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Water on water (back)
Looking south across the choppy English Channel towards France and then around to the north to the Kings Esplanade in Hove. (18 images)

The Man







Steve's Fotografik Rephlux - Burning Man 2004

America is now wealthier than at any other time in its history, yet all around us and within us a feeling of lurking anomie persists. Like that scratchy sensation at the back of your throat, that shudder down your spine when you feel the flu coming on, and symptoms of this deep unease pervade our society. The spread of materialistic values has contributed to a moral coarsening and a growing cynicism in our country. Within a manipulative world all motives seem venal, all efforts illusory. But at a deeper level, it is the commodifying of imagination itself, the moral passivity, the social isolation, the angst that is generated by living in a solipsistic world of fraudulent satisfactions that is producing the greatest evil.

When children addicted to video games slaughter other children with automatic weapons, and do this in the style of video games, we know that something tragic is occurring. Critics call for better values, as if values were something that could be advertised and sold. And yet to even entertain a moral value one must first be someone in a world beyond one's self. We're suffering the symptoms of narcissistic injury. The vital here and there of spiritual experience is disappearing from our world. It's dissolving into vicarious spectacle. The world, in some nauseating fashion, no longer appears to belong to itself.

We need some deep and drastic therapy to break this spell. We need to reestablish contact with our inner selves. We need to reinvent a public world. We need immediate connection to the natural world of vital need. And this is where my work and the experiment called Burning Man comes in.

Imagine you are put upon a desert plain, a space which is so vast and blank that only your initiative can make of it a place. Imagine it is swept by fearsome winds and scorching temperatures, and only by your effort can you make of it a home. Imagine you're surrounded by thousands of other people, that together you form a city, and that within this teeming city there is nothing that's for sale.

These challenging conditions represent the chief appeal of our utopian experiment. Since its founding in the Nevada desert in 1990, Black Rock City has grown from a hamlet of 80 people into a five square mile civic entity complete with a fire department, two daily newspapers, over 20 radio stations, a department of public works. [whistles] In 1999 its boulevards and avenues were thronged by a population of over 23,000 people. This elaborate urban infrastructure has been described by the London Observer as a, "beautifully zoned tentopolis designed with a precision of which the Renaissance city state idealists would approve".

This city that arises annually and disappears without a trace occurs in an extraordinary setting. The Black Rock desert is an empty void. Not a bird or bush or bump disturb its surface. It is a place that is no place at all apart from what we choose to make of it. Think of it as a vast blank slate, or better yet, think of it as a sort of movie screen upon which every citizen of Black Rock City is encouraged to project some aspect of their inner selves. This novel use of nothingness elicits a superabundant production of spectacle. But it is spectacle with a difference. We have, in fact, reversed the process of spectation by inviting every citizen to create a vision and contribute it to a public environment. We call this process radical self-expression. What makes this self-expression truly radical is its reintegration of the private and personal back into a shared public domain.

The idea was essentially that you would take the elements of mass culture that had been expropriated from real culture and denatured of their meaning and you would appropriate it back and invest it with new meaning by making your own show.

All of this activity forms the immediate background of Burning Man. It forms a whole series of these anti-consumerist utopias that people were trying to create. The theoretician that people were always citing, they talk about him still, was Hakim Bey, who originated the notion of TAZ, the "Temporary Autonomous Zone". This was anarchist theory.


This is the One Tree. This is public art. You can see people interacting with it. It generated society around itself. It put people in a relationship to one another. It dripped water through those branches and people bathed in it. It also generated steam, and, if we look at the next slide, you'll see it sprouted leaves of flame. This was by Dan Das Man, a brilliant artist, and if you come to the event I'm sure you'll see more work by him.

The next slide, please...

This is my baby. Now, we called this the Nebulous Entity because I didn't want people to know what the hell it was. We were very insistent on ambiguity. The Burning Man's famous for our never having attributed meaning to him, and that's done on purpose. He is a blank. His face is literally a blank shoji-like screen, and the idea, of course, is that you have to project your own meaning onto him. You're responsible for the spectacle.

So this was the nebulous entity, and we made it as nebulous as you can imagine. A brilliant artist, Michael Christian, created the sculpture, and Dr. Aaron Wolf Baum designed a system that absorbed ambient sounds from the environment, fractalized them, and then broadcast them back to people. It continuously talked to people in a sort of burbling dialect. You'll notice also that it is mounted on airplane wheels. When we were designing it, one of the artists said, "Let's put a motor in it!" This being America, someone was bound to say that. [laughter] I said, "No. No, this has got to require people's effort. They should expend some calories to make it move! They need to invest themselves in its motion!".

You know, if you take people and scatter them like grains of sugar, or imagine them as ants on a sidewalk in a perfectly blank featureless environment, you'll find that they'll spontaneously begin to create certain kinds of order. It is in our nature. The first thing they'll do is surround any focal point of activity. They'll form circles. You will see this happen naturally. They never form a square, — I've never seen a rectangle — always a circle. Then, if you take that focal point and move it, you'll create a vector, and that forms a parade, a procession.

So the idea in this flat environment was to take advantage of the flat plain and make a work of art that only people could move, a giant plaything, and then permit it to move about, as if animated by its own impulse, and it generated parades and processions throughout the city.

Here, at its base, you see speaking tubes. People could talk into those apertures and it would distort their voice. We painted it white, so it would be reflective, and we didn't move it during daytime, only at night.

Next slide, please.

This is that same mobile platform, stripped down, and outfitted with a new work of art. This is "The Tree of Time". It was created by an artist named Dana Albany, and this is another typically BoHo project. It necessitated this huge network of people cooperating and collaborating with one another. She had people fanned out all over eastern Oregon looking for bones — they met a lot of ranchers in the process, — and I'm not sure how you'd pay for such a service. Only a community would have the sort of resource to accomplish this. They found a lot of cattle bones, generated several unlikely friendships, and it circulated throughout Black Rock City just as the Nebulous had.

Next slide please.

This was created by Rev. Al Ridenour, who I mentioned earlier, and the LA Cacophony Society. It was a perfectly scaled replica of an attraction at Disneyland called "It's A Small World". They renamed it "Small After All World" to avoid prosecution. The original was created in the 50's or 60's, I think, and children of that era were taken there in droves. Al says it frightened him out of his wits.

The premise here is that this recreated version is ruled by Chairman Mouse and his New World Order, and they have come to the desert to create enforced world solidarity. It featured a large cast of "ethnic" characters. A milkmaid from Switzerland and a Swahili chieftain were handcuffed together in front of it. All the while, this incessant theme music played, "It's a small world after all...", the sort of tune that sticks and rankles in your brain. They had German helmets with mouse ears sticking out of them, and they goose-stepped around like storm troopers. At the climactic moment, a beautifully rendered effigy of Death sprang from a concealed spring in the back of the great bell tower, and all hell broke loose. The whole thing just blew up, and that was that. [laughter]

Needless to say this was a ritual with some cathartic intent, especially for denizens of LA. Obviously, it's about anger, about the emotions of those who've been conditioned to experience in a world that has been alienated from them and commodified as a distanced spectacle designed to make them passive, a system that relies on social isolation to achieve its ends.


Since 1992 I have spent most Labor Day weekends in the middle of Nevada at the Burning Man Festival. It's hard to describe what a cool event this is. Sorta Fellini meets Road Warrior meets Salvidor Dali at a Greatful Dead concert. Hard to picture? Here's some photos to give you an idea.

http://www152.pair.com/tierney/burning-man/

The Burning Man project has grown from a small group of people gathering spontaneously to a community of over 25,000 people. It is impossible to truly understand the event as it is now without understanding how it has evolved. See the first years page and Burning Man 1986 - 1996 for the legendary story of Burning Man's beginnings and to understand how the event has come to become what it is today. The timeline gives a short overview of what each year looked like. Please also check out the detailed archives for years 1997, 1998, 1999, 2000, 2001, 2002, and 2003. Within each of these years are descriptions each year's art theme, theme camps, large art installations, as well as maps, journals of our city being built, the newsletters to the community for each year, issues of the Black Rock Gazette (a daily news publication produced and printed on the playa), and clean up reports for each year, including a list of those sites that failed to "leave no trace". These pages help understand the larger scope of the entire experience, from the planning that happens year-round to make each event possible, to the clean-up efforts which take place for sometimes months after the city has disappeared.

Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Some of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more than Cubist collage, Dada photomontage (Höch, Hausmann, Schwitters, Grosz/Heartfield) presents very suggestive images composed of signifying fragments ranging from small schematic arrangements to wildernesses of profusion. One sees several patterns (matrix, swirl, cascade) with their associated semantics. We then apply these categories and principles to website imagemaps to see what the imagemap is saying visually about the site and our experience of it.