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This paper provides an introduction, and in particular a theoretical-methodological prologue or prolegomena, to a pioneering rhythmanalysis of the Korean port city of Busan, based on four months of collaborative fieldwork research undertaken in the autumn of 2014. Here, the three key theoretical influences structuring this work (Lefebvre, Kracauer, and Augé) are presented and linked to some critical reflections on “Dynamic Busan” as Korea’s ambitious and rapidly transforming second city. The key concept of “non-places” in particular provides a useful point of entry into the everyday experience of the new Busan cityscape as “landscape” and “selfie-city.”