retrieved by attending specifically to algorithms and their role in contemporary urban perception, which we discuss in the third section. The fourth section implements the suggestions of two artists: Harun Farocki’s notion of navigation, and Hito Steyerl’s notion of bubble vision. Exposing the central role played by digital platforms in ushering in this novel paradigm, bubble vision can be reconstructed as the logical end-point of classical vertical vision. This comes in conjunction with the rise of a peculiar visual-cultural configuration, which could be called ‘atmoculture.’ Section five submits that atmoculture represents the cultural milieu of bubble vision. In conclusion, the paper invites visual scholars interested in the study of verticality to recognise bubble vision, together with its atmocultural background, as a new expression, and a reconfiguration, of vertical vision: similarly, centred and disembodied, exhilarating, and dangerously de-responsibilising.

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垂直视觉和大气导航。关于新兴城市范围制度的说明

本文通过追溯其可能的谱系并探索其在当代城市中的形式来分析垂直视觉。在第一部分中，垂直视觉位于其宇宙学原则的背景下。在第二部分，对垂直性的批判由拓扑方法补充，其中垂直视觉可以被视为折叠成一种新的视觉语法。可以通过专门研究算法及其在当代城市感知中的作用来检索这种语法的轮廓，我们将在第三部分讨论这些。第四部分实现了两位艺术家的建议：Harun Farocki 的导航概念和 Hito Steyerl 的气泡视觉概念。揭示数字平台在引领这一新范式方面所发挥的核心作用，气泡视觉可以重建为经典垂直视觉的逻辑终点。这伴随着一种特殊的视觉文化配置的兴起，这种配置可以被称为“氛围文化”。第五部分提出，大气文化代表了泡沫视觉的文化环境。总之，本文邀请对垂直性研究感兴趣的视觉学者将气泡视觉及其大气文化背景识别为垂直视觉的新表达和重构：类似地，中心化和脱离实体，令人振奋和危险的去中心化。负责。