Abstract
This paper looks into Rafael Lozano-Hemmer's large-scale urban media installation Body Movies (2001) from a perspective of a theory of cinema that, in the face of the advent of ubiquitous computation and real-time surveillance technologies, is itself undergoing some radical transformations. These transformation can be said to take place alongside three conceptual axes, i.e. that of space, time and being. Taking Body Movies as a particularly strong, and therefore, emblematic case in point, I will unpack this triangulation by critically reassessing a number of key concepts stemming from film and media theory, i.e. projection and embodiment, presence and real time, affect and agency.
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