Category: 86400

Time Frames exhibition at Natlab

Exciting news – I have a solo show opening soon at Natlab in Eindhoven. It’s called Time Frames, and is based on my 2023 live video essay of the same name. It’s about time.

The show features three video works in some specially-made cinematic rooms:

Time Frames (2024)

Yes, this video lends its name to the exhibition – and it’s a newly updated version of the film, in a specially-created cinema room. It’s a film essay made using my Reflexive Scripted Design process, about the way that the times we live in shape what we perceive as possible. It’s thirty-something minutes long and features footage I’ve shot from around the world.

86400 (2016)

A special version of 86400 – a 24-hour film that features a new Google Images search for every second of the day – constructed inside a modified viewer. This work hasn’t been shown since 2017 – previously it was projected on a huge screen at the Palais de Tokyo, and in the hallway of the School of The Art Institute in Chicago. (Do you want to know more about this project? There is a write-up in my PhD here.)

Warm Impermanence (2024)

A new 5-screen video work, inspired by a line from David Bowie’s song Changes. It features footage of ripples and waves and moving water that I’ve taken over the past 12 years from around the world, alongside a six-hour-long version of Changes.

All the details

Time Frames

A solo show by Ollie Palmer.
Natlab, Kastanjelaan 500, 5616 LZ Eindhoven
Exhibition open 23 June until 3 October 2024.

Produced by Baltan Labs, supported by CBK R’DAM.

On the 22 June at 17h there will be an opening party, featuring a live performance by Amy Thomas and myself. Bring your best timepiece.

Thank you to Baltan Labs – Marlou, Sarie, Ishani, and Lorenzo – for making this happen!

More information at Baltan Laboratories’ website


I am pleased to announce that after four and a half years, I have been awarded a PhD by Design from the Bartlett School of Architecture UCL. My examiners were Dr Kevin Walker at the Royal College of Art, and Dr. Penelope Haralambidou from the Bartlett, and the thesis was supervised by Professors Stephen Gage and Peg Rawes.

Many thanks to all who helped my work get to this stage, and to the Arts and Humanities Research Council and Palais de Tokyo for providing the funding and framework for the research to take place.

Scripted performances: designing performative architectures through digital and absurd machines


‘Scripting’ in architecture is usually associated with computer-based design programming. However, this narrow usage belies a rich vein of concepts intrinsic to architecture and authorship. This thesis frames scripting as a critical mode of computation, performance, and design process. It does this through seven projects that explore relationships between technology, society, and the philosophical absurd. Works include films, performances, programmes and installations produced independently and collaboratively with experts from scientific and artistic fields.

This thesis asks: how might an expanded definition of ‘scripting’ act as a critical methodology for performative architectural design?; how can this methodology mediate between, and comment on, technology and society?; and what is the relationship between scripting, authorship and agency? Computational scripting has been explored in depth by a number of practitioners and theorists; performative scripting has been examined within the context of theatre and artistic practice; this study adopts an expansive definition of scripting that embraces each of these approaches whilst simultaneously proposing scripting as a critical design methodology. Furthermore, the thesis introduces the philosophical ‘absurd’ as a framework for critiquing emergent technologies and their impact on society.

In Chapter 1 two projects (Ant Ballet, Godot Machine) are discussed as modes of diagramming absurd theatrical scripts. The ‘framing’ of these projects provides direction for further work within the thesis. Chapter 2 introduces two dance pieces (Nybble, Scriptych) which represent scripted performances and a novel computer-scripted feedback mechanism. Both are diagrammatic modes of presenting contemporary computing mechanisms. Chapter 3 then discusses two experimental computationally-scripted absurd films exploring the practices and impact of contemporary technology companies (86400, 24fps Psycho). Chapter 4 introduces a film (Network/Intersect) created through a novel design process imposing strict rules on the creation of work. It concludes by naming this practice ‘reflexive scripted design’, proposing it as the thesis’ original contribution to knowledge.

View at UCL / View online

Note: I want to publish as much of the work as possible. Watch this space for updates.

Update, February 2022: my thesis is now available online at I’ve updated the links in the article above to point directly to the chapters in the online version of the thesis.

Do Disturb

I will be showing my film 86400 and performing 24fps Psycho at the Do Disturb Festival at the Palais de Tokyo in Paris in a couple of weeks. This is very exciting, as both works have never been shown before.


86400 is a real-time film made from Google Image searches for the time right now. It will be running throughout the festival.

24fps Psycho

24fps Psycho is an experimental performance remixing the film Psycho (1960) with footage from the French National Audiovisual Institute. It will be chaotic and confusing, but also highly enjoyable. I will be performing twice, once on the Saturday and once on the Sunday (9 + 10 April).

There are over 50 artists and performers participating this year, so it looks like a great way to spend a weekend – if I wasn’t performing, I would be in the crowd!

Tickets are avaialble through the Digitick website or at the Palais de Tokyo ticket office.




A real-time film composed of images that show up in a Google Image Search for the exact time at that moment (e.g. 11:41:14). The film plays in real-time, and takes a full day to watch.

Images do not necessarily bear a relationship to each other, besides a similar metadata tag. Thus, it is the audience who read meaning into the assemblage of images, creating stories and hypotheses about the images.

The images were gathered using the Google Image Search API, using masked IP addresses so that a search would appear to be from a random global location. As an unconnected string of images, the film forms a visceral snapshot of the US-indexed internet in late 2015.

This piece is a digital homage to Christian Marcklay’s The Clock (2010).

Video: ten minutes of 86400, at 22:00:00

Viewer version

A limited edition of ten specially-made film viewers is available to purchase (they also function as clocks); please contact me for details


More information about the development of this project can be found in Chapter 3 of my PhD thesis.

Public display

Do Disturb Festival
Palais de Tokyo
8-10 April 2016

AIADO Hallway Gallery
School of the Art Institute Chicago
27 March – 6 April 2017


Film as resonance
4 minute excerpt from 86400 published by Film + Place + Architecture, 2017


Made during my residency at Pavillon, the Research Lab of the Palais de Tokyo