Every day at sunset, when dayli
 ght vanishes and artificial lig
 ht governs our visual perceptio
 n, the mobile exhibition pavili
 on Pleinmuseum unfolds its 156
 square meters projection surfac
 e to become a temporary art scr
 een in urban environment.

 The short film ‘White Blackout’
  relates to this architectural
 transformation from white cube
 to black box and – while the in
 tensity of the natural afternoo
 n light decreases – reveals it
 s underlying computer calculati
 on processes and translates the
 ir numerical patterns into a vi
 rtual sunrise.

 Based on a color spectrum of 25
 6 levels of gray, every pixel o
 f an image has a brightness val
 ue ranging from 0 to 255, with
 white being defined as 255 and
 black equaling 0. Although ‘Whi
 te Blackout’ is in fact only di
 splayed in black and white, the
  missing grey shades re-emerge
 as the three-digits number 255
 appears actually brighter on th
 e monitor than the one-digit nu
 mber 0.

 ‘White Blackout’ splits the pro
 jector’s light into its digital
  components, renders artificial
 light in its original color val
 ues and by this refers to the t
 echnical equipment of Pleinmuse
 um as such.

 Although originally produced fo
 r Pleinmuseum, ‘White Blackout’
  has meanwhile gained an autono
 mous status. It was recently se
 lected for the 2007 line-up of
 ‘The Int’l Fest of Cinema and T
 echnology’ in Orlando and scree
 ned at various festivals such a
 s the ‘Biggest Visual Power Sho
 w Essen 2006’ and the ‘Amsterda
 m Film eXperience 2006’.