This dissertation explores the way in which image-technologies have been historically used to represent ‘space’ within Architecture and Art, relative to both the static and moving viewer. In particular, this poster graphically narrates the final chapter of my dissertation. Virtual Reality Panoramas have fascinated me for some time, their interactive nature affording a spectatorial engagement not evident within other forms of digital imagery. This interactivity however is not generally linear, as is evident in animation or film, nor is the engagement with the image reduced to the physical or visual border of the image as its limit is never visible to the viewer in its entirety. So what is it about VR Panoramic images that are so different to traditional analogue and digital images or its nineteenth-century forefather? The historical and conceptual difference is related to two concepts; the image’s ‘framelessness’ and embedded ‘temporality’. The image’s ‘framelessness’ can be understood both in terms of the physical destruction of the images edge, or rather its subversion or interruption of the viewer’s perception of the image’s boundary, but also in terms of the image’s inseparable physical and conceptual relationship with the framing capacity of a corporeal viewer whom directly engages with the image. The image’s ‘framelessness’ therefore exists both as a consequence of bodily and non-bodily mediations. Secondly, the nature of the media that is used to compose the VR Panorama [the photograph] contains its own multiple temporalities that, through the typological framework of the Panorama, expose a looped temporal framework that is unlike any other image media. This research therefore investigates questions regarding the stasis, movement, framelessness, and temporality of both the image and the observing subject, that provide new insights into the nature of the nineteenth-century panorama, the VR panoramic image, and potentially to that of emerging image technologies and artefacts that continue the immersive and conceptual affects of the panoramic genealogy.