Like all images, moving images are images made up of other images. But unlike linear perspective images, semantically organized through a vanishing point, moving images acquire meaning through the cut. Breaking down physical spaces into fragmentary frames, moving images set out to represent time. The relevant space for the cinematic image isn’t the ideal space of perspective, but the regular space within and between each frame in a celluloid film. That is, a standardized distance designed so interpretative machines merge adjacent frames in a strip of film into a single moving image. Film projectors are devices for the automation of interpretation tuned to transform space into a particular conception of time (and mind) as a stream. The scrolling film inside the projector has a preestablished order and speed of audiovisual stimuli that does not require the intervention of the spectator. A necessary concession to the machine in order for photography to access the long sought-after 4th dimension of time; a flow until then reserved to audition. The critical dismantlement of illusory space gave way to an image of time as a mechanical flow that, taking note from linear perspective, did not represent it through visual cues, but trough an out-of-sight infrastructure of movement.