Wurst Storm Rising

Our subject is the legacy of Dada implicit to the Burning Man phenomenon. Animate in the provocative output of fin-de-siècle French Symbolist writer and puppeteer Alfred Jarry, and filtered through the antics of the San Francisco Cacophony Society, Dada is foundational to the cultural aesthetic of Burning Man, by which we mean the event in Nevada’s Black Rock Desert playa (Black Rock City) and a global network of “burn” events. We address the significance of the Cacophony Society expedition that inaugurated the desert phase of Burning Man in 1990, “Zone Trip # 4: Bad Day at Black Rock.” Integral to the surreal tourism ventured by Cacophonists prior to the inception of Burning Man, and pivotal to its desert phase, the Zone Trip kindled “Burner” culture on the Black Rock playa and abroad. Exploring the Dadaist impulse affecting Black Rock City and woven into a worldwide network, informed by interpretative and applied methods, the article addresses art projects (including those designed and implemented by Vitos) at three regional events—Israel’s Midburn and Germany’s Burning Bär and Kiez Burn—visited in 2018 and 2019 as part of a multisited ethnography of the Burning Man movement. As these projects illustrate, the ghost of Jarry haunts, as the spirit of Dada animates, the transnational “burnscape.”

Black Rock City versus Manhattan: An economist’s view

Urban street networks take many forms, from the circular streets in Black Rock City (which is built and removed every year as part of the Burning Man Festival) to the streets and avenues in the Manhattan grid. This paper compares the traits of cities with different street networks using the tools of urban economics. When both cities have commuting arteries of the same length, cities with circular streets have higher population densities unless access to these arteries is expensive and the number of arteries is large. Cities with arteries set at a 45o angle to the grid have smaller population densities under all circumstances.

Ephemeropolis

Foucault’s concept of heterotopia is adapted to comprehend events with intentional transformational agendas. An ephemeral community installed annually in Nevada’s Black Rock Desert, Burning Man is an exemplary evental heterotopia. With the shortcomings of the romantic-utopian “transformational festival” label identified, the article considers Black Rock City as a heterogeneous threshold and contested space. This hyperliminal weave is redolent in a complex ethos known as the “Ten Principles.” Informed by Michel Foucault’s ambiguous entry on heteroclite spatialization, the article explores the paradoxical “other space” of Burning Man in which the “default world” is simultaneously neutralized, mirrored, and resisted. If Burning Man is transformative, this is therefore an enigmatic aesthetic. Adapting Foucault’s six “principles of heterotopia” and modulating Victor Turner’s “liminality,” the article navigates the hyperliminal dynamics of Burning Man. In the process, a provisional framework is suggested for the study of transformative events.

Civilised Tribalism: Burning Man, Event-Tribes and Maker Culture

Otherwise known as Black Rock City, Burning Man is an artistic event, that, mounted annually in Nevada’s Black Rock Desert, has become the inspiration for a global cultural movement. While it has been the subject of considerable attention from ethnographers and sociologists, Burning Man has persistently resisted classification. In this article, I undertake a tentative approach to Burning Man via a concept integral to Maffesoli’s postmodern social philosophy popular within Anglophone sociology: the neo-tribe. Ethnographic attention to Burning Man illustrates spectacular aspects of neo-tribalism. It is cyclical, immediate, sensual, enchanted, collaborative and offers multiple sites of belonging for participants, many of whom will self-identify as ‘tribal’ or ‘neo-tribal’. And yet Burning Man is also demonstrative of an optimising modernist ‘project’ complicating, if not incongruent with, postmodern tribalism. With Black Rock City theme camps, art projects and build teams echoing a design-orientated maker culture, and an organisation – the Burning Man Project – dedicated to propagating and scaling (making) the ethical, civic and progressive dimensions of this culture, this article demonstrates the paradoxical proclivities of Burning Man’s tribal character. The objective of the article is to forge a fuller understanding of Burning Man and other ‘transformational’ events illustrative of an alternative tribalism, and to explore ways the phenomenon both approximates and deviates from Maffesoli’s thesis.

Mapping Utopias: From New Babylon to Black Rock City

New Utopian plans for liberated urban spaces emerged during the post-war era with the work of the Lettrist (LI), Situationist International (SI), and specifically Constant Nieuwenhuys, a Dutch painter turned architect and sculptor who understood urban planning as intimately linked to nomadism, play and creativity. Influenced by the bombed detritus of European capitals and the possibilities of new technology, Constant’s plans for a future society were post-revolutionary, with unseen automated factory production and spaces for innovation that were elevated on stilts. Constant’s conflicting ideas are referenced and emulated in Black Rock City – a short-term encampment erected every year for the Burning Man festival in the desert of Nevada. These multileveled zones would allow for the blurring of public and private space as well as zones of work and leisure. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: Aprile 20, 2017Original scholarly paperHow to cite this article: Novakov, Anna. "Mapping Utopias: From New Babylon to Black Rock City." AM Journal of Art and Media Studies 12 (2017): 9-16.