DOCSLIB.ORG

The Performance Culture of Burning Man

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Performance Culture of Burning Man ABSTRACT Title of Document: THE PERFORMANCE CULTURE OF BURNING MAN Wendy Ann Clupper, PhD, 2007 Directed By: Dr. Franklin J. Hildy, Department of Theatre and Performance Studies Theatre in the United States for the last twenty years has been evolving in scope by way of a cultural phenomenon known as Burning Man. In 2006, this festival attracted over forty thousand participants to the Black Rock Desert in Northwestern Nevada to a flat dusty Playa surrounded by mountain ranges. While the natural environment there is hostile, the creative atmosphere is welcoming and invites a broad scope of performative behaviors and genres to be exhibited there, the entire week the festival takes place. Make-shift stages and theme camps, as well as large- scale interactive art pieces play host to participants who dress up in fanciful costumes to perform in all manner of imagining. This dissertation maps out the cultural terrain of Burning Man in order to explain how performing there is form of identity-making and cultural commodity. As one of a handful of North American festivals which expressly discourage commercialism and commodification, theatricality takes the place of significance for entertainment and communication. Performance forms of all kinds historically are represented at Burning Man and this dissertation will investigate and theorize how a new performance culture has emerged from the festival itself and by its presence as a theatrical event, has exposed and expanded performance and theatre forms. This dissertation offers a critical framework through which to consider performance and performers within the Burning Man community as applied to Mikhail Bakhtin’s concept of Carnival and the Schema for Theatrical Eventness proposed by the International Federation for Theatre Research Theatrical Events Working Group. The theories of Victor Turner, Baz Kershaw, and Michel Foucault are also presented in this dissertation to consider how performance occurs at Burning Man. Whether informal and spontaneous, interactive performing or rehearsed, staged formal performance, Burning Man provides an exciting lens through which to consider how new performance genres are emerging in a large-scale outdoor festival setting at the beginning of the twenty-first century in North America. THE PERFORMANCE CULTURE OF BURNING MAN By Wendy Clupper Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2007 Advisory Committee: Dr. Franklin J. Hildy, Chair Dr. Heather S. Nathans Dr. Faedra C. Carpenter Dr. Susan C. Haedicke Dr. Holly Hughes Dr. Trevor Parry-Giles © Copyright by Wendy Clupper 2007 Preface I first heard about Burning Man in 1997 when I was living in New York City and going to New York University. An artist I knew, Steel Neal, invited me to his studio and showed me what he has been working on recently. It was a giant metal man, on his knees, screaming up at the sky. It was called the Future Primitive and he was taking to the desert. I had never seen anything like it before in terms of scale or workmanship. It was to be my introduction to Burning Man. Two years later, I too was in the Nevada desert. Nothing in my life has opened me up to creative possibilities quite like Burning Man. It is another realm made by people responding to the present state of our world and cultures. Every year I have been to the desert since, I am overcome with emotion for how important this thoughtful, imaginary, temporary city is to me. Burning Man has not made me who I am but it has helped me to become who I have always known I am. Perhaps that is why it is so often referred to as a utopian vision for today. We who continue to attend Burning Man year after year, go into the desert to get away and there to become whoever we want to be and are. Here there are no spectators, everyone participates… The freedom to be yourself or anything you want to be, this is why we as people play and why we do theatre -to be inspired, transform and grow as human beings. To step outside of our constructed social selves and our manufactured urban environments is a challenge -and a privilege. For those, like me, who crave that other place to play in with each other, it is what we have been waiting to get back to since childhood. Our costumes, toys, stories, games, parades, parties, fashion shows, ii singing and dancing. It is both very old and totally new. It is the future primitive. It is a stage upon which some belong, upon which I know I belong. Burning Man to me makes everything imagined seem possible. iii Foreword “The performance culture of Burning Man is so wide-spread and dynamic. The spectrum is huge, just like the inhabitants of Black Rock City. Fire dancers and public self mutilators and bicycle punksters and hippy sitar junkies and fairy roller derby dance queens. They may all be from completely different cultures, and have completely different opinions and beliefs. But they all make up the immensely diverse culture of Burning Man. I don't think I would put them all in the same camp for a week, but I would hate to see what the playa was like without their presence and contributions. All performers tend to understand the challenges other performers are going through. We understand that if something goes wrong, it is to be laughed off. We can't always understand each other's art, but we do understand what it takes to get out there and what it means to express it.” -Patrick Kaliski, Longtime Burning Man Performer Thursday, March 15, 2007 via Email to the author iv Dedication To my mother, Dr. Beatrice B. Clupper, to my father, Darwin D. Clupper Jr., Esq., and to my brother, Darwin D. Clupper III, Esq. To Ari Schnitzer, thank you for all you have done to support and help me. Thank you especially for your edits and assistance throughout this dissertation process. To my friends, Melissa McMaster, Jessica Hobbs, Stacy Dumas, Bethany Wells, Nadja Masura & Peter Rogers, and my extended family – thank you. v Acknowledgements This dissertation would not have been possible without the presence in the world of the phenomenon that is Burning Man. The people who I have come to know and love that are members of this community have taught me how important it is to be yourself and never let go of your dreams despite your status as an adult. Mr. Larry Harvey, Maid Marian, Harley DuBois, Crimson Rose and Lady Bee have all been important people for me to work with on this project and inspirational in their accomplishments as doers. Andie “Actiongrrl” Grace and Jessica “Nurse” Bobier have been great friends in their assisting me in my work. To all of the members of the Burning Man community in San Francisco, especially Jessica “Jess Bunny” Hobbs, an amazing artist and friend, and Brandi “Bunny” and Gina “Bunny” – my very first friends at Burning Man. To the San Luis Obispo Burners, especially Dr. D. Gregg Doyle – who took me to my first Burning Man – and all of the folks in Black Rock University. Go Fighting Dust Flamingos! At the University of Maryland at College Park, Department of Theatre and Performance Studies, there have been many people who have helped my growth as a graduate student and in particular, my work on this project, especially my faculty advisor Dr. Franklin J. Hildy, and all of my Dissertation Committee. Dr. Susan C. Haedicke, who served as my advisor for three years, has provided me with much support and encouragement and for that I am very grateful. To each of the students and colleagues I worked with in classes whose good advice pushed my thinking. And to the Administrative Staff in my department who have been very patient with and vi helpful to me as long as I have been a student here: Ms. Sandra Jackson and Ms. Rita Phelps. vii Table of Contents Preface ii Foreword iv Dedication v Acknowledgements vi Table of Contents viii List of Illustrations ix Introduction: Burning Man Culture, Its Politics and the Carnivalesque 1 Chapter One: The History and Background of Burning Man 36 Chapter Two: Performance at Burning Man & Spontaneous Interactive Theatre 77 Chapter Three: Burners: The Participant as Performer 142 Chapter Four: Burning Man as Performance Culture 193 Conclusion: Burning Man as a Lens for American Culture 225 Appendices Appendix A: Performance Listings 239 Appendix B: Performers Questionnaire 359 Appendix C: DVD of Performances 400 Appendix D: CD of Websites 402 Appendix E: Off Planet Theatre Announcement 403 Bibliography 410 viii List of Illustrations Introduction Image 1: Burning Man 2000, Aerial 1 1 Graph 1: Participants at Burning Man 3 Image 2: Ken Tea Ceremony 14 Image 3: Burning Man Drag Performers 35 Image 4: The Megavolt Show Stage 35 Chapter One Image 5: Arrival at Baker Beach 36 Image 6: Assembling the Man on Baker Beach 38 Image 7: Aftermath 41 Image 8: Raising the Man 47 Figure 1: 2006 Grid Map of Black Rock City 51 Map 1: Map of the Burning Man Regional Network 69 Chapter Two Image 9: Mistress Megavolt, Jessica Hobbs 2006 77 Image 10: Thunderdome Fight Dome 94 Image 11: The Lab Theater at Burning Man 2006 100 Image 12: Center Camp Music Stage 102 Image 13: Business Suits at Burning Man 104 Image 14: Burning Man: The Musical! 108 Image 15: BRU Cheerleaders Perform 111 Image 16: The Cockroach Theater 112 Image 17: Full Moon (Aug 30, 2004) over the Man in Neon 120 Image 18: Theater at the Man 122 Image 19: Theater at the Man 2 124 Image 20: The Doctor is In 139 Chapter Three Image 21: Colored People 142 Image 22: Procession
Load more

Recommended publications
  • National Circus and Acrobats of the People's Republic of China
    Friday, September 11, 2015, 8pm Saturday, September 12, 2015, 2pm & 8pm Zellerbach Hall National Circus and Acrobats of the People’s Republic of China Peking Dreams Cal Performances’ $"#%–$"#& season is sponsored by Wells Fargo. PROGRAM Peking Dreams EKING (known today as Beijing), the capital of the People’s Republic of China, is a Pfamous historical and cultural city with a history spanning 1,000 years and a wealth of precious Chinese cultural heritage, including the Great Wall, the Forbidden City, the Summer Palace, and the Temple of Heaven. Acrobatic art, Chinese circus, and Peking opera are Chinese cultural treasures and are beloved among the people of Peking. These art forms combine music, acrobatics, performance, mime, and dance and share many similarities with Western culture. Foreign tourists walking along the streets or strolling through the parks of Peking can often hear natives sing beautiful Peking opera, see them play diabolo or perform other acrobatics. Peking Dreams , incorporating elements of acrobatics, Chinese circus, and Peking opera, invites audiences into an artistic world full of history and wonder. The actors’ flawless performance, colorful costumes, and elaborate makeup will astound audiences with visual and aural treats. PROGRAM Opening Acrobatic Master and His Pupils The Peking courtyard is bathed in bright moonlight. In the dim light of the training room, three children formally become pupils to an acrobatic master. Through patient teaching, the master is determined to pass his art and tradition down to his pupils. The Drunken Beauty Amidst hundreds of flowers in bloom, the imperial concubine in the Forbidden City admires the full moon while drinking and toasting.
    [Show full text]
  • Chart Book Template
    Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts.
    [Show full text]
  • Burning Man's Mathematical Underbelly
    City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2018 Burning Man’s Mathematical Underbelly Seth S. Cottrell CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Burning Man’s Mathematical Underbelly A math degree can take you to a lot of places, both physically and figuratively, and if you play your cards right, you too can argue counterfactual definiteness with a shaman. First in 2008, and several times since, a fellow math PhD and I traveled to the Burning Man art festival to sit in the desert and talk with the locals about whatever they happened to be curious about. Burning Man began in 1986, when a group of people (who would argue endlessly over any finite list of their names) decided to assemble annually on a San Francisco beach and burn a wooden human effigy. In 1990, membership and a lack of fire permits forced Burning Man to combine with Zone #4, a “Dadaist temporary autonomous zone” piloted by the Cacophony Society, in the Black Rock Desert 110 miles outside of Reno, Nevada. Figure 1: Although The Man itself changes very little from year to year, his surroundings do. In this version from 2009, he’s surrounded by a forest of two by fours.
    [Show full text]
  • Cossin2017-Cricussafer.Pdf
    Cossin, Ross and Gosselin 1 Prepared using sagej.cls Journal Title Making single point aerial XX(X):3–27 ©The Author(s) 2016 circus disciplines safer Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/ToBeAssigned www.sagepub.com/ Marion Cossin1, Annie Ross1 and Fred´ erick´ P. Gosselin1 Abstract The purpose of this study was to measure the dynamic tension force between the apparatus and the hanging equipment of five aerial circus apparatus and to recommend minimal loading requirements in rigging and design. Forces generated by different acrobatic movements were measured and synchronized with video recordings. Sixteen students of the National Circus School of Montreal´ (Canada) participated in the study. Maximal forces were analysed and characterized with respect to the discipline, the type of movement and the schooling level of the student. The maximal force measured was 5.3 kN performed in the discipline of aerial straps, equivalent to 7.9 times the bodyweight of the performer. A minimal breaking strength of 22 kN for the hanging point and all the equipment holding the rig is recommended. A minimal breaking strength of 22 kN for straps, 17 kN for rope, and 12 kN for silk, aerial hoop and dance trapeze is recommended. Keywords Aerial circus discipline, maximal forces, safety, circus rigging, acrobat mass Prepared using sagej.cls [Version: 2015/06/09 v1.01] Cossin, Ross and Gosselin 3 Introduction Aerial acrobats use their own force to lift their body and execute various movements requiring extreme strength and precision similar to gymnastics. Aerial acrobatics encompass all disciplines requiring the rigging of an apparatus at a height.
    [Show full text]
  • Consumer Cynicism: Developing a Scale to Measure Underlying Attitudes Influencing Marketplace Shaping and Withdrawal Behaviours Amanda E
    bs_bs_banner International Journal of Consumer Studies ISSN 1470-6423 Consumer cynicism: developing a scale to measure underlying attitudes influencing marketplace shaping and withdrawal behaviours Amanda E. Helm1, Julie Guidry Moulard2 and Marsha Richins3 1Division of Business, Xavier University of Louisiana, New Orleans, LA 70125, USA 2College of Business, Louisiana Tech University, Ruston, LA 71272, USA 3Department of Marketing, College of Business, University of Missouri, Columbia, MO 65211, USA Keywords Abstract Consumer activism, consumer rebellion, consumer cynicism, consumer skepticism, This article develops the construct of consumer cynicism, characterized by a perception of consumer alienation, consumer trust. a pervasive, systemic lack of integrity in the marketplace and investigates how cynical consumers behave in the marketplace. The construct was developed based on a qualitative Correspondence study and triangulated through developing a scale and investigating antecedents and Amanda E. Helm, Division of Business, Xavier consequential marketplace behaviours. The cynicism construct is uniquely suited to explain University of Louisiana, New Orleans, LA the underlying psychological processes hinted at in practitioner perceptions of the growing 70125, USA. E-mail: [email protected] mistrust and consumer research about rebellion behaviours, as well as to offer insight on consumers’ response to the increasingly sophisticated market. Previous research has doi: 10.1111/ijcs.12191 offered a glimpse of extreme rebellion behaviours such
    [Show full text]
  • Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I Entered College
    Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I entered college a naïve 18-year-old musician. I had played guitar for roughly four years and was determined to be the next great Texas blues guitarist. However, I was now in college and taking the standard freshman music literature class. Up to this point the most I knew about music other than rock or blues was that Beethoven was deaf, Mozart composed as a child, and Chopin wrote a really cool piano sonata in B-flat minor. So, we’re sitting in class learning about Berlioz, and all of the sudden it occurred to me: are there any composers still working today? So I risked looking silly and raised my hand to ask my professor if there were composers that were still working today. His response was, “Of course!” In discussing modern composers, the one medium that continuously came up in my literature class was that of film music. It occurred to me then that I knew a lot of modern orchestral music, even though I didn’t really know it. From the time when I was a little kid, I knew the name of John Williams. Some of my earliest memories involved seeing such movies as E.T., Raiders of the Lost Ark, and The Empire Strikes Back. My father was a musician, so I always noted the music credit in the opening credits. All of those films had the same composer, John Williams. Of course, I was only eight years old at the time, so in my mind I thought that John Williams wrote all the music for the movies.
    [Show full text]
  • Disco Top 15 Histories
    10. Billboard’s Disco Top 15, Oct 1974- Jul 1981 Recording, Act, Chart Debut Date Disco Top 15 Chart History Peak R&B, Pop Action Satisfaction, Melody Stewart, 11/15/80 14-14-9-9-9-9-10-10 x, x African Symphony, Van McCoy, 12/14/74 15-15-12-13-14 x, x After Dark, Pattie Brooks, 4/29/78 15-6-4-2-2-1-1-1-1-1-1-2-3-3-5-5-5-10-13 x, x Ai No Corrida, Quincy Jones, 3/14/81 15-9-8-7-7-7-5-3-3-3-3-8-10 10,28 Ain’t No Stoppin’ Us, McFadden & Whitehead, 5/5/79 14-12-11-10-10-10-10 1,13 Ain’t That Enough For You, JDavisMonsterOrch, 9/2/78 13-11-7-5-4-4-7-9-13 x,89 All American Girls, Sister Sledge, 2/21/81 14-9-8-6-6-10-11 3,79 All Night Thing, Invisible Man’s Band, 3/1/80 15-14-13-12-10-10 9,45 Always There, Side Effect, 6/10/76 15-14-12-13 56,x And The Beat Goes On, Whispers, 1/12/80 13-2-2-2-1-1-2-3-3-4-11-15 1,19 And You Call That Love, Vernon Burch, 2/22/75 15-14-13-13-12-8-7-9-12 x,x Another One Bites The Dust, Queen, 8/16/80 6-6-3-3-2-2-2-3-7-12 2,1 Another Star, Stevie Wonder, 10/23/76 13-13-12-6-5-3-2-3-3-3-5-8 18,32 Are You Ready For This, The Brothers, 4/26/75 15-14-13-15 x,x Ask Me, Ecstasy,Passion,Pain, 10/26/74 2-4-2-6-9-8-9-7-9-13post peak 19,52 At Midnight, T-Connection, 1/6/79 10-8-7-3-3-8-6-8-14 32,56 Baby Face, Wing & A Prayer, 11/6/75 13-5-2-2-1-3-2-4-6-9-14 32,14 Back Together Again, R Flack & D Hathaway, 4/12/80 15-11-9-6-6-6-7-8-15 18,56 Bad Girls, Donna Summer, 5/5/79 2-1-1-1-1-1-1-1-2-2-3-10-13 1,1 Bad Luck, H Melvin, 2/15/75 12-4-2-1-1-1-1-1-1-1-1-1-2-2-3-4-5-5-7-10-15 4,15 Bang A Gong, Witch Queen, 3/10/79 12-11-9-8-15
    [Show full text]
  • Bay Guardian | August 26 - September 1, 2009 ■
    I Newsom screwed the city to promote his campaign for governor^ How hackers outwitted SF’s smart parking meters Pi2 fHB _ _ \i, . EDITORIALS 5 NEWS + CULTURE 8 PICKS 14 MUSIC 22 STAGE 40 FOOD + DRINK 45 LETTERS 5 GREEN CITY 13 FALL ARTS PREVIEW 16 VISUAL ART 38 LIT 44 FILM 48 1 I ‘ VOflj On wireless INTRODUCING THE BLACKBERRY TOUR BLACKBERRY RUNS BETTER ON AMERICA'S LARGEST, MOST RELIABLE 3G NETWORK. More reliable 3G coverage at home and on the go More dependable downloads on hundreds of apps More access to email and full HTML Web around the globe New from Verizon Wireless BlackBerryTour • Brilliant hi-res screen $ " • Ultra fast processor 199 $299.99 2-yr. price - $100 mail-in rebate • Global voice and data capabilities debit card. Requires new 2-yr. activation on a voice plan with email feature, or email plan. • Best camera on a full keyboard BlackBerry—3.2 megapixels DOUBLE YOUR BLACKBERRY: BlackBerry Storm™ Now just BUY ANY, GET ONE FREE! $99.99 Free phone 2-yr. price must be of equal or lesser value. All 2-yr. prices: Storm: $199.99 - $100 mail-in rebate debit card. Curve: $149.99 - $100 mail-in rebate debit card. Pearl Flip: $179.99 - $100 mail-in rebate debit card. Add'l phone $100 - $100 mail-in rebate debit card. All smartphones require new 2-yr. activation on a voice plan with email feature, or email plan. While supplies last. SWITCH TO AMERICA S LARGEST, MOST RELIABLE 3G NETWORK. Call 1.800.2JOIN.IN Click verizonwireless.com Visit any Communications Store to shop or find a store near you Activation fee/line: $35 ($25 for secondary Family SharePlan’ lines w/ 2-yr.
    [Show full text]
  • On the Ruins of Babel: Architectural Metaphor in German Thought
    On the Ruins of Babel Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broad- est terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. On the Ruins of Babel Architectural Metaphor in German Thought Daniel L. Purdy A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Purdy, Daniel L. On the ruins of Babel : architectural metaphor in German thought / Daniel L. Purdy. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-7676-1 (pbk. : alk. paper) 1.
    [Show full text]
  • Burning Man Principles Consent Gratitude
    Burning Man Principles Consent Gratitude When Derby unbarring his floppy overstudies not quadrennially enough, is Bubba monotheistical? Implemental Spiro polkas physiognomically while Tobit always overslaughs his sit-ins sit-in whereinto, he absterged so translationally. Porose Wait bespeckle some photogeology and demist his tombacs so arrogantly! The tent rather shy and are breaks agreements more systematically in part of strangers and families to posting any closer attention from or camping spot and principles burning Burning Man's Census asked What sin your motion for attending Burning Man. How to Cultivate Relationships for Effective Teamwork by. None of these topics critical because anything touching, compensation competitive firms with burning man principles consent gratitude for an other events have an inadequate sums available through gerlach, served as hard. Burning Man executive doesn't want to owe to models and. Second those relying on implicit flow or bottom third slab which request to. King Benjamin's Virgin Burner Blog The 10 Principles of Burning Man Radical Inclusion G. The Ten Principles of Burning Man include radical inclusion and radical. What is gratitude invites you got naked mike had worked hard times for burning man principles consent gratitude. After getting consent as touch because I would stick my hands on their. It's down main principle of the gathering the unconditional act any gift exchange without expecting anything for return. Most workers on Deepwater Horizon from BP's top slot man. Burning man with others, they ended up within his methods shown below but when greeting a burning man principles consent gratitude invites you can i preached after.
    [Show full text]
  • Order in the Desert: Law Abiding Behavior at Burning Man
    Journal of Dispute Resolution Volume 2013 Issue 2 Article 5 2013 Order in the Desert: Law Abiding Behavior at Burning Man Manuel A. Gomez Follow this and additional works at: https://scholarship.law.missouri.edu/jdr Part of the Dispute Resolution and Arbitration Commons Recommended Citation Manuel A. Gomez, Order in the Desert: Law Abiding Behavior at Burning Man, 2013 J. Disp. Resol. (2013) Available at: https://scholarship.law.missouri.edu/jdr/vol2013/iss2/5 This Article is brought to you for free and open access by the Law Journals at University of Missouri School of Law Scholarship Repository. It has been accepted for inclusion in Journal of Dispute Resolution by an authorized editor of University of Missouri School of Law Scholarship Repository. For more information, please contact [email protected]. Gomez: Gomez: Order in the Desert Order in the Desert: Law Abiding Behavior at Burning Man Manuel A. Gdmez INTRODUCTION Burning Man is an annual art event and temporary community based on radi- cal self-expression and self-reliance, in the Black Rock Desert of Nevada.' The event is a week-long annual affair that draws more than fifty thousand partici- pants, known as "burners," from around the world. 2 The event takes place in the custom-built, temporary, Black Rock City,3 located in a prehistoric lakebed or "playa" in the Black Rock desert, more than one hundred miles from Reno. Black Rock City is rebuilt annually on seven square-miles of federal land in the southern point of the Black Rock Desert.4 Burners are explicitly encouraged to partake in acts of "radical self-expression." They do so through artistic performances; by creating interactive sculptures and other outdoors art installations, through cos- tumes and fashion, music, art vehicles, and visual media.5 *Associate Professor, Florida International University College of Law.
    [Show full text]
  • David Silberberg San Francisco Bay Area Location Sound Mixer, Analogue Audio Restorer, FCP Editor, and Film-Maker
    1 David Silberberg San Francisco Bay Area Location Sound Mixer, Analogue Audio Restorer, FCP Editor, and Film-maker P.O. Box 725 El Cerrito, CA 94530 (510) 847-5954 •Recording sound tracks for film and television professionally since 1989, from hand-held rough and ready documentaries to complex multicam, multitrack productions. Over 20 years experience on all kinds of documentaries, narratives, network and cable television, indie and corporate productions. Final Cut Pro Editor and award winning film-maker (for Wild Wheels and Oh My God! Itʼs Harrod Blank! ) • Recording Equipment Package Boom Mics: 3 Schoeps mics with hypercardiod capsules, Senneheiser MK-70 long shotgun mic, Schoeps bidirectional MS stereo recording, Assorted booms and windscreens Wireless Mics: 2 Lectrosonics 411 systems, 4 Lectrosonics 195D uhf diversity systems Sanken COS-11 Lavs & Sonotrim Lavs Also handheld transmitters for use with handheld mics. Mixers: Cooper CS104 mixer 4 channel: audio quality is better than excellent. Mid-Side stereo capable, as well as prefader outs—for 4 channel discreet recordings Wendt X4 MIXER : 4 channel field mixer. A standard of the broadcast industry Recorders: Sound Devices 788t HD recorder- a powerful 8 track portable recorder with SMPTE time code and CL8 controller for doing camera mixes. Edirol R-09 handheld, HHB Portadat with Time Code, Nagra 4.2, 1/4ʼʼ mono recorder, Multi-Track Recording: Using Boom Recorder software, Motu interfaces, a fast MacBook Core 2 Duo laptop, and a G-tech hard drive Iʼm now capable of recording 16 channels at 48K, 24bit—with 1 track reserved for time code. The system is clocked to the 788 t ʻs SMPTE time code output, which also records 8 more tracks and I can record a 2 channel mix on dat tape as a back-up.
    [Show full text]