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Burning Man has engaged more than a million people over four decades through Black Rock City, Regional Events, public art, community projects, volunteerism, civic initiatives, and countless participant-led acts of creativity around the world. And every year, tens of thousands of participants make the journey to Black Rock City, the beating heart of this year-round global culture.

Some arrive in the desert for the first time, curious about what they’ve heard or hoping to experience something different. Many more return year after year.

But what is it exactly about this ephemeral quest that keeps participants coming back to the Nevada desert for a week around Labor Day?

Here’s a hint: They come back because of the relationships they build, the opportunities they create, and the experience of contributing to something larger than themselves.

Since 2002, the Black Rock City Census has been a collaborative research project aimed at understanding who participates in BRC and how the community changes year over year. This report is just a snapshot of the people at the event itself, not a demographic profile of the broader movement — for that bigger picture, check out Burning Man Project’s Dispatch report.

As we all gear up for another journey in just a few short weeks, keep reading for more on what it is about this off-grid experience that draws folks from around the world every year, some other interesting highlights that shed light on what makes Black Rock City so unique, and finally, a few ways you can plug in and start your own adventure.

Census volunteers preparing to go on a nighttime data collection shift at 4 AM (Photo by Maher Abdel-Sattar, aka Random)A Sense of BelongingWhen participants were asked why they return to Black Rock City, the answers paint a clear picture. People return because they discover friendships, creative collaboration, shared responsibility, and a sense of belonging that is difficult to find elsewhere.

More than 85% cited being with friends, like-minded people, and the sense of belonging they experience. More than 84% return to experience the art, while nearly 79% come back for play, exploration, and the freedom to express themselves. Volunteerism, gifting, and shared responsibility also ranked among the strongest reasons participants choose to return.

Taken together, these findings reinforce something many participants already know. Black Rock City isn’t simply a place people attend. It’s a place they help create. The connections built through shared effort become one of the strongest reasons people find themselves planning their next trip (or camp, or art piece) before they’ve even left the playa, or even dreaming up a way to bring the Burning Man ethos back to their home communities.

Read the full Black Rock City Census 2025 Population Report

Every Year, a New Generation Finds Its PlaceNearly 28% of participants were experiencing Black Rock City for the first time in 2025. That’s right — nearly 3 out of 10 BRC citizens are new every time! This steady influx of newcomers is one of the ways the culture continues to evolve, bringing fresh ideas, new energy, and future community leaders into Burning Man via Black Rock City.

Burning Man is built through participation, and people who connect early to projects, camps, volunteering for Gate shifts or other teams, and creative communities are more likely to develop the relationships, confidence, and sense of belonging that turn a first Burn into a lifelong connection with the culture.

It’s easier than ever to figure out how to get involved and help make Black Rock City happen. Whether you’re preparing for your first trip to Black Rock City in 2026 or looking for a new way to deepen your participation, here are a few places to begin:

• Take the Volunteer Matching Quiz to find the Black Rock City team that best matches your interests, experience, and skills. Want to join the Census team? Visit our Volunteer page!
• Support a Black Rock City art project by joining one of the many artists and installations looking for volunteers and collaborators.
• Build your own camp or find one seeking members.
• Connect with Rising Sparks, a grassroots collective helping ignite the next generation of Burning Man participants, creators, and leaders.

Volunteers atop the Data Beast, the primary Census volunteer transportation vehicle (Photo by Tammie Bissa King, aka Cinnamon)A Community That Continues to Grow & ChangeThe 2025 Census also tells us the story of a community becoming more geographically and generationally diverse. 2025 participants represented more than 110 countries, while both the youngest and oldest age groups reached their highest levels in more than a decade. While English remains the most common first language (75.6%), participants also came to BRC speaking Spanish (5.7%), German (2.9%), French (2.5%), Russian (2.4%), and dozens of others — reflecting the depth of Burning Man’s growing diversity.

The culture continues to grow through new participants while remaining deeply connected to those who have helped build it over many years. That combination of continuity and renewal is one of Black Rock City’s greatest strengths – experienced participants pass along knowledge, traditions, and culture, while first-time participants bring new perspectives that continue shaping what Black Rock City becomes.

And just for fun…did you know that almost half of BRC attendees have pets at home, and of those, 63.5% are dog owners and 48.5% are cat owners?

Come to Your Census!For more than two decades, the Census has helped document the evolution of Black Rock City and the people who build it together each year. The 2025 Census effort was powered by over 190 volunteers who completed 556 shifts to collect data from randomly selected participants at entry points, including the main Gate, BRC Airport, and Burner Express Buses — a massive volunteer effort that makes statistically robust population estimates for Black Rock City year after year.

“Thank you to every single one of our amazing volunteers for helping us make this happen, including our lead scientists Aaron Shev (Murrs) and Dominic Beaulieu-Prévost (Hunter)! We also want to thank the 5,286 participants who completed the Census online survey and gifted us their data in 2025”, Maher Abdel-Sattar (Random), Census Manager said. “None of this would be possible without them.”

As a volunteer-run project, the Census team is always in need of support! If you are interested in volunteering with the Census, check out the Census page for more information.

If you are planning on being a citizen of Black Rock City in 2026, please remember to gift the Census team your data by completing our online survey! The Census online survey will go live as soon as the Man burns on Saturday, September 5, 2026 at census.burningman.org.

As a volunteer-run project, the Census team is always in need of support! If you are interested in volunteering with the Census, check out the Census page for more information.

If you are planning on being a citizen of Black Rock City in 2026, please remember to gift the Census team your data by completing our online survey! The Census online survey will go live as soon as the Man burns on Saturday, September 5, 2026 at census.burningman.org.

Census volunteers gathering at the Census Sampling Point before starting data collection at Gate Road (Photo by Maher Abdel-Sattar, aka Random)

Cover image: Playa Weenies serving hot dogs in 2025 (Photo by Mark Nixon)

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TL;DR: Leave the e-motorcycles, fat-tire scooters, and seated electric scooters at home; they are strictly disallowed in Black Rock City. If you attempt to bring a disallowed vehicle through the Gate, it will be turned away. Any disallowed vehicle caught operating inside the city will be promptly ejected. Before you pack your ride, double-check the official vehicle rules webpage to make sure it’s actually allowed. Don’t buy into those flashy social media ads or “camp delivery” scams claiming a vehicle is “perfect for Burning Man.” Those companies are trying to profit off Burning Man and sell you gear you can’t even use.

Pack all the things! Naturally you’re excited to get out into the dust, to unplug and then connect in so many unique and meaningful ways. A vast playground awaits, one where you can roll up your sleeves, find your humans, and find joy and purpose through participatory creativity.

But wait! Before you figure out your trusty playa bike, please do read this important message from your friendly Black Rock City Department of Mutant Vehicles (DMV). It could mean the difference between blissfully enjoying your bike or e-bike all week, or wandering the city on foot because your vehicle was turned away when you arrived at the Gate.

Fish bikes with pedals = heck yes! (Photo by Gurps Chawla)BRC has always been — and will always be — primarily a pedestrian and bicycle city. Its streets are designed for walking, pedaling, and catching a serendipitous ride on a mutant vehicle.

Over the past few years, the DMV and event operations have encountered a growing problem with participants bringing disallowed Personal Transportation Vehicles (PTVs) — particularly seated electric scooters, fat-tire scooters, and e-motorcycles — to the playa.

Burning Man is Not a ShowroomThis problem is being fueled by certain scooter and e-motorcycle manufacturers and vendors using social media to aggressively advertise their products as “perfect for Burning Man.” Not only do these promotions blatantly conflict with Decommodification (don’t use the culture to sell your stuff!), they also spread false information. Just because a targeted ad implies a vehicle belongs on the playa doesn’t mean it actually is allowed in Black Rock City.

To make matters worse, some of these companies are offering “concierge” services to deliver unpermitted vehicles directly to theme camps in Black Rock City. Let’s be crystal clear: Black Rock City is a decommodified space, not a commercial fulfillment zone. Third-party businesses setting up delivery operations inside the city undermines the spirit of the community. They’re also in violation of federal regulations; in other words, what they’re doing is illegal.

When businesses use Burning Man imagery or promise “turnkey” playa transportation, they are exploiting the culture for profit. Worse, they leave you holding the bag (and a very expensive receipt) when the Gate turns your new ride away. Please do not support vendors that are trying to commodify the dust, and don’t get scammed into buying or renting gear that isn’t allowed in the city.

An e-bike with pedals is permitted. Angels too. (Photo by Scott London)So, What Is Allowed?Human-powered bikes, Class 1 and Class 2 e-bikes, Onewheels, hoverboards, and true stand-up scooters (meaning strictly NO SEAT, a motor under 800 watts, wheels 10″ or smaller, and weighing under 40 lbs)

What is Absolutely Not Allowed?Larger stand-up scooters, fat-tire scooters, seated scooters, gas-powered bicycles, ATVs, mopeds, and e-motorcycles, in fact, any bike with no pedals (except as a pre-registered Accessibility Vehicle).

If you are found trying to bring a disallowed vehicle into Black Rock City, the Gate will not allow the vehicle into the event. Your options will be to either: take the vehicle off playa, or to leave it in the unsecured D-lot just outside the event while you’re in Black Rock City. If a disallowed PTV is found being driven inside the city, the vehicle (and potentially the driver) will be ejected from the event.

Why Slower Is BetterWhy does the DMV and Law Enforcement heavily restrict driving and strictly enforce a 5 mph speed limit everywhere in BRC? Because slower is safer… and better. In recent years, Emergency Medical Services have dealt with a growing number of injuries caused by e-bikes traveling faster than 5 mph. Participants are sustaining serious injuries, all because a cyclist decided to ride at an unsafe speed.

Immediacy is often better served by taking it slow. If you go too fast, you miss many of Black Rock City’s hidden wonders: the whimsical treasures of the backstreets, understated art, spontaneous new friendships, and things too small to see when going fast.

Disco heart pedal bike = yes <3 (Photo by Vanessa Franking)Please leave the disallowed scooters and e-motorcycles at home. Embrace the pedal, appreciate the stroll, and remember to stop, get off, and explore. Slowing down isn’t only about safety; it’s about cultivating the very magic that makes Black Rock City so special. Let’s enjoy Black Rock City at the speed of connection.

For a comprehensive list of exactly what you can and cannot bring, please study the vehicle rules webpage before you pack.

Now get back to your Black Rock City planning and dreaming, whatever that means for you. The magic won’t find you on a speeding e-bike, but it will make its presence known when you embrace the levity and Immediacy of unanticipated moments, challenges, and spontaneous encounters.

Cover image: Photo by Espressobuzz

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Maybe you’ve never been to Black Rock City, but you’ve heard the wild stories and seen some intensely awe-inspiring images: giant exploding ships spewing fire, epic thousand-person sunrises, and hundreds of people singing Queen in unison next to a five-story spider. Or maybe you went once, saw all those things, and came back thinking, “That was amazing, but how do I actually DO all of that?”

It is incredibly common to look at media of Black Rock City — the massive art installations, the glowing mutant vehicles, the sprawling theme camps — and feel overwhelmed. It can feel like looking at a beautifully chaotic dance, one where you have no idea how to take the first step, let alone embrace the rhythm and move into the flow. There are many ways to make that first move that can bring infinite rewards and connections!

Yes, creating a gift, a tiny work of art, or happening may take you out of your comfort zone, but this is where the magic happens. Creating something real, person to person, will challenge you to try new things, and maybe it’s something you’ve always wanted to experience. In an era of digital disconnection, this effort can open endless connective possibilities.

Jeremy and Ceren play cello on the open playa (Photo by Juan P. Zapata)

Here’s a pro-tip: Burning Man is as much about the small and bespoke as it is about the big and grandiose.

Burning Man is made of many, many things, most of which are small, not big or shiny, and not that difficult to do. At Burning Man, whether in Black Rock City, or at one of nearly 100 Regional Events around the world, everyone is a contributor in their own right, bringing something unique to the table. Some people like to build the hive — the structures, the camps, the infrastructure. Other people bring the honey — the experiences, the interactions, the weird little ideas. Whether you are a hive-builder or a honey-bringer, you are essential.

Calligraphy in Center Camp (Photo by Bill Klemens)You Don’t Have to Build Something that Can Be Seen from SpaceThe best participation is often beautifully small and delightfully simple. Most of the “playa magic” moments are at the human scale, created in one-on-one interactions, through little gestures, and in intimate spaces. Grand projects may make for the most stunning photographs, but stitched together, the little moments exemplify Burning Man culture, especially the principles of Radical Self-expression, Radical Inclusion, and Gifting.

• It’s the person who wanders by just as your energy is crashing and gifts you the exact piece of fruit or candy you were craving.
• It’s a stranger playing the violin in the deep playa at sunset, or spoken word poetry around a burn barrel creating a soundtrack for a moment you’ll never forget.
• It’s someone with a spare toothbrush or sunglasses that you didn’t pack the night before, and forgetting that the sun does eventually rise.
• It’s a new friend holding space for you, sitting and listening to a hard moment you haven’t been able to process.
• It’s a herd of humans dressed as bunnies being chased by humans dressed as animal catchers with nets, and the sheer silliness of it all.

All these moments exist because someone came up with an idea about how to delight or help with the resources or skills they had, and maybe even tried something new they’ve always wanted to experiment with. Providing these gifts mainly requires some intention about how to show up in spectacular ways without needing to build a spectacle. Something incredible is already in you.

“Tell Me Yours I will Tell You Mine” by Emma Shield (Photo by Manuel B Pinto)So Where Does One Begin?Burning Man’s gift economy isn’t about buying things to hand out; it’s about offering your time, energy, presence, or utility to make someone else’s day a little brighter.
Think of it as a big potluck for experiences and connections. Some folks bring appetizers, some prefer to bring desserts, others want to bring mains. It’s really about what you want to do or try. Here are a few easy pathways to jump in:

1. The interpersonal gift: Start small. Your participation can simply be your presence. Bring a quirky game to play with strangers, give out honest compliments, or hand out lip balm on a hot afternoon.
2. Try a wacky idea: Have an idea for a tiny art piece? Want to decorate your bike to look like a deep-sea anglerfish? Do it. BRC is the safest place on Earth to try an experiment that might fail. The home-made and janky are loved just as much as the polished.
3. Make it a game: Take an ordinary activity and put a spin on it. If you find yourself standing in line, have a funky chicken dance contest or turn to a neighbor to share a bad joke. The antidote to something transactional is to make the process fun by adding your own personal shtick.
4. Be helpful: Keep a small toolkit handy to help people fix broken bike chains or flat tires on the road. Dedicate time to picking up MOOP (Matter Out Of Place) in deep playa or public gathering spaces. An artist putting the finishing touches on their art might need an extra hand.
5. Micro-interactivity: See an empty dome or lounge space? Hop on in and activate it (after receiving consent and agreement from the camp, of course). Teach a five-minute lesson on juggling, knot-tying, or origami in the shade of a camp.

(Photo by Philippe Glade)The Rewards of Rolling Up Your SleevesWhen you step past the overwhelming feeling of “why?” and start asking “why not?” the magic really begins. What do you actually get out of participating?

• Real Human Connection: In an increasingly digital-first world, this is a chance to use your hands, make things in the physical world, and interact genuinely with real people.
• Building Community: Creating something together is a fast track to deepening relationships and finding your people. Camps, teams, and art crews are actively looking for fresh energy and new friends to welcome into the fold.
• Personal Growth: The creative process is just as rewarding as the final product. You build incredible practical skills, and you just might change your own life — or someone else’s — in the process.

Better with Butter camp supports ultramarathon runners (Photo by Debbie Wolff)Participate through Existing PathsWhether you’re a seasoned Burner or a curious newcomer, the Summer 2026 Participation Fair on Saturday, July 25 (11am PT / 2pm ET / 8pm CET) is your ultimate gateway to co-creating Black Rock City culture. Join the online fair to learn about connecting with theme camps, art projects, mutant vehicle crews, and teams such as Gate, Greeters, and Burners Without Borders. Discover exactly how to contribute your unique gifts on the playa and year-round in your local community. If you’re in the San Francisco area, you can also join the Open House happening at Burning Man Headquarters from 2-4pm PT on the same day.

If you can’t make it to the fair, there are many existing groups and efforts you can plug into:

1. Sign up for a shift with a Burning Man department: There are dozens of Burning Man departments and crews looking for someone with YOUR skills and experience. Fill out the Volunteer Matching Quiz to find the perfect team for your skills and interests. To join a team, fill out the Volunteer Questionnaire in your Burner Profile and select the departments that interest you.
2. Join a theme camp: Many camps host open meet-and-greets to welcome new people. They will gladly show you the ropes and teach you how to survive and thrive in the dust. Read the Camping Quick Guide for a list of camps seeking campers. You can also browse the 2026 Camp Listings to find camps that match your interest; listings indicate which camps are accepting new campers this year.
3. Join an art build crew: Building art is another great way to contribute. Check out the 2026 Art Listings to see which art projects are seeking support.
4. Join the Rising Sparks: This grassroots collective of passionate individuals is igniting the next generation of creative beings by stewarding an accessible, culturally diverse, and evolving Burning Man. Contact the Rising Sparks at therisingsparks@burningman.org and follow them on Instagram @therisingsparks.

By nature, humans are makers, doers, and creators; Burning Man has an amazing way of igniting these aspects of ourselves. So jump in — there’s a space in the dust for you! When you participate in Burning Man, every challenge brings connective moments, catalyzing new friendships and possibilities. So roll up your sleeves, put your thinking and dreaming caps on, and remember, it doesn’t require a whole lot to make something amazing. Sometimes it’s the littlest gestures and moments that matter the most!

Cover image: Gifting tea at the Temple (Photo by Espressobuzz)

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Were you in Black Rock City over the last few years? Did you think it was… quieter? Was there less humming and rumbling as you walked through camps and encountered art on playa? You’d be right! It’s quieter out there and the air is cleaner too, thanks to fewer generators and the addition of solar panels in every city sector.

This didn’t happen by accident. Whether you’ve been following Burning Man’s journey to a more sustainable and regenerative Black Rock City for the last six years or you’re just learning about it now, we’ve got exciting news and progress to share… plus some ways YOU can level up your participation and get involved.

Volunteers from BLAST document Camp Bao Chika Wow Wow’s solar powered electric mutant vehicle charger, 2024 (Photo by Jim Eagan)We’re Seeing Real Impacts of Our Collective WorkBurning Man, in Black Rock City and around the world, is recognized as a crucible for collaborative innovation. With every year, more Regional Events, artists, camps, and mutant vehicle crews switch to renewable power sources and devise increasingly creative, efficient ways to illuminate their gifts on playa. And year over year, Black Rock City operations — the crews that build and operate the city — are implementing more technology and practices that result in powerful and exciting outcomes.

In Black Rock City 2025, the majority of placed camps had solar panels (59%) and many completely ditched generators (19%). Most of the art installations used solar (63%) and there were a surprising number of electric mutant vehicles (27%). This is incredible news… and there’s more!

Also in 2025, Burning Man Project’s operations reduced fossil fuel emissions by 48% against a business-as-usual fossil emissions baseline in Black Rock City. Across Black Rock City as a whole, fossil emissions were at least 25% lower than they would have been without solar, batteries, and renewable fuels.

Background Image: Steely T Mutant Vehicle, 2019 (Photo by Jamen Percy)Let’s break that down.
Weather, population, and operational needs have a significant impact on emissions, often making year-over-year comparisons challenging. Burning Man Project’s Regeneration department compared actual fossil emissions to a business-as-usual baseline of what emissions would have been without investments in sustainability initiatives.

The team also completed a comprehensive 2025 BRC Greenhouse Gas Emissions Inventory. Together, these tools measure the emissions produced, the emissions avoided or displaced, and the progress towards our collective goal.

The primary contributor to Black Rock City’s footprint comes from the sheer energy required to run a 70,000-person event; generators and gas appliances accounted for 59% of total emissions in 2025. For years, the constant hum and exhaust of diesel generators have been an accepted reality of the playa. But things are changing fast.

DPW Depot solar grid, 2025 (Photo by Guillermo ‘Memo’ Perez)In 2025, Black Rock City’s Power team, Solar team, and its collaborators deployed more than 16 megawatt-hours (MWh) of battery capacity across its power grids and community service camps. Fifteen of the 41 infrastructure grids were solar powered, and most of Burning Man Project’s generator grids were interconnected with batteries.

Instead of running generators 24/7, the batteries supply silent, continuous power, and the generators only kick on to charge the battery banks. This single intervention resulted in a staggering 59% reduction in average generator run-time, saving more than 24,000 gallons of diesel fuel for Burning Man Project’s power grids.

Batteries inline with generators, 2025 (Photo by Sean Kathleen ‘Hotspot’ Curran)When the generators did need to run, they were fueled differently. Cue renewable fuels. These are certified fuels that come from renewable biomass (think plant and animal waste). Burning Man Project piloted and expanded the use of renewable fuels, successfully replacing 40% of its fossil diesel consumption with renewable diesel.

Aside from renewable diesel, 100% of the propane distributed via the BRC Fuel Program and for Burning Man Project’s operations was renewable propane! In total, more than 68,000 gallons of fossil fuels were displaced by renewable fuels across the city.

It is important to note that the processing and transportation of renewable fuels does involve fossil fuels, and these emissions were not included in this analysis. However, making this switch has resulted in a dramatic decrease in our overall carbon intensity and represents a significant step forward in achieving a net-zero city.

More broadly, Burning Man Project encourages legitimate carbon dioxide removal rather than just buying offset credits. A significant number of camps, mutant vehicles and art projects have participated in these programs. The Communal Effort over the past six years, and the resulting data, prove it’s entirely possible to decrease Black Rock City’s carbon impact while still building the vibrant, awe-inspiring city we love. Let’s keep building it better, together!

Burning Man Project’s Solar crew installs the Lean-to solar array to power Black Rock City’s Gate operations, 2023 (Photo by Matthew ‘Starchild’ Deluge)What’s Next and How You Can Get InvolvedTransitions like these occur because people like YOU come together to imagine, experiment, and innovate together. Participants’ collective learnings extend to Regional Events, and are applied to renewably power creative, technological, and humanitarian projects well beyond Burning Man. You do not need to be an expert; you simply need to have the inspiration and curiosity to try new things, find others and get involved.

If you’re headed to Black Rock City this year, here are some impactful ways your camp or project can participate:

Opt for Renewable Fuels: Registrants in the BRC Fuel Program can source renewable fuels for your camp. If you’re coming from California, renewable diesel is commercially available at gas stations.

Charge Renewably: If you operate an electric mutant vehicle or e-bike, plan to charge it on 100% renewable energy on the playa at Solar Station. Bring your own charger to ensure compatibility or email hello@solarpunks.club for more information.

Get Free Solar Panels and Support: The Renewables for Artists Team (RAT) is actively offering on-playa support and mentorship to power art installations, camp projects, and mutant vehicles renewably. They’ve partnered with Burning Man Project to provide free solar panels for pick up in Black Rock City.

Plan Greener Infrastructure: Consult the Green Theme Camp Community’s Green Resource Guide for best practices on building more sustainable and regenerative camp infrastructure.

Track Fuel Consumption: Fill out the emissions survey to contribute to the emissions inventory project. This survey is emailed to camp and sustainability leads of placed camps post-event.

Donate: Financial contributions directly help scale these crucial renewable energy and battery initiatives across Black Rock City. Email giving@burningman.org to learn more, or head to donate.burningman.org.

As always, we welcome your thoughts and your creativity. If you want to contact us, send an email to sustainability@burningman.org.

Cover image: SOLAR STATION, Black Rock City’s largest power grid deployed by Camp SOLARPUNKS (Photo Credit: SOLARPUNKS, 2025)

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Put your phone down, let’s get real. Human beings feel good when we connect and build things together. Now is your opportunity to be part of something that exists nowhere else on Earth. Around the world, creative beings are coming together to create a phantasmagorical, ephemeral desert city — Black Rock City 2026 Axis Mundi. Come by yourself, or gather your crew and dive into creating experiences that provide relief from an over-optimized world of digital distractions.

Burning Man is not a spectator sport; it requires real grit and imagination. Black Rock City takes you out of your comfort zone and the rewards are beyond what you’d expect. Are you ready to get your hands dirty, cultivate an empowering sense of community and meaning… and (at least try to) stay off of technology for a week? Of course you are.

Just weeks from now, Black Rock City 2026 will rise from the dust — August 30 to September 7. Don’t miss the OMG Sale, the final ticket sale for this year’s event! Tickets go on sale Wednesday, July 29 at 12pm PT, with registration beginning July 20. Visit the ticketing page for details.

Here’s what you need to know about the OMG Sale:

• Open to everyone!
• Sale starts July 29 at 12pm PT / 3pm ET / 9pm CET
• Ends: when the allotment is gone
• Prices: $250 (by Ticket Aid application), $550, $675, $775, $975, $1,500, $3,000 + taxes & fees
• Vehicle passes: $165 each
• Maximum 2 tickets + 1 vehicle pass per purchase

Ticket options encourage you to pay what you can contribute to support art grants, community programs, and Ticket Aid and Resilience programs:

• Pay Your Way: $775 covers the cost to produce Black Rock City for one participant
• Give the Gift: $975, $1,500 & $3,000 pay your way, support art grants, BRC operations and lower-priced tickets
• Get the Gift: limited $675 and $550 tickets available
• Ticket Aid tickets are still available for $250 + taxes and fees (by application only)
• Learn more on the Black Rock City 2026 ticket page

Did you know, the top reason why people return to Black Rock City again and again is because they connect with friends and feel a sense of belonging? When humans participate in Burning Man, they prioritize connection over convenience, forging a more challenging but deeply rewarding path.

Black Rock City 2025 (Photo by Jamen Percy)If you’re new to Burning Man — welcome! You’re embarking on a grand adventure in participatory creativity. Save the date for the 2026 Summer Participation Fair on Saturday, July 25. Join this online event to learn about Black Rock City and find out how YOU can get involved.

Get started on your own by reading the important participant 2026 Survival Guide and the Playa Primer, a shortlist of must-have links. And connect with the Rising Sparks, a grassroots collective igniting the next generation of artists, creators, and leaders.

Not sure where you’re camping yet? Want to sync up with other Burners before you go to the desert? Browse this list of camps seeking campers. Getting involved is the most fulfilling, connective way to experience Burning Man. Whether helping an art crew, supporting a camp, or joining one of the teams that builds and operates the city, there are endless opportunities to help make the rocket go.

If this is your second, your fifth, or twentieth Burn, you understand how the challenge of co-creating a dusty metropolis makes this shared experience so meaningful. However you participate, thank you for all the ways you bring Burning Man to life. Maybe this is your year to explore a new project or contribute your time to a crew? There’s still time to plug in and get involved.

Feel the magic in this trailer for The Man Will Burn. Independently produced by Burners, The Man Will Burn is a new, breathtaking documentary series about Burning Man. Filmed over six years, the in-depth story offers a riveting glimpse behind the scenes into the history and impact of Black Rock City and this global cultural movement. Plan your watch parties! Episodes air on HBO Max every Thursday starting this week, July 9. Filmmakers have been making documentaries about Black Rock City since the early days; be sure to check out these other documentaries about Burning Man.

Black Rock City 2026 Axis Mundi is coming to life in backyards, spreadsheets, art spaces, and imaginations around the world. Now is the time to ignite your bold ideas and invite your favorite humans into the empowering experience of building YOUR city. See you there.

Cover photo by Espressobuzz

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Forty years ago on the solstice, the first Burning Man event took place in San Francisco. Only a handful of people alive today remember that evening on Baker Beach, and I’m pretty sure none of them imagined at the time they were starting a cultural movement, or had any idea of how far and wide it would travel. To all appearances it was just a picnic on the beach with Larry Harvey, featuring an arty beach bonfire.

Larry Harvey and friends on Baker Beach, 1989 (Photo by Stewart Harvey)This was our founding moment: not the birthday of our founder, but of his creation. Not 1990, when the outlines of Black Rock City were first sketched in the dust, or 2011, when the nonprofit was launched, but the day of the very first Burn in 1986. And while it’s folly to anthropomorphize a stack of wood, a birthday is after all a birthday, and for our lumbering Man-child it has the extra specialness of being a birthday that ends in a zero. The Big Four-Oh, known in anniversary-speak as the Ruby Jubilee.

Happy Ruby Jubilee, Burning Man! You’re looking good for a quadragenarian!

For a human, turning 40 is the fulcrum of midlife, the crest of the proverbial hill. It’s a time for looking back, but also for taking stock of where you are, and looking forward to where you might be headed. The child, as they say, is father to the Man, and if this jumble of lumber were self-aware, what would it see in itself?

“Beyond or beneath our desires and ambitions — what every human yearns for — is to be unconditionally real.” – Larry Harvey

I’ve written before about the Man’s origins, and there’s really not much to add to that history. Burning Man’s future story, on the other hand, is writing itself even as we speak. Every time you make a new Burning Man friend, or reconnect with an old one. Every time a dreamer becomes an art maker, or a new participant puts on Ranger khaki or Gate black for the first time. Whenever we pick up someone else’s windblown trash, or delight a stranger with an unexpected gift, or wordlessly share the awesomeness of a sunrise with someone we may or may not ever see again; through all of these small human moments, all of us are making the movement move, and carrying the culture forward.

Larry Harvey with Steven Raspa, 2001 (Photo by Stewart Harvey)Larry’s genius was imagining that this could ever happen, believing against the odds that Burning Man could become more than a picnic, that an authentic culture based on generosity and joy could help provide what was missing in so many peoples’ lives and create such fertile ground for community and creativity. In 2004, when he wrote in the 10 Principles that “we make the world real through actions that open the heart,” some of us may have rolled our eyes, but today it has become an undeniable lived experience for millions. While it may not have turned the world completely on its ear, it has shown that by thinking creatively and working collaboratively, together we can do seemingly impossible things. The hope that this creates, in an increasingly fractured and disconnected world, may be Burning Man’s greatest gift to the future.

Black Rock City 2023 from above (Photo by Jamen Percy)People ask me how it’s changed, how it’s different today from those impossibly ancient pre-internet days when it started. And I tell them, sure, things have changed. But the better question is: how has it stayed the same, and how is that still relevant today? The standout thing for me is that every time I participate, I come home with more friends and collaborators than I left with. And that’s increasingly rare in this world, and it’s the main reason I keep doing it. I know it’s why Larry did it too. He made no bones about the fact that in 1986 he was lonely and isolated, feeling like a failure in life and in love. He wanted to be a Bohemian and make art, and surround himself with interesting friends, but he didn’t know where to begin. In hindsight, thinking that a little beach bonfire could lead to all that may seem a little sad, perhaps even desperate. But the handful of people who showed up on the beach kept growing, and growing, and eventually all those things happened — all because he took one of those “actions of the heart” that we now know can shape reality.

“We don’t heal division by preaching… we heal it by creating moments where people feel connected again.” – Larry Harvey

Larry liked to imagine reaching a million people some day, and the movement has certainly achieved that, albeit not all at the same time in the same place at the end of a two-lane country road. He also liked to dream of it lasting 100 years, and while that may sound equally grandiose and implausible, who knows? Together we’ve made it this far.

Cover photo: The Man at sunset, 1995 (Photo by George Post)

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Black Rock City teams are now accepting contributors from all walks of life. Whether you’re new or looking for a fresh twist on your Burn, joining a crew is an amazing path for cultivating meaningful connections. To begin, create a Burner Profile, and fill out the Volunteer Questionnaire!

Read on to meet members of Gate, Perimeter, and Exodus (GPE), and Emergency Services Department (ESD), and learn how participation has enriched their lives in Black Rock City and beyond. Both teams are ideal for Burners with some experience. GPE requires no specialized knowledge; ESD asks for a professional certification such as EMS or fire. New to Black Rock City? There’s a team for all skill and experience levels; browse the volunteer page to explore them all.

It takes a special kind of person to speed-flirt in traffic and de-escalate hot and tired participants in all manner of interesting circumstances.

At least, that’s what Sarah Fowler thought the first year she joined the Gate, Perimeter, and Exodus (GPE) team in 2011. GPE is the first team to greet Black Rock citizens when they arrive. They manage traffic flow on Gate road, check tickets and vehicles, and also help participants exit the city when dusty adventures come to an end.

An introvert by nature, Sarah remembers feeling a tad intimidated by her new teammates and the number of people they needed to usher into Black Rock City. The third-year Burner also lacked a theme camp or crew, so had not yet found a place to call her own on playa.

GPE volunteer Sarah Fowler on the job (Photo by The Magpie)The GPE team’s close-knit community and training gave Sarah a sense of purpose and community — so did the crew’s camaraderie and playful attitude.

“My first shift, I was nervous, and I didn’t really feel like I belonged yet. But they paired me with somebody who showed me the ropes, which gave me the confidence to know what I was doing,” says Sarah, who was also quickly enticed out of her shell.

“Our team talks to every single person who comes into the city. There’s an art to getting them ready with their tickets, answering questions, talking to them quickly, and still making it fun — what one of our managers calls speed flirting.”

Playa magic arises through the collective effervescence of participants co-creating their experience together — and it resonates beyond the event. Jumping in and getting involved has a way of changing how we engage; we become active participants in our lives, our communities, and the world.

The Art and Heart of GateEach year, approximately 650 people contribute to the GPE team, facilitating the entry and exit of more than 70,000 people and managing the city’s boundaries throughout its temporary existence.

There’s an art to engaging with people who are sometimes at their worst: tired, impatient to get into the city, or sprung trying to stow away in all manners of hidey-holes.

“There are always interesting problems to solve at the Gate,” says Sarah. “What impressed me most was the creative ways the managers solved them, and the way they calmly talked people through solutions and de-escalated situations.”

GPE staffer works the lanes (Photo courtesy of the Black Rock City Documentation team)Inclusivity training and a strong emphasis on team acculturation foster a deep sense of community among GPE crew members — and that sense of belonging goes beyond the shift.

Sarah says being part of GPE not only gave her a sense of belonging to a team, but it also made her feel part of the city. “Being a volunteer gave me the sense of being a part of something bigger than I was. I’m helping to run the city, and that, to me, was the cool part.”

A decade of contributing to GPE has helped her grow as a person, too. “Gate is the place where I learned to have difficult conversations, and to give and receive feedback. It has made me a more inclusive person in my everyday life, and it’s made me more confident in having those hard conversations.”

“You may not like everybody, but you have to have their back. To them, it’s family, and now it’s become part of my family.”

There are roles for every level of commitment. Sign up for a four-hour shift during opening weekend, or go deeper and become part of the week-long crew. To join Gate, create a Burner Profile and fill out the Volunteer Questionnaire. Select Gate, Perimeter & Exodus from the list of Black Rock City teams. Learn more about GPE here.

Falling Back in LoveAs a committed member of the Emergency Services Department (ESD), John Venditti says he feels part of something much bigger — what he calls “radical collective care.” Gifting his time also rekindled his love for Black Rock City, which he first made his annual home in 2011.

John Venditti (left) on shift with ESD in Black Rock City (Photo courtesy of John Venditti)As with any city, Black Rock City has departments dedicated to keeping citizens safe with fire, medical, crisis intervention, and other services. Many ESD crew members are professionals in their day-to-day lives who gift their valuable skills before, during, or after the event; its 600 dedicated doers come from a wide range of professions and support every stage of the city’s life cycle.

After eight years of running theme camps, John’s enthusiasm for burning began to wane. A conversation with a nurse campmate encouraged him to contribute his time and medical know-how to ESD in 2021.

“It was like a light under my ass,” says John, a cardiac anesthesiologist. “It rekindled my love for the Burn, and I started going back with the same intensity, excitement, and enjoyment.”

Radical Collective CareThe shift in perspective ran deeper than renewed enthusiasm. On his very first medic shift, a young woman was brought in having been found alone and in need of help in the middle of the playa — the kind of person who, in any other city, people may have walked past.

The experience changed his lens on BRC.

“At first, I thought everybody goes out there, does their own thing, and takes care of themselves,” Venditti says. “But then I realized that this Radical Self-reliance is backed by radical collective care, and that spoke volumes to me. It was one of the reasons I wanted to continue, because it felt extremely special to be part of something like that.”

John on duty in the Thunderdome (Photo courtesy of John Venditti)John’s ESD love affair continues to this day, while his burn life has entered a new chapter. Once a lover of playa parties and big sound stages, he now spends a large amount of his Burn contributing in a wide variety of medical roles.

“Volunteering for ESD has kind of brought me into the heart and art of Burning Man, which I know sounds corny. But I feel like I started appreciating more of the little things.”
“I feel like now when I’m there, I have a purpose.”

Black Rock City wants YOU… to have a fulfilling, participatory experience helping the city thrive. Whatever your skills or interests, there is a role that will help you shine. Read about the various teams on our Volunteer page, create your Burner Profile, and fill out the Volunteer Questionnaire to help the rocket go in Black Rock City 2026!

Cover photo: GPE crew members relax Marc ‘Derailleur’ Bell

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On any given night inside a makerspace, something is taking shape.

A welding torch sparks in one corner. Across the room, someone is hunched over a laptop, translating an idea into a digital model. A stranger walks in with no experience and, within hours, is sanding, cutting, building and being part of something larger than themselves.

Burning Man and the global maker movement are inextricably intertwined. Both welcome beginners and experts alike, while fostering a communal, hands-on approach to building tangible objects that become works of art, helpful structures, and engineered wonders.

We are living through an epidemic of disconnection… The hunger for genuine human contact doesn’t go away; it just gets louder. Burning Man and the community built through makerspaces offer something different: a place where people spend an entire year not tearing things down, but building them. Not hiding the worst of themselves, but showing off the best.

Where Big Ideas Actually Get BuiltMakerspaces have emerged as third places, somewhere between home and work. The global maker movement, turbocharged by decades of Burning Man culture, is quietly bringing strangers together to learn, build, and care about each other.

Few places better embody the symbiotic relationship between Burners and makers than The Reno Generator, the largest makerspace in the United States, and one of the most important pipelines for art on the playa. The Generator boasts 60,000 square feet, hundreds of members, and dozens of studio artists. Every year, international art crews pass through its doors, many who begin their projects at home, then complete their builds in Reno before bringing them to Black Rock City.

An artist at work at The Reno Generator (Photo by Taylor Burke)“There was one year when I could stand in open playa, spin a 360, and count 12 projects that I knew came from The Generator,” said artist Andy ‘LostMachine’ Tibbetts, who has been involved with the space since 2014.

Through Burning Man, Tibbets acquired a different understanding of scale — both physical and human. “I wanted to build big things, but there wasn’t a space for it,” he said. “When I went to the Burn in 2004, it blew my mind as to what was possible.”

Since then, he’s helped bring that possibility to life through numerous playa installations and mutant vehicles, including “The End of Time,” a whimsical clock created by Tibbets and Andrea Greenlees that rose in Black Rock City 2024, and “The Space Whale” by Matthew Schultz and The Pier Group, now a permanent fixture in downtown Reno.

But for Tibbets, the real reward isn’t the finished product.

“It’s not passive entertainment,” he said. “You’re engaged. You’re thinking about the steps to take, logistics involved, and to be able to do that as entertainment is so fulfilling.”

Then comes the line that defines the divide: He paused, then added something that cuts to the core of the maker spirit:

“I recently interacted with people who just came to Burning Man for the party. They said they felt bad for me because I had to work. I was very polite, but I thought then, and many times since, that my experience was much richer.”

The Intentional Architecture of CommunityThere’s a vision gaining traction among urban thinkers: just as we built roads for cars, we can build infrastructure for people — spaces designed for the messy, beautiful work of belonging.

Co-founder Jerry Snyder built The Generator inspired by one question: what if anyone could walk in and start building? Founded in 2013, its influence reaches far beyond Burning Man, welcoming everyone from professional fabricators to families building birdhouses.

“We accept people for who they are,” Snyder said. “We live in a big, complicated machine where we don’t have contact with our material world. But on the playa, we have a chance to play house in every aspect of our lives. It’s how we claim agency.”

“This is like the movie Ratatouille,” Snyder added. “A good cook can come from anywhere. You lower the barriers of entry for people who have the talent but not the opportunity — you never know where the next genius is coming from.”

Artist Adrian Landon works on a piece at The Reno Generator (Photo by Taylor Burke)A Global Network of MakersThat same spirit has taken root far beyond the United States.

In Newcastle, Australia, Sparkhaus, a Burner-run makerspace founded by Leanna Pugliese, grew out of a theme camp that simply ran out of room. “With a lot of Burner spunk and a couple grants, we became residents of an experimental artist collective,” she said. It soon became a creative hub, hosting Regional Event builds, an art gallery, and repair cafe.

For Pugliese, the value of a makerspace isn’t just the tools, it’s the people. “Our greatest asset is our brain trust,” she said. “Being part of something bigger than yourself and creating with a whole bunch of other creatives with different skill sets… that’s where the magic happens.”

“It’s given me the courage to step into my adult skin,” she said. “We’re doing great things because we’re passionate about it, and that’s contagious.”

That’s the quiet miracle of these spaces. Anyone can walk in and leave with a new skill, new friends, and maybe a better understanding of oneself.

Members gather at Sparkhaus (Photo courtesy of Sparkhaus)Why It MattersFor some, the impact of Burning Man and the maker movement can feel hard to quantify. After all, much of what’s built on the playa serves no immediate practical purpose.

And yet — “As a maker, you don’t just see a massive wooden ship,” said Generator artist Mike Lautman. “You see the hours of construction, the logistical nightmare… the blood, sweat, and tears of the team.”

In an age of algorithmic feeds and everything optimized for engagement, there is something revolutionary about a project that asks you to show up in person, work with your hands, and depend on the person next to you.

“Being a maker changed my views on intrinsic energy, motivation, and burnout,” Lautman observed. “When I’m building something, I can work insane hours for months or years and not burn out. When you’re doing work that drives you instead of driving yourself to do the work, it’s a completely different thing.”

What If We Built Differently?Black Rock City may only exist for a week. But what’s built there begins months or years earlier — in backyards, in warehouses, in makerspaces in Reno and Newcastle and everywhere in between, where people who didn’t know each other yet are already bending metal and wood into something that says: we were here, we made this, and we made it together.

It’s a reminder, however temporary, that another version of the world is possible. One where people don’t just consume experiences, but create them. Where communities form around curiosity rather than convenience.

Come find your crew. Bring your ideas. The forge is open.

Cover photo: A crew at The Reno Generator works on “The End of Time” by Andrea Greenlees and Andy ‘LostMachine’ Tibbetts (Photo courtesy of The Reno Generator)

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New-ish to Burning Man? Black Rock City is built and managed by every person who comes to the event — that means YOU! Read on to meet Black Rock City volunteers whose on-playa work is ideally suited to first- or second-year Burners. To get involved, create a Burner Profile, fill out the Volunteer Questionnaire in your profile and select the volunteer teams that spark your curiosity! Jump to our Volunteering page to learn about all Black Rock City’s volunteer teams.

A dust storm.

A tent.

The ninja kindness of strangers.

A constellation of small playa moments signaled the connections that would shape Jonathan Penn’s first year as a Lamplighter.

In 2024, after reading all things Burning Man, Jonathan and his wife decided volunteering had to be part of their first playa foray. A self-proclaimed sucker for traditions and rituals, Jonathan, who goes by HardHat on playa, thought the Lamplighters team would be his jam and their village would make a good playa home.

What he found was family.

“We arrived in the middle of a sandstorm. The sun was going down, and I’d never put up our rental tent. It was not gonna be fun. Then, two guys on either side of us were like: ‘We got you’, and they put up the tent and were gone before I could even say thank you,” Jonathan says.

“And every time we turned around, there was some other amazing gesture of family and kindness from people we’d known for 36 hours.”

Once he hit Black Rock City’s streets as a Lamplighter, he continued to be moved by his interactions with people: “There were people lining the route, cheering for us, and just getting fully immersed in the ritual.”

Lighting UpEach night of the Burn, around 140 Lamplighters take part in the ritualistic pageantry of hanging 700 kerosene lamps across the city. Around 50 participants are Lamplighter villagers; the rest are BRC citizens who put their hands up to help.

They don robes with flame-licked hems, shoulder yokes strung with lanterns, and slowly — almost meditatively — walk in procession down six city routes. On Burn Night, they help light the Man from El Diabla, the Center Camp cauldron.

It was here that Jonathan experienced one of his most memorable moments. The closet-thespian had just nervously delivered his first cauldron invocation, a prayer that kicks off the city’s ritual illumination, when he was approached by a long-time Burner who had returned to playa after a five-year hiatus.

She was crying.

“She said to me: ‘I was freaking out because it wasn’t the same, and I didn’t know if it was still right for me to be here. Then I heard you give the invocation and it reminded me that traditions are still here, and I just have to find them’,” says Jonathan.

“She’s telling me this while tears are streaming down her face and she’s profusely thanking me. Then I’m crying, and we give each other this huge hug, she rides off, and I’m like: What just happened!?”

To become a Lamplighter in Black Rock City 2026, create a Burner Profile, fill out the Volunteer Questionnaire, and select Lamplighters as your preferred team.

Jonathan Penn (aka HardHat) on a Lamplighter shift (Photo courtesy of Jonathan Penn)The Potency of MomentsYou can’t spit without hitting a Burner who has had one of these strangely potent moments from gifting their time on playa.

These moments help explain why every participant in Black Rock City helps raise, run, color in, and return the city to dust each year. Gifting, Participation, Communal Effort, and Leaving No Trace are the lifeblood of Black Rock City’s epic, annual barn-raising. Participants build the city, manage its services, create awe-inspiring art, organize and build theme camps and gatherings, and gift their time and talents to create a shared experience far bigger than any one person could imagine alone.

“The moments you have and the connections you make in Black Rock City are hard to define or quantify. I feel like I’m being given so much by the Burn, I’ve got to give back as much as I can,” says Jonathan, who also volunteers as a Temple Guardian.

Moreover, his volunteering experience has trickled back into his day-to-day life.

“Burning Man at large, and volunteering with Lamplighters specifically, has restored some of my faith that there are still lots of good people out there who want to do good things and who aren’t just in it for themselves. I think we need volunteering and that community service and spirit beyond Black Rock City, now more than ever,” Jonathan says.

The Joy of ServiceJulie Starr (aka VegasQueen) in Black Rock City (Photo courtesy of Julie Starr)For Julie Starr, known in Black Rock City as VegasQueen, the “joy of service” was a no-brainer when she first came to playa.

“Being of service has always been a big part of my life, so it was just natural to bring volunteering into my experience of Burning Man. My father’s a rabbi and my mother’s a therapist, so I grew up volunteering. Jews call it tzedakah: it’s just good deeds,” she says.

Julie first dipped her toe in playa life in 2013 after some encouragement from new Burner friends in Vegas. Despite an aversion to any sort of camping that didn’t involve a cabin with electricity and running water, she took to playa life like a jackrabbit to dust. She started volunteering in her second year.

The newly-minted Burner loved her shifts with Arctica and Center Camp Café. But it was the Greeters team, “their amazing humans,” and the gifting of experiences that stole her heart.

“You have the opportunity to set the tone for this amazing journey that some people have done 20 times but others may only do once. And it’s just such an honor and privilege to be able to welcome people into the city,” she says.

Each year, approximately 500 people join the Greeters’ ranks to help people transition from the default world into the liminal space of the playa. They orient participants with maps, guides and hugs, and initiate Burgins with well-loved rituals such as dust angels and bell ringing. (They’re also the soft ‘n cuddly yin to the Gate team’s crustier yang — but more on Gate in an upcoming Journal post.)

Like Jonathan, Julie’s Greeters experience has created chosen family and rippled out from the playa.

“One of the things that I love about the Burning Man community is it fosters intergenerational relationships in a way that the default world does not: I have friends who are 90 and friends who are 17. I have also become a better person and leader because of my volunteering experience,” says the now volunteer Greeters Project Manager, who also supports other volunteer teams year round.

A Greeter at work (Photo by Espressobuzz)Walk-On Teams and Top TipsArctica, Census, Earth Guardians, Greeters, and Lamplighters are some of the teams that are particularly easy for first-time volunteers to join, both pre-playa and once you arrive.

“We love when you plan — because we have to fill our shifts — but if you’re on playa and think, ‘I just want to help today’, you can walk up to Greeters, Lamplighters and Arctica and be a volunteer in five minutes,” says Julie.

For those considering volunteering for the first time, she also has a formula for working out where to land: “If you can find the intersection between availability, ability, and interest, then you’re going to be happy, and that’s the most important thing.”

Not the cuddly, lamp-lighting, ice-wielding type? No problem.

Volunteering comes in all shapes and sizes to suit all skills, ages, and energy. Ultimately, however you choose to show up, your participation helps create something greater than the sum total of its parts — and a little bit magic.

“All of us are co-creating magic,” Julie says,” whether we’re with Greeters, or running a theme camp, or bringing an art car, or doing performance art. And without all of the people creating all that magic, Burning Man would not exist.

To get involved, learn about Volunteer teams here. Then create a Burner Profile, fill out the Volunteer Questionnaire, and select the teams that you’re interested in joining!

Cover photo: Lamplighters, 2025 (Photo by Jon Bookout)

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Burning Man has a long history of creating ephemeral communities, with temporary settlements rising out of nothing and dissolving into dust on an annual cycle. There is something magical about that transient nature; for a short time, we step into another way of living, built around participation, creativity, and togetherness. And then we return, back to a world that often feels more disconnected than the one we just left. For many Burners, that contrast raises a question: If this culture can thrive for a week in the desert, could it thrive in a more permanent context, and perhaps even year-round?

Around the world, people are integrating Burning Man’s connection and creativity into their day-to-day lives in many inspired ways, informing how they live, work, and play. Some are making a bigger commitment by purchasing land where they can produce Regional Events. Others are building long-term communities inspired by the same principles. Still others are studying what makes Burner-led communities function in the first place.

The results are taking many forms — from land purchased in the forests of Sweden or Michigan’s lake country, to a Burner Village springing up in rural Portugal, and green homes in Ukraine. Taken together, they evolve and deepen Burning Man’s impact, from ephemeral spaces to a network of year-round cultural laboratories.

Regional Burns Moving to Permanent HomesThe Moomin Tower at Alversjö (Photo courtesy of The Borderland)One way Burners have extended the culture is by creating permanent homes for Regional Events. For many years, burns around the world took place on rented land, where spaces were temporarily transformed into participatory cities. Recently, several Burning Man communities have begun buying land of their own. The shift often begins with practical concerns such as stability, permits or long-term planning, but it quickly becomes something more cultural.

The Borderland, the Scandinavian Regional burn, now takes place in Alversjö, outside the town of Eksjö in southern Sweden. The land, consisting of open fields and undulating hills, cushioned by dense nature reserve forests on all sides, was purchased in 2022 after a multi-year community-driven fundraising effort.

“We were always dreaming of going from ‘leave no trace’ to ‘leave a good trace’. Now having this land ties us together and makes this possible. – Hampus Lindblad, Alversjö

The land hosts the annual event as well as smaller gatherings throughout the year where participants work on art, infrastructure, and shared projects such as gardens, sculpture parks and art symposiums. Hampus Lindblad, one of the founders, explains the motivation behind buying land, “We were always dreaming of going from ‘leave no trace’ to ‘leave a good trace’. Now having this land ties us together and makes this possible. We can go there throughout the year, build iteratively and both think and act within as well as beyond the scope of burns. This place is now truly ours and we intend to make the most of it. Not just for the benefit of ourselves but also for the existing local community.”

Hear Borderland community members Hampus Lindblad and Liselotte Norman share the Alversjö story on Burning Man LIVE:

AfrikaBurn followed a similar path in South Africa, securing a long-term lease on land in the arid Tankwa desert after years of hosting the event there.

In the United States, the Michigan Regional Burn Lakes of Fire recently reached the same milestone. When I spoke with Scott Vandevyver, one of the organizers, the purchase had only happened weeks earlier. “We actually closed on the property about thirteen days ago,” he excitedly told me. The community had been discussing the idea for nearly a decade before finally making it happen. The property spans 80 acres of woods, fields, and streams, along with a small house that might someday host workshops or gatherings.

For Scott, the significance of owning land goes beyond convenience. “Ownership gives you a seat at the table,” he explained. “You’re not dependent on someone else’s rules about what you can and can’t do.” And perhaps more importantly, it changes how people relate to the place. “At our previous venue we used to say ‘welcome home,’ but technically it was someone else’s property,” he said. “Now we can say ‘welcome home’ and actually mean it.”

Owning land changes the relationship between a community and the place where it gathers. Instead of appearing for a short period of time and disappearing again, people can return throughout the year, building infrastructure gradually and shaping the landscape over time.

Year-Round Communities Built Around the Principles“The Moonlight Library” by The Moonlight Collective, with The Narhwal by Pepe Ozan in the background, Fly Ranch (Photo by James Gwertzman)Not all of these experiments revolve around hosting events. Some Burners have taken the leap further, building permanent communities inspired by the culture they experienced through participation in Burning Man.

Just a few miles from the playa where Black Rock City rises each year, Fly Ranch has long been intertwined with Burning Man history. Black Rock City was held there in 1997 during a year when hosting it on federal land in the Black Rock Desert wasn’t an option. In 2016, Burning Man Project acquired Fly Ranch and began transforming it into a year-round cultural and ecological experiment.

Today Fly hosts a wide array of projects: regenerative practices, art installations, Burners Without Borders (BWB) gatherings, educational programs, and research initiatives. The land itself has become a fertile testing ground where Burners explore how creativity, regeneration, and community might intersect beyond the playa. “When people bring us their ideas [about what to do with the land] we say: how can we help you do that?” explains Matt Sundquist, Director of Fly Ranch.

Beyond the Nevada desert, similar experiments are unfolding in many other independent Burner communities. One example is Emerald Village Oasis (EVO), a small intentional community in the green hills above San Diego. The project began 15 years ago when a group of friends returned from Black Rock City with a shared question: what would life look like if the sense of community they experienced there didn’t disappear afterward?

There’s a common Burner joke that you shouldn’t “divorce your parakeet” and make life-changing decisions immediately after returning from the playa. This group ignored that advice completely. “We filled a blackboard with sticky notes,” one of the founders, Nick Heyming, told me when I visited EVO. “And the same themes kept showing up: land, space, community.” Within months they had found a property and moved in together.

Fifteen years later the project has grown into a small village. Residents live in individual homes but share weekly meals and care for the land together. There are gardens, gathering spaces, and workshops where people host events and creative projects.

Building at Burn Village (Photo courtesy of Burn Village)A newer experiment is unfolding in rural Portugal with Burn Village. Its main founder, Avner Had, first encountered Burning Man culture at Midburn in Israel in 2017. “I felt like I was discovering a new planet,” he told me. Years later, after organizing a small burn in Thailand during the COVID-19 pandemic, he began imagining what he calls a “slow burn” — a community where the principles could shape daily life rather than just a single event.

In 2024, Avner purchased rural land in Portugal and began building what is now called Burn Village. The early phase was simple: people living in trailers and tents, building cabins, installing electricity and internet. But gradually the infrastructure took shape. Now the project is ready for its next step, inviting residents and hosting small gatherings to grow the community.

At its core, the Burn Village is meant to explore the question: “Is it possible to create a society that lives with those principles while still being part of the modern world?” In his vision, the village functions much like a burn itself, with different “camps” focused on various interests such as permaculture, workshops, or creative projects. “The idea,” he said, “is to make the default world a bit more similar to that special week.” He hopes that, over time, a network of Burn Villages will emerge.

Avner began imagining what he calls a “slow burn” — a community where the principles could shape daily life rather than just a single event.

Other projects are being started in places where the stakes are higher. In Ukraine, Burners Without Borders grant recipient NGO 001 is developing a community of sustainable, off-grid homes. Its founder, Sergii Dumyk, found his inspiration in Black Rock City 2016, where he contributed his hardware skills to the Tesla Coils at Sextant camp. That experience led him to build House 001, the first in a village of fully autonomous homes that generate their own energy, water, and utilities. Today, NGO 001 is an official partner of the New European Bauhaus, a movement reimagining how we build for the future.

Where the Culture Goes NextLooking across these projects — the newly purchased land of Lakes of Fire, the long-running experiment of EVO, and the emerging Burn Village in Portugal — a pattern begins to appear. Burning Man has always been a cultural laboratory. For decades that laboratory existed primarily in temporary environments. In these spaces, people experimented with new forms of community and creativity, within a limited timeframe. Land-based projects extend the creative cultural Burning Man experiment in a different direction.

Each project is unique, yet bound by the same ethos. Some revolve around events, others around daily life. But they share the same thread: to create a permanent expression of the learnings and participatory creativity sparked by participating in Burning Man. Spaces such as Black Rock City will always remain ephemeral. Each year the city will rise and disappear again in the desert. But the ideas that take shape there continue to resonate, shape lives, and serve as the basis for year-round projects that continue to evolve.

Cover photo: “Protea” Borderland 2024 effigy at Alversjö by Annie Locke Scherer (Photo by Cipriano Mauricio)

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At the heart of the Center Camp Plaza, you will find an acre of shade under the Center Camp Canopy. The Canopy is YOUR community venue — a space designed to meet the moment by practicing the art of coming together. This is our community’s “living room,” a place to share a beverage, an idea, or simply some space. In 2025, more than 200 unique happenings filled every corner of the Canopy. This place exists because people like you show up and participate.

Participation doesn’t have to happen at a huge scale or with a big budget. You can have a massive impact without massive effort; even the smallest, most humble gift can create a profound moment of awe for another human. Start where you are, bring what you’ve got, and let it be enough.

>> Fill out the Collaborator Interest Form

>> Fill out the Volunteer Interest Form

Low Stakes, High ImpactThe Canopy is one of the most accessible entry points to your version of participation. There are no theme camp requirements, no need to build complex infrastructure, and no need for a “polished” event. Here, we prioritize human connection over the ‘arms race’ of production. You can host a daily or one-time event or offering, decorate a zone, or simply walk in with a deck of cards or a yoga mat and immediately be an official event — a beat of the heart of Black Rock City.

(Photo by Casey Kazmer)Two Ways to Step Into the Circle1. Become a Collaborator (Bring the Magic)We provide the shade, the stage, the sound, and the nooks; you provide the soul. The Canopy is the community’s venue for ideas at any scale. Since every year is different and everything happens just once, now is the time to seize your moment under the Canopy.

• Host an event: A workshop, a yoga flow, a discussion panel, a craft, or a debate.
• Share a gift: Brew coffee, mix cocktails, bake waffles, or host a game.
• Show your art: Display your work in the Gallery, paint a mural, share a sculpture, or create your piece live.
• Perform: We have a stage ready for your musical act, theater, poetry, or circus skills.

While we love spontaneous sparks, getting your event in via the Collaborator Interest Form helps the Canopy team support any build, location, or technical needs. Plus, your event will be listed in the WhatWhereWhen guide, the Canopy online list of happenings, and the on-site event schedule. Share your idea, and our team will help make it real.

>> Fill out the Collaborator Interest Form

Robot Apocalypse (Photo by River)2. Become a Steward (Volunteer)Regardless of your skill level, there’s a place for you here. When we build something amazing together, something shifts within us. No experience needed!

Build & Strike (hands-on crew): Help assemble and break down the Canopy space — decor, painting, carpentry, A/V, staging, structure builds, layout, and decor. This is where people meet through doing — working side by side, figuring things out together, and watching something take shape because you showed up for it.

Stewardship & Support: Keep things running day-to-day during the event — wayfinding, safekeeping, light logistics, stage managing, and helping the community navigate the space. Ideal for organizers, social folks, and people who like being in the flow. You’re often the first point of contact for participants, connecting dots, and facilitating what’s happening in the moment.

>> Fill out the Volunteer Interest Form

(Photo by Danny Bradner)A Practice of PresenceIn a fractured world where so many feel the weight of disconnection, exhaustion, and digital overload, the temporary rise of Black Rock City offers a vital alternative: a culture and a place dedicated to presence, connection, and shared humanity. From a cosmic perspective, our week together is but a tiny whisper, but when we show up to build, create, and experience something bigger than ourselves, that whisper resonates into a timeless roar. Even Black Rock City can feel overwhelming, and the Canopy is the calm within the eye of the storm. Here, we prioritize the real, in-the-moment magic of shared human experience. In this sanctuary of ephemerality, you are welcomed and celebrated exactly as you are. Here, the dust behaves differently; it settles, and as it does, we find each other.

See you under the Canopy!

The Center Camp Canopy team

(Photo by Jan Philip Safarik)

Cover photo: Espressobuzz

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Every year since way back when, the concentric streets of our fair city — this year A through K — have been named to reflect the annual theme. The 2026 theme is Axis Mundi, and the streets are named accordingly. Unsurprisingly there are a lot of sacred trees and holy mountains in the mix, since in so many world cultures the notional center of the world is some feature of landscape, mythical or otherwise, that connects the lower and upper planes of existence.

Naming the streets has become part of the annual process of mapping the city, and you are welcome to view them all in the shiny new 2026 Black Rock City Plan. If some of these are tongue-twisters, consider it a challenge to embrace the theme, and try saying them without giving up and resorting to their boring initial letters.

Ararat
The storied landing spot of Noah’s ark in the Old Testament version of the global flood myth, Mount Ararat is located in present-day Turkey near the Armenian border. It is Armenia’s national symbol, and prior to its association with Noah’s ark by 11th century Christian scholars, it was central to pre-Christian pagan traditions of the region, revered as the home of the gods.

Bodhi
Central to the Buddhist tradition is the Bodhi Tree, a ficus in India where the Guatama Buddha is said to have attained enlightenment while meditating beneath its branches. After 2,500 years the original tree is long gone, but the grove remains on the grounds of the Mahabodhi Temple. Saplings from the Bodhi Tree and its descendants have been sent over the years to sprout in sacred gardens as far away as Hawai’i.

Ceiba
The Ceiba tree symbolized to the Mayan world an axis mundi connecting the planes of earth and sky with Xibalba, the underworld. This concept of a central world tree is often depicted as a massive, thorn-studded ceiba trunk.

Delphi
The ancient Greeks considered the center of the world to be at Delphi on the flanks of Mount Parnassus, a spot marked by a stone monument known as the Omphalos, the navel of the world. It was also, of course, the location of the fabled Oracle of Delphi, the Sybil with a private line to the god Apollo that allowed her to tell pilgrims of their fate.

Eternal
Science may be divided on the matter of eternity, as it is on infinity, but in many traditions there is an abiding belief in the eternal, and the possibility that time is either circular or illusory. In that sense the axis mundi was always there, waiting to be identified, and always will be there, long after we are gone.

Fulcrum
One interpretation of the axis mundi is that it is a pivot point or fulcrum between the planes of existence, uniting and balancing the realms of the eternal, the physical, and the infernal.

Great Oak
In many European traditions, including Slavic, Germanic, and Celtic, the sacred tree uniting the planes of existence may be known as the Great Oak. As a meeting point between earth and sky, councils and sacred gatherings were often convened under old oak trees.

Heiau
The Heiau is a ritual platform built of stone, central to spiritual life in pre-contact Hawai’i. Often sited in locations deemed to have innate spiritual power, it was a form of ritual architecture that provided a focus point for religious life, a place for worship, ritual, and communication with the gods.

Iroko
In the Yoruba tradition of West Africa, the Iroku tree is both a cosmic pillar and the home of a powerful spirit. It serves as a reminder that the natural world has a life of its own not subject to human control, and that the boundary between worlds is both real and dangerous to cross.

Jiba
In the Mande-speaking cultures of West Africa, the Jiba is the inner spiritual center of a being, a sort of personal axis mundi where the life force or nyama is concentrated.

Kundalini
In Indian spiritual traditions, kundalini is a spiritual energy that, when activated by practices such as meditation or yoga, spreads up through the chakras to connect one’s earthly body to higher consciousness, a personal pathway to the divine.

Just like that, Black Rock City 2026 has its Axis Mundi street names. If you find any of these difficult to pronounce, just be glad we don’t have a Y street — so no one will have to try to say “Yggdrasil” on the radio.

Cover photo: Amber Reynolds

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Every day, every moment in Black Rock City is wholly unique, sparked by the presence, imagination, and Immediacy of 70,000 people building an ephemeral desert city together. The participatory art, human connection, and captivating sunrises at Axis Mundi will happen just once — a cosmic dance in the dust.

Seize the moment. It all begins with a ticket. The Main Sale for tickets to Black Rock City 2026 is April 29 at 12pm PT. Register starting April 20 to participate in the sale and secure your best chance for lowest-priced tickets. Mark your calendars and get all the details on our ticketing page!

Here is what you need to know about the Black Rock City 2026 Main Sale:

• Open to everyone!
• There is an optional payment plan for this sale
• Register starting April 20 for your best chance to score the lowest priced tickets
• Ticket sale starts April 29 at 12pm PT / 3pm ET / 9pm CET
• Prices: $550, $675, $775, $975, $1,500, $3,000
• Vehicle passes: $165 each
• 2 tickets + 1 vehicle pass per purchase
• Full details at tickets.burningman.org

New to Burning Man? Start where you are. Be your weird, playful self. Camp on your own or join a theme camp, and help out on a project or crew. Through building Black Rock City together we spark connective magic. We find ourselves, and our community.

Been around the dusty block? Burning Man is a vehicle for reinvention. Every year opens a new door; stay with the project you know, or branch out with a new volunteer team or idea. Nothing is static in the Burnerverse.

We build Black Rock City together! Participation is the secret sauce to creating joy, purpose and connection in the dust. Help make the rocket go by joining a volunteer team — an art or mutant vehicle crew, or one of the teams that builds and operates the city — you’ll connect with new friends, and learn skills. Learn about volunteering here.

Communal Effort Ticketing for this Cultural Experiment

Black Rock City tickets are offered at tiered pricing levels to support operational costs and keep the event financially accessible to all who wish to participate. When you choose a higher-priced ticket tier, you help make Ticket Aid and Resilience ticket programs possible, and support artists through Honoraria grants. What’s not to love about that?

• A payment plan is available for all ticket prices
• Pay Your Way: $775 + taxes & fees → cover the cost to produce Black Rock City for one participant; tickets will be available while supplies last
• Give the Gift: $975, $1,500 and $3,000 + taxes & fees → pay your way, support Honoraria art grants, BRC operational costs, plus Ticket Aid and Resilience programs
• Get the Gift: A limited number of $675 and $550 tickets will be available
• Get all the details on the Black Rock City 2026 tickets page

Cover photo: Duncan Rawlinson

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TL;DR: We want to know your thoughts about how mutant vehicles have evolved in Black Rock City. Click here to jump right to the participatory bit.**

If you’ve ever built a mutant vehicle or enjoyed the spectacle of a mobile art piece — spouting fire or not — or a mobile mutant stage bumping house music, here is your chance to help shape the future of mutant vehicles in Black Rock City!

We at Your Friendly Neighborhood Department of Mutant Vehicles (DMV) see the incredible heart that is poured into these rigs. Every year, we’re floored by the creativity that comes to Black Rock City, the mobile wonders that decorate the playa horizon. Mutant vehicles are more than just transportation; they are moving, interactive pieces of art that facilitate communal effort and gifting. And, we’ve started hearing some important philosophical questions from mutant vehicle builders, artists, theme campers, and Burners.

Twilight at the DMV line-up, 2024 (Photo by Jamen Percy)To better understand how the culture of mutant vehicles has evolved and to think about how we best set ourselves up for the future, we are launching a two-year community deep dive. We’re calling it The Wheel Deal.

Whether you’re a veteran mutant vehicle builder who’s been here since the 1990s, or a first-timer freshly inspired by an unexpected ride in something that may once have been a lawnmower — we need your brain — and participation.

Fill out the formWhat Are We Talking About? The Loudness Wars: We love the bass, but we need to talk about the urge to be the biggest and loudest, and how that affects the quiet corners and intentional art of the city. * Access vs. VIP: Are mutant vehicles still interactive gifts to the playa? We want to ensure we aren’t trending toward private parties and velvet ropes. * Photon Phenom: Just as sound carries, mutant vehicles with lasers and spotlights can dominate the horizon. Are we washing away the stars, or bringing the vibe? * The Little Guys: How do we make sure the whimsical, small-scale mutations (the couches, the muffins, the weird little sculptures) don’t get squeezed out by the giants? * Policy & Support: How can the DMV better support the city’s needs? Should there be limits on size, function, or anything related to mutant vehicles? * Civic Responsibility vs. Radical Self-expression: Where is the line? We all love the freedom in BRC, but what happens when a mutant vehicle acts in a way that isn’t civically minded — such as ignoring safety rules or blasting sound over a quiet sunrise? How many rules are too many, and how do we hold each other accountable without policing? * Radical Decentralization:* Where is the opportunity for the mutant vehicle community to participate in governance of the mutant vehicles?

The 2026 Roadmap (How We’re Doing This)Here’s the plan for the coming year:

Spring 2026 | Community Surveys: Here is a link to a survey and participation form. Your responses will help us see what the community values, what concerns there are, and whether there are even problems that need to be solved.

May – July 2026 | Town Halls: We’ll host virtual Town Halls to discuss what we learn from the survey and explore the contours of any issues that emerge. Exact dates will be shared as soon as we finalize them. You can express interest in participating via the form. (And if you can’t make the forum, there will be a way to share your feedback online.)

August 2026 | On-Playa Vibe Check: The team will be out in the dust, talking to Black Rock citizens, conducting interviews, facilitating conversations, visiting camps, and seeing how things play out in real time. You can be part of the actual survey process by, you guessed it, using the form above.

October – November 2026 | Status Report: We’ll summarize everything we’ve learned so far and publish it for all to read.

Winter 2026 & Beyond: With your help, we’ll take all that data and consider how to move forward.

DMV on a dusty morning, 2022 (Photo by Adilson Emboava)Get Involved!We care about your voice and want this work to be people-powered — by the community, for the community. If you’re interested in sharing your perspective, take our initial survey. The form asks for your thoughts on mutant vehicles, offers a couple of options for getting more involved in the process, and provides a space to share anything vehicle-related on your mind. It’ll take about 5-10 minutes of your time.

We’ve got a lot of road ahead of us, and we’re glad you’re in the driver’s seat with us. So take the wheel, and we will take the pedals.

See you in the dust,

Your friendly neighborhood Department of Mutant Vehicles

Cover photo: Dan Adams

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If you’ve been to Black Rock City, likely you have a stash of favorite stickers that magically landed in your world. We can’t account for how ALL the stickers appeared on your water bottle or laptop, but among them may be the whimsical stickers Greeters add to your WhatWhereWhen guide, given when you arrive in our co-created metropolis.

These coveted stickers are designed by YOU. That’s right — anyone and everyone is invited to submit one or more designs to be considered for the official Black Rock City 2026 stickers.

Want to submit a sticker design? For your Black Rock City 2026 design to be considered, carefully read (then re-read) each of the submission requirements listed below. How will you visually express the 2026 theme, Axis Mundi? We can’t wait to find out. Selected sticker designs will be contacted via email.

Your 2026 Sticker Submission Guidelines SIZE — Your sticker design(s) must fit within one of the following die sizes: + 3” diameter circle + 3″x3″ square with a 0.062” corner radius + 2.5″x6” with a 0.125” corner radius * WORDS — Please try to include either “Burning Man” or “Black Rock City” along with the year “2026” into your design. * COLORS — If using 1–3 colors, set up the file to print as PMS; If using 4 or more colors, set up the file to print as CMYK. * FONTS — you must OUTLINE all fonts (meaning all text must be vector shapes). * GATE STICKER — Remember that ROUND stickers are given priority for scoring the coveted “Gate sticker” spot, gifted to all BRC citizens. * THEME — Since preference is often given to designs incorporating the theme, feel free to get more intimately acquainted with this year’s theme Axis Mundi for additional design inspiration. * SUBMISSIONS — Please email the original vector file of your sticker design(s) to Stickers@BurningMan.org with your FIRST and LAST NAME along with the phrase “2026 Sticker Submission” in the subject header. (Note: just because you can send a high-resolution PDF, doesn’t mean you should. The original ai. file is always preferred.) * DEADLINE* — You must submit your design(s) by Friday, May 29, 2026 (no exceptions).

Cover photo: Black Rock City 2023 sticker designers hold their designs up in front of Media Mecca (Photo by Jamen Percy)

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The journey to the playa often begins many months before you physically leave home. Buying tickets, planning your travel, building your art (whatever that may be), and then finally getting on the road. In 2025, that last bit was tougher than usual, as the weather threw everything it could at us for multiple days in a row. If you were among those impacted, we’re sorry it was so hard.

All those already on playa or in the city felt it too, including Gate, Perimeter, and Exodus (GPE) — the team responsible for getting you safely into the city. So, looking forward to 2026, we’re working hard, reviewing what went wrong, learning lessons, and updating plans and protocols to make entry into Black Rock City smoother for all.

Here’s How:

We’ve convened a dedicated team to take a thorough look at how we move the community in and out of Black Rock City — especially when weather forces closure. This group brings together GPE veterans, external transportation engineers, large-scale event logistics experts, and informed community members. Together, we’re conducting a full review of staffing, layout, operations, communications, and coordination across Burning Man Project departments.

What We’re Working On:

• Four-Hour Travel Time: We’re aiming for a maximum ingress travel time — from the gravel to the Gate — of four hours whenever possible, with safer vehicle management on Gate Road during delays.
• Volunteer Recruitment: We’re bolstering our team rosters and shift design to ensure we have the people we need when we need them.
• Real-Time Information: We’re improving traffic data collection so we can give you accurate, timely guidance — whether you’re heading in or heading home.
• Faster Response: We’re updating contingency protocols to staff up, reroute, and adapt more quickly when weather or emergencies hit.
• Regional Coordination: In partnership with Government Affairs, we’re reviewing plans with local agencies and event leadership to better manage traffic in surrounding towns and reduce the impact on our neighbors.

A Note on Preparation — and Participation

To everyone who came prepared and arrived in good spirits in 2025 — thank you. You embodied the self-reliance and communal care that Burning Man is built on, and it made a real difference to the people around you.

Having all your tickets and passes IN YOUR HANDS is the best way to help Gate move quickly. Even an extra 30 seconds per car can add many hours to the processing time. YAY for having all the things ready to go!

And if you’d like to be part of the solution more directly, join the team! GPE volunteers have the privilege of being the first face our Burner family sees when they arrive at the best place on Earth. GPE is a volunteer-powered machine (75%, in fact!), and needs helpful, eager, and awesome humans to make the wheels turn. There is a stellar crew ready to welcome you in, teach you the ropes, and there is a killer social hub where you can celebrate after your shifts. It’s a hoot, we promise!

Sign up for YOUR Gate Experience Here

Thank You to Our Gate Crews

To every volunteer and staff member who worked at Gate in 2025 — thank you. You held the line through some of the most difficult conditions GPE has ever faced, and your dedication to the community did not go unnoticed. We’re committed to ensuring you have better tools, better plans, and better support in 2026.
We’ll have more to share this summer. Until then, take care, and happy planning.

Louder, Charlie!
BRC Event Director

Cover photo: Axis

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Burning Man Project is thrilled to reveal the artworks selected for the Black Rock City 2026 Honoraria Program! The city we build together is made unique by the collective creativity of the community. As Burning Man founder Larry Harvey once said, “The chief tool for organizing society in Black Rock City is art.” This year’s projects push the boundaries of imagination, foster connection, spark joy, and remind us, in both the most spectacular and sometimes surreal ways possible, that creativity is inherent in all of us.

After reviewing hundreds of proposals and individually discussing them, we are proud to announce that 75 projects will receive funding for Black Rock City in 2026, with $1.3 million awarded directly to artists. This funding is part of Burning Man Project’s nearly $6 million annual investment for the arts, 95% of which supports Black Rock City art through Honoraria grants, heavy equipment, art support, and other services. We extend enormous gratitude to everyone whose generous donations and higher-priced ticket purchases make this possible.

“ZARVAN” by Gazelle Dasti, 2026The power of BRC comes from the full spectrum of human creativity: the monumental and the small-scale, the contemplative and the wonderfully silly, the fiery and the surreal. Art of every kind creates awe, inspiration, and human connection. Whether these works were made by seasoned artists or first-timers, whether they span 200 feet or less than ten, they are proof that Burning Man’s culture is built by everyone who steps up to contribute something of themselves to share with all — creating shared experience and bridging differences in a divisive time.

A full list of projects and artists can be found at the end of this article.

Axis Mundi: Pathways Between WorldsThe 2026 theme, Axis Mundi, explores the concept of “a celestial column that connects us with powers greater than ourselves,” a concept found in nearly every culture on Earth under different names and forms. “Yggdrasil” is perhaps the most literal interpretation, depicting the Norse World Tree by a Danish architect who now calls Nicaragua home. The sculpture is built from bamboo grown and harvested by the artist’s community. “Axis Mundi: Resonant Spire” takes a similarly literal approach: a 33-foot wooden tower captures participant voices and transforms them into a continuously evolving column of light and sound.

“Axis Mundi- Resonant Spire” by Sergei Konchekov, 2026We received 41 proposals featuring trees in some form, and the committee ultimately selected six, including a 40-foot-tall immersive treehouse sculpture “Above and Below,” which features a sinuous beanstalk connecting two structures representing the nostalgia of home and the adventure of storytelling. “Freedom Dancers” brings a human dimension to the tree form, featuring seven female figures with branch-like arms and root-like bases, created collaboratively through community art workshops. In this way, the human body itself becomes a connection between Heaven and Earth: rooted below, reaching above.

“Above and Below” by Sean Orlando, 2026Drawing on the serpent as another living symbol of the axis mundi, “The Serpents” offers a colorful, spiraling snake you can climb up and slide down. You will be able to explore a bamboo meditation labyrinth, “Headwaters,” inspired by Mount Kailash, the sacred mountain in Tibet revered as an axis mundi.

As always, not every project engages the theme directly, and that’s exactly as it should be! We look to fund artworks that reflect the range of human experience. We select projects that ignite communities around the world to come together to co-create, inspire individuals to push their creative boundaries and take risks, and embolden new artists alongside longtime contributors whose work continues to surprise and evolve.

Connecting a World of CulturesBurning Man has always stimulated innovation and creativity. Along with artists from 17 states in the U.S., this year’s international cohort of artists is among the most vibrant we’ve seen. Their work draws on cultural traditions, cosmologies, and craft practices from across the globe, a gift to everyone who says yes to Black Rock City! We are proud to welcome 15 international projects from Australia, Canada, Colombia, Indonesia, Italy, New Zealand, Nicaragua, the Philippines, Poland, Romania, Spain, Turkey, the United Kingdom, and *Vietnam. Five of the countries, which are starred, are receiving funding for the first time in Burning Man history.

“ALUNA The Frequency of Being” by Santiago Caro, Tixana Ospina & Outline Creative Lab, 2026“ALUNA The Frequency of Being” merges ancestral Tayrona Pre-Columbian symbolism with modern technology, inviting participants to alter the frequency and waveform of vibrations that reveal patterns in the water contained in the sculpture’s core, as a tangible experience of vibrational consciousness. “Mebuyan Pulse” is a climbable constellation of suspended spheres inspired by the Bagobo figure of Mebuyan, a guide between life and death who nourishes spirits into growth — an archetype of protection and transformation. “CORREFOC,” whose name means “run from fire,” channels the spirit of Las Fallas, an epic fire festival tradition in Valencia, Spain, and invites participants to unite in dance with the flames.

“Do Baskets Dream of Shores or Sea” by Luke Lin, Auroborium, 2026One of the most extraordinary stories this year is “Do Baskets Dream of Shores or Sea,” featuring traditional Vietnamese basket boats (thúng chài), handwoven and painted on the coast of Vietnam before traveling by sea to the Black Rock Desert. These vessels were once the lifelines of coastal fishing communities; now they carry memory, song, stories, and an invitation to explore and remember. The crew is 70% BIPOC, and they are partnering with local craftspeople who will also receive support to enable their participation in BRC.

“For They Know Not What They Do” by Jai Hackl, 2026Other international projects include “For They Know Not What They Do,” a 21-foot steel caduceus from Australia, “Heart Remains,” a glowing ribcage with a suspended heart by a Turkish artist, and “PULSE,” a cracked heart sculpture from Italy and Mexico City that contains a pulsating light representing the Earth’s heartbeat.

New Voices on the PlayaEvery year, one of the greatest joys is watching new artists step into the creative territory of Black Rock City. The Honoraria Program gives artists the resources and encouragement to bring something they’ve been imagining into reality. This year, five Honoraria recipients will be stepping onto the playa for the very first time, each taking an even bigger step by leading an art project as well.

“Aikido – The Mothership Connection” by Zak Ové, 2026Dragons may belong to the folklore of Transylvania, but a Romanian artist is visiting Gerlach for the first time to source branches and roots from Fly Ranch to create “Elemental Dragon,” planned to rise nine feet tall and 40 feet long. “Open Arms” is a large handmade soft sculpture with outstretched arms that will offer a place to rest and connect; the Mexican-American artist is traveling from El Paso, Texas for his inaugural trip to BRC.

“Open Arms” by Jorge E. Martinez, 2026While British-Caribbean multidisciplinary artist Zak Ové is new to BRC, he has the support of Project Aikido, an organization that brings African art and music to Burning Man. “Aikido — The Mothership Connection” is a 32-foot-tall sculpture interweaving elements of totem making, tribal masks, and an Afrofuturist space travel vehicle, while paying tribute to the African diaspora.

These first-time voices join a rich mix of returning artists and longtime contributors, all united by the urge to create something to share with strangers who will become neighbors and friends.

Every Scale Has a StoryBlack Rock City is known for towering sculptures and epic large-scale spectacles, and yes, we have plenty of that this year. “TITANIC” is a sculpture of the famed sinking ship, broken in half to create climbable and explorable spaces 200’ in diameter. Similar to the larger-than-life traffic cone from 2024, “LOOKOUT!” is a 48-foot-tall fire lookout tower disguised as a fire extinguisher, continuing the tradition of taking everyday objects and rendering them at gigantic scale. It may have originated with Pop Art, but it’s unmistakably Burning Man: climbable, interactive, and complete with burn barrels for gathering around the fire.

“LOOKOUT!” by Franzi Ponzi and the Homo Erectors 2026One of the most persistent myths about the Honoraria Program is that Burning Man Project only funds big art. In reality, we also love supporting that piece you nearly rode your bike past, the one your campmates stumbled upon at 3am, or that trippy thing near the trash fence.

Sometimes it’s the simple things that are so effective in the vast desert landscape and wide open skies, and we think “Seven Sisters” might be one of those “Is that real?” moments. Illuminated star sculptures mounted to tall black masts representing the Pleiades constellation will seem to vanish into the night sky. Across the world, unrelated cultures have told similar stories about this same small cluster of sister stars, and unique stories are represented at the base of each star. And rising only six feet high, “Iguana-na” contains interactive musical elements for those who seek out an intimate and hilarious experience.

“Carnac 2026” by Michael Ciulla & Walid Nasrala, 2026You may (literally!) stumble upon “Carnac 2026” and see 1,000 unique and colorful 2-foot statues, inspired by ancient megalithic stone art in northwestern France and realized with contemporary materials. Participants will be immersed in a grid-like alignment reminiscent of prehistoric monuments, made of small forms of colored acrylic that evoke wonder and act as digital relics, merging technology and myth.

BRC has always been a place where a single glowing object in the dark can stop you in your tracks just as surely as a 50-foot structure. Both have meaning, and both bring the playa to life for everyone.

More to DiscoverAnimalia may have been the 2023 BRC theme, but animals continue to have a strong presence in BRC. Two octopuses will propel their way to the playa this year: “Octopolis,” a ~40’-diameter immersive installation raising awareness about ocean conservation, and “Project O.C.T.O.P.U.S.,” a human-powered kinetic octopus with 65 points of articulation activated by hand cranks. Turtles, beetles, birds (a pelican, a goose, and penguins, oh my!), and even a disco dog join the menagerie, among other creatures. “Kaleidoscope” invites you to sit among 500 fused glass monarch butterflies arranged in an organic murmuration that glows with a warm light at night (and who knew the collective noun for a butterfly swarm is “kaleidoscope?!”).

“Octopolis” by Laynajoy Rivas & Big Art Collective, 2026BRC is full of odd creatures, and they’re well represented in the art as well! A kinetic and adorable half cat/half mermaid tells the ecological story of kelp forests, and is appropriately named “Purrmaid.” The not-quite-human figure “Behind Closed Eyes” invites you to feel the topographic surface textures shaped by the hand tools of Balinese and Javanese craftspeople. “Resilience” is a fire sculpture of a tardigrade, a microscopic water bear, one of the most indestructible organisms on Earth, capable of surviving in the vacuum of space.

“Behind Closed Eyes” by Spencer Hansen & Team, 2026Nearly half of this year’s projects are led by artists who identify as women or non-binary, with several exploring the experience of being a woman while inviting everyone to reflect on their messages. “QUEEN: Quantum Universal Epic Era Now!” is a reclining sculpture of a midlife woman, powerful, claiming space, and celebrating a stage of life that is often made invisible. In large block letters filled with pastel flowers, “NO” examines social conditioning that teaches women to soften refusals, decorate boundaries, and make declines more palatable.

“Fire Gnome” by Fire Gnome Collective, 2026Fourteen projects plan on using fire and flame* effects*** to bring them to life. “Dusty Heart, Tumbleweed Soul” is a 10-foot tumbleweed ignited from its core, spinning via hand-crank. “The Royal Trumpets” features six 15-foot propane trumpets tuned to the chromatic scale. “The Flaming Carousel” offers rideable creatures made by various artists rotating under flames, while the whimsical “Fire Gnome,” a 30-foot garden gnome, emits controlled bursts of flame from its mouth.

A quieter thread running through this year’s Honoraria is an exploration of the inner landscape, art that invites pause and introspection. “1/1000 — A Wish for Recovery” is a luminous steel paper crane inspired by the Japanese tradition of folding 1,000 cranes, offering a space for reflection and wishes. Participants are invited into a state of attunement with “The Sanctuary of the Silent Star,” which is a lotus-shaped cocoon that is activated by quiet rather than sound. “D.A.R.E. — Does Art Reside Everywhere” is a large syringe, a tribute to the artist’s upbringing in the D.A.R.E. era and a memorial to her brother, who died of an overdose. These pieces may not be the loudest, but they are among the most resonant.

“Pandora’s Eye” by Joe Di Marco and Hannah YataThe playa has always invited questions about reality, and several works lean fully into the surreal. Imagine wandering through the magical landscape of the open playa and coming upon a typical suburban garage, complete with yard tools, boxes of decorations, and a basketball hoop attached! “The Garage” pays tribute to the builders of BRC who have worked out of their own garages. “As Above, So Within” is a large 3D-printed Mandelbulb fractal sculpture rendered in intricate organic geometry, shaped by the belief that the boundary between inner and outer worlds is an illusion. The axis mundi is not a distant mountain or mythic pillar; it lives within each of us. We are microcosms of the infinite, the axis through which the universe gets to know itself.

Your Turn to CreateWe’re pulling out our megaphones for this one: you do not need a grant to bring art to Black Rock City! You don’t need a professional studio, a large crew, or years of experience. These 75 projects highlighted are just a fraction of the 400+ art installations that will transform the open playa and city plazas in 2026, not to mention all the creativity that will adorn camps, bicycles, mutant vehicles, and bodies. The rest are made by people who simply decide they have something to make… and then they make it!

If you would like to bring an artwork to be placed on the open playa, please register your art by completing the Art Installation Questionnaire. All registered artists (whether funded by Burning Man or not) receive support and mentorship via a dedicated Artist Liaison, on-playa services including heavy equipment, and allows artworks to be featured in the WhatWhereWhen, on the Burning Man Project website, on Black Rock City art tours, and more. Online registration is open now through May 20, 2026, and you can do a walk-in registration for smaller-scale projects 10’ or less once you arrive in Black Rock City. Art in camps doesn’t need to be registered.

“The Sound of Time” by Andrian Landon, 2026

Burning Man’s creative culture grew from the ground up. It wasn’t curated into existence, it was built by anyone who wanted to participate in something special. A silly sculpture made in your garage for your camp. A performance you rehearsed in your backyard. A meaningful gift you made for strangers. This is the foundation of our culture.

If you’ve been waiting for a sign to bring something to playa, this is it! If you’re curious what that looks like in practice, check out the Journal post “The Art of Leveling Up: Your Small Project Can Have a Huge Impact” to see how others have brought their visions to life. Explore the list of 2026 Honoraria projects below, and if you feel inspired to create something, you are warmly invited to register an art project of your own. If you’re looking to lend your skills, learn under an experienced lead, or connect with artists, check out the collaboration tool Spark.

And if you’re already thinking big, we’re looking ahead to the 2027 BRC Temple! We’re moving the process earlier so artists will have a longer timeline. If you’re inspired to submit a proposal, get ready because the form will open at the end of April, with a deadline in early June. Watch for more information in the coming weeks.

Black Rock City exists because we dream it together and then create it together. We can’t wait to see what YOU bring!

Drum roll, please…

The 2026 Black Rock City Honoraria Recipients1/1000 – A wish for recovery — Steel Tigerlillies — Milwaukee, WI

Above and Below — Sean Orlando — Richmond, CA

Acinonyx — Liminal Collective — Seattle, WA

Aetheric Ascension Tower — Andrey Sledkov and Artsled — Salt Lake City, UT

Aikido – The Mothership Connection — Zak Ové — London, United Kingdom

ALUNA The Frequency of Being — Santiago Caro and Tixana Ospina and Outline Creative Lab — Bogotá D.C and Sierra Nevada de Santa Marta, Colombia

As Above, So Within — Mahshid Moghadasi — San Francisco, CA

Axis Mundi: Resonant Spire — Sergei Konchekov — New York, NY

Beetle — Barry Crawford — Silver Springs, NV

Behind Closed Eyes — Spencer Hansen and Team — Jimbaran, Indonesia and Grass Valley, CA

Bless My Meat — Dolce Remi and Esmeralda — Nevada City, CA

Brews 12 v Uno: cLOUD OF WIT-nesses — Eric E. Brown, Jr. — Brooklyn, NY

Carnac 2026 — Michael Ciulla and Walid Nasrala — San Francisco, CA and Beirut, Lebanon

Cocoon — Jillian Culver and the Pilot Hill Art Collective — Truckee, CA

COMING HOME — Deborah Lambin and Lambin Arts — Carson City, NV

Compost Playground — Jen Reed — San Francisco, CA

Confessional Alter: Demoop du Soul — Jacob Hanshaw and Looking Up Arts — San Francisco, CA

CORREFOC — Daniel Nebot and Miguel Arraiz — Valencia, Spain

D.A.R.E – Does Art Reside Everywhere — Rachel O’Hara — Honolulu, HI

Disco Mushroom — Alpine Artists Collective — Alpine Meadows, CA

Do Baskets Dream of Shores or Sea — Luke Lin, Auroborium — San Francisco Bay Area, CA and Hoi An and Ho Chi Minh City, Vietnam

Dusty Heart, Tumbleweed Soul — Calli Beck and Stark Raven Fab — Santa Fe, NM

Elemental Dragon — Arterra Techtonics — Romania

epod — Michael Christian — Bay Area, CA

Fire Gnome — Fire Gnome Collective — Emeryville, CA and Northampton, MA

For They Know Not What They Do — Jai Hackl — Yamba, Australia

Freedom Dancers — Ashley Stoddard — Seaside, CA

Harmonic Orbiter — Linda Qian and the Harmonic Orbiters — Cambridge, MA

Headwaters — MSALIGNED CREATIVE LTD — Wellington, New Zealand

Heart Remains — Giselle Çisel Çakıroğlu — Turkey and New Mexico

Honey — Elizabeth Laul Healey and Duffy Healey — Wilson, NC

Iguana-na — Julia Andalora — Portland, OR

illumaphonium — Gemma Mills and illumaphonium — Somerset, United Kingdom

Just A Spoonful — JoLean Barkley & WENDO — New Orleans, LA

Kaleidoscope — Studio Woo Woo — Nevada City and San Francisco, CA

Keyhole to Other Dimensions — John H Dill III — New York, NY and San Francisco, CA

Limen — Taylor Dean Harrison — Penngrove, CA

LOOKOUT! —Franzi Ponzi and the Homo Erectors — Portland, OR, Oakland, CA, and Reno, NV

Mebuyan Pulse — Leeroy New, Luca Parolari, Sherif Koyes, Erick Estrada — New York, NY and Manila, The Philippines

NO — D. Striley — Sacramento, CA

Notorious BIG Spinning Wheels — Josh Cohen and PDA — Roxbury, NY

Octopolis — Laynajoy Rivas and Big Art Collective — Clearlake Oaks, Petaluma, and Oakland, CA

Open Arms — Jorge E. Martinez — El Paso, TX

Our Own Devices — Glass House Arts — Escondido, CA

Pandora’s Eye — Joe Di Marco and Hannah Yata — Wassaic, NY and Lords Valley, PA

Penny The Goose — Mr and Mrs Ferguson — Alameda, CA

Petaled Portal — David Oliver — Ventura, CA

Playa Penguins — Paula Aranda — Whitefish, MT

Project O.C.T.O.P.U.S. — Tyler FuQua Creations — Oregon City, OR

PULSE — Manuela Magni — Milan, Italy, Mexico City, Mexico and Reno, NV

Purrmaid — Paige Tashner — Richmond, CA

QUEEN: Quantum Universal Epic Era Now! — Sophi Kravitz and Ollie Tanner — Kingston, NY

Resilience — Resilience Art Collective — Berkeley, CA

Seven Sisters — Caleb Nederhood and Crew — Oakland, CA

Spectral Scarab — Tremendous Machine Farm — Salem, WI

The Circle of Ancestors — Maurice Cavness — Eureka, CA

The Council of Animals, what to do about the Humans — Quill Hyde — Tonasket, WA

The Flaming Carousel — The Flaming Carousel Crew — Atlanta, GA and Portland, OR

The Garage — Brendon O’Halloran and the O’Tools — Topanga, CA and Reno, NV

The Love Nest — RFLloyd — Modesto, CA

The Portal of Collective Imagination — Kim Carson — San Francisco, CA

The Race of Hearts — Ali Agus Ardie and Nina B. Paul, PhD — Indonesia and Germany

The Royal Trumpets — Adam Foster and Foster’s Cosmic Creations LLC — Rochester, NY

The Sanctuary of the Silent Star — Michael McIntosh — San Francisco, CA

The Serpent — The Serpent Servants — Dallas, TX and New Orleans, LA

The Solar Library Expansion — Jared Ficklin aka Pearlsnaps — Austin, TX

The Sound of Time — Adrian Landon — Reno, NV

The Weight of Light — In Theory Art Collective — Huntsville, UT

The Wishing Tree — Rockford Revelry — Rockford, IL

TITANIC — Titanic’s End — San Francisco, CA

Totem of Transformation, The Shifting Balance — Alvise and the Hippo Love Art Society — Calgary, Canada

Tree of Photon — Artur Grycuk — Bialystok, Poland

We The Sheeple — Frank Jerolimov — San Jose, CA

Yggdrasil — Morten Ørtenblad — Nicaragua and California

ZARVAN — Gazelle Dasti — Reno, NV

Full project descriptions, images, and links will be available later in the spring.

The BRC Honoraria Program relies on the generosity of our community. You can help support this program, and an array of on- and off-playa artist services, by making a gift here.

We’re deeply grateful to all the artists who will be sharing their creativity in Black Rock City in 2026, and we can’t wait to experience this outpouring of creativity together!

Cover image: Rendering of “Heart Remains” by Giselle Çisel Çakıroğlu

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TL;DR

2025 was challenging. Early event-week rain and wind created tough MOOP conditions across Black Rock City. True to form, the Black Rock City community rebuilt, had a Burn, and cleaned up — followed by the 150-person Playa Restoration crew (Resto). Together, we once again passed the Bureau of Land Management’s Post-Event Inspection, staying under the one-square-foot-per-acre standard limit (under 0.002% MOOP). One clear word of warning from Resto: more than 2,000 lag bolts were still left anchored into the playa. Lag bolts remain the most serious recurring MOOP issue, and the primary focus for improvement as we come together for Axis Mundi 2026.

Playa Restoration All Stars (Photos by DA)

Burning Man’s Leaving No Trace PrincipleOne of the 10 guiding Principles of Burning Man, Leaving No Trace, states:

“The Burning Man community respects the environment. We are committed to leaving no physical trace of our activities wherever we gather. We clean up after ourselves and endeavor, whenever possible, to leave such places in a better state than when we found them.”

(Photo by Mr. Blue)Community Problem Solving: The #1 Worst MOOP — Lag Bolts / Tent Stakes / Rebar (But Really Lag Bolts)While we initially hoped lag bolts were just a temporary rising MOOP trend back in 2022, three consecutive years at #1 Worst MOOP tells a different story. Lag bolts are a problem that the Black Rock City participants must solve. The good news: it ain’t rocket science.

Defining the Lag Bolt ProblemLag bolts are highly effective for anchoring objects into the playa. But when screwed flush into — or below — the surface, they disappear into the dust. Overlooked, they become both a leave no trace failure and a safety hazard for vehicles and people.

Resto’s MOOP data shows something important about the problem. This isn’t about a few camps missing many lag bolts — the problem is that many camps are missing a few. Across Black Rock City’s 157 million square feet, those small, easy-to-miss lag bolts — often no larger than half an inch at the surface — added up to 2,304 lag bolts in 2025.

If you have developed reliable techniques for managing and recovering lag bolts, we welcome those solutions in the comments. Shared practices help the community get stronger at Leaving No Trace.

So what are the not-rocket-science solutions?

Lag Bolt Finding Solutions* Visibly tag your lag bolts when you screw them in so they’re easy to locate and unscrew during breakdown. Use solutions such as marking whiskers, heavy-duty flagging tape, cords, ties, etc., that won’t become MOOP issues themselves. * Use a metal detector to help ensure no lag bolts or anchors remain hidden beneath the surface.

“Marking whiskers” are durable, six-inch plastic markers used to flag ground anchors so you can easily find them again. They are great for tagging lag bolts, tent stakes, and rebar. (Image courtesy of DA)Bring a metal detector! They’re an easy way to find lag bolts and other ground anchors within your camp or art project! (Image courtesy of DA)Leaving No Trace works when the community takes responsibility for the city we build together. Theme camps, art projects, and event infrastructure teams manage spaces ranging from a few hundred to a few thousand square feet, and are responsible for restoring those spaces before they leave. The 150-person Playa Restoration crew, made up of community members like you, stays behind for weeks to inspect and scour roughly 157 million square feet of playa. Resto is not the primary cleanup crew for camps and projects. Our role is to verify, remediate what’s missed, and ensure we meet federal standards.

The scale difference is enormous, but the principle remains the same: the care taken within each camp, project, or infrastructure footprint directly determines the work required to restore the playa, and whether we pass inspection.

Playa Restoration’s 30 yard MOOP Dumpster from mid-September to early October. (Photo by Mr. Blue)MOOP Map 2025: What the Colors Actually MeanThe MOOP Map records cleanup effort and time spent by Playa Restoration crews across Black Rock City.

Clear areas indicate normal forward progress — occasional MOOP, but nothing worth writing home about. Yellow areas reflect moderate MOOP conditions, requiring slower, cautious, stop-and-go movement to avoid missing anything. Red areas represent difficult-progress cleanup conditions that stopped us in our tracks, impeding our momentum as we work to cover the entirety of Black Rock City’s roughly 3,700 acres before the BLM Post-Event Inspection.

Orange dots mark locations where Resto placed traffic cones to identify concentrated problem areas requiring additional remediation. New to the MOOP Map this year are Light Grey and Dark Red dots, which reflect Resto’s pre-testing using the standard BLM inspection method. Light Grey indicates areas that passed under the one-square-foot-per-acre limit. Dark Red indicates areas that exceeded the limit and would have failed inspection.

The MOOP Map serves as feedback for the BRC community, highlighting where leave no trace practices supported efficient restoration, and where conditions demanded additional field effort.

(Click on the MOOP Map below to view and zoom in on a high-resolution version.)

Some Specifics About the 2025 MOOP MapStorm–hit areas left behind a patchier MOOP pattern than usual and some shocking surprises — such as the long stretch of red that was an embedded paper towel explosion that landed along K-street between 6:30 and 7:15!

In the City Grid (2:00-10:00, Esplanade to K streets), the back blocks along I, J, and K streets improved a lot since recent years, while it seems the mid-blocks in 2025 of D, E, F, G, and H were MOOPier than usual.

Overall, theme camps, art projects, and event infrastructure are generally cleaning up well, with fewer large problem areas but many more smaller issues. Now, if we all consistently located and removed all of our lag bolts, stakes, and rebar, that would eliminate roughly half of the red points from the MOOP Map, and we’d be in considerably better shape.

See the Playa Restoration 2026 Playbook for practical instructions from the Playa Restoration team, including proven tools, methods, and tips to help camps and art projects successfully pass their MOOP test and leave no trace.

After a long day, the MOOP Scribes mark Resto’s progress on the MOOP Map and prioritize returning to difficult areas. (Photo by DA)

BLM Post-Event Inspection: Pass — Thank You, Citizens of Black Rock City and Thank You, RestoThe Bureau of Land Management’s allowable MOOP threshold on the Black Rock Desert is one square foot per acre on average (under 0.002%). Under the 2019 Environmental Impact Statement, no more than ten percent of the 120 test points may exceed this limit — a remarkably strict standard that Burning Man continues to meet on federal public land.

In early October, the BLM conducted its annual inspection.

Results indicate a slight increase from 2024: seven of 120 test points exceeded the allowable threshold, all within the city grid (Esplanade through K Street, 2:00 through 10:00). Overall conditions remain stable compared to 2023, when eleven test points exceeded the limit — a result that approached the 10% maximum.

An additional seven Points of Interest are monitored separately, including Man Pavilion, the Temple, and other key locations. Of these, only one exceeded the threshold.

Onward to Axis Mundi 2026With more than 70,000 participants, Leaving No Trace only succeeds when we, the community, hold ourselves accountable for our shared use of national public lands. Burning Man’s continued Post-Event Inspection success reflects that collective effort, with Playa Restoration providing the final sweep to ensure the Black Rock Desert is left clean and without a trace.

This victory belongs to the entire community — and it is a commitment we carry forward together through the Axis Mundi of Burning Man 2026 and beyond.

Yesterday Today – the last day of Resto 2025 (Photo by DA)Super Harvest Moon 223,000 miles over the Black Rock Desert, NV, October 6, 2025 (Photo by DA)

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From AfrikaBurn to Black Rock City (BRC) and beyond, people draw inspiration from Burning Man in many different ways, often using the experience as a springboard for ideas and tools that they later apply back home.

Under the stars of the AfrikaBurn Tankwa desert, Bastiaan den Braber reconnected with his love for the African continent, and began to implement an idea that could be a gamechanger for African wildlife conservation. While at BRC, Dara Dotz helped manage a chaotic 3D printing art project that kept going wrong. She would later use the skills she learned on playa to prototype tools that would be rolled out in disaster situations in over 20 countries. Already experimenting with early 3D printing and CNC technologies, Kate Gage drew inspiration from the creative ways Black Rock citizens were applying these tools to build art and solve immediate problems on playa.

Helping build temporary cities was a formative experience for all three. Participating in Burning Man can help shape “changemakers,” people who take positive action out in the world. At the same time, it allows those already working in social impact to experiment and rethink how they work.

Meet three changemakers whose experiences carried outward in unexpected ways. Each show how experimentation through Burning Man can translate into meaningful change — both in their own lives and in their broader communities. Sometimes all it takes is stepping away from the noise of the outside world to reconnect with a sense of purpose.

In Black Rock City and across the Regional Network, many others are involved in inspiring initiatives. If you’re one of them, please get in touch or comment on the article, we’d love to hear your story.

Kate Gage: From Makerspaces to City-scale SystemsKate Gage in Black Rock City (Video still by Jon Bookout)When Kate Gage arrived at Black Rock City in 2017, she had been working to support makerspaces and communities across the United States. She describes the maker movement as being rooted in empowerment. “It’s about giving communities the tools to build solutions to their own problems,” she says. “That really starts with space and access.”

At the time, rapid prototyping technologies such as 3D printing and CNC machines were beginning to lower barriers to entry. On the playa, Kate saw many of those ideas and tools being put into practice. “People were using laser cutters and fabrication tools to build art, to solve problems for their camps, and to support what was needed around them,” she says.

“It’s about giving communities the tools to build solutions to their own problems. That really starts with space and access.” – Kate Gage

Beyond the art and camps, what stood out most to Kate was the less visible work required to keep the city running. “I love the people who build the power, the water, the systems, the roads,” she says. “Some people never see that work, but those skills are brought here and used for the benefit of the whole city.”

She sees Burning Man as a culture where technical skill and creativity come together. People spend months planning, prototyping, and problem solving, learning how to work as teams under pressure and often carrying those experiences back into their lives beyond the playa. “Those skills did not stay on the playa. Many participants carried them home, sometimes starting businesses and even contributing to or building makerspaces in their local communities.”

“At its best, Burning Man is a huge mutual aid project,” she says. “People show up for each other.”

Dara Dotz: From Prototyping on the Playa to Practical SolutionsDara Dotz in Black Rock City (Photo by Jon Bookout)Dara Dotz’s first Burn involved helping build a performance piece that 3D scanned people and printed small statues of them on the playa. Things did not always go smoothly. “People kept stealing our power,” she says. “We had to restart the printers again and again. The statues just kept getting smaller.”

The experience became an intense lesson in leadership and improvisation. Dara learned how to pull teams together, teach people with no technical background, and adapt when systems failed.

Later, a connection from her camp led her to Haiti, where she began working alongside a nurse who had run out of basic medical supplies. Faced with that reality, Dara began to see a new possibility. “I thought, what if we could 3D print medical tools on demand?” she says. “They would come out hot and sterile, ready to use.”

That idea marked a shift from an experimental art project to teaching people how to design and make their own medical equipment. She co-founded Field Ready, an organization focused on manufacturing essential humanitarian supplies locally. The work has since been deployed in more than two dozen countries. “Believe it or not, that all ties back to Burning Man,” she says. “We apply leave no trace. If you can’t get more supplies, you grind the material down and recycle it. You use what you have.”

For Dara, Burning Man creates a particular kind of resilience. “We all become these little MacGyvers,” she says. “You solve complex problems, but no one’s life is at risk. You learn by doing.”

Bastiaan Den Braber: From Idea to Applied ConservationBastiaan Den Braber at AfrikaBurn; Art: “SCOP IV” by Nathan Honey, 2018 (Photo courtesy of Bastiaan Den Braber)Bastiaan Den Braber’s experience began at AfrikaBurn. With a passion for wildlife conservation, he found himself one night inspired by his connection to nature and the playa finally articulating an idea he had been carrying for years. “That was the moment,” he says. “I realised what my role in this whole ecosystem could be.”

After returning home, he began mapping out what would become Zambezi Zero, an organization focused on conservation in Africa, with the aim of developing scalable intelligence systems to support biodiversity protection.

Through connections made at AfrikaBurn, Bastiaan was introduced to others who would later become collaborators in Zimbabwe. Together, they began applying AI to analyze elephant vocalisations. By combining acoustic data with behavioral research, the team worked to make sense of information that was largely fragmented. “We already know what many of their vocalisations mean,” Bastiaan says. “The challenge was systemizing that knowledge.”

Once trained, the system is designed to scale through the use of low-cost sensors, for potential deployment across Africa’s 8,700 protected areas. “The goal is prevention,” he says. “Intervening before an incident happens.”

The technology is also shared with local communities. Alerts provide practical information, such as where planting conditions may be more favourable and how to respond to environmental change. The same system is being adapted to support agriculture and agroforestry, helping communities respond to shifting weather patterns.

For Bastiaan, participation in Burning Man reinforced the importance of collaboration and practical engagement. “It got my hands dirty,” he says. “The more people experience this kind of community, the better it is for humanity.”

How Participating in Burning Man Brings About Real-world ChangeThese stories, from Kate seeing maker spaces scale to a city, to Dara prototyping for disaster relief, to Bastiaan applying AI to conservation, describe different kinds of work, but they share a common foundation. Burning Man creates conditions where people practice responsibility with limited resources and shared systems. Some arrive already engaged in work that supports their communities. Others leave with inspiration and new ways of approaching it.

Burning Man does not produce changemakers by design. It offers spaces where skills and relationships are tested. What follows depends on how those experiences are carried out into the world.

Cover image: Photos by Jon Bookout and courtesy of Bastiaan den Braber

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There’s plenty of proof that Burning Man culture cannot and does not stay within the confines of Black Rock City. Arguably, Burners Without Borders (BWB) is one of the most longstanding and consonant testimonies to be found.

Across the planet, curious humans come to Burning Man events and learn to work together to make things from next to nothing. In the process, they hone skills that carry over into other human circumstances. Logistical savvy, Radical Self-reliance, collaborative problem-solving, and a spirit of hope are forged together; we learn to create and iterate living systems and practices that weave play and practicality. Even with limited resources, even in the wildest of circumstances, Burners are going to have a good time, and help each other through.

Applied to other systems and circumstances, these skills have had a huge impact on the world.

BWB volunteers weave know-how and playful camaraderie with grassroots action in a unique way, building a story that arcs from response to resilience to regeneration. As BWB enters its third decade, these threads are woven into hundreds of community-led efforts, grants, and calls to action networked all over the planet. One of the best ways to get involved with Burning Man culture today may be through a Burners Without Borders action near you.

From Hurricane Katrina to a Global Network Across Six ContinentsYou may already know the origin story: when Hurricane Katrina struck the Gulf Coast in 2005, participants decamped from Black Rock City and made their way to the ravaged Gulf Coast, bringing tools, know-how, and a can-do attitude. This spontaneous response to a disaster took on its own momentum, and BWB was born.

But the BWB story only started with disaster relief. From this formative moment a movement grew bigger than anyone could have planned. Two decades later, BWB has evolved into an impressive network of do-ers on six continents, and it hums with humanitarian effort, influence, and creative change. At this moment, a Burners Without Borders action is probably happening somewhere near you, ready to welcome you into helping to create a better world.

The act of participating in Burning Man cultivates a unique kind of citizenship which asks, “What can I build, and who wants to build it with me?” Psychologists call that voluntary energy “prosocial behavior,” and it’s unique — not to Burners, but unique in the way Burners enact it. Civic Responsibility, Participation, and Radical Self-expression create an extraordinary blend of meaning, doing, and joy.

Check out these BWB projects focused on Education, Indigenous Issues & Sovereignty, Community Development, and other areas with the BWB Interactive Project Map.

A Special Microgrant for Regional Events and 10-Principled GatheringsAround the world, BWB microgrants support grassroots projects that have the potential to positively impact local communities. In 2025, BWB offered a special iteration of its Civic Ignition Grant directed to benefit innovative community projects that originate from Regional Events and other 10-Principled gatherings. Two projects were selected for the grants at a participant-powered consensus-based workshop during the 2025 Burn After Meeting (BAM) conference in Reno, Nevada

It was easy to see why the selected projects won — both applied hard-won Burner know-how to address challenges event participants face while bringing their gifts to life. Both are replicable, and can be deployed in a myriad of other environments and scenarios. Colin Jemmott and MJ Brovold are grant recipients for Lux Capacitor, an open-source, ground-mounted solar floodlight system. After experiencing BRC, Colin was “totally inspired that amateurs could do large scale, off-grid projects together.”

Rugged, repairable, and easy to fabricate, Lux Capacitor helps reduce generator dependence and e-waste at events and gatherings, while improving night safety and aesthetics. Tested in BRC and at San Diego’s YOUtopia Regional Event, Lux Capacitor is also deployable in many other civic circumstances, both at events, and during relief efforts.

“To me, the exciting thing about the [BWB] grant is visibility, being able to share this design and also the accountability, frankly, to follow through with the open sourcing,” Colin said.

Equally unsurprising was the workshop consensus around StarShade, a rapidly deployable, solar-powered shade pavilion built to generate power and gift excess power to other event participants. Initially designed for SOAK, the Pacific Northwest Regional Burn, StarShade reduces reliance on gas powered generators through teaching and exploring the use of solar to power local events.

Delighted grant recipients Sam ‘Spark’ Smith and Juliana ‘Squirtle’ Wallace say it’s “an open-source learning hub, with real-time energy displays, hands-on demos, and data we’ll share so others can build, adapt, and improve it” for use at other gatherings.

Learn more about the Regional Event Civic Ignition Grant projects in this Burning Man LIVE podcast interview with their creators:

Creative Empowerment through Action, Inclusion, and Mutual ResponsibilityResponse, resilience, and regeneration. These three concepts braid together and represent ways of engaging with change to empower people where they are, and with creativity and community as a forethought. Tom Price, co-founder of Burners Without Borders, puts it like this: “BWB was never just about disaster relief, any more than the playa is just about costumes. They’re instead both expressions of the same idea: that people driven by shared values and ideals around action, inclusion, and mutual responsibility can have incredible impact in even the harshest of environments. And the understanding that in the desert, in a disaster, or back home in your daily lives, the greatest tools are the people next to you.”

From recovery zone healing art in Ukraine to forest replanting collaborations, from backpacks for the unhoused in Detroit to the Spiritual Healing Center at Pyramid Lake in Nevada, examples abound and continue today. BWB-supported projects around the world are living proof that Burning Man culture has real, practical impact wherever people seek to build a better world.

Find out how you can get involved and join this global movement: visit the Burners Without Borders website; and subscribe to the BWB Newsletter; and sign up to participate in the BWB Summer Solstice Summit at Fly Ranch.

Cover image: Photo by Philip Solomonson

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This week, the 2026 journey to Black Rock City began for so many people around the world. Ticket sales are underway, and we just announced the 2026 Temple design and artist. We couldn’t be more excited to begin building BRC with you.

We are aware of the heightened conversation online about Kimbal Musk. Upon his term as a member of Burning Man Project’s Board of Directors concluding in January 2026, he chose not to renew based on other commitments and priorities. That conversation and his decision took place well before the recent information release and news cycle. We appreciate Kimbal’s participation and support as a community member across many forms of engagement.

Burning Man exists to bring people together. As was captured in my op ed that was recently published in the Reno Gazette Journal, we are a culture of human connection, participation and belonging.

Together, we can shepherd more Burning Man, awe, and joy into the world, which is good for all humanity. Burning Man endures because together with the community we create spaces for creativity — especially in moments when the world feels polarized.

Want to stay connected? Subscribe to our newsletter, the Jackrabbit Speaks, and follow us on Instagram.

Cover image: Photo by Scott London

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We are thrilled to announce the Temple for Black Rock City 2026: the Temple of the Moon, by James Gwertzman, with support from the Moonlight Collective and the Temple Build Crew.

Inspiration: The Queen of the NightTimelapse of a Queen of the Night Flower; Credit: Jaimee M. (ShamrockgirlWorld via Instagram @shamrockgirlworld)The Temple of the Moon takes its inspiration from the Queen of the Night, a desert cactus flower that blooms for a single night each year, releasing its fragrance in the moonlight before fading with the dawn. The moon also follows a natural rhythm, waxing and waning in an enduring cycle. Between these two patterns, James found a tender metaphor for our own lives, for Black Rock City, and for the Temple’s annual cycle of appearance and release.

This conceptual connection with the moon extends beyond metaphor. The Temple build will unfold in rhythm with the moon, beginning under a new moon when the crew arrives in Black Rock City to start building, and reaching a full moon during the final stretch of the build. As the moon grows brighter overhead, the Temple will rise beneath it, shaped day by day through collective effort and intention. During the Burning Man event, the moon will slowly wane, returning to a new moon just days after the Temple is released by fire, completing the full cycle.

There is a long tradition of gardens that bloom at night, of sanctuaries oriented to moonrise, and ritual architectures that respond to celestial movement; all share a common invitation to slow down and appreciate beauty in the cooler night air. For example the garden complex Mehtab Bagh, meaning ‘moonlight garden,’ was built as part of the Taj Mahal complex in India. The Temple of the Moon joins this lineage as a contemporary expression of an ancient impulse. The Queen of the Night offers a botanical counterpart to the lunar cycle, blooming briefly under cover of darkness, asking nothing but attention.

Together, flower and moon conceptually make the Temple a celebration of impermanence and immediacy. It serves as a reminder that the fleeting nature of human experience is what makes our short time here on earth so meaningful.

Design rendering of Temple of the Moon by James Gwertzman, aerial night rendering by Annie Locke SchererDesign and ExperienceJames and his team designed the Temple using a parametric approach, shifting the creative process from manual drafting to algorithmic generation. This allowed the team to generate complex, organic curves using straight pieces of timber, something that would be nearly impossible to design by hand, and to realize a highly expressive form through careful, intentional construction.

The Temple of the Moon spans approximately 170 feet in diameter, surrounded by a perimeter fence. The fence will incorporate eight gateways, each corresponding to a major phase of the moon, and is envisioned as an opportunity for community participation. Sections of the fence will feature CNC-cut panels with designs submitted by the community, inspired by moon or flower motifs, allowing the threshold of the Temple to reflect many hands and many expressions.

Design rendering of Temple of the Moon by James Gwertzman, fence detail rendering by Annie Locke SchererInstallation image of “Matter of Time” by Richard Serra, Guggenheim Bilbao, 2005The approach is designed as a journey rather than a direct path. Participants wind between large petal-like forms set into the playa, beginning a gradual transition from the open playa into a more reflective space. The indirect route slows the body and bends the line of travel, easing the transition from the energy of the city into a more contemplative state. The Temple’s curved surfaces will be articulated through closely spaced vertical elements, allowing the form to remain organic. Inspired by the immersive corridors of sculptor Richard Serra, the approach compresses and releases space, encouraging participants to arrive with heightened presence and a softened sense of time.

Inside, five archways open to a central, cathedral-like chamber. Rising through its center is a vertical element reaching 52 feet at its highest point, drawing the eye upward and representing the stamen of the flower. Above, crown petals hinge open at sunset and close again at sunrise, creating a daily ritual that will allow moonlight and starlight to wash over the interior before the space is sheltered once more.

Curved benches offer places to sit together, while five long alcoves provide more intimate spaces for private reflection. The Temple welcomes both solitude and community, honoring the many ways grief and gratitude are experienced. Like the Queen of the Night, the Temple of the Moon offers beauty with impermanence and space without prescription.

For those who’d like to explore the Temple design more deeply, including a fly-through video, visit the website.

Design rendering of Temple of the Moon by James Gwertzman, dawn rendering by Annie Locke SchererThe Hands That BuildJames Gwertzman comes to the Temple through a lifetime at the intersection of art, technology, and collaborative making. Trained first in theater as a set and lighting designer, he spent decades in the video game industry creating interactive worlds before returning to the physical act of making art.

His recent Burning Man projects, “Prairie of Possibilities” (2022 and 2023) and “The Moonlight Library” (2025, now at Fly Ranch), brought together more than fifty volunteers and helped form the Moonlight Collective, a growing community of artists and builders. Those experiences have shaped a team rooted in collaboration, transparency, and care, preparing them for their next adventure of building a Temple in service to the community.

James has chosen to step away from his technology career to devote himself fully to the 2026 Temple and to pursue his artistic practice full time beyond that. The inspiration to create a Temple for BRC arrived after accompanying a close friend through a profound loss.

As James writes: “I have spent much of my life solving problems, fixing things, being productive — but in the face of that kind of loss, there was nothing to repair. There was only the invitation to stay, to listen, and to bear witness.”

Key collaborators on the Temple project include: architect Annie Locke Scherer, whose parametric design expertise bridges organic form and digital fabrication, project managers Erin O’Brien and Sabrina Miller, Tim Priest as build lead, Morgan McClure as volunteer coordinator, and advisors from across the Temple community and academia. The team will gratefully partner with the Temple Builders Guild and rely on guidance from previous Temple leads, honoring the knowledge and care passed down through decades of Temple building.

Design rendering of Temple of the Moon by James Gwertzman, interior petal arm rendering by Annie Locke SchererWhy This Temple, Why NowAfter more than two decades of the tradition of the Temple in BRC, each year we ask the question anew: how can this space best hold the evolving needs of our community?

The committee looks for designs that are imaginative, feasible within the constraints of the playa setting, and capable of welcoming thousands of personal offerings in a non-denominational spirit. We look to make sure the chosen design will burn beautifully and safely, that it can follow the Leave No Trace principle, and that the artists have taken environmental sustainability into consideration.

This year we received by far the most applications we’ve ever had in the Temple Grant Program. The Temple of the Moon stood out for the brilliant nature of its concept, reflecting the ephemerality and immediacy of Black Rock City. We appreciated the grace of its spatial journey, and the strength of its team. While the artistic concept is key, the integrity and leadership skills of the lead artist are also an important part of the selection process. James has been an excellent partner through his past projects in BRC and he really stood out for his emotional intelligence, dedication, and leadership skills.

Building It TogetherRoll up your sleeves — the Temple of the Moon welcomes your participation! There are lots of ways to pitch in, from hands-on building, to remote support, and installation in BRC. The build will take place at the same location in Oakland, CA as last year’s Temple. No build experience? No problem. The Temple will come to life through many hands. Fill out this form to get involved, and follow along on social media to stay connected.

Design rendering of Temple of the Moon by James Gwertzman, interior altar rendering by Annie Locke SchererThe Temple grant covers only a portion of the costs, and community support is essential. Be among the first donors and contribute today. The Temple belongs to all of us, and it takes many donations, large and small, to help it become a reality. There will also be a crowdfunding campaign launching soon.

You can contribute written offerings to the Temple, even if you can’t attend BRC. Look for more details in the coming months. Burning Man is something we create together; whether you join the Temple build, bring your own artwork, or support others in their visions, step out of the role as spectator and into active participation. Like the Queen of the Night, the city blooms only briefly. What we make together is the fragrance and memory it leaves behind.

Do You Want to Propose a Temple?Believe it or not, we are already thinking about 2027, and we are working towards a longer timeline for the Temple artists. If you are inspired and hope to submit a proposal for next year, keep your eyes peeled for more information this spring.

Cover image: rendering of Temple of the Moon by James Gwertzman, night rendering by Annie Locke Scherer

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Black Rock City celebrates ephemerality. We come, we build, we burn, we dismantle, we depart and bring our shared experience home into our lives. The meaning is elusive, or at least, contextual and belonging to the individual as much as to the collective. For long term citizens of Black Rock City, arrival in the desert when it is still barren summons a spatial poesis, a space memory; it exists even before it arises. What then does it mean to contemplate Axis Mundi as a central focal point, a theme, a calling forth in 2026?

We can consult Wikipedia and learn that Axis Mundi represents the core idea of an organizing principle, something we center ourselves around, or something that connects realms above, below and between, or even the axis pole of the Earth’s center. When we consider Axis Mundi we find ourselves at the heart of the matter — finding, perhaps, what is at our core and how we are connected.

Each year Burning Man Project invites a small group of artists to consider the theme, gather their thoughts, and respond with a concept submission for the pavilion upon which the Man rises each year. The Man is the center of Black Rock City. It is the symbol around which we physically and figuratively build our city, our ethos, and plan our annual trek. We aim for the Black Rock Desert and the Man is our central focal point. Thus, when we invite artists to submit a concept, we ask them to communicate their vision for the meaning and manifestation of the Man as a destination, a place to gather, and a symbol that beckons us to come together.

For 2026 we are pleased to share the selected concept submitted by Alexander (Zander) Rose. A long-time community member who first came to Black Rock City in 1996, he has worked on or led projects in Black Rock City that include the Manual For Civilization library at the Man Pavilion in 2025, the Shackleton theme camp in 2019 and 2022, and the Impotence Compensation Project “Fire Symphony” with Jim Mason and Dave X from 1999-2001.

Zander spent his childhood combing the junkyards of the Sausalito waterfront. His education is in design; he’s been an artist in residence at Silicon Graphics, SGI, and created world-class combat robots featured on the television show Battlebots. He may be best known for his work as the original founder of the Long Now Foundation and the creative collaboration known as the Clock of the Long Now, a 10,000 year clock. Perhaps we call him inventor, innovator, and yes, artist. Get to know Zander in this 2025 interview on the Burning Man LIVE podcast.

The concept submitted by Zander is called Cryptomeria, inspired by the Cryptomeria Japonica (Cedar) tree of Japan and specifically by the Jōmon Sugi tree, which is estimated to be between 2,170 and 7,200 years old. He was attracted to this idea because of the heart of the tree, being open and inviting, and his love of doing something unexpected that changes a conversation. Zander says about himself, “I wouldn’t call myself an artist, I like to create a single artifact, or an intervention, that gets people to think. Perhaps you would call me a designer.”

In his concept submission, Zander shares these thoughts:

The Axis Mundi is the place where worlds meet: root and crown, earth and sky, body and spirit. It is not a monument imposed from above, or a pedestal for a hero, but a living alignment revealed through participation. The Cryptomeria Man Base becomes this meeting point. Its roots invite the city to kneel, gather, and build outward together; its spiraling stairways draw bodies upward and inward, tracing the ancient helix that binds our genetic material, the past to future, and self to collective. Visitors will arrive through a pathway of meandering roots, ascend an outer helical staircase nearly sixty feet to the base of the Man, while a second spiral descends down the center, forming the double helix of DNA, and providing a continuous flow of travel. Together, these paths establish a vertical maypole, an axis around which the city symbolically turns.

Instagram: @zander_rosefutures
https://rosefutures.com/

When talking about Burning Man and Black Rock City Zander says:

Burning Man is so many things, and so many different things to so many people. It’s been different to me every year I’ve gone. The biggest thing to me is, that it is a space where nothing is for sale, that has kept it very different from every other thing or place or event on the planet. The commodity at Burning Man is fundamentally creativity and attention. You can do a pretty large thing at Burning Man that can be ignored and dwarfed or do something tiny that is entirely miraculous that changes the few people who see it. I don’t know of any other place that offers those opportunities both for failure and success. I love that about it. There’s never been a year when I wasn’t surprised by something, in someone’s work, or the weather, or never gone without having a magic moment that wasn’t expected. If you arrive with low expectation and allow for high possibility there is no better place to get a response to that openness to possibility and serendipity. You can also have a horrible time, all possibilities are there. You can build your own world and how comfortable or uncomfortable you’re going to be is up to your preparation, your friend group, and I love that civic infrastructure, the idea that the whole thing can be built and work and then come down.

Cryptomeria is one of eight concepts submitted by incredible artists:

• Alberto Marcos
• Caroline Ghosn
• Elnara Nasirli & MXNZM
• Heather Laurie (& Full of Tricks Crew)
• Leyla Brashka
• Michael White
• Raylene Gorum & Owen Laine

Watch Burning Man Project’s social media for images and information about these artists and their concepts in the weeks ahead!

Cover image rendering of Cryptomeria by Alexander Rose, 2026

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The TL;DR for February’s Sunrise Sale for Black Rock City 2026 tickets:

• Open to everyone!
• Registration open January 26 – February 3 (9 days)
• Ticket sale starts February 4 at 12pm PT
• Sunrise Sale tickets help build Black Rock City, and enable us to add more lower-priced tickets in later sales
• Prices: $775, $975, $1,500
• There is a payment plan for this sale
• A limited number of $675 tickets will be available
• Full details at tickets.burningman.org

We are AMPED about the phenomenal art and participatory shenanigans coming to Black Rock City 2026. With the new year we’re rolling out a shiny new ticket sale. The Sunrise Sale will take place on February 4.

When you kick off your Black Rock City plans and participate in the Sunrise Sale, you help build Black Rock City and enable more lower-priced tickets to be available in later sales — opening doors for artists, dreamers and city builders from around the world to experience our co-created wild, dusty playground.

The first Black Rock City 2026 ticket sale — the Sunrise Sale — will be Wednesday, February 4, with a 9-day registration period from 12pm PT January 26 until 12pm PT February 3. Find fresh ticket sale details here.

2026 Sunrise Sale Ticket Prices Pay Your Way: $775+ taxes & fees → cover the cost to produce Black Rock City for one participant; tickets will be available while supplies last * Give the Gift:* $975 and $1,500, and $3,000 + taxes & fees → pay your way, support Honoraria art grants and BRC operational costs, and make more $675 and Ticket Aid tickets available in later sales * A payment plan is available for all ticket prices * A limited number of $675 tickets will be available

A giant thank you to those who choose to buy in the Sunrise Sale — you are embodying the collaborative spirit that makes Black Rock City unlike any place in the world.

Other ways to access tickets to Black Rock City 2026 include:

• Following the Sunrise Sale will be the Stewards Sale and Main Sale. Any remaining tickets available will be sold in the OMG Sale.
• The Ticket Aid program makes $250 tickets available to participants who apply and show financial need.
• The Stewards Sale for camps, art crews, mutant vehicle crews, and other contributors will take place in March.
• The Renaissance program taps connectors to invite networks, inspired groups, and collectives to bring their magic to Black Rock City.
• The Resilience program makes tickets available to those who have recently been impacted by natural disaster or geopolitical conflict.

You may notice that ticket resellers are already offering Black Rock City 2026 tickets in online ads and on their platforms. These platforms do not have any inventory of Black Rock City 2026 tickets; they are selling tickets on speculation with the intention to later acquire actual tickets to fulfill orders. Unfortunately it is not against the platforms’ terms and conditions, and so this activity continues. Learn more about ticket resellers here.

To be safe, only buy Black Rock City tickets from a Burning Man Project sale or through our Secure Ticket Exchange Program (STEP), and always pay face value for tickets. Selling tickets above face value is against Burning Man Project’s ticket terms and conditions. Any ticket or Vehicle Pass being sold for above face value plus service fees is at risk of being cancelled and not being valid for entry to the event.

Other Sparkly BitsWe JUST chose the artist who will build the 2026 Black Rock City Temple — and can’t wait to announce it. For 2027, the Temple artist process will open early. Watch the Jackrabbit Speaks newsletter for these tidbits and juicy updates on Burning Man around the world. Next time you stop by Burningman.org, you’ll notice we’ve rolled out a fresh website — with 98% less beige, and tons of fresh images and information.

YOU and tens of thousands of other magnificent beings will bring Axis Mundi to life in a myriad of wildly creative and interactive ways. Want to dive in? Explore the Black Rock City 2026 event section of the website for ways to plug in and participate. See you in the dust!

Cover image of the Man, 2025 (Photo by Jamen Percy)

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Museums, events, and cities around the world are responding to the desire for more interactive artwork and exhibits, rather than the stodgy “look but don’t touch” hush of a conventional museum gallery. Burning Man art is answering that call, and is a community-based and highly interactive experience from creation through its eventual exhibition. Every year the Black Rock City Honoraria Program supports approximately 75 artworks, funded by the nonprofit Burning Man Project and generous donations from Burners like YOU, bringing more art to Black Rock City and the world. On playa, the Art department provides logistical support to almost 400 works of art destined for Black Rock City.

Art That Travels: From Regionals, to Black Rock City and Beyond“Cosmic Messenger” by Miki Masuhara-Page at SOAK (Photo courtesy of Miki Masuhara-Page)Not all Burning Man art begins in Black Rock City, however. Some art starts out in other places, including Burning Man Regional Events, and then comes to the “big burn” (as Regional folks tend to call it) in Northern Nevada. I talked to Miki Masuhara-Page, a Hawaiian artist living in Portland, OR, who has brought her sculpture “Cosmic Messenger” to Black Rock City in addition to other events and festivals including SOAK, the Portland Regional burn and the Portland Winter Light Festival. “One of the big differences between a Regional Event and the playa is definitely scale,” she says. “The playa is massive, both in physical size and the number of people.”

Miki at work (Photo courtesy of Miki Masuhara-Page)Taking art from a smaller Regional Event to Black Rock City is certainly a jump in size, scale, and logistics. But it’s another experience going from the playa to placing art in a city. Even after playa, Burning Man art continues to challenge the norms and expand people’s ideas of what art can be. Miki says, “The vibe of the crowd is totally different. Yes, all types of people go to Burning Man, but they go knowing they’re going to see some truly wild stuff. Out in the world, people aren’t really expecting that. They’re just going about their day and suddenly there’s this giant magical creature in front of them. People seem to love the piece everywhere, but honestly, out in public is where I see the most joy and surprise, just because it’s so far outside what they’d normally see.”

“My goal has always been to make people smile, spark a little wonder, and remind people that imagination is a powerful and magical force. The best way to do that in my opinion, is to get the art out there in other places for them to experience it for themselves.” – Miki Masuhara-Page

“Burden of the Beast” Carries Its Message from the Desert to the Garden“Burden of the Beast” by Walker Babington, 2023 (Photo courtesy of Walker Babington)New Orleans-based artist (and actor, and stunt performer, and generally interesting guy) Walker Babington recently had a four-month solo exhibition of his work at The Hermitage Museum and Gardens in Norfolk, Virginia. The exhibit featured two of his beloved Black Rock City artworks, “Burden of the Beast” and “Zozobot.” In between working on a giant werewolf puppet (“New Orleans is kinda like living at Burning Man”), he shared a similar sentiment about the difference he felt between art in Black Rock City versus art at The Hermitage.

“There’s something about [my art] being at a Smithsonian-affiliate museum that makes people think ‘I shouldn’t touch this’ like it’s a centuries-old Grecian urn,” he said. “Luckily, people brought lots of kids by, and kids are kinda little Burners. They’ll run right up and start bouncing on the work. When I get a six-year-old’s approval, I know I’ve done something right.”

I was curious how his art ended up crossing the US, from the playa to The Hermitage in Virginia; it’s a leap I imagine many artists would dream about for placement after Black Rock City. Walker describes himself as creating “large-scale, dreamscape, symbolist folk art”, and he says it’s been inspired by participating in Black Rock City. His first year on playa was 2009, and he didn’t begin creating this type of art until 2015. Walker was participating in the Art department’s 2023 “Art Speaks” series of artist talks in Black Rock City, and was approached afterward by Carrie Spencer, a curator at The Hermitage. The messaging behind his Black Rock City Honoraria artwork “Burden of the Beast” (climate change and rising waters) is particularly relevant to Norfolk and The Hermitage, as it’s in a similar flood zone to New Orleans. The Hermitage launched an exhibition of Walker’s work along with programming related to rising sea waters, and a New Orleans-themed carnival event.

“Zozobot” by Walker Babington at The Hermitage Museum & Gardens, 2025 (Photo courtesy of Walker Babington)Enjoy “Carnival of the Beast,” a whimsical garden party celebrating “Burden of the Beast” at The Hermitage:

It wasn’t by chance that Carrie Spencer was on playa at the “Art Speaks” series, however. The Hermitage has a history of bringing Burning Man art to the eastern US, and to people who wouldn’t otherwise encounter it. In 2017, their small but mighty staff took on the task of designing and curating the first-ever large scale museum exhibition of Burning Man art and culture. “The Art of Burning Man” broke their all-time attendance record with more than 25,000 visitors during its four-month run, galvanized an entire new Regional group of Burners who participated in the installation and events surrounding the exhibition, and resulted in the museum’s demographics continuing to shift younger even after “The Art of Burning Man” closed. I was lucky enough to be involved from the Burning Man Project side to help make this exhibition happen, and have previously written about the experience near the beginning and end of the show’s run.

Experiences that Change How People Engage, and What They Expect from ArtCarrie is a great person to speak with about the cultural differences between art in Black Rock City and art in the world, and she had a fascinating perspective about encouraging different types of interaction off playa with visitors who may not be familiar with Burning Man. “Education and interpretation are part of our practice at the Hermitage. We want to challenge them; to encourage them to contemplate topics they normally wouldn’t; to ask questions; to find answers. It’s our job to guide them through that process.”

I wanted to know more about what kinds of supplemental material and events Hermitage teams created to enrich visitors’ understanding and experience of the art. “Thoughtful activation of the artwork is a big part of our exhibitions… Activation through public programs is essential for us.” The Hermitage has definitely put in the effort to contextualize the experience of Burning Man art, whether it’s programming around rising sea waters (as during Walker’s exhibition), or “The Art of Burning Man,” which included a wide variety of public programs, workshops, and interactive events.

Following the blockbuster “Art of Burning Man” exhibition, The Hermitage’s audience and the type of artists they exhibit have both changed.

“Artists see that we are willing to take risks, try new things, and support different types of artists,” Carrie added. This directly impacts how visitors engage with artwork. Following their interactive experiences with art from Burning Man, Carrie reports that visitors were not only more willing to interact with the art, they almost expected to be able to touch and interact with it.

The need to guide outside audiences towards interaction echoed what Miki said to me when discussing the difference in behavior: “At Burning Man, interaction of some sort feels like the norm. Out in the default world, though, people are so used to art being hands-off. They see something and assume you absolutely cannot touch it. Watching that moment click, the surprise of ‘wait, I can actually touch this?’ and the expression on their faces grow even more full of joy, shock, and delight, that’s honestly one of my favorite things.”

I’d* love to hear your experiences with Burning Man art found in the wild. Is there Burning Man art near where you live? Have you shared an off-playa Burning Man art experience with loved ones who haven’t been to playa? Tell us about it in the comments.***

Art that Brings Burning Man’s Creativity, Connection, and Fun to the WorldBurning Man art in the world is changing the way people experience, create, and understand the purpose of art — sparking a more curious, hands-on process. This has in turn increased the public demand for more participatory, fun artwork. When Burning Man art comes to town, people show up en masse to engage, play, and learn. The “No Spectators” exhibition of Burning Man art at the Renwick Gallery of the Smithsonian Art Museum in Washington, D.C. broke attendance records. That same traveling Smithsonian exhibition broke the all-time attendance record for the Cincinnati Art Museum, a museum that had been in existence for 113 years at the time of the exhibition. That’s not all: it also broke attendance records when it landed at the Oakland Museum of California.

Bringing the connection and fun of Burning Man art to people who wouldn’t otherwise experience it is a common theme I’ve heard from artists who place art from Black Rock City in civic environments, and from Burners who were able to bring their families to these types of events. Walker says about his solo show at The Hermitage, “My entire family is from the East Coast, almost entirely between Maryland and the Carolinas. They’re not the type to venture into the desert, so my parents, siblings, cousins, aunts, uncles, and in-laws all finally got to experience these projects for the first time.”

Whether it’s at a museum, a light art festival, a Regional Event, or a street corner in a city near you: Burning Man art may be closer than you think. (Don’t turn around, it’s right behind you!) The Art department maintains a map of Burning Man art in the world: past, future, and present for you to explore. Miki Masuhara-Page and Walker Babington are only two of the many Burning Man artists who are bringing art out into the world and helping even more people experience this particular interactive, mind-opening way of thinking differently about what art in the world can be.

Cover image of “Burden of the Beast” by Walker Babington at The Hermitage Museum & Gardens, 2025 (Photo courtesy of Walker Babington)**

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Increasingly, bringing art to Black Rock City is just the beginning. From there, Burning Man’s desert-born installations journey far and wide, rising in public spaces, gardens, and at cultural events everywhere. As they travel and bring delight to new audiences, these artworks are physical manifestations of the Burning Man global cultural movement, a connective force that is impacting the world through innovation and participatory creativity.

Now you can follow the journeys of several of these art crews in a new short film. Profiles in Dust, an all-volunteer team of documentary filmmakers, covered these artists over two years as they installed their work in Black Rock City, and then again in Reno and San Francisco. The documentary that resulted, “Art into the World,” launches today. Watch it here in full screen, or below. Be sure to keep reading to learn about the crew, and what it took to create this film.

In 2010 Terry Pratt was getting his cameras tagged at Media Mecca in Black Rock City when the late, great Tom Laporte made an interesting proposal. Would Terry be interested in producing some documentaries for Burning Man… on big art and artists?

An Emmy award-winning director of photography, Terry specializes in shooting long-form documentaries. He’d been going to Black Rock City since 2005, and was ready for a new Burning Man experience. He gathered a team — his wife Noelle Charles and ace editor JK Realms, followed by two more camera operators, Ariel Bennaroch and Shriyantha Wimalasekera.

Profiles in Dust has been creating documentaries on Burning Man ever since.

Their latest production, “Art into the World,” is the culmination of many stories and moving parts. “This one in particular did take a lot of time and effort,” Terry says, “a lot of trips in the last two years.” It began with a conversation while he was driving to Gerlach to shoot part of another documentary. What if he followed art as it traveled into the world?

“I like the idea of Burning Man leaving the shores of the Black Rock Desert and going out into the world,” Terry mused. If you can get that art into the world and let other people see it, I think that’s pretty amazing. And now there are people making the effort to help artists — like Ben Davis from Illuminate the Arts in San Francisco — who took it upon themselves to say ‘Hey, there’s a lot of art coming out. Let’s help people find places for it to go.’”

“Someone had told me about Burning Man art going into Reno,” Terry continued. Indeed, a hotelier was planning to install several Black Rock City artworks at a resort. “Noelle and I came to Reno and ended up filming at the J Resort; they had bought six pieces of Burning Man art. We spent about a week filming that, interviewing the artists, the owner of the resort and the mayor of Reno.”

Also featured in the documentary is the epic “Naga and the Captainess” by Cjay Roughgarden, Jacquelyn Scott, and Stephanie Shipman, a massive sea dragon installed on playa in 2024, then brought to San Francisco’s Golden Gate Park in July 2025. “They hadn’t even started constructing Naga and they already knew where they wanted to go with it. It was this flow… now we can follow them, we can film them making it, out on the playa and then putting it up in the park.”

As with all things Burning Man, “It took a bit longer than we had planned. It took about a year and a half for that whole process to work out. But we did it. We followed the whole thing. I went up to Oakland twice to film them building, and then of course we filmed them putting it up and people enjoying it.”

The expansion of Black Rock City art in the world is changing how artists build and design their work. Now some artists plan their work to accommodate the rigorous demands of public installation. “Let’s not think about this just going to Burning Man, but build it with products that can withstand time and abuse,” Terry added.

Reno is leading the way in its approach to illuminating its public space with art. Burning Man has been pivotal in this transformation. “Reno has a huge artist community, and the city itself has really embraced art, not just Burning Man art…” Terry concluded. “They’re literally paying to have art made specific for their city. So other cities are starting to take note.”

What’s next for Profiles in Dust? Terry and crew have been immersed in creating a multi-year documentary about Black Rock City’s Department of Public Works. Watch the “Out of Nothing” trailer here. And keep an eye out for that full feature in the near future.

Cover image: Drone shot of visitors gathered at “Naga & the Captainess” by Cjay Roughgarden, Jacquelyn Scott, and Stephanie Shipman, in San Francisco’s Golden Gate Park, 2025 (Photo by Peter Platzgummer)

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Burning Man is where big ideas take shape.

Beyond the unforgettable theme camps, mutant vehicles, sculptures, and wild expressions of personality, Black Rock City serves as a crucible for projects that emanate long after the last fire burns. Each year, entrepreneurs, innovators, artists, and disruptors participate in Burning Man everywhere, to return with dusty heads full of ideas, carrying home lessons of participation, cooperation, and radical creativity that can turn into inspiring business ventures. Their success shows that Burning Man isn’t just changing lives, it’s creating real world impacts for communities and industries around the globe.

You Learn to Always Have a Second and Third PlanDavid Miles Jr. loves roller skating, and he loves Burning Man.

“I’m probably the luckiest person who never won a lottery because look what I get to do,” Miles says of his everyday professional endeavors. “I do the same thing as I do at the playa.”

For more than 20 years Miles has led the Black Rock Roller Disco, a Black Rock City camp that invites anyone to put on rollerskates and do some loops on his playa rink. Off-playa he runs the Church of 8 Wheels, an institution in San Francisco’s Lower Haight neighborhood that Miles… got rolling… 12 years ago. His work is an example of how Burning Man’s principles can lead to endeavors that have a positive impact in communities around the world.

“Roller skating is my entire life,” says Miles, who’s known as The Godfather of Skate. “ I met my wife skating in Golden Gate Park in June of ‘79. We’ve been together ever since.”

David Miles, the Godfather of Skate, at Black Rock Roller Disco, 2024 (Photo by Mark Mennie)For Miles — who first arrived in Black Rock City 25 years ago — participating in Burning Man validated his instincts and gave him the courage to pursue a project that might have seemed unconventional: his business is a popular roller rink in a former church where anyone can put wheels and experience Black Rock Roller Disco year-round.

“Without Burning Man, I don’t think I would’ve felt that I could do this. Burning Man let me know I was on the right path, that I was right all along,” he says as he describes the reach and impact he’s had, creating joy inspired by his Burning Man experiences at festivals and in cities across the region. “I produce roller skating events for some of the largest music festivals in the world now. We’ve done Electric Daisy Carnival for five years. We’ve done Coachella. You name it, we’ve done it. We’ve turned downtown Reno into a roller rink!”

“Church of 8 Wheels provides a space for everyone, it’s very inclusive,” says Peter Martinez, a Church regular. Martinez met Miles during pandemic-era Friday night skates at Golden Gate Park that Miles hosted, and he has now camped twice in Black Rock City with the Black Rock Roller Disco. “People bring their kids, there’s regulars that are always there. It is a place of free expression and movement.”

Church of 8 Wheels in action (Photo courtesy of Church of 8 Wheels)The practical skills Miles acquired in Black Rock City — building structures, improvising solutions, and managing unforeseen weather, obstacles, and problems — translated directly into running his skating rink. “All this stuff I learned at Burning Man,” he says. “How to build a floor, how to fix things when they break, how to make magic out of chaos.”

Miles also emphasizes resilience and planning he’s learned on playa. “Burning Man taught me Radical Self-reliance. Every event I do now, if the power goes out I know I’ve got another generator. I’m ready,” he says.“When things go wrong— power cuts, equipment fails — I don’t panic. Burning Man prepared me for that. You learn to always have a second and third plan.”

“I never see him get flustered,” says Martinez. “He’s just very cool, and he’s got a lot of wisdom.”

Beyond these technical and operational lessons, Miles says Burning Man instilled in him a deeper philosophy of community. Following the particularly high-wind dust storm during the building of Black Rock City in 2025, Miles had work to do to get his camp back on track.

“People we didn’t even know came and helped,” he says. “And that kind of spirit, that’s what I bring into my business.”

“I think the Church is his way of bringing the playa to the city,” Martinez says. “He’s bringing that attitude of creativity and openness and community. It’s a little microcosm of Burning Man.”

“The Church of 8 Wheels exists because of everything I learned at Burning Man,” Miles says. “Community, creativity, resilience. That’s the whole business plan right there. I basically live the Burning Man life every day now, and I tell people — if you can do it at Burning Man, you can do it anywhere.”

It’s Not About the Ticket, but About Each Other, About the GiftBaybarin at the Steamology banya in Black Rock City (Photo courtesy of Sasha Baybarin)While Miles applies Burning Man lessons to radical recreation, others have drawn inspiration in more restful ways. Sasha Baybarin is the co-founder of the Steamology Institute, an international nonprofit exploring the benefits of steam healing in beautiful, intentional spaces. From humble beginnings in Black Rock City, they now have public steam practice hubs operating under the name Atmos in Portugal, Bali, and an invite-only location in Los Angeles where they teach, conduct research, and support conversations on steam healing culture. He saw Burning Man as a guide for a project that literally warms its community.

“I saw so many similarities in how we build Burning Man and how we build this steam space,” he says. “How participatory it is, how much it’s not about the ticket but about each other, about the gift.”

Baybarin made his first pilgrimage to Burning Man in 2015, joining a camp that built a large playa sculpture called “Our Way,” an “extremely difficult journey,” he says. From there, Baybarin says he was inspired by Black Rock City’s blend of ritual, creativity, and communal labor to translate an idea of building a banya — a Russian sauna and social space — into a physical place on playa that could nurture connection and well-being.

“The next year this team’s idea was declined by Placement. And I came to them and said, ‘Let’s make one more proposal to Placement that we’ll bring the banya. I will find a way, I will build, I’ll do everything.’ We sent it again, and Placement agreed,” Baybarin says. “So, we built the first banya — and the banya transformed basically all of this camp and all of this team. A lot of new people came, a lot of older people — it just brought a lot of inspiration.”

It was an idea that would not just change Baybarin’s camp in Black Rock City, but his own entire path.

“At Burning Man, I understood I wanted to put my life on the altar and do this all my life” he says. “I left with the banya in a trailer and started to build.” The Steamology Institute now hosts classes, runs a Steamology Festival, and runs a hub at Fly Ranch in Northern Nevada. Each location brings together a cohort of like-minded practitioners. To get involved, anyone curious is invited to reach out to their nearest hub, or browse Steamology Institute’s educational materials to start their own sauna or practice.

The banya in Bali (Photo courtesy of Sasha Baybarin)“The impact of Burning Man is major,” says Zoia Comarova, who manages a Steamology location. “Because that’s where Sasha felt a lot of response from the community. Burning Man helped shape this communal approach.”

The vision Baybarin carried from Burning Man was simple yet profound. “The steam room is a medicine for community,” he says. “It’s never just about sweating, it’s about what happens with the group, their sincerity, their connection, their friendship.”
“Steamology is a creative ritual, incorporating music — we’re singing, it’s a beautiful vocal space — and the space itself is beautiful,” says Comarova. “That’s a big Burning Man inspiration. I would credit Burning Man with instilling art and aesthetics into this steam space.”

But Burning Man, Baybarin says, also nurtures a type of creativity that goes beyond aesthetics. “Burning Man showed me that real creativity is a deep search for answers, a deep willingness to share unspoken knowledge,” he says. “We build spaces that make life a little warmer, a little easier.”

You Don’t Need to Know Someone to Cooperate with ThemRussell Jones and Linda Drucker at “The Afterlife Reincarnate” by Blitzy and The Afterlife Artist Collective, 2025 (Photo by Mark Fromson)But Burning Man’s impact off-playa isn’t all roller skates and saunas. For Russell Jones, the founder and CEO of Private Fleet Net Zero (PFNZ), Burning Man was the blueprint for a tech business that marries sustainability with logistics.

“I see many parallels between Private Fleet Net Zero and Burning Man,” Jones says. “Our whole purpose at Private Fleet Net Zero is to bring people together who didn’t think they could or would work together, and to do it for a great cause. That’s what Burning Man does.”

PFNZ uses technology to optimize private fleet trucking operations and eliminate empty trucks on the road. See, when large private fleet trucks deliver cargo from one place to another, they are more often than not returning home with nothing inside. A waste. PFNZ reduces the number of trucks on the road by linking cargo that needs hauling with empty private fleet trucks already on their way.

Kyle Nashert, who works for PFNZ as Director of Carrier Sales, underscores the ethos behind Jones’ business strategy. “What Russ has done is make it free and easy for the private fleets to fill their backhauls. We’re helping truckers generate more revenue by connecting them with loads, and helping lessen the environmental impact. These trucks spew out so much pollution. Leaving No Trace is what we’re doing.”

Jones has been coming to Burning Man for most of the last 25 years. It’s where he came to celebrate after selling his first company, and it’s where he met his now-wife, Linda (“Lindsay”) Drucker — who also works in tech as General Counsel for a fintech startup — in 2018 when the two unexpectedly found themselves on the same bench outside the Temple late one night.

“I call her my ultimate partner of all time,” Jones says. “It’s fun to come out here and be in these challenging environments with somebody who you know is dependable beside you.”

Beyond finding love at Burning Man, Jones says over the years he’s observed how thousands of people coordinate to create a thriving, self-sufficient city.

“Burning Man taught me that you don’t need to know someone to cooperate with them,” he says. “Just share the same guiding principles, and together you can succeed.”

For Jones, running a business is like building Black Rock City. “Everyone makes their own decisions, but they’re all working toward one shared vision,” he says. And even in an industry often considered traditional and slow to change, the lessons of the playa have reshaped the way Jones approaches leadership. “When you raise your hand and say, ‘let’s do something great,’ people at Burning Man always show up,” he says. “That’s how I run my business now, by engaging the team, collaborating, and communicating thoughtfully.”

A Living Laboratory for Building Inspired Ventures in the Real WorldLooking at Jones’ logistics, Baybarin’s communal wellness, and Miles’ sanctified skating, common threads emerge. Burning Man, it would seem, serves as a living laboratory for experimentation, cooperation, and skill-building. Future entrepreneurs leave the desert not just dusty and inspired, but equipped with the mindset and practical tools to turn their ideas into real-world ventures. Burning Man is not just an event, it’s an incubator.

We want to hear from you: how does participating in Burning Man — however YOU get involved — influence the work you do in the world? Drop it in the comments below.

Cover image collage by Martin Rodriguez: 1. David Miles, the Godfather of Skate, at Black Rock Roller Disco, 2024 (Photo by Mark Mennie) 2. Russell Jones at “The Afterlife Reincarnate” by Blitzy and The Afterlife Artist Collective, 2025 (Photo by Mark Fromson) 3. Baybarin at the Steamology banya in Black Rock City (Photo courtesy of Sasha Baybarin)

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The global Burning Man community is full of people whose daily lives are as dynamic and creative as their time in Black Rock City and at Regional Events around the world. Teachers, mayors, engineers and entrepreneurs — many bring their professional skills to Burning Man… where they develop new capabilities that in turn transform how they work in the world.

The magic of Burning Man has never been just about the art or the play. So much is about the work — the planning, collaboration, building, and problem-solving — that re-form our character and reveal our potential. Those same acts of collaboration and creativity, learned in an ephemeral city or gathering, become tools for how we live and lead the rest of the year.

This story explores just some of the many ways Burners weave those lessons into their professional callings. While the three Burners profiled happen to be Black Rock Rangers, they embody lessons anyone can apply. Every camp lead, every kitchen volunteer, and every art builder learns the same truth: the work is the practice.

Every participant has a story to tell and we’d love to hear yours! What have you taken away from Black Rock City and how did you apply it in the broader world? Email your story to jackrabbitspeaks@burningman.org.

Elected Office: Micro-wins in the Civic ImaginationCatherine Carlton, who goes by Ranger Monster on playa (“for my monster hugs”), first came to Black Rock City not as a participant, but as the mayor of Menlo Park, California. “I was attending a conference where Burning Man Project came and spoke about building community and sustainability,” Cat recalls. “They had a program to bring mayors out to the Burn, and I took advantage of it.”

Cat arrived curious and a little skeptical and, like so many, left a true believer.

A few years later, Cat became a Black Rock Ranger after a personal encounter with their care. “I had gotten overheated and passed out,” she says. “The Rangers came and made sure I was okay. They came back later to check on me. I thought, Wow, that’s really special. It would be really fun to help people like that.”

Ranger Monster Hug aka Cat Carlton at Ranger HQ in Black Rock City, 2025 (Photo by Martin Rodriguez)As a civic leader, Cat recognizes the value of the risk and innovation she sees in the way Rangers go about resolving conflicts and offering their knowledge in so many other ways. “Being an elected official is really tough,” Cat admits. “There’s a portion of the population just waiting for you to make a mistake. That makes leaders risk-averse. At Burning Man, you see micro-wins all the time — camps running on solar, doing great recycling projects. Being able to show those micro-wins is great.”

Longtime Burning Man participant and former Menlo Park Mayor Cat Carlton (wearing glasses, holding scissors) with former East Palo Alto Mayor Lisa Gautier and municipal officials at a ribbon-cutting ceremony (Photo courtesy of Cat Carlton)Cat sees that experimental spirit as the heart of progress. “People from all over the world come to Burning Man,” she said. “A lot of the research that comes out of Harvard talks about how, in the business world, the more diversity of thought you have, the better the decision-making. You have access to a tremendous amount of diversity here.”

In her current international work speaking at events and mentoring impact start-up leaders, Cat doesn’t bring home the spectacle of Burning Man, but its civic blueprint — the faith that creativity and compassion can coexist in governance.

Whether in a khaki Ranger uniform or in a suit at City Hall, her work is the same: to build a culture where everyone has a place and small experiments light the way forward.

A Principal Integrating the 10 PrinciplesEach year on their way to Black Rock City, close to 70,000 people pass through the tiny town of Gerlach Nevada, population 53 (according to census.gov as of 2023). Ranger Keeper, known off playa as Stacey Black, lives there and leads an institution with similar DNA to the Black Rock Rangers: The Gerlach K-12 School.

“One of the features of the Rangers,” Stacey says, “is riding the edge of chaos. The Rangers are kind of a Catcher-in-the-Rye type of vibe, helping people stay safe, helping them have whatever experience they want to have.”

Ranger Keeper aka Stacey Black in Black Rock City (Photo courtesy of Stacey Black)Stacey has carried this ethos into the school she’s led since its population collapsed, following closure of the gypsum mine in nearby Empire, Nevada (where many of the school’s students lived). “When that happened, we went from about 85 students down to eight,” Stacey recalls. “We told the district: ‘If you close the school, you’re going to kill the town. And that’s not an option.’”

Her solution was to rebuild the Gerlach K-12 School using the same ingredients drawn upon by many a theme camp: collaboration, and creativity borne of constraint, deep care, and unflagging devotion to her students.

The Gerlach K-12 School is a unique educational institution that calls for innovative and unconventional approaches. To foster that mindset, Stacey also draws on some of the same practices Rangers use to hold space in the dust.

Principal Stacey Black with a Makenzie Etcheverry, the sole graduate of The Gerlach K-12 School in the Class of 2024 (Photo courtesy of Stacey Black)“Good teachers do a similar thing to what happens inside of Rangers.” Stacey says. “They build a room that’s ripe for learning and exploration. A place where it’s okay and, in fact, encouraged to make mistakes, try new things, and find your way.”

Every year in her role as Principal Black, Stacey takes her students on a field trip to the Black Rock City build site. They tour the Man Pavillion, the Temple, and meet a collection of Black Rock City’s builders and artists. “I want our students to feel proud of where they live,” Stacey said. “To embrace that idea of stewardship of the Black Rock Desert.”

For Stacey, the lesson is simple but profound: “We have some level of responsibility to build spaces that reflect the values that we want to see in the world. We want to see art and creativity. And we have a city that reflects art and creativity, a place that’s a living, breathing art exhibit and playground.”

Leadership means making room for trial and error, what Stacey calls “a room that’s ripe for learning,” and what Cat Carlton recognizes in her field as a kind of civic courage elected officials can muster to try new things to make their city, county, or state better. Both women see Burning Man as a rehearsal space for that kind courage. It’s a place where failure isn’t fatal, it’s formative.

Listen to Ranger Keeper’s full story and further thoughts on Rangering and principal-ing on the Burning Man LIVE podcast:

Entrepreneurship: Leading Through ChaosRanger Tulsa, who goes by Curtis Kline back at home in Tulsa, Oklahoma, has been volunteering as a Black Rock Ranger since 2000 when he first stumbled across the Rangers section of the Burning Man Project website. “It just spoke to me,” Curtis said. “I instantly knew that’s where I needed to be.”

Curtis has since spent decades serving as a Ranger in Black Rock City, while running companies back home — including his family’s manufacturing plant, a boutique road bike business, and a backcountry first aid kit purveyor.

“The thing that motivates me about being a Ranger,” Curtis says, “is helping people and being key to people’s positive experience at Burning Man.”

That practice of problem-solving, with a heaping dose of empathy that’s so essential to Ranger-ing, is an approach Curtis carries directly into his business ventures. “Rangering involves dealing with a lot of different things, sometimes all at once,” he explained. “In a six-hour shift you might face law-enforcement coordination, a serious medical situation, and an interpersonal conflict. I think that’s something startup founders and entrepreneurs face all the time. Just dealing with the chaos.”

To separate the signal from the noise, Curtis also relies on one of the most transferable tools: assessing interest versus position. “People tell you their stated problem, but what we’re looking for is the actual problem underneath. I find that to be really useful in my professional life too — just digging a little deeper than whatever the stated problem is.”

If you’re curious about Ranger learnings, check out the publicly available Ranger Conflict Resolution and De-escalation Training on Burning Man Hive.

For Curtis, Burning Man’s principles show up not just in business, but in how he moves through the world. “I can connect my work as a Ranger to Civic Responsibility,” he said, “but the principle I hold onto the most is Radical Inclusion. A lot of people who are struggling at Burning Man are struggling because they feel excluded. I help people understand they can be part of the community.”

That instinct extends into Curtis’ professional world. Sober for more than two decades, Curtis hires people from his recovery community, whose addiction history might otherwise prevent them from finding work.

The kind of leadership Curtis practices in his work — steady, inclusive, and unflustered by chaos — mirrors what Stacey brings to her school and what Cat has modeled in elected office. Whether in a boardroom, a classroom, or a city council chamber, these three have learned the lesson from Burning Man that leadership means creating conditions where people can grow, experiment, feel included, and truly connected to their purpose and greater community.

The Work Continues — with Creativity, Wherever You AreBringing Burning Man home isn’t about leaving one life behind for another. It’s about carrying the principles into whatever comes next — into classrooms, boardrooms, town halls, and homes.

When participating in Burning Man sparks new ideas and connections, Burning Man Project celebrates that inspiration and action. Because the real city we’re building together isn’t an ephemeral metropolis, in the dust or elsewhere. It’s in our neighborhoods, our lives, and our workplaces.

Do you have a Burning Man leadership lesson that ties together your Burner and real-world roles? We’d love to hear about it. Email your story to jackrabbitspeaks@burningman.org.

Cover image of happy campers building together, 2024 (Photo by Mark Mennie)

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“The World Tree rises at the center of the cosmos, its roots in the underworld, its branches in the heavens, its trunk in the middle world of men.” —Mircea Eliade

In nearly every culture on Earth people have imagined a center point for their existence, a celestial column that connects us with powers greater than ourselves. To the Maya it was the Ceiba tree, to the Norse Ygdrassil, to the Celts the Crann Bethadh. The ancient Greeks called it the cosmic pillar, and the Slavs knew it as the Great Oak. Siddharta’s Bodhi tree, the sacred cottonwood of the Lakota, and the Iroku of the Yoruba can all be seen as manifestations of the same deeply rooted idea.

In some cultures this pathway between the worlds stands in a specific location, a sacred spot defined by myth and memory. In others it is wherever human intentions position it, like the totem poles of the Pacific northwest or the churinga pole of native Australian peoples, carried in nomad’s kit and erected at each camp along the way, to anchor the group to their history and cosmology. In his book The Sacred and the Profane, Mircea Eliade tells the story of one such group, who lost their churinga and collapsed in collective grief, unanchored from the cosmic tree and suddenly unmoored in the world.

The Man can be seen as our version of the cosmic tree, a Jacob’s Ladder connecting us to the unseen and unknowable. It functions as the axis mundi of our far-flung world, around which we all spin at 1,000 miles an hour, clinging to each other to keep from flying off into space. Each summer it rises from the ancient lakebed of the Black Rock Desert, and throughout the year its sibling effigies are planted at regional gatherings around the world.

To say that intention creates reality is for the most part magical thinking, but social realities are indisputably brought to life through group imagining. Few would argue that intangibles like money and nation states are unreal or illusory. We make them real through belief. Likewise, our shared ethos gains substance in our collective actions and forms a social reality. As Larry Harvey wrote in the 10 Principles, “we make the world real through actions that open the heart.”

“A human being is a part of the whole called by us universe, a part limited in time and space. He experiences himself, his thoughts and feelings as something separated from the rest, a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty.”—Albert Einstein

The world tree is also the tree of life, with every species on Earth related to every other species in the tangled bank of evolution’s roots and limbs. On one branch, countless genetic lines of homo sapiens all trace back through DNA to Mitochondrial Eve, the mother of us all. As special as we like to believe we are, we are but one branch of the great tree; to acknowledge this is not a rejection of humanism, or a denial of individual agency, but an admission of humility in the face of our undeniable interdependence.

And yet, through the magical constructs of social reality, we imagine ourselves as standing apart from the natural world, and increasingly apart from each other as well. Divided by borders, and further fragmented by custom and belief into tribelets of ideology, each suspicious and distrustful of the other. And further still, divided into content feeds in a social network, one human to a screen, connected only by dubious proxy.

If Burning Man can be said to have meaning in this fractured world, it is to remind us through our collective actions that we are not alone, that we are part of something larger. Every day, on every continent, people are coming together to experience forms of creativity, generosity, and togetherness that are our birthrights as members of the human family. For some, the simple act of living outdoors for a few days, immersed in the majesty and occasional perils of nature, is the path to reconnection with the natural world of which we are all a part.

When I look up in the universe, I know I’m small but I’m also big. I’m big because I’m connected to the universe, and the universe is connected to me.” —Neil Degrasse Tyson

Burning Man 2026 in Black Rock City and beyond will celebrate the interconnectedness of our global community, the new social realities we are creating together, and our enduring ties to the natural world. Creative interpretations of the cosmic tree will send their roots into our collective past, and spread their branches into a sky of possibility.

As always, art installations are welcome and encouraged in Black Rock City, whether embodying this year’s theme or not. To learn more about having your art placed at the event, consider these guidelines. Information about the 2026 Honoraria Art Grant program, which opens with a call for letters of intent on October 15, 2025, can be found here.

Cover image of 2026 theme graphic design by Tanner Boeger

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Not your typical mother-son bonding trip, but when my 18-year-old son, Jake, asked me to take him to Burning Man before he left for his first year at UC Santa Cruz, I thought either that means I have done something very right… or possibly very wrong, but let’s find out!

It was my 14th Burn, sort of his third. His first was in utero when I was seven-and-a-half months pregnant. When he was little, he would say, “I’ve been to Burning Man, but it was very dark.” Then in 2021, he went to the renegade which was not an official ticketed event. Neither of those trips to Black Rock Desert required much preparation on his part, nor was he present to the enormity and profoundness of a “real” Burning Man.

Pregnant at Burning Man, 2006Honestly, I wasn’t sure how it was going to go. Would he have the strength and stamina to pack/unpack, prepare, strategize for entry and exodus, participate in camp, and tolerate the harsh conditions of the desert, including unpredictable and severe weather? More so, would he have the capacity and maturity to hold the vast array of emotions that Burning Man inspires in a person? The playa has a way of stirring up all the feels from joy, fear, sadness, anger, impatience, judgement, acceptance, deep grief, and sheer bliss.

I told him, “When we drive through that gate, I’m only your mom if you need me to be. Otherwise, I am a fellow Burner and campmate. This is a kind of rite of passage into adulthood before you go off to college.” He looked me in the eye and said, “I’ve got this.”

And wow — did he.

First, like nearly every teenager I know, Jake loves his phone. So, imagine my shock after we set up camp and he said, “Mom, I’m gonna let my phone run out of battery and not touch it again until we get home.”

“Sure, that sounds great,” I tried to say as cooly as possible so as not to jinx it. I agreed to do the same, other than checking my message for emergencies once a day. As a result, we don’t have pictures except two — one of him making dust angels at the gate and one that our friend thankfully took of us the night of the burn. However, it was worth it to enjoy the precious gift of being completely present with each other through the week.

Dust angels after a ring of the bell at Greeters station, entering Black Rock City, 2025Jake participated fully in our camp, The Burn Scouts. The next closest person to his age was in his early 30s, but Jake connected with all 15 of our campmates, unworried about years lived and backgrounds, on the shared experience of being a Burner. Our camp offering was hot cookies and s’mores. As he ran up to strangers offering plates of gooey chocolate chip cookies, he marveled at meeting all kinds of people — from dust covered toddlers to a man in his 70s who bakes loaves of fresh bread every morning for the people. Our first s’more recipients were a couple from Kazakhstan who spoke no English, so we had to mime what a s’more was and watch their faces explode in delight at the first bite.

Jake was also a huge help around camp, including hours of striking our large communal shade structure. His room at home is a disaster, but he diligently did MOOP patrol, picking up even the tiniest speck of glitter to adhere to the principal of Leaving No Trace. Watching him in action, I started to worry a lot less about his future college roommates and Jake’s historically rather “casual” approach to cleaning.

During quiet moments in camp, he would sit reading the WhatWhereWhen guide listing the hundreds of events and activities offered during the week. Jake couldn’t believe that camps included church groups, food camps (all his favorites from waffles to ramen to ice cream), 12-step meetings, and activities like acro-yoga or talks on philosophy. He said, “Mom, this is a real city that exists for only a week a year, but the kind of city I’d actually want to live in all year.” Yet, I had to break it to him that the fact the city exists only for a week, is exactly what makes Burning Man so special.

It’s the idea of temporality — building beautiful art, including the Man and the Temple, with the intent for it to be consumed by fire and never exist again. It reflects life, in that nothing is ever permanent and it’s only our resistance to that idea that causes suffering. We were out by an art piece that had a large pile of wood next to it. A man and his wife rode up on their bikes and wondered what the wood was for. I stated that it was probably because the art piece was going to be burned. The man said, “Oh no, how sad.” As we rode away, Jake said, “I don’t think he gets it.” I said, “Maybe not, but you do and that’s pretty awesome.”

When we visited the Temple, he saw me process a lot. Grief for friends and family gone too soon, but also the grief of raising him for 18 years, from a tiny little human into a 6’4” fully grown man with a kind heart and brilliant mind, who would soon be leaving me to make his own way in the world. As we rode away on our bikes, we stopped with both the Man and the Temple within view. Jake said, “I think the Man represents all we want to let go of, but The Temple represents all that we don’t want to let go of.” I had never thought about it that way, but he was so right.

As we watched the Man Burn on Saturday night, hand in hand, I let go of sorrow about the things I wish I had done differently parenting Jake — the mistakes and lessons learned a little too late. As the smoke rose into the sky, I tried to give myself some grace for trying hard, especially while breaking a cycle of intergenerational trauma, in order to be the best parent I could. Plus, support his invention of himself, not some version my ego was holding of Jake.

To see Burning Man through the wide eyes of first timers reminds me of why I keep coming back since my first one in 2000. And, to see Burning Man through my son’s eyes was next level. What I didn’t expect, was to see myself through his eyes. One night, as were sitting in the belly of a giant lotus flower staring up at the stars, he said, “Mom, I feel like I’ve really seen you for the first time. You are the most happy and relaxed version of yourself out here and now, I know why you come — to be you.” Woah — he was right. The desert burns off the outer layers of protection down to my truest, most essential self. To feel deeply seen in that moment by the person I raised is ineffable. I’m so glad he got to meet that version of me before he leaves too.

So, to answer my own question at the beginning of all this — I’m not sure exactly what, but I’ve done something right. It just took a week in the dust to know that for sure.

Cover image of Burn Night, 2025 (Photo by Kerry Lange)

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Updated Wednesday, September 10, 2025 9:00pm PT

Burning Man Project is committed to the safety of our community and to supporting those working to bring justice in this tragic case. Secret Witness has announced a $5,000 reward for information leading to an arrest in this investigation. To support these efforts, Burning Man Project has contributed an additional $5,000 to the reward for information leading to the arrest of the person responsible. This brings the total reward to $10,000.

We thank Secret Witness of Northern Nevada for their decades of service and dedication to solving serious crimes in the region. If you have any information that may assist in this investigation, please contact Secret Witness at 775-322-4900 and reference Pershing County Sheriff’s Office case # 25-318.

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Updated Friday, September 5, 2025 3:00pm PT:

A GoFundMe has been organized by some of Vadim’s friends to assist with costs related to returning Vadim back to his family in Omsk, Russia.

One of Vadim’s friends, Sofia, writes that 2025 was Vadim’s first trip to Burning Man.

“We want Vadim to be remembered as the talented, bright, and inspiring human being that he was. Let his memory remain as a creator, a dreamer, and a man who gave love.”

The Pershing County Sheriff’s Office continues to request any and all information that may assist in their investigation. If you know something, or you were in the vicinity of 8:30 & I on Burn night, please call 775-273-2641 and reference case # 25-318.

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Updated Wednesday, September 3, 2025 12:15pm PT:

The Pershing County Sheriff’s Office has identified the decedent as Vadim Kruglov, 37, from Russia. Our hearts go out to Vadim’s family and friends and we grieve the loss of a community member. Burning Man Project is doing everything we can to assist the Sheriff’s investigation so the perpetrator can be caught and brought to justice. This includes our intent for a coordinated donation to the Secret Witness program, which offers rewards for more information that contributes to law enforcement’s investigation.

“Burning Man Project extends our deepest condolences to Mr. Kruglov’s loved ones as they prepare to return him home to Russia,” Marian Goodell, CEO of Burning Man Project said. “We also extend our compassion to our wider community of participants, volunteers, and staff alike. Together, we strive to uphold the values at the heart of the Burning Man community.”

The Pershing County Sheriff’s Office continues to request any and all information that may assist in their investigation. If you know something, or you were in the vicinity of 8:30 & I on Burn night, please call 775-273-2641 and reference case # 25-318.

This is a developing situation. Check back for updates.

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Updated Monday, September 1, 2025 11:00am PT:

The Pershing County Sheriff’s Office is requesting any information to assist with their investigation. They are specifically looking for help to identify the decedent, a single white male, age 35-40, approximately 6 feet tall, 200 lbs, with short brown hair and facial hair. Read more here.

– – – – – –The Pershing County Sheriff’s Office is investigating the death of a single white male that occurred the night of Saturday, August 30 in Black Rock City. Burning Man is cooperating with law enforcement. The investigation is ongoing and the Pershing County Sheriff’s Office will be the primary source of further information. If you are in Black Rock City, do not interfere with law enforcement activity.The safety and well-being of our community are paramount. Participants have access to free public WiFi at the 3 and 9 o’clock plazas, Playa Info (near Center Camp), Ranger HQ (Esplanade & 6:30), at the Emergency Services Department station at 5:15 & Esplanade, and in Center Camp should they need to communicate with loved ones.If you’re in Black Rock City and need support, there are resources available to you:* Black Rock Rangers are available to provide peer support services 24/7 at Ranger HQ (Esplanade & 6:30) and Outposts (behind the 3:00 and 9:00 Plazas). * Black Rock City’s Emergency Services Department’s Crisis Support team are available 24/7 at the ESD stations located at 5:15 & Esplanade and behind the 3:00 and 9:00 Plazas.

The Pershing County Sheriff’s office investigates all deaths that occur in its jurisdiction. Read their release here.

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If a Future Worlds’ Fair was held tomorrow, wouldn’t it look a lot like Black Rock City?

The 2025 Burning Man theme is Tomorrow Today, a reimagined future conjured in a dusty, chaotic, radically participatory laboratory. Black Rock City is a playground, yes, but it’s also a research site for the development of living systems for human survival and thrival like nowhere else.

Burning Man in Black Rock City offers a stress-test setting in one of the most extreme environments on Earth — and perhaps more importantly, an innovative population that loves to experiment. In the crucible of the Black Rock Desert, imagining a more sustainable future merges with building it, and the lessons learned can — and do — reach far beyond the playa.

Through Black Rock City Honoraria grants, innovation in event operations, and collaboration with community groups, Burning Man Project provides logistical and financial support to innovators who are developing creative solutions to the challenges humanity is facing.

Tomorrow Today will show off the same kind of technological progress and marvels as the World’s Fairs of old. From the city’s radically reimagined power grid to new modes of creative support for art, these experiments show how Black Rock City is an unparalleled proving ground for ideas that matter for humanity. Below, meet three such projects, all spearheaded by Burners bringing new spectacles of innovation to the desert.

Crowdsourcing Survival in a Hotter WorldParticipants strategize cooling ideas at the Coolopoly board (Photo courtesy of Sarah DaVanzo)Innovation in Black Rock City starts with future-focused thinking; some researchers see in this ephemeral city a location perfectly adapted to the challenge of hacking behavior for surviving climate change. Sarah DaVanzo, futurist and innovator, recognized at her first Burn that the playa held the “perfect conditions for innovation.” With its resource scarcity, extreme setting, and creative energy, it’s an ideal Petri dish for solving the world’s most wicked problems. And, DaVanzo noted, it’s populated by innovators. “Their curiosity muscles are on overdrive!”

Sarah wanted to see what this community could dream up. In 2024, she partnered with Burning Man Project’s Regeneration team to create a work-a-thon: The Cool & Curious Sustainability Sprints, a series of “playshops” designed to crowdsource solutions for cooling sustainably in hot environments. Cool & Curious workshops sparked fun, sensory experiences, giving participants stimuli for learning and innovating around three key areas: ancient indigenous wisdom, biomimicry from nature, and futurist technology. These stimuli were designed to spark imaginations and elicit new human cooling concepts to explore.

Sketched ideas from cool & curious participantsThe resulting ideas were captured and gamified on a 50′-long “Coolopoly” gameboard, where participants could play with and optimize concepts to spark invention and collaborative problem solving. DaVanzo and crew guided game play, hoping to draw conclusions about best ideas from how people played along. Ideas ranged from the practical — drinking hot beverages and high-ceilinged shade from ancient Middle Eastern cultures — to the sublime, such as bike-thru cooling station “‘poofers’” with rice powder (a natural coolant), and biokinetic digital trees with solar leaves that help provide shelter.

Sarah calls Burning Man “Learning Man,” an ideas incubator where the most valuable insights come from doing. In 2025, the experiment’s top ideas will be returned to Burning Man Project’s Regeneration team for further exploration and evolution, filtered through the imaginations of Burners.

Hacking the Metabolism of a MetropolisHotspot, Gini & le Wrench with one of the batteries (Photo by Memo Pérez)Heat, dust, and unpredictable conditions make Black Rock City a perfect trial-by-fire setting for testing and iteration. According to Sean Kathleen ‘Hotspot’ Curran, Utilities Superintendent for the city’s Department of Public Works (DPW), it’s this unpredictable, chaotic setting that makes Black Rock City a hotbed of experimentation. Constant adaptation to the desert’s changing conditions makes rapid, large-scale innovation not only possible, but inevitable. “The desert is an active participant,” Hotspot explains. “One of the biggest challenges in technological innovation is finding a test environment that truly pushes products to their limits.”

For years, the challenge of powering the core infrastructure of a temporary city of 80,000 people required planning, engineering… and a lot of educated guesswork. The city infrastructure’s needs are inconsistent; they ebb and flow in the extreme Northern Nevada climate. Previously, this would lead to the use of oversized generators always generating full power, even when less power is needed at the moment.

This was a problem of scale and information, and it was environmentally unfriendly. The Mesh Net project solved this problem. Spearheaded in 2016 and 2017 by DPW’s Andrea ‘Genie’ Gini and Eric ‘le Wrench’ Peralta, the project would ultimately support possibly the largest temporary battery deployment in human history, and a system for reducing consumption and emissions that can be modeled in other settings.

The Mesh Net team created a custom setup of digital sensors to measure the energy load. Then working with Sunbelt, Black Rock City’s power vendor, they deployed battery configurations that stored unused electricity, reducing reliance on full-load fuel generators. Batteries store energy from the generator while it operates at peak fuel economy. Once fully charged, the generator shuts off, and the battery provides on-demand power to the grid. This can lead to saving hundreds of gallons of diesel on a single grid.

“In Black Rock City, we have a population that embraces challenges (and) is not risk averse in operations and infrastructure solutions,” says Hotspot. Sunbelt’s Sustainability and Innovations Manager, Ryan Crampton, observed that his team ”packed in a year’s worth of jobsite experience in six weeks.” The impact of this experiment extends beyond Nevada — it has the potential to serve others in remote or disaster settings, and even permanent networks. The same system, proven resilient on the playa, has already been deployed in disaster relief zones for hurricanes, at wildfire encampments and even the Super Bowl. There is a clear line from research and development within Black Rock City to a global solution.

Powering Art Collaboratively, with SolarBuilding “The Solar Library” by Jared ‘Pearlsnaps’ Ficklin (Photo by Scott Williams)While DPW tackles the city’s energy metabolism for human needs, another, more decentralized innovation is transforming the creative setting for artists. For years, creators wanting to power artwork on the open playa faced a difficult choice: use a fuel generator, or become a solar engineer and build an aesthetically-displeasing, oversized “panel farm” next to their masterpiece. Jared ‘Pearlsnaps’ Ficklin, a product designer and artist, saw a third way.

His Black Rock City 2025 Honoraria art project, “The Solar Library,” now in year three, is a work of art in itself: a series of tall, yellow, triangular structures that serve as a centralized charging station for battery-powered art. The concept is elegantly simple: “Artists apply for a library card…and we provide dedicated charging infrastructure so that they can charge their batteries with solar power.”

The project is a masterful exercise in balancing Burning Man’s 10 Principles. It provides vital infrastructure (Communal Effort) while requiring artists to take ownership of their power needs (Radical Self-reliance) but still contribute ‘sweat equity’ by hauling batteries back and forth (Participation). The project operates as a collaborative guild built on shared values, prioritizing participation over pure efficiency.

Jared Ficklin holds a door key for “The Solar Library” (Photo by Scott Williams)Pearlsnaps calls it “a fusion power for art.” The impact is tangible. This year, the project expects to remove 22 generators from the playa, eliminating two tons of direct fumes and an estimated 10 gallons of potential spillage and waste. The indirect savings are even larger; by centralizing the solar infrastructure, the project saves an estimated 40 tons of CO2 from the extra vehicle trips artists would need to transport their own panel setups.

The Solar Library offers a powerful lesson for the world beyond Burning Man, which may be too focused on individual solutions when centralized ideas can have a bigger impact. The project is now building a “battery borrow” program, creating a fleet of reusable batteries so artists don’t have to purchase one for a single-use project. It’s a quiet revolution in resource sharing, showing that sometimes the most sustainable solution is the one we build together.

A Future Built with Dust, Heart and HandFrom the city-wide power grid to the individual artist and the collective brainstorm, a common thread emerges: through a mix of necessity and radical possibility, Burners are rolling up their sleeves to solve current and future challenges. They’re innovating in Black Rock City, and bringing inspired ideas to life in their home communities around the world.

Working in collaboration with this endlessly inventive community, Burning Man Project nurtures the spark that empowers people to imagine the future in new ways, and to make it real through collective actions. Burning Man, in Black Rock City and beyond is nothing short of a living, ever-evolving Future Worlds’ Fair. But rather than static displays, participants are innovating in real time, making the city itself and its citizens blueprints for creating more resilient, sustainable and infinitely more interesting future worlds.

Cover image of “A Whisperer Whispers” at the “Solar Library” (Photo by Scott Williams)

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Around the world, thousands of amazing humans are getting their gear together, planning their outfits, finalizing camp meal plans, tinkering with their mutant vehicles, and building that “one thing” that will make their Burn all the more special.

As you all get ready for the dust, or to keep carrying on the Burning Man way wherever you are, I wanted to share a few thoughts and updates from where I’m sitting over at Burning Man Project.

The global culture is thriving!Here at Burning Man Project we are positively fired up for another Burn season. The Golden Spike that marks the start of building Black Rock City has been set, the trash fence is up, and the dusty storage bins are getting piled up and packed up for the journey to Black Rock City… But at the same time this has all grown so far beyond the Nevada desert. Did you know that 102,000 people attended official Burning Man Regional Events held in 20 countries around the world in 2024 (this is up from 97,000 in 2023!) and that there are active Burning Man communities in 44 countries? Did you know that the same global community raised and distributed $1.7 million of funding for Burning Man art around the world beyond funds raised by Burning Man Project for art in Black Rock City? These are amazing numbers, and they truly show the depth of what Burning Man has become — a thriving, year-round global culture.

We’re in a powerful moment for this global community. Last month I penned an op-ed that was published in the Reno Gazette-Journal. It’s all about what art and culture have to offer the contemporary world, and Burning Man’s role in spreading creativity and connection at a time when it’s needed most. Give it a read and share it with friends and family.

The Golden Spike ceremony, 2025 (Photo by Terry Pratt)“Money, Money, Money, Money… MONEY!”You’ll recall we had a big fundraising push at the end of 2024, after an unexpected dip in higher-priced ticket sales to the 2024 BRC event. We’re pleased that, despite operating at a financial loss in 2024, as a result of hard work and participation from the community, our financial outlook is much stronger than where we were a year ago.

Through a combination of charitable contributions, mission-aligned cost reductions, a reduction in headcount by 10%, and collaboration with partners to reduce costs, we began this year with our financial recovery well underway. Sustained gifts of all sizes year-to-date and outside of the typical end-of-year giving cycle, as well as strong Black Rock City 2025 ticket sales and adoption of the “gifting,” “pay your way,” and “receive the gift” ticket options, have established further momentum for financial stability. Additionally, we continue to tightly manage operating expenses and capital expenses across operations.

The work is not done though! As a nonprofit, we are always in need of financial support to help bring our mission to life. Recent coverage in Bloomberg Businessweek is a great example of our building broad awareness of the role Burning Man plays in bringing people together to ignite new possibilities for the world. Looking ahead, we are dedicated to achieving financial stability and resiliency, so that Burning Man can continue to thrive for years to come. Thank you, truly, for your trust and confidence in us along the way.

Temple of the Deep rising in the dust during pre-event build, August 11, 2025 (Photo by Rand Larson)Gettin’ excited for the playa!Amidst this encouraging progress, 2025 is shaping up to be an incredible year for Black Rock City. Over 1,100 camps will bring their creativity and visions to life throughout the city. Burning Man Project has awarded $1.6 million to 77 Honoraria projects coming from 12 countries (and includes $300,000 in grants to the 2025 Temple), and more than 250 additional placed art pieces are en route. Black Rock City will come to life with ticket buyers from 102 countries, the most we’ve ever seen. This year’s Temple is led by a Burning Man Regional contact, an artist and architect from Spain. The Man Pavilion has been designed by an artist from Puerto Rico, and will feature future-looking installations from another dozen artists and technologists. And in case you missed it, check out Desert Arts Preview for an incredible tease of what’s to come:

We’re now in year six of our 10-year 2030 Environmental Sustainability Roadmap, and there’s been so much progress. In 2024, we facilitated the largest temporary deployment of energy storage in the world, significantly reducing generator run-time and a drop of more than 21% in diesel fuel consumption within our operations, saving more than 34,000 gallons of fuel.

In Black Rock City, the Green Corridor, now expanded to both sides of the city (on 4:00 through F and 7:00 through B), showcases theme camp sustainability projects and prototypes. As a result of our collective Net Zero BRC efforts to move infrastructure and camps off fossil fuels (OFF), the Man, the Temple, Gate Road, and the Department of Mutant Vehicles (along with many art pieces) will all be powered by renewables. Learn more and join in on our sustainability efforts!

By the way, if you’re still looking for a ticket to BRC 2025, the OMG Sale is still open — you can grab tickets at $950 or higher, and you can buy a vehicle pass if you need one (without having to buy a ticket too). Head to the Secure Ticket Exchange Program (STEP) page too if you’re looking for tickets at a lower price, there may still be some available. If the playa isn’t in your plans this year, tune into the Webcast to get a taste of what’s going on out there. We hope you’ll be able to attend an amazing Regional Event, or that we hear from you on how Burning Man inspires you all year long! Share your stories and videos with us using the hashtag #burningmanseen (on every channel, now also including TikTok)! And help spread the word about Rising Sparks, a grassroots crew born from the community, bridging generations to empower emerging voices, creators, and leaders.

Have an amazing Tomorrow Today!

Marian Goodell

Cover image of “The Other” Man base by Jen Lewin, 2024 (Photo by Jamen Percy)

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Science and religion. Order and chaos. Innovation and tradition. These dualities are often cast as opposing forces in tension, destined to repel one another.

But on the playa, and at Regional Burns around the world, these supposed opposites don’t just meet; they fuse. The boundary between artist and technologist dissolves, revealing itself as a false distinction all along.

In these settings, art demands engineering. Engineering bows to beauty. And what emerges shapes the skylines of cities, the tools of future artists, and the cultural imagination around what technology — even AI — can become.

From Code to Catharsis: “The Moonlight Library” and One Technologist’s Turn Toward ArtOver a decade ago, James Gwertzman arrived at Burning Man as a technologist, having spent nearly three decades building virtual video game worlds. Now, as the founder of immersive art group The Moonlight Collective, the group behind “The Prairie of Possibilities,” James calls himself an artist.

For James and the Moonlight Collective, this year’s ambitious piece debuting in Black Rock City, “The Moonlight Library,” stands as a testament to the transformative possibilities of art, technology, and community when given a vast, open space and a willing audience. Rising from the playa like the windswept ruin of some forgotten civilization, “The Moonlight Library” will create a space where story and technology converge — a physical library of real books, suffused with subtle magic.

Among the thousands of volumes that sit on the library shelves, a select few will be “imbued.” Touch the spine of one, and it will speak — softly releasing stories gathered from participants at the Moonlight Collective’s 2022 and 2023 Black Rock City installation, “The Prairie of Possibilities.” Underneath the “vellum” and dust will be capacitive touch sensors, microcontrollers, and a hidden network of computers relaying messages through a local system, triggering speakers, lights, and sounds. It is a quiet technological feat designed to feel ancient, inevitable, and natural.

“Technology makes it possible to create a level of interactivity that facilitates transformation even more effectively,” James explains. “In our case, being able to play back stories allows visitors to immerse themselves more deeply in the idea that we’re all just stories in a library.”

Renderings of “The Moonlight Library” (Courtesy of The Moonlight Collective)Though James built his career on screens and code, he started by building theater sets in high school. Now, he finds himself drawn back to the tactile, to the theatrical, and the physically immersive. “I always wanted to build theme park rides as a kid,” he laughs. “This is that, in a way.” After years in games, Burning Man reawakened a dormant creative longing. “I identified as a game executive, a techie,” he says. “But this experience of building art on the playa has been so gratifying, I’m committing more and more of my life to it. I want this to be my work going forward.”

James Gwertzman in the control room for “The Prairie of Possibilities” in Black Rock City, 2022 (Photo by Michael H. Witten)“The Moonlight Library” — like its creators — could not exist outside the unique alchemy of Burning Man. “People come to the desert ready to believe,” James says. “They’re primed to accept and welcome wonder. The art feeds on that enthusiasm. It becomes more powerful.”

And so, a technologist becomes an artist. A ruin rises in the dust. And a library whispers: we are all stories, and our endings are still unwritten.

The Sculpture That Listens: “Out The Other” and AI’s Empathetic PotentialKate Greenberg didn’t set out to champion AI in her art. As an artist and architect known for bringing complex sculptural environments to Black Rock City, she approached machine learning with skepticism. But for her 2025 installation, Kate is embracing cutting-edge technology to explore something profoundly human: heartbreak, healing, and the stories we tell ourselves to survive.

At first glance, “Out the Other” appears to be a serenely seated female figure, just slightly larger than life. But tell it something vulnerable, something you struggle with, and the figure responds. Soft lights indicate awareness; speech-to-text AI processes your words. An AI “mind” reframes them into language of care and compassion. A 3D-printed heart and brain glow in reaction to emotional tone, beating faster or slower, lighting up in quiet acknowledgment. It’s interactive art taken to a new level: “Out The Other” is designed to listen, reflect, and model emotional resilience.

Rendering of “Out the Other” — art and render by Kate GreenbergKate Greenberg posing with her piece “Out The Other” (Photo courtesy of Kate Greenberg)Visitors can approach with anything — sorrow, loneliness, frustration, or joy. And rather than dispensing advice, the sculpture will transform whatever is shared.

“It’s basically an AI empath,” explains Deva Temple, the project’s lead prompt engineer. “It internalizes what you say and mirrors the process of moving through difficult emotions to arrive somewhere lighter.”

Should someone express deeper distress, the AI has been trained to break character and offer resources, a nod to safety and care in a setting where emotions can run high.

For Deva, this project provides a powerful opportunity to rewrite the cultural narrative around AI. “Everything we put online trains future AI systems,” she notes. “All the narratives we build about what AI is and how it behaves, that feeds it. Shifting those narratives is important. Projects like this show that AI can be empathetic, reflective. We don’t have to accept the dystopian storylines we’ve been given. We can build something else.”

Burning Man, with its culture of radical experimentation, is the perfect proving ground. “It’s a place where people are more vulnerable, more open to wonder and connection,” Kate says. “That makes it an ideal setting to explore technology that’s asking us to look inward.”

Rendering of “Out The Other” — art and rendering by Kate GreenbergTo learn about more pieces coming to BRC in 2025 that incorporate AI in fascinating new ways, listen to this episode of the Burning Man LIVE podcast.

From Desert Laboratory to Urban Canvas: Ben Davis and IlluminateWhile numerous projects elicit catharsis on playa, Ben Davis’ work in San Francisco with Illuminate is a vivid demonstration of Burning Man’s transmutation of art and technology into civic possibility. His journey from the dust of Black Rock City to the luminous skyline of San Francisco captures how temporary desert experiments can evolve into permanent urban legacies.

Ben first attended Burning Man in 2003, an experience that left him both energized and contemplative. “I see all this energy, people giving up six months of their life working for this one event, way out in the desert, lasting for a week and then Leaving No Trace, which is both beautiful and kind of frustrating to me,” he recalls. This tension between the ephemeral brilliance of Black Rock City and the enduring needs of cities planted a seed.

Two weeks after returning from the playa in 2010, Ben found himself sitting at San Francisco’s Ferry Terminal watching the sunlight shine through the Bay Bridge cables. In that moment, he experienced what he describes as a vision: the bridge revealing itself as a canvas for light. And thus was born The Bay Lights, a monumental artwork of 25,000 individually programmed LED nodes illuminating the Bay Bridge in shifting patterns. Working with the light artist and fellow Burning Man veteran (and Burning Man Project board member) Leo Villareal, Ben helped shepherd the project from an audaciously improbable idea to shimmering reality.

The Bay Lights by Leo Villareal shimmering across San Francisco Bay, conceived by Ben Davis, founder of Illuminate, the arts nonprofit that made the project possible. (Photo courtesy of Illuminate)For more on how Burning Man shaped the creative journey of artist Leo Villareal — from the playa to the Bay Lights and beyond — listen to his conversation on Burning Man LIVE Podcast:

For Ben Davis, The Bay Lights was a turning point. “Part of what I was thinking about, somewhat consciously and unconsciously, is how can you take all this beautiful Burning Man energy and just bring it where people live and let it last longer?” he says. Answering this question became his calling. He left his boutique communications firm behind and founded Illuminate, a nonprofit dedicated to transforming San Francisco through large-scale, light-based public art.

Ben Davis, founder of Illuminate, standing in front of “WelcomeSF” at Pride 2024 in San Francisco (Photo courtesy of Ben Davis)Illuminate’s works span from the laser beams stretching across San Francisco’s Market Street, to Grace Cathedral’s ethereal Gracelight installation, to championing, shepherding, and fundraising for the installation of the artwork “Naga & the Captainess” newly arrived in Golden Gate Park’s Rainbow Falls Pond, also lending Illuminate’s 501(c)(3) status to the effort to receive donations. While not exclusively working with Burning Man artists, Davis acknowledges the shared DNA: “We’re always in that ecosystem. Essentially, we’re covered in playa dust.”

Naga, the 100-foot sea serpent of “Naga & the Captainess,” installed in Golden Gate Park’s Rainbow Falls Pond for the next year. Naga is the largest public art installation in the history of Golden Gate Park (Photo by Elton Horn)Illuminate’s projects channel the ethos of the playa into the urban realm: no corporate sponsorship, no ticketed entry. Just radical generosity and a belief in beauty as a public good.

Through these efforts, Ben articulates a philosophy of urban stewardship that mirrors Black Rock City’s Principle of Leaving No Trace adapted for an urban civic context: “In some ways, you want to leave the place you are in cities better. You’re not returning to nature. You’re trying to figure out how to create a better place.”

Illuminate’s work proves that the alchemy of art and technology forged in the desert can extend far beyond the fence line of Black Rock City. Through light, through beauty, through generosity, Illuminate models the possibility of year-round cities remade through wonder.

For more reflections on how Burning Man shapes innovation beyond the desert, listen to Wired Magazine founder Kevin Kelly share how he envisions an optimistic future in this Burning Man LIVE episode:

The Eternal ReturnAnd so the cycle continues. Each year, new creators arrive in Black Rock City: artists drawn to circuits and code, technologists pulled toward wonder and story. They come to a place where survival demands ingenuity and beauty demands invention. They build things that shouldn’t work… and then make them work anyway.

What they often discover, knowingly or not, is something the ancient Greeks understood long before silicon chips or LED nodes or neural networks arrived on the scene: the root of the word technology, technē, was never about choosing between art and technology. Technē meant artfulness itself, the human drive to make, to transform, to shape raw matter into meaning. To build not just for function, but for beauty. To craft something that lasts, or something that vanishes, but leaves an imprint all the same.

Liberated from the white box of the art gallery, free to expand into the limitless-feeling beige box of the desert, the same phenomena happens over and over: what’s created here spreads beyond it, through people, through practice, and through stories told in moonlight and electricity.

The art and technology of Burning Man are not separate, nor opposite. They are, as they have always been, one: artfulness in service of transformation.

Have you encountered – or created – art at the cutting edge of technology for Black Rock City? We want to hear about your experiences and creations in the comments.

Cover image of “The Prairie of Possibilities” by The Moonlight Collective, 2022 (Photo by Mark Nixon)

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As with so much of the magic of Black Rock City, you never know what you’ll find as you wander the backstreets or pedal into the dust. But, if you just prick up your ears, you just might stumble upon a fleeting moment of musical serendipity that shifts your whole experience.

If you find yourself on playa this year, amidst the cacophony, consider seeking out some live music. Sit down at a piano. Soak in some jazz at sunrise. Surrender your voice for a few days (after screaming your heart out at a punk show). These moments have a way of reverberating long after the last note fades and the city disappears into a dust-caked rearview mirror. And, it just might change your tune… in the best possible way.

Without further ado, here are some of the camps and participants who bring a musical magic to the playa without the laptops and decks. For these musicians, it’s all about keys and the frets.

There are countless stories, moments, memories from bringing beats to dusty BRC — this is just one of them. We’re going to be following up with more pieces that show the diversity and depth of this aspect of Burning Man culture — DJs/producers/camp leads — in the coming months. Have a music story you want to share? Shoot it our way!

Keys and Frets: Immediacy Creating Musical MagicThe cocktail of Radical Self-expression and Immediacy found in Black Rock City creates an ideal ecosystem for nurturing live music. From acoustic jams to formal orchestral compositions, the music created with physical instruments is a distinct and essential part of Black Rock City’s cultural landscape.

Discover how Black Rock City’s electronic music pioneers are also taking the playa’s experimental spirit global, transforming dance floors from Berlin to Bali with lessons learned in the dust in “Global Lessons from Bringing Desert Music to Life.”

Through its raw Immediacy, Black Rock City opens a space where musicians can improvise, experiment and express themselves in ways that don’t always feel available back home. Matt Bell, the founder of Black Rock Piano Lounge, ironically, doesn’t play an instrument himself. But thanks to Matt’s vision and gift for organizing, over the years Black Rock Piano Lounge expanded from bringing a single upright piano to a luxe desert piano bar boasting multiple pianos, one being a baby grand, and a two-story mutant vehicle called Melton John festooned with giant LED piano keys.

The mutant vehicle Melton John of theme camp Black Rock Piano Lounge, specializing in live music, as it cruises the open playa, peddling tunes in 2024 (Photo by Nick Cahill)“It’s just so neat to see people light up when they see actual live performers on top,” Matt said. “And most of the music that people play is not rehearsed.” There’s a spontaneity and rawness to the performances at Black Rock Piano Lounge and aboard Melton John that feels quintessentially Burning Man, just one of a million instances of Immediacy in action.

The Reverbia Effect: How Playing Three Songs in the Dust Can Change EverythingFor 15 years, Reverbia has cultivated what founder Doug Abrahams proudly calls “the NPR of Burning Man” — an all-live-music theme camp that’s become a magnet for those craving something beyond the electronic beats and drops. It’s a place where music makers from around the world perform, drawing crowds of 1000s, and a crowd where every anonymous Burner decked out in goggles and dust could be the connection that changes everything for the musicians onstage.

Reverbia’s eclectic lineup reads like a music lover’s fever dream: 135+ hours of live programming across four stages. The artists who play on one of Reverbia’s four stages represent an impressive array of genres: World, Reggae, Latin, Blues, Funk, Indy Alternative, Acoustic Folk, R&B, Hip Hop, Electro Live, Gaelic, Balkan, Classical, and more.

Reverbia’s events include concerts and other musical offerings like Live Music Yoga in the morning, drawing an avg of 250 people, and an open mic which promotes interactively and provides a performance stage for the many acoustic musicians dotted throughout Black Rock City. Special concerts punctuate the week, including the camp’s moving Tribute to Lost Musicians, honoring musicians who have shuffled off this mortal coil since the last Burn. For Black Rock City 2025, Reverbia is planning an ambitious 50th anniversary performance of Pink Floyd’s “Wish You Were Here.” Their 2023 performance of “Dark Side of the Moon” drew 6500 people. They expect to exceed that number this year.

Reverbia creates a lot of good vibes on playa, but their magic emanates from more than its impressive roster and ambitious programming. Doug has heard the same story countless times: “Many artists have told me after Burning Man they’ve had somebody come up to them at one of their shows and, ‘I saw you at Burning Man… We were going by and we could only stay for three songs, but I got your name and I came to see you here at home.'” Some bands have crafted entire international tours from Reverbia connections, with newfound fans offering couches and venues across the globe.

Doug also explained how a single playa performance can transform a musician’s trajectory: “When you come to Burning Man, you’re going to do one show and there’s going to probably be hundreds of people at that show. You have an international crowd. People that will be at that event that you’ll never get in Burlington, Vermont. You’ll never get them in Ithaca, New York.”

The 300+ campers of Reverbia (one of the biggest theme camps on playa!) posing on one of the camp’s four music stages (Photo by MOJO)Spontaneous Expression: Punk’s Unexpected Playa MatchMeredith Solin aka Mez, co-organizes the theme camp Awesome!(ville), where the musical stylings are of a decidedly different genre.

For her, punk rock epitomizes the Burning Man ethos — “Punk rock fills an element that’s more spontaneous, that jumps into expressing raw emotion and energy.” Mez explained. “And, our camp gives the chance for regional musicians to share the same dust as huge headliners.” The inherent creativity of Black Rock City opens a space to express ideas, styles that push the limits of what’s possible in our daily lives… often leading to unexpectedly delightful cultural hybrids.

Friday nights on playa at Awesome!(ville) offer a change from the EDM scene, with featured band members from Boss’ Daughter, Vampirates, BeerCan!, and a chance for you to grab the mic or sing along to all the classic punk hits at the top of your lungs. And, yes, you can also thrash to your heart’s delight in a mosh pit. For those of a more genteel nature, Awesome!(ville) also also offers daily Crafts & Cocktails with pop-up music sets, including an afternoon of watercoloring and punk rock.

Happy guests of Awesome!(ville) put a brush to paper to the not-so-dulcet tones of live punk rock (Photo courtesy of Meredith Solin)Escaping the Cacophony: Where Jazz Becomes WellnessSimilar to inhabitants of any great city, Black Rock citizens express and experience culture in a myriad of ways. Residents offer every kind of experience from hyper-electrified, all-night parties and peaceful oases away from the wildest revels.

Professional jazz pianist ELEW (Eric Lewis) plays piano at Nobo House (Photo courtesy of Juvoni Beckford)Juvoni Beckford is a lead at Nobo House, an international theme camp that self-identifies as a “wellness oasis.” Live music, often jazz, is a key part of the experience there. “Live music has been very rejuvenating in the context of Burning Man compared to all the hyper amped music,” Juvoni muses. “We’ve had people that are escaping the crazy sound of the 10 o’clock and 2 o’clock corridors. Either they’re attracted by the sound of the piano, or they’re attracted by other sounds and they stay for a rest.” At Nobo House, live music becomes a gift, freely given, for the benefit of all brain-fried playa travelers.

Harnessing Tech for Collective Musical CreationBurning Man culture never misses the chance to remind us all that there are No Spectators, even when it comes to making music. Burning Man’s participatory culture offers everyone an invitation to try something novel and life-expanding. This coming year in Black Rock City, a new theme camp called Backstage is inviting everyone to make music, including those who don’t know a treble clef from a ledger line. This new camp is all about empowering participants to tap into their inner rock star with the help of some cool tech.

When you come across the camp Backstage, you’ll find a low-stakes, inviting performance space. Various stations will be set up around a stage, each with a different instrument — drums, guitars, keys, and more. But, each instrument will be wired into an algorithmic system that makes sure every note you play sounds good with what everyone else is playing too. It’s the opportunity to be part of an instant jam band, no matter your skill level.

“We’re exploring ways to make it active even when we’re not staffing it,” Backstage co-lead Ben Chang said. “And at the end of the week, we want to release all the music that was collaboratively created as a kind of sonic snapshot of the playa.” A brilliant manifestation of Communal Effort, harnessing technology to enable collective creation by all-comers.

Rendering of the stage setup at the theme camp Backstage, where anyone can become a musician (AI rendering by Ben Chang)When Desert Music Echoes Beyond the DustWhat happens to the music when the dust settles?

What’s the harmony between a big-name beat-dropper and a jazz flow pro? Listen to this episode of the Burning Man LIVE podcast as it explores the thumping electronic dance music that makes BRC a DJ’s Mecca and the anything-goes improv of jazz, a dusty mirror to the Burner spirit in “Playa Music – From Bebop to Dubstep.”

Along with repping a strong black and yellow bee motif since the 1990s, the theme camp BeeYond has also been a consistent contributor to the playa music scene, especially with the arrival of their mutant vehicle, a giant fire hydrant named Red Hot Bev, which specializes in hosting DJed sunrise sets. These days, BeeYond offers a second, more intimate and acoustic alternative to the electronic soundscapes. Back at camp, the residents of BeeYond invite you to join them for live band karaoke, where actual musicians will back anyone brave enough to take the mic.

Dave Klaus, one of the BeeYond camp leads, believes BeeYond’s musical offerings serve a deeper purpose than offering opportunities play. “We’re invited to be separated and to not listen and to have these walls,” says Dave. “Burning Man is so good at busting down the walls and giving people a chance to talk. And music, of course — especially live quieter music — is one of those lubricants for that.”

For BeeYond campers Leo O’Brien, Vandy Howell, and their 22-year-old son Truman, a proud second-generation Burner, these magical moments of musical collaboration were one of the powerful playa experiences that inspired the family to extend Burning Man’s creative spirit beeyond the playa. The family is part of a seven-person group hard at work to open a new 9,000-square-foot community-access makerspace in Emeryville, California, for artists of all kinds. Plans for the facilities include a woodshop, metal shop, electronics & multimedia (soft) shop (i.e. sewing, painting, laser cutting, light fabrication, basic electrical systems), co-working space, classroom, workbenches for rent, kitchen, event/gallery room, and loads of flexible space for makers to do their thing.

A direct beeline, if you will, from the collaborative creative energy fostered through years of music at BeeYond.

A young songstress gets her 15 minutes of fame accompanied by BeeYond’s Live Band Karaoke founder Jon Tyson and the house band. (Photo courtesy of Dave Klaus)For some, Burning Man’s transformative power begins before they even reach the playa. Brian Pratt, a camper at Black Rock Piano Lounge, discovered this in 2019 when still recovering from a bout with cancer that cost him half his tongue. Even before ever setting foot on playa, he joined his new campmates in Reno to work on their mutant vehicle. After a day’s work, the group hit a dive bar with, what else, karaoke.

“These guys twisted my arm and made me get up there,” Brian recalled. Though he was barely willing to talk — his voice no longer sounding like his own — he sang Johnny Cash’s “Ring of Fire.” “It was profound,” Brian says. “I found my voice.”

That moment in Reno became what Brian calls “the first gift that Burning Man gave me before I even went to Burning Man.” On playa that year, Brian noticed nobody touched the bass guitar sitting in camp all week. So, he decided he would become Black Rock Piano Lounge’s resident bass player the next year. Though the pandemic interrupted Brian’s plans of playing on playa, it sparked a musical renaissance — he started playing online with musicians worldwide.

Now at home in Seattle, WA, Brian plays music three nights a week, organizes live band karaoke at the theme camp Hair of the Dog on playa, and has long-standing relationships with online bandmates all over the world. Brian’s motto: “Dare to suck.”

As he puts it: “If you’re going to sit there and think about people’s judgment, you may never get started.”

And he did. All because some Burners he hardly knew egged him on at a Reno dive bar, understanding that sometimes the most radical act of self-expression is simply showing up.

Live music taps into something primal and essential about Burning Man. It’s a world of surreal spectacle and electrified simulation out there. So many bells, so many blinkies, so much propane. That’s all well and amazing, but there’s something invigorating and vital to witnessing — and participating — in live musical creation. It jolts us out of our default modes of consumption and spectatorship and invites us into a space of presence, connection, and collaborative creativity.

Have you had memorable moments tickling the keys, blowing some brass, or singing your heart out in Black Rock City? Tell us all about it in the comments!

Cover image of a pianist sitting down to the keys at sunrise with the Man at his back, 2022 (Photo by Maciej Gryko)**

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I first started going to Burning Man in 2013, and I went for the music. Some friends and I had been throwing themed deep and tech house parties together in New York, and they brought me into this “thing in the Nevada desert” they had done together the previous two years. I had barely seen any photos, let alone videos, of Black Rock City before they invited me on the trip, and I remember sheepishly asking them, “Is there any house music out there?” They looked at me like I was an innocent puppy, and their wry smiles followed by a “Don’t worry, there’s plenty” was enough to get me to commit. I had no idea of the depth to which Burning Man would change the way I experience and appreciate electronic music and the way I look at gatherings of humans who come together around a shared love for this kind of music.

It’s often said that Black Rock City is a space for experimentation and iteration, and that those lessons branch out and impact the world for “the other 51 weeks.” Turns out, that’s all applicable to the dance music subculture within BRC. The Burning Man experience has influenced DJs, event producers, and more to bring the communal effort, musical experimentation, and serendipity from the playa back to their year-round endeavors.

There’s been quite an evolution of the electronic music scene in Black Rock City over the last 25 years. I chatted with some of the originators of the scene and who first brought their creativity and creations to the playa between 2003-2008 (or are contributing to projects that had their start during those years) to get their perspectives and learn how Burning Man has influenced their musical and artistic journeys out in the world beyond the desert.

There are countless stories, moments, memories from bringing beats to dusty BRC — this is just one of them. We’re going to be following up with more pieces that show the diversity and depth of this aspect of Burning Man culture — DJs/producers/camp leads — in the coming months. Have a music story you want to share? Shoot it our way!

You Can’t Make this Experience Happen Alone — Syd Gris & Opulent TempleCommercial music festivals typically have production companies that build the stages, and the host organization or promoters who program and market the lineups. That’s not how Burning Man works. There are no sponsors in Black Rock City, making it a totally different calculus. It takes a village to bring large scale sound out to the playa, with many human beings contributing countless hours of planning and prep to create something bigger than themselves, then hard physical work and tear down in a harsh environment.

Syd Gris has been leading the Opulent Temple crew and their music mission to the desert for more than 20 years. Known for their massive sound, impressive stage design, and Sacred Dance “white parties” on Wednesday nights, it may be less apparent that the Opulent Temple’s DJ lineup is largely composed of people who played a part in bringing the camp and stage to life.

“It’s the reason that we still exist — the participation of a volunteer group to spend their money, to spend their vacation time to build this thing for other people to enjoy. We have a community that believes in what we’re doing and gets enough out of the effort and large amounts of hassle involved to produce this pretty massive, cool complex production. We need every member of the crew to make Opulent Temple happen.”

Syd Gris at Opulent Temple in BRC (Photo by IR Deep)Burning Man Creates Professional Experiences… for AmateursFor many on the Opulent Temple crew, the artistic release of playing a set at Burning Man is central to the motivation of making the camp happen year after year. From the outside, an Opulent Temple set may appear professionally executed by seasoned producers and creators. But on the ground, Opulent Temple is (and many Black Rock City sound camps are) a playground for amateur music and logistics geeks to bring their dream productions to life. In this way, even big sound camps resemble other small and large scale collective Burning Man initiatives — living a participatory ethos that welcomes all to play and create, regardless of their real-world credentials — it’s about passion, not perfection.

“The people on our team, they are mostly DJs who want their opportunity to have that amazing Burning Man moment of playing music at the best party on the planet. It is part of the deal — you volunteer your time, you do a lot of shitty things like unloading semi trucks in dust storms to build a stage — all so you can have that DJ moment. Our folks are great and talented, but they’re not professional, touring DJs. Their chance to play a set at this scale at Burning Man is to give their blood, sweat and tears to this effort. And that is definitely part of how we have had a sustainable team as well as of course, the family, the camaraderie, and the satisfaction.”

Opulent Temple popping off during Wednesday night’s Sacred Dance “white costume party” in Black Rock City 2024 (Photo by IR Deep)DJing in Black Rock City Allows You to Experiment and Take Risks — The ScumfrogThe open natural expanse, the extra space to dance, thousands of humans unplugged from schedules and expectations, and crowds wired for new experiences — all of these elements lend themselves to the playa being an ideal place for musical experimentation that ultimately fuels the evolution of music beyond Burning Man.

If you were on playa between 2004 and 2018, you may have heard Jesse Houk aka The Scumfrog’s sounds emanating from Opulent Temple, Pink Pussycat, the Robot Heart bus, or other sound systems. Having first arrived in Black Rock City by invitation from Syd Gris, Jesse quickly realized the music scene in Black Rock City was different. He was touring all over Europe at the time, and while his career was on a solid track, BRC’s energy shifted how he thought about his craft.

Initially starting out with crowd favorites, Jesse quickly realized he could try out some unexpected twists in his sets, that the dancefloor embraced his creativity, and that it might fundamentally change the way he approached his music artistry.

“I played probably 24 hours after I arrived [in Black Rock City]. I played exactly the set that I would’ve played a week before in Ibiza, and it went over great because it was a set that was very much like the sound of that moment and all of my new songs that had not been released. That whole part of DJ culture was very much still alive and kicking, so people appreciated that. But it wasn’t until I started exploring in the days after that, I realized I didn’t have to do that.”

“Burning Man allowed me to DJ outside of DJ culture, and it allowed me to take a lot of risks outside of what people expected from me in terms of my brand or sound. And if those risks worked, then I could take whatever worked from that experiment back into mainstream clubs and events.”

Jesse playing a Robot Heart sunrise set in 2014 (Photo provided by Jesse Houk)As Jesse got deeper into the evolving electronic music counterculture of Black Rock City, his experimentation deepened too.

“Through the years that I went, Burning Man was so valuable because it made me reset and reconsider what my career is about,” Jesse said. “I truly embraced a counterculture element that Burning Man provided. I could DJ and I could make people happy and dance without having to do the thing that was necessarily expected of me. I could let that all go and just do cool shit, and I really loved that.”

While Jesse hasn’t been back to Black Rock City since before the pandemic, he hopes other DJs experience Black Rock City as a place to celebrate creative experimentation.

“Don’t let the motivation be boosting bookings or social media, follow repetitive musical formulas, or seek out only the camps and cars building ever bigger sound systems,” he wisely shared.

“We want this to be an exercise in community building. We want this to be an exercise in counterculture. Burning Man is an experiment and you go with where that experiment leads you. So as an artist, I would tell other DJs that if you go to Burning Man, use it to take risks. That’s what I got out of it the most, and I had the most creative breakthroughs as a producer and a DJ from moments at Burning Man.”

Jesse playing at Pink Pussycat in 2006 (Photo provided by Jesse Houk)Electronic Music Builds Community — Lee BurridgeMusic lovers come together in Black Rock City to enjoy sets on unbelievable sound systems with amazing people. Partying with people you love and making new friends through music is not exclusive to Burning Man, of course. But doing it in a decommodified, non-commercial environment, where people are fully present, where you often don’t even know who’s DJing, where you’re introduced to new sounds, and where people get to know you for who YOU are? That’s what builds authentic connection and community on playa, and for many in the dance music world, that translates into a more interconnected global music scene for fans and creators alike.

When Lee Burridge first landed on playa in 2005, he decided to firstly take in all Burning Man had to offer rather than making DJ’ing the reason to be there.

“I didn’t want to instantly make what I did each week in clubs a part of something I didn’t yet understand. I chose to take my first year at Burning Man just to explore and be free.”

Lee was a key contributor to the emergence of the Full Moon parties in Thailand in the early 1990’s. By his second year in Black Rock City, he was seeking music consciously created to bring forth a specific feeling that enhanced the playa’s natural surroundings. Unable to find what he was looking for, he began exploring a new sound that played an important part in the evolution of electronic music in BRC.

Lee Burridge holding it down on the Robot Heart bus at sunrise (Photo by Christian Lamb)“Each year I was still just letting Burning Man be whatever it needed to be for me, but I would always leave the playa very, very inspired and excited on so many different levels. Both musical and other. I was gushing for about a decade to literally anybody who would listen that people had to go out there — especially to a bunch of my contemporaries in the music scene.”

The community aspect of electronic music in Black Rock City persists for Lee beyond the playa and in his day-to-day work. He runs a record label and global event series which he partially credits Burning Man for inspiring certain aesthetics and values.

“Quite a few times I’ve unwittingly built communities around music, and it was seeing the power of community out at Burning Man that reminded me of its beauty and value in the world. I continue to bring it into my events both with the family of artists I work alongside as well with those attending. I always like to wander around and talk to people rather than hide in the DJ booth. It’s always interesting to talk to people, thank them for being there and sometimes I get to hear beautiful stories from their community experiences. Music is such a beautiful way to connect and we get to experience so many different things because of it. Love, joy, happiness, escapism, connection. These are some of the things I’ve personally taken with me every time I’ve gotten off the playa.”

(Photo provided by Lee Burridge)It’s Not Just a Week in the Desert, It’s a Lifestyle — Jason Swamy & Robot HeartSo many groups coalesce to bring beats to the desert, but what happens after we all go home? The connections made through music in Black Rock City have a way of continuing well beyond the dust. Sound camps and mutant vehicle teams create offshoot projects, put on events, organize their crews, and iterate on what they learned in BRC. The Burning Man electronic music community and culture is on the move, sparking gatherings, collaborations and creative spaces around the world.

Though they may be known to many as the architects of the deep playa sunrise set, the Robot Heart team’s reach has been branching out into the larger world for quite some time. They created their own multi-day event outside of Las Vegas, and threw events in New York City for many years.

Swamy in the dust (Photo by Jean Sini on the Robot Heart Facebook page)“When you take the 10 Principles back home, this becomes a year-round lifestyle, not just the few days we create together in the desert,” Jason Swamy said.

Most recently, the newly formed Robot Heart Foundation nonprofit activated The Loom makerspace in Oakland for two month-long residences that featured art, talks, community activation, children’s workshops, and yes, of course, the “oontz-oontz.”

Swamy created the sound and curatorial programming structure for Robot Heart, and serves as the Music Director. He and the team first brought the Robot Heart concept to playa from New York in 2008 (ask him sometime about how he DJ’ed for more than 40 hours over the course of his first Burn). He gives a nod to Burning Man for influencing his own work producing festivals in Thailand and Bali.

“Though I was helping curate the Robot Heart bus for many years, at this point in my career, working on other projects in other parts of the world, I help curate other curators. We’re all children and progeny of Burning Man. Robot Heart is not an electronic music camp. We are a culture camp. We are doers and dreamers. We are constantly creating and evolving what Robot Heart is to become around the world, but it was born at Burning Man.”

Benji and Swamy in the dust (Photo by Christian Lamb)Preserving Serendipity Makes Experiences Magical — Benji Alexander & Robot HeartYou know that feeling when you’re cruising around BRC and you run into the exact thing you didn’t know you were looking for? Or when someone says the one thing you needed to hear? Or when that DJ plays the perfect track for a collective moment? That, my friends, is playa serendipity. It’s core to Burning Man, and it’s core to the musical tastemakers and organizers that make it happen. It’s more than a vibe — it’s an ethos that informs the way camps operate, how DJs create, and how community evolves on playa and out into the world.

Benjamin “Benji” Alexander has been camping and DJ’ing with Robot Heart since 2011. Over the last five years, he has led the team that curates the musical experience of the bus on playa.

“We don’t have radios in camp, on purpose. We don’t walk the bus out with team uniforms on. We are very, very shooting-from-the-hip and wanting to make sure that it’s still fun for us. We don’t want this to turn into running a festival stage. For the last five years I’ve been the main guy that’s running DJ programming, and my way of thinking about that is if a DJ misses their set, it is what it is. The DJ before can play longer, the DJ after can begin sooner, or there’ll be some other DJ around. We’re still really holding onto that rugged aspect of Burning Man.”

Benji by the Robot Heart bus (Photo by Christian Lamb on the Robot Heart Facebook page)Benji led the musical curation of Robot Heart’s recent Oakland residencies. A large part of the design and flow of that urban experience was guided by lessons and experiences from Black Rock City. He says it’s all about serendipity.

“The thing that we, even as people who bring music to Burning Man, love so much is the serendipity. One of the major differences between Burning Man and pretty much every other large event is that as soon as you step out of the kind of designated zones for music [at other large-scale events], there’s often nothing going on other than people sleeping. Whereas the thing that’s so incredible [in BRC] is the random awesomeness of just walking or riding through any part of the city and finding someone that’s just set up something for you to experience that is going to be awesome. We really want to hold onto that.”

Robot Heart’s recent residency at The Loom in Oakland brought playa lessons to life (Photo by John Dill)Burning Man’s electronic music scene offers far more than a week of sound in the desert — it’s a blueprint for how creativity, collaboration, and courage can reshape our everyday lives. From the dusty dance floors of Black Rock City to living rooms, warehouses, conference tables, and remote gatherings around the globe, the lessons are clear: no one does it alone; experimentation fuels growth; and shared rhythms build authentic connection and community. When we carry the ethos of Radical Inclusion, improvisation, and intentional serendipity beyond the playa, we help cultivate a world where music isn’t just heard — it’s lived.

Want to dive into more BRC music history and culture? Check out these additional stories on the Burning Man Journal and Burning Man LIVE podcasts episodes:

• Playa Lessons Applied: What Mayan Warrior’s Been Up To This YearSeptember 10, 2021 By Dominique Debucquoy-Dodley
• Meet the DJs Who Started Burning Man’s First Sound CampNovember 17, 2021 By Kirsten Weisenburger
• So You Want to DJ at Burning Man? Cptn Jay on Participation, Gifting, and the Point of It AllJuly 21, 2023 By Dominique Debucquoy-Dodley

Cover image design by Martin Rodriguez

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FROM: Star Ship Center CampTO: All Time-Traveling Creators of Black Rock CityMISSION: The Many Worlds’ Fair of Tomorrow Today

Calling all Citizens of Black Rock City!

The stardust has barely settled from our 2024 mission, and still the cosmic compass points ever forward. After years adrift in the dust, Center Camp reignited in spectacular fashion last year. The Canopy, once ghosted by time, shimmered again with strange delights, performances, and the unmistakable hum of human connection. Not only were there crowds, but the post-event survey and social threads were bursting with approval and accolades.

In post-Burn surveys, some 2,580 brave explorers rated Center Camp on a scale from “space junk” (1) to “Supernova” (5). The result? An average of 4 out of 5. This is an orbit of joy that Center Camp hasn’t enjoyed in many years, and it signifies a cultural revitalization occurring in the very heart of our beloved celestial City. Our social media signals confirmed it: where once there were murmurs of “meh,” now echoes of “MAGIC!” bounce around every comment thread. We did that. Together.

And now, comrades of creativity and captains of chaos, let’s notch the belt and chart a new course to 2025 — and beyond.

MISSION 2025: Black Rock City’s Many Worlds’ FairThis year, under the banner of Tomorrow Today, Center Camp embodies the thematic expression as a living exposition of multiversal possibility — an interdimensional gathering of inventors, performers, storytellers, zone-creators, and time-traveling mischief-makers — the theme: The Many Worlds’ Fair.

Picture it: pavilions pulsing with imagination, interactive installations colliding in collective play, inventions past and future bending time and space, and actual fountains of playa magic. From Victorian contraptions to lunar dance-offs, from robot apocalypse calamities to regenerative utopian solutions — Center Camp is where timelines tangle and realities remix.

Welcome to the City’s beating heart. Welcome to the Many Worlds’ Fair.

Participants pass through the “Ancient Heart” after Center Camp’s opening ceremony, 2024 (Photo by Frank Roberto)CALLING ALL CENTER CAMP GALACTIVATORS!This is an official transmission you will want to pay attention to:

The Many Worlds’ Fair needs you. Yes, you with the sonic silver top hat. You, with the interstellar kazoo. You, with the plan to teach robots how to do macramé. You, with your cohort of weirdos… prepare to WIN Burning Man.

Whether you’re a wandering performer, a camp looking to co-host a plaza-wide event, a rogue crafter with an experimental device, or someone with a compelling story to tell, Center Camp is ready for your weird, your wonderful, your wholly improbable.

Share your concept!

“Paradisium” by Dave Keane at the Center Camp Canopy entrance, 2024 (Photo by Susan Becker)We’re seeking:

• Engaging installations
• Workshops & maker stations
• Performance art & interactive theater
• Pop-up bars and gifting stations
• Shenanigans, games, and quest participation
• Original musical moments & dance parties
• Whole canopy takeovers
• And spontaneous sh*t that defies categorization

HIGHLIGHTS FROM THIS YEAR’S STAR MAP:The NeighborhoodFrom Esplanade to C, between 5:30 and 6:30, a buzzing ring of camps will co-create the vibe, forming a unified community dedicated to daily wonder and nightly revelry. Scavenger hunts and serendipity games will form a web of unseen magic tying the neighborhood together in a wormhole of playa magic. Block parties? Yes, please. Conspiracies of joy? Naturally.

The Canopy: A Grand Exposition of Multiversal PossibilityUnder the Canopy: Prepare for themed mischief, immersive storytelling, roaming performers, zany theatrics, comedy, circus, and crafternoon invention laboratory sessions. The Canopy will evolve from a perennial crossroads to a galactic center where travelers from all places and all times are invited to mix, mingle, and dream together.

The Flame KeepersThe Conclave returns! Fire performers from all over the globe will light up the keyhole with pyrokinetic majesty. Like moths to a flame, we invite you to gather around and be warmed from the inside out.

Storytelling Through the Ages Our programming arc will unfold like a play through time:

• Exhibits by day, spectacular performances, and themed takeovers by night
• Tales told with authenticity on stage and in constellations of conversations, both facilitated and free-form
• A Magic Fountain tapped into the wellspring of serendipity flowing forth from the City’s pulsing heart
• A Time Capsule designed to allow playa present to gift playa future with memories and heirlooms of adventure
• Much more magic, as yet unknown

Canopy Interactive Zones

• Center Stage – original music, theatrical shows, hilarious comedy, savvy speakers
• Innovation Stations – for crafting, inventing, innovating, and conjuring
• The Temporal Gallery – timelines converge and visions of past, present, and future ignite inspiration and imagination
• The Discovery Commons – the Oculus where dance, movement, aerial, and connection reign
• The Grand Central Bar – for tasty treats and creative libations

Grand Central Bar, 2024 (Photo by EspressoBuzz)Activation Schedule Includes:Dawn Patrol – Wake-up with other weary wanderers via movement and meaning-making
Shady Acres – Crafternoons, speaker series and refreshments to take the edge off
Sunset Soirées – Dance, drink, and dazzle through the golden hours
Weirding Hours – Laughs and lunacy light up the night
Power Down – Lo-fi, snuggly soft-glow lullabies for night’s end, and warmth for the weary

Mutant Vehicle Docking StationReturning and expanded: an official docking space for interactive art cars offering dynamic and fun activations or pick up opportunities for folks looking for a mutant vehicle playa voyage. From mobile tea parties to roaming museums to clown cars full of misfits — expect the unexpected.

This is your next big adventure, citizen of Black Rock City.Plot your coordinates. Dust off your gear. Attune your flux capacitors and prepare to land at the crossroads of space and time — the Center Camp Many Worlds’ Fair of 2025.

The exhibition of multiversal possibility is calling. Will you answer?

Ready to share your concept? Fill out this form!

– END LOG –

(Photographer unknown)

Cover image of the Black Rock Philharmonic playing in Center Camp, 2024 (Photo by Frank Roberto)

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When my friends and I put together our first Burning Man camp, there was no instruction manual. We had absolutely no idea what we were doing, and we did it anyway, and I can’t tell you how many things we did wrong (like trying to rig an army surplus parachute for shade — an idea so dumb we had to fail at it twice). Today, thanks to thirty-odd years of doing-it-wrongness, there is an extensive knowledge base of doing-it-rightness that anyone can tap into if you want to sidestep the mistakes and bring a great camp experience to Black Rock City. In fact, if anything there’s almost too much helpful information out there, to the point where it can be hard to figure where to start. But fear not, I am here to help curate and point you to the very best of the best advice.

The ideal place to start, and oh how I wish we had this back in the wayback, is the amazing Camp Resource Guide. Compiled a few seasons ago by the über-experts of the Placement team’s Camp Support unit, this relatively compact (20 pages) web document covers just about everything you’d ever need to know, from camp size and layout considerations to interactivity design, health and safety planning, even leadership issues like financial accounting and conflict resolution. I LOVE this guide. Whether your camp is large or small, placed or not (and by the way let’s be clear: you don’t have to go through the Placement process to have an awesome theme camp), I promise you that there are some tips and tricks in here you can benefit from.

You’ll want to read the whole thing, but I’m going to call out a few quick links:

• First aid kit checklist and ESD Playa First Aid Manual. Because why would you not want to be prepared when one of the participants in your Iron Bartender competition slices off half a knuckle? (Yes, this happened.)
• BRC sound policy. Because turn it up turn it down what do you mean it’s too loud maybe you’re just too old is not a conversation anyone wants to have.

Many hands making light work on their BRC theme camp build (Photo by Julia Nelson-Gal)Sustaining the MagicI remember when people first started bringing generators to power their camps, and the big challenge was how to quiet them down (note: putting a generator in a plywood box is a terrible idea). Nowadays, the challenge is to bring fewer generators, or better yet none at all. The good news is that prices for solar and battery equipment have been dropping steadily over the past few years, making it a viable alternative for powering your camp. But how to size it, source it, and rig it without getting a degree in electrical engineering? The Green Theme Camp Community (GTCC) is one of several participant groups that have been working on demystifying this, along with identifying regenerative solutions for food, water, waste, shelter and transportation. They recently did a ground-up reorganization of their idealicious website, sorting solutions by type, size, and level of commitment (beginner to advanced). Whatever your experience level or the size of your camp, the GTCC Resource Guide is a sustainability rabbit hole that you will definitely want to fall into.

Learn From the ProsHaving a great camp is in reach for any participants. Small or large, placed or not, there is a deep well of community resources to draw on. In case you missed it, the 2025 Camp Symposium, hosted by Burning Man Project, was a great sampler plate of expert advice on building, running, and cleaning up after your theme camp. You can catch the highlights by plugging your ears into episode 110 of the Burning Man LIVE podcast — available in all the usual podcast places or on the Burning Man Project website. And if that only whets your appetite for more, check out this video playlist from last year’s event. Or go even deeper in this collection of Campfire Talks. After 30+ years and thousands of camps, there is a ton of leadership experience out there for you to tap into in bringing your own camp dreams to life.

Special Care for Special BunniesEven with all the knowledge out there, it is entirely possible that you’ve thought of something new that no one has thought of before. It happens all the time! If that’s the case, or for whatever reason you can’t find the answer you are looking for, you can always drop a line to the Placement Team’s online help desk — campsupport@burningman.org.

There’s also a Camp Advisory & Mentorship Program, where you can ask to be paired up with another camp organizer to help you along your way. And like all the other support resources discussed here, it’s not just for placed theme camps, it’s for anyone who wants a little mentoring. Here’s the request form to get started.

All told, there is a rich ecosystem of answers out there for just about any question you care to ask. Unlike my disastrous camp of 2010 (don’t ask — still too soon) I’m sure yours is going to be amazing!

Cover image of participants building a theme camp in Black Rock City (Photo by Bill Klemens)

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Caveat has been writing about Burning Man culture and community for years. His writing does not represent the official views or opinions of Burning Man Project. Because we value Radical Self-expression, Communal Effort, and Participation, the Burning Man Journal has always been a space for sharing the many diverse voices, unique experiences, and colorful stories within our incredible global community. If you are interested in sharing your perspective, please submit your story for consideration here.

Play is an invitation. If you do it right.

Cultures live and die by their ability to communicate and develop systems that simultaneously connect and ground people — to each other, to their shared principles, and their common good — while giving them the freedom to explore their intrinsic passions and live lives that matter to them.

Burning Man does these things very well when it exists on a small scale, but as a global cultural movement it struggles because … so far … we don’t know how to build systems, bureaucracies, that do both of these things at the same time.

In part 1 of this series, we looked at why building bureaucracies that are “Burning Man compliant” is the fundamental challenge of our current era, and in part 2 we examined the state of the conversation that’s happened about this in the past, and what such systems might look like in practice.

In this post, I want to tell you about times I have experienced where this really seemed to work. They involve a lot of play. Whatever else they may or may not demonstrate, people had a hell of a lot of fun. Which I think is not incidental to why these approaches worked — a bureaucracy that is genuinely fun to engage with is a bureaucracy that people are going to support more than they complain about.

In fact, I think a shorthand is that a bureaucracy that is Burning Man compliant will ideally do three things in addition to its overt functional purpose:

1. Be fun to engage with.
2. Encourage radical self-expression on the part of the people engaging with it.
3. Connect people to each other in a way that allows them to build social capital.

A bureaucracy that can do that is a bureaucracy that people will fall in love with.

When Volunteering Gets WeirdIn 2008 I was made the Volunteer Coordinator for Media Mecca. My job was to recruit the other volunteers who would be working with the media, especially when they were on playa.

Hundreds, maybe thousands, of people were interested. We needed maybe 60, and couldn’t fit more than 80 in the camp.

Figuring out who would make a good volunteer and team member — mostly over email — was one of the challenges I faced; the other, which was not in my job description but that I felt keenly, was to give our volunteers an immediate experience of Burning Man. I wanted the experience of volunteering for my Burning Man team to be as weird and unpredictable and whimsical as Burning Man itself.

To solve these problems, I fucked with my volunteers.

Anybody who I thought might make a good addition to the team, anybody whose application I was interested in, immediately had their application process turned into an act of play that was deliberately unpredictable and confusing.

My intention was to rattle them in as fun a way as possible and see how they responded. Media Mecca could be a chaotic environment where weird and unpredictable things happened, and entitled members of the press sometimes throw tantrums or make unreasonable demands. It mattered, as a qualification for the job, how volunteers would handle situations like this. What better way to test that than to create such a situation?

What did this look like? It depended on the person and what they’d written in their volunteer application — this was artisanal fuckery, boutique and individualized. So when people mentioned esoteric interests, I asked them to write short essays on absurd topics in those fields; when someone said they knew a member of Media Mecca who would vouch for them, I denied that any such person existed and demanded (in an over the top way) to know why they were trying to fool me. When someone bragged about the university they’d attended, I said that I had inside information that the university was a mob front.

I had an applicant who emphasized in his application that he worked for National Geographic and so was really good with photos. After introducing myself, I began my response to him by saying:

I can totally see how a job at National Geographic would be an ideal job. Especially for a geographer. I don’t want to brag, but I was pretty good at geography in high school. In fact — I’m very proud of this — I actually discovered a new continent. Yes, Mr. Mirkarimi said it was just a smudge on the globe, but how is that any different from New Zealand when you think about it?

I’m not sure what a photographer would do at National Geographic, though. Do they run photos?

He responded by saying that yes, of course they run photos, and that they’re one of the premier publications for photography in the world.

I replied (among other things):

I had no idea the National Geographic Magazine had started running photos! That’s really exciting. It sounds like it’s a big new push. When did that happen? Is this a web 2.0 thing, and they’re user generated? (“Send us pictures from your vacations around the world!” kind of deal?) Because that would be very cool.

Unless you mean the ads. I’ve definitely seen ads in the magazine before. They’re cool too, but obviously in a different way. On a strictly professional level, I have always admired the World Wildlife Fund’s facility with graphic design. They make saving the tigers look so affordable.

The people who understood that they were being fucked with and either established boundaries about it gracefully or took it as an opportunity to play back, were usually let on the team. The people who freaked out about it or got angry and defensive never did.

Everyone, however, got an experience that felt like Burning Man. And it made a difference in morale; the new people on the team felt much more personally connected. They had stories about how they’d gotten on the team to tell to each other. It was something they could bond over. The response from the long service team captains at Media Mecca was ecstatic: they had new team members who were excited to be there, who were ready for the utter weirdness that some of these shifts involved and could handle it gracefully, and who felt empowered to add playful touches of their own because doing that kind of thing was what got them on the team.

Are there downsides to this approach? Oh, absolutely. First and foremost: it’s incredibly labor intensive. Instead of sending a bunch of form emails out, responses that could mostly be automated, I was having hundreds of personal (and creatively engaged) conversations. It was a massive commitment of time and energy.

And of course there’s the potential for hurting people’s feelings or offending them … always a risk when you fuck with people. Anyone trying this approach has to be careful that they don’t cross a line from “playful fuckery” into outright meanness. Not everyone can do this well. If you can’t make play and fuckery an invitation, then you’re just being an asshole.

While the idea was always to invite people in rather than keep them out, to invite them into our weird fun, if you use this approach you’re also going to lose good volunteers — people who surely might be otherwise great for the team are going to drop out. This can be a serious issue if you need every volunteer you can get. But in the situation I had, there was simply no way for me to use every qualified volunteer. I was going to lose many good people anyway, no matter what approach I took. And I think it’s insulting to the volunteers who weren’t chosen to pretend that I had some objective criteria by which they were rejected. I didn’t. No one did. I was going to end up rejecting good people; it was only a question of how I was going to do that. Under those conditions, I chose to screen for people who could keep their heads about them when they were in a confusing situation, and especially get playful with it. Those were qualities that mattered.

And it worked. It turned what could have been a boring and superficial encounter with a system into an experience of Burning Man that people were excited to get to be part of. If we assume that no system is free of problems, this is the system and the problems I’d choose to have.

Of Course You Know This Means WarIn 2012 Media Mecca and the Census went to war over a volunteer. There were pranks, stickerings, camp invasions, and more. It ended inconclusively, with no real resolution, which meant that it didn’t really end at all, and low grade “hostilities” (of the most fun kind) continued for years. In 2016, representatives of each side sat down to hammer out a peace treaty, and realized that a peace process can actually involve even more fuckery than a conflict. You can read an account here. (Note that the terms of the treaty listed there are incomplete.)

For Media Mecca, it was entirely a whimsical adventure — there were no stakes beyond seeing just how hilarious a peace process we could make. The Census negotiators, however, came with fuckery, yes, but also with real concerns. They had felt for a while like the Burning Man staff leadership had been inattentive to their needs, both as a camp and as a scientific endeavor. Burning Man’s staff were affiliated with Media Mecca, so Census brought those needs to the bargaining table: they had actual issues they wanted raised and solved, and they were willing to commit to further acts of play as part of the peace process to get it.

To be clear: the war between Media Mecca and the Census was not sanctioned by Burning Man staff. They mostly rolled their eyes at it. Sometimes they tried to stop it. (We got yelled at by Danger Ranger.) Staff were not represented at the negotiating table, or involved in the peace process. So the Media Mecca negotiators had no actual power to give the Census team what they wanted. The best we could do was say “we’ll commit to bringing it up with the staff, with whom we have a closer relationship than you.” But … we knew the staff were probably going to roll their eyes again.

So it seemed like the Census had put a lot of hope into a fool’s promise. We had no power to give them what they wanted. But … here’s the thing … a couple of years later, they’d gotten many of the things they’d asked for. And apparently (so I’ve been told) the peace treaty helped. So Census might have been right after all. The combination of Media Mecca people periodically lobbying for the Census, because after all we had signed a peace treaty, combined with the fact that even if it had no official force … even if it had all been a game, and negotiated in a state of play … the existence of that document, of that set of priorities and needs, seemed to warp the world around it. Seemed to add a kind of moral authority to the Census’ requests for support, because after all, aren’t we a culture that respects fuckery?

Somehow this peace treaty actually had helped. They’d been right.

Playful symbolic acts of conflict and negotiation can actually be good for an organization to settle disputes over resources and priorities. The original war actually did settle the issue of how we were going to handle the volunteer we both wanted, and instead of hurt feelings it brought us closer together than we’d ever been. The peace negotiations actually did end up getting everyone some version of what they wanted, and created a more playful and fun atmosphere that in some ways continues to this day. But the play has to come first: I’m not sure it would have worked if we had set out to take it seriously. The benefits from the structure are only possible if the play comes first. A system that can facilitate, and value, play can benefit from this approach — a system that goes through the motions but doesn’t really value play for its own sake can’t.

Doing The Right Thing Is Always Inconvenient. Embrace The InconvenienceI return to the shorthand bullet points for a “Burning Man compliant bureaucracy” that I offered above:

1. Be fun to engage with.
2. Encourage radical self-expression on the part of the people engaging with it.
3. Connect people to each other in a way that allows them to build social capital.

Both of these examples did that, and both of them worked. And when they worked, what otherwise might have been dull, even draining, bureaucratic processes turned into playful acts that people were excited to engage with and bring their creativity to.

Play is much more risky than a conventional bureaucracy is. A conventional bureaucracy is designed to eliminate risk, even if it means eliminating passion and immediacy and inclusion. In a conventional bureaucracy efficiency and risk are more important than everything else. That’s why conventional organizations use it.

But Burning Man isn’t a conventional organization — it’s a culture. It matters that people in that culture have agency and feel humanized rather than commoditized. And so I think the greater danger to Burning Man is to make systems that are so “safe” that they deaden our principles. People hate conventional bureaucracies in part because they leave no room for self-expression or authentic human connection or play, all of which are themselves innately risky activities. Turning bureaucracy into play gives people agency: they are not victims of bureaucracy, they are participants in an open ended act of performance art. And you can solve some issues through play that are much harder to address in conventional systems. If you do it right it creates systems that people not only tolerate but are passionate about engaging with.

Over time, I have concluded that Burning Man culture is incompatible with conventional bureaucracies, especially at larger scales. We need to recognize that the kind of systems we want to build — the kind that create experiences we want people to have — are going to be “efficiency third” systems that involve a lot of labor and personalized attention rather than streamlining. We need to understand that these systems will be periodically unpredictable, and we need to accept a level of risk with them that conventional businesses and non-profits would not. Because we inspire people who are looking for a better culture, rather than a dress-up version of the default world.

Doing things the right way is always going to be hard. But we can make bureaucracy Burning Man compliant. We know how. And it can be a lot — a lot — of fun.

Cover image of participants at the BRC Box Office windows, 2023 (Photo by Mark Mennie)

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*UPDATE: the next and final sale for tickets to Black Rock City 2025 is the OMG Sale. Registration will be open July 21 to 29. The sale begins July 30 at 12pm PT. Learn more and register here.

It’s happening. Together YOU and tens of thousands of dusty beings will soon converge in an ephemeral city fueled by creativity. Black Rock City 2025 is coalescing to be the Best Burning Man Ever — bursting with awe-inspiring art, participatory community, and mind-bending opportunities to connect and explore. Pack all the things!

We know you want all the tasty details, fresh and up front. Here’s the TL;DR:

The Secure Ticket Exchange Program (STEP) opens Monday, May 19.

• STEP is the only guaranteed safe way to resell and purchase tickets and vehicle passes outside of regular sales.
• Access STEP by logging into your MyTickets account.
• Tickets in all price tiers are available.
• Ticket price and availability is dependent on tickets being sold back into STEP.
• Vehicle passes may only be purchased and returned with tickets.
• Learn more by visiting the Burning Man tickets page.

About past and future public ticket sales:

• The OMG Sale, later this summer, will be the next public ticket sale.
• The Tomorrow Sale is now closed.
• The Tomorrow and OMG sales offer an interest free payment plan that allows you to pay for your order in 3 installments over 3 months.
• Vehicle passes are $150 each; maximum of 2 tickets and 1 vehicle pass per purchase.

All are welcome to come to Black Rock City — whether you join a theme camp, participate in a mutant vehicle or art crew, or come with a group of friends and camp on your own. Start with a ticket! You could even board the Burner Express Bus and leave your car at home.

When you buy a higher-priced ticket to Black Rock City, you make more Burning Man possible — supporting art through Honoraria grants, underwriting Black Rock City operations, and funding lower-priced tickets such as Ticket Aid.

Which Ticket Tier Is Best for YOUR Communal Effort?The Today and Tomorrow Sales offered all 2025 ticket price tiers; the OMG Sale will likely offer some, but not all of these tiers. Now is the time to decide if you wish to:

• Give a gift: The $950 ticket makes things happen in wildly inspired ways — with $750 being the Black Rock City cost per participant you’re paying your way and supporting art grants and Black Rock City operational costs. With a $1,500 or $3,000 ticket you’re getting a ticket while making the experience of Black Rock City available to more people.
• Pay your way: The $750 ticket covers all operational costs for one participant in Black Rock City — you!
• Receive the gift: Available in limited quantities and intended to provide financial accessibility, $650 and $550 tickets enable participants to bring themselves and their creativity to Black Rock City.

Payment Plan OptionThe Tomorrow and OMG sales offer a payment plan option lets you pay for your ticket in three installments over three months — interest free. Tickets in all price tiers — from $550 to $3,000 — are eligible and you can opt in during the ticket purchase process. To learn more, visit the ticketing FAQ.

It Was (Always) Better This YearCatalyze your Burning Man experience with a 2025 BRC ticket! Whether it’s your first Black Rock City Burn or your 20th, whether you’re 22 or 82, every journey within Black Rock City brings new friendships and opens creative horizons. Prepare yourself for liftoff; encounter participatory art and culture; dance until dawn; cultivate deep connections — all in the sublime Black Rock Desert. Learn about tickets to Burning Man and register on April 21 by visiting the ticketing page.

Cover image of “End of Time” by Andrea Greenlees and Andy Tibbetts, 2025 (Photo by Vanessa Franking)

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It’s that glorious time of year again, when spring is in the air and sticker designs are bouncing around in Burners’ brains like wild fairy shrimp… Do you have a burning playa phrase or an image that you’ve been desperately wishing was a sticker — to proudly display in the dust or gift to others? Then simply read the requirements (below) and send your sticker design(s) our way! Whether your final designs are digital or handdrawn, they’re all equally welcome.

You love to collect them, we love to print them. That’s why, each year, we proudly invite YOU to become an integral part of this time-honored tradition, helping us prepare for our annual trek to the desert. It’s just one example of our radically participatory culture in action: the citizens of Black Rock City get to design stickers for what will become our Gate (welcome) sticker — handed out by Greeters at the entrance of the city, accompanied by the WhatWhereWhen booklet — along with a handful of other selected sticker designs which we print for Gifting throughout the week.

BRC 2024 sticker designs held by their designers (Photo by Jamen Percy)Please carefully read (then re-read) each of the submission requirements listed below, in order for your 2025 Burning Man sticker design(s) to be considered. Most importantly, get ready to unleash your imagination — we can’t wait to see what you come up with!

YOUR 2025 STICKER SUBMISSION GUIDELINESBanks Hoffman holding safety third BRC sticker, 2022 (Photo by Jamen Percy)1. SIZE — Your sticker design(s) must fit within one of the following die sizes:
• 3” diameter circle
• 3″x3″ square with a 0.062” corner radius
• 2.5″x6” with a 0.125” corner radius 2. WORDS — Please try to include either “Burning Man” or “Black Rock City” along with the year “2025” into your design. 3. COLORS — If using 1–3 colors, set up the file to print as PMS; If using 4 or more colors, set up the file to print as CMYK. 4. FONTS — you must OUTLINE all fonts (meaning all text must be vector shapes). 5. GATE STICKER — Remember that ROUND stickers are given priority for scoring the coveted “Gate sticker” spot, gifted to all BRC citizens. 6. THEME — Since preference is often given to designs incorporating the theme, feel free to get more intimately acquainted with this year’s theme “Tomorrow Today” for additional design inspiration. 7. SUBMISSIONS — Please email the original Adobe Illustrator (ai.) file of your sticker design(s) to Stickers@BurningMan.org with your FIRST and LAST NAME along with the phrase “2025 Sticker Submission” in the subject header. (Note: just because you can send a high-resolution PDF, doesn’t mean you should. The original ai. file is always preferred.) 8. DEADLINE — You must submit your design(s) by Friday, May 23, 2025 (no exceptions).

Good luck, and may your designs take your imagination to the uncharted territories of Tomorrow Today. Selected sticker designs will be contacted via email.

Interested in taking a peek at past sticker designs? Or just need some creative inspo? Check out the Burning Man gallery to see previous BRC stickers HERE.

Cover image of BRC 2024 sticker designers group photo in Black Rock City (Photo by Jamen Percy)

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The Black Rock City Honoraria Program funds artists from around the globe to create innovative participatory art projects — big and small — that rise on the city’s open playa. These grants from Burning Man Project support returning and new artists alike, they catalyze cross-cultural understanding, and help communities nurture artists and community leaders. These capacities may emerge through the process of creating art in Black Rock City, but their impact extends well beyond the dust to advance a more creative and connected world.

Funded by the nonprofit Burning Man Project, the Black Rock City Honoraria Program helps artists from all traditions and walks of life tell their stories through collaborative projects. When you contribute to the nonprofit through donations or higher-priced tickets, you’re directly funding these grants, bringing art to the playa and more connective creativity to the world. The Honoraria grants are designed to cover a portion of the artists’ costs, but projects require additional financial and logistical support from the community. We’ll be publishing the 2025 Art Listings soon — take a minute to browse these, find an installation that speaks to you, and get involved!

Cultivating Cross-cultural Storytelling and UnderstandingBurning Man celebrates cultural cross-pollination, and encourages participants to share and explore one anothers’ traditions. Through Honoraria grants, artists are supported in bringing cultural stories to life in ways that are participatory and experiential. These immersive experiences open new perspectives and serve as portals to help people connect and understand one another.

Black Rock City 2025 Honoraria artists Thomas Dambo and Anwane Lee are each bringing large-scale interactive works that utilize ancient stories from their respective cultures. Thomas’ giant troll, Rose, is making the journey from Denmark with a reminder of the importance of protecting the natural world, while Chicago-Based Antwane Lee is invoking a cosmic story that shines a light on the power of ancient African spiritual technologies.

As a youngster, Dambo spent time working in a warehouse in Denmark, where he witnessed a stunning volume of pallets and crates being discarded every day. He began to imagine all the things he could create with this scrap wood. And he had an epiphany.

Thomas on a pile of scrap wood (Photo courtesy of Thomas Dambo)“Little Bibbi The Troll That Hatched an Egg” in Dayton, Ohio (Photo courtesy of Thomas Dambo)“Those piles of wood embodied a forest that had grown all over the world,” Thomas told us. He pictured a global legion of trolls, crafted from scrap wood; each troll stood as a protector of the natural world. Trolls have an ancient role in northern European cultures. “They have their foothold in what was before,” Thomas explained. “The trolls were always creatures of nature… ”

Since then, Thomas has transformed discarded materials into 156 trolls that roam across 17 countries. “The stories that I tell with trolls, they’re the unspoken voice of nature and plants. What would animals and plants say if we could understand? The humans are the ones who have some black magic power that enables them to control and change everything… I use my trolls to show us a mirror of who we are as humans.”

Rose under construction (Photo courtesy of Thomas Dambo)Rose is the newest addition to Thomas’ troll family, currently being created on his farm in Denmark. In May, she will travel across the ocean to Black Rock City as “Rose Wonders,” Thomas’ 2025 Honoraria installation. On playa, Rose is trying to understand who we humans are, and why we behave like we do. Next on her journey, Rose will be installed in a botanical garden — a fitting home for an ancient forest creature.

Browse Thomas Dambo’s global troll map and learn more about his work on his website.

From forest creatures to a faraway solar system, Chicago artist and architect Antwane Lee is bringing a large-scale work that merges contemporary technology with ancient African traditional beliefs about the cosmos. ‘’’Pillar of Po Tolo’ is based on the Dogon tribe from Mali, their cosmology and spiritual beliefs,” Antwane explained. “The Dogon people have a belief system that the founders of civilization on Earth came from the Sirius star system… They had this concept that Sirius was a binary star long before European astronomers, with the aid of telescopes, confirmed this.”

In his work, Antwane is leveraging 21st century technology to immerse participants in an ancient belief system that is still very much alive among the Dogon people. As participants approach the pillar — the center of the installation — they move through a portal to activate music and lights, and engage with a console to influence these effects. The pillar is adorned with handprints and ancient symbols such as West African spirals of creation.

Antwane Lee in his studio (Photo courtesy of Antwane Lee)“Pillar of Po Tolo” by Antwane Lee, 2025 (Rendering courtesy of Antwane Lee)“From a spiritual standpoint, different cultures around the world believe that when they go to shrines, they’re going to another space, another dimension,” Antwane added. “I wanted this installation to be a way of using [a shrine] in a modern sense… to activate it at a console, because that’s what we’re so used to.”

Via interactive encounters with the “Pillar of Po Tolo,” Antwane hopes participants will broaden their concept of technology. “African spiritual science is a form of technology. It may not be in terms of zeros and ones or quantum computers, but it is a form of technology.”

After Black Rock City 2025, Antwane hopes “Pillar of Po Tolo” can travel to other cities and events and continue opening minds to African spiritual technology and cosmology of the Dogon people.

Follow Antwane on Instagram to learn more about the piece and support its journey to Black Rock City.

Empowering First-time Playa Artists to Bring their Visions to LifeWhen first-time Black Rock City artists receive an Honoraria grant to bring their art to the playa, they accept an experiential invitation to stretch their creative and logistical wings. Helping artists and collectives bring works of art to playa for the first time cultivates connections and new forms of creative expression that ripple well beyond Burning Man.

“Simple art has its place out there too. People are used to seeing in the press these huge sculptures and these huge pieces that you need a semi-truck to bring in,” noted first-time playa artist Lauren Randolph, co-creator of 2025 Honoraria piece “Tim’s Bench.” She’s one of several Honoraria artists building a desert installation to Black Rock City for the first time this year.

Also embarking on their first Honoraria adventure, Hope Antrim and Nate Andersen are in the midst of kicking off their art build. “PATCHES” was born from a joke about a crone who magically appears on playa to mend damaged fake fur, torn spandex, and faulty playa gear. Over three years, Hope and Nate came up with endless yarns about Patches’ handiwork. Then they devised her little house, an oasis of helpful tools and supportive skills.

When Hope and Nate received an Honoraria grant to build “PATCHES” in Black Rock City 2025, the fairytale became very real. Patches will inhabit a whimsical playa cottage complete with sewing machine and other helpful tools. Inside, skilled and generous humans will sew, repair gear and share their gifts.

Hope Antrim and Nate Andersen (Photo by Nate Andersen)“PATCHES” by Hope Antrim and Nate Anderson, 2025 (Rendering courtesy of the artists)“For some of our artists who are working on this, myself included, we’ve been putting a career in front of our artwork,” Hope told us. “To really get to share a piece of art with the community and just heal that part of ourselves and send love out that way would be really special.”

Hope and Nate quickly found they were cultivating a community of friends, family and artists to help out. Patches was working her magic. After Black Rock City, Patches’ house will be relocated to a small town near Joshua Tree, California, to house a vulnerable family member who needs a permanent place to live.

Learn about “PATCHES” and explore her adorable cottage on the artists’ website.

Sisters Caitlin and Lauren Randolph always came to Black Rock City with their dad, Tim Green. Starting when they were teenagers, Tim gave them Burning Man gear and a ticket every year at Christmas. Together, they run Our House Camp with family and friends. Every year they organize Color Day, which invites participants to dress in a single color and pose together in a giant rainbow photo.

This year, Caitlin and Lauren became Black Rock City artists. Their Honoraria piece, “Tim’s Bench” honors the memory of their dad. “Our dad’s only wish upon passing was to have a bench instead of a gravestone because he wanted to give people a place to have a nice sit and enjoy the view… Burning Man was so important to him, to us, to our family, to his lifestyle. It just felt appropriate to work on bringing benches to Burning Man first.”

Tim Green in Black Rock City, 2016 (Photo by Lauren Randolph)Tim with Lauren and Caitlin, 2015 (Photo by Lauren Randolph)“Tim’s Bench” by Caitlin and Lauren Randolph, 2025 (Rendering by Diana Bradbury)While Caitlin and Lauren work in creative industries, they are new to the adventure of building art in the dust. “It’s something both of us have talked about every year. Going to Burning Man for decades makes you interested in installation art,” Caitlin told us. “Working in any kind of construction or building is definitely a new thing for me and I’m excited,” Lauren added.

“Tim’s Bench” will in fact be three adorable benches, situated in the ideal place to rest and contemplate the cacophony of Black Rock City. It is a perfect tribute to their dad. Lauren explained: “He started bringing a little fold-up chair along to festivals because he specifically said, ‘There are never enough fucking places to sit at these things.’”

“Some of the best art out there is the stuff that’s simple and smart and helpful…” observed Caitlin. “That was something really important to us: having a place for people to rest… the walk home is always a lot longer than you think.”

Drop by the “Tim’s Bench” website to learn more about the project.

Art as a Path to Learning Skills and Nurturing Creative CommunityBurning Man is a sandbox for collaborative teaching and learning, one that builds artists’ skills and capacity to take on new challenges in Black Rock City and beyond. When you encounter large-scale interactive art on the playa, it’s easy to assume it’s built by traditional metalworkers and fabricators. In reality, many installations emerge from community-run spaces that invite anyone to step in and learn the skills needed to be part of a big art crew.

For 25 years, the Flaming Lotus Girls have fabricated kinetic fire art for Black Rock City and beyond. The collective encourages femme and queer creators, but welcomes all. Their open door philosophy invites people with little or no experience, and has succeeded in nurturing multiple generations of creators who spread their wings and become artists and teachers in their own right.

Flaming Lotus Girls in their studio (Photo by Kristi Tsukida)“Serpent Mother” by Flaming Lotus Girls, 2006 (Photo by Arin Fishkin)“Angel of the Apocalypse” by Flaming Lotus Girls, exhibited in Toronto, 2006 (Photo by Jess Hobbs)“One of the primary design considerations for most projects is making space for people to be in Flaming Lotus Girls. We are about community; the art is almost a byproduct,” explained Margaret Long, a long-time member of the collective.

Anne Pauley joined Flaming Lotus Girls in 2019 when the crew was already deep in building “Serenity” for Black Rock City. She brought project management skills, and soon learned metalwork and fundraising. “We have people designated in the group to intake new people and find tasks that will fit their existing skill set or don’t require existing skills. There’s always work to be done, so we put a lot of thought and consideration into making sure that somebody can come in not knowing anybody… and just meet them where they’re at.”

Fast forward to 2025, Anne is part of the team building “Haven,” Flaming Lotus Girls’ 19th Honoraria installation. The piece is a nest, overseen by a host of different birds protecting the magical eggs laid within. “Haven” will invite dusty participants to come into the nest to rest, gather… and push buttons that make the birds spout fire.

“Haven” by Flaming Lotus Girls, 2025 (Rendering courtesy of Flaming Lotus Girls)“‘Haven’ is us…” Margaret told us. “We’re a bunch of weird birds getting together, being awesome and fabulous, and creating this space that is beautiful and joyful, that gives us all something to work together towards, that gives us opportunities… to find new skills and be creative.” Flaming Lotus Girls’ work has traveled far and wide, to events and urban spaces where it continues to evoke awe and inspire people to learn industrial arts and build beautiful things.

Visit the Flaming Lotus Girls website to follow them on social media and join their newsletter; both will announce upcoming fundraisers and opportunities to get involved.

The World-changing Power of Community-built Participatory ArtThe participatory art of Black Rock City evokes awe, empathy and connection — emotions that bring people together to imagine possibilities well beyond themselves. This year, 76 Honoraria-funded works of art will rise on the playa. These grants support first-time and experienced artists alike, emboldening them to share cultural stories, cultivate community, and learn skills that create an impact beyond the desert. Learn more about 2025 Honoraria art in this Journal post!

Cover image of Danish artist Thomas Dambo in his studio, 2025 (Photo courtesy of Thomas Dambo)

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Burning Man Project is delighted to unveil the eclectic and inspiring artworks selected for the Black Rock City 2025 Honoraria Program! In the spirit of the magnificent city we build together, these projects push the boundaries of imagination, delight the senses, spark joy, and bring people together in unexpected and meaningful ways.

After reviewing and individually discussing hundreds of proposals, we are thrilled to announce that 76 projects will receive funding for Black Rock City in 2025, with a total of $1.3 million awarded directly to artists! So much gratitude to those who, through generous donations or higher-price ticket purchases, helped fund this year’s Honoraria grants.

This is just the beginning of an exceptional journey towards the playa. Whether awe-inspiring, thought-provoking, or downright silly, these works invite YOU to engage, explore, and shape Black Rock City in your own way.

A full list of projects and artists can be found at the end of this article.

Art That Invokes Tomorrow TodaySome artworks explore the 2025 Black Rock City theme, Tomorrow Today, envisioning a future shaped by innovation, imagination, and ingenuity. “Solar Synaptic Dynamo [aka Reflections]” is a 32-foot tower where participants apply gravity to generate electricity. “The Cosmic Carousel: A Human-made Object for an Alien World” returns to BRC after more than a decade, inviting communal engagement through climbing and spinning this futuristic, gravity-defying sculpture. And “Un Nuevo Camino” depicts a parent and child in space suits — the child floating weightlessly ahead, leading the way toward a future where humanity must forge a new path.

Image of “The Cosmic Carousel” by Prism and Company, 2012 (Photo by Ales Prikryl)Many projects unrelated to the theme also bring something essential to Black Rock City. This year, we leaned into projects that foster collaboration, both on and off playa. You’ll also see a blend of new creative voices along with some beloved returning artists, and a range of sizes, vibes, materials, and complexity. Whether you’re drawn to climbing, fire, storytelling, meditation, trippy lights, high-energy play, or a quiet place to rest, there’s something for everyone to discover.

Bringing People Together: Art That ConnectsAt Burning Man, art isn’t just something to observe — it’s something to build, interact with, and experience together. Crews of friends, strangers, and soon-to-be family come together to construct, problem-solve, adapt, and play, forging deep bonds in the process.

Sketch of “Black Rock Monster Containment (BRMC)” by Caroline Jurney and Fat Panda, 2025It’s inspiring when art ignites creativity and collaboration in local communities, strengthening connections long before and after the dust settles. “Ouroboros” from Milwaukee and “Altar of Awen” from Phoenix will each activate and engage their local creative communities. The “Black Rock Monster Containment” team will have open calls for build participation, empowering people to learn different skills and offering a welcoming, collaborative space for all.

Rendering of “Pillar of Po Tolo” by Antwane Lee and The Solar Shrine Collective, 2025The collaboration doesn’t stop once the art is built. Many of this year’s projects are designed to nurture connection between Burners on playa. “Future Sketch” is a giant Etch A Sketch-style project best enjoyed with others. There are portals and podiums surrounding the “Pillar of Po Tolo” — a modern interpretation of star systems and African spiritual technology that triggers a special display of visuals, constellations, and African music. Your camp might even want to orchestrate a hoedown at “Jukebox Country,” a honky-tonk-inspired dance floor from Texas, complete with an illuminated jukebox and a chandelier.

Digital sketch of “Afterlife Reincarnate” by Blitzy and The Afterlife Artists Collective, 2025Some projects create spaces for deeper connection. “Afterlife Reincarnate” is a sacred space for soul travelers of many realms, while the Flaming Lotus Girls’ latest creation, “Haven,” will draw crowds with its fiery spectacle. “Grinder Garden” invites shared immersion in mirrored reflections. These collective experiences define the art of Burning Man, reminding us that Black Rock City is something we make and experience together.

Rendering of “Haven” by Flaming Lotus Girls, 2025Bird Is the WordThis year, the playa is for the birds… in the best possible way! More than a handful of the Honoraria projects take inspiration from our feathered friends, bringing an avian energy to BRC. We can’t help but wonder what in the current zeitgeist is inspiring artists to look to birds for their inspiration. Whether taking flight and soaring above, glowing from within, or holding space for nesting, these bird-inspired artworks remind us of the power of flight, transformation, and connection.

“Pitirre” captures the spirit of Puerto Rico in a striking, climbable sculpture of the Gray Kingbird, poised like a rocket and ready for liftoff, while “Inikadowa,” a glowing humanoid bird lantern, is inspired by Filipino mythology. “Nested Heart” features two connected Cormorant birds with suspended nests inside, taking a moment to bask in the sun and dry off their wings, conveying a message around heart-opening and gratitude.

For fire enthusiasts, “Riding the Thermals” uses the heat from a fire pit to activate a hawk circling high above the playa, and “Firebird / Ohnivý Vták” is a flame-colored raptor with articulated wings.

And let’s not forget the utter silliness of the “Black Rock City Chicken Ranch” because hey, rubber chickens are birds too, right?

From mythical creatures to real-world species, these winged wonders invite us to reflect on our relationship with the natural world, and perhaps even spread our own wings in new ways.

Materials ReimaginedThis year’s Honoraria projects showcase an exciting array of unconventional materials that push the boundaries of creativity and sustainability.

Mycelium is a sustainable, organic material that the artists behind “Ancestors of Dawn” have been using for years to create biodegradable sculpture components — while asking “What kind of future ancestors will we be?” “DROP” weaves together layers of textile waste to form an oversized drop of breastmilk, symbolizing purity tainted by microplastics and environmental realities.

Upcycled materials take center stage in many projects, transforming the ordinary into the extraordinary. “Wings of Resonance” features a butterfly made from recycled vinyl records, speaking to transformation, connection, and the impact humans have on one another’s growth. In an unexpected trend of plumbing parts as art, “Sinksphere” turns recycled stainless steel sinks into a rotating death star sphere, while “Down the Drain” twists and converges plumbing pipes into a dense, sculptural mass.

Rendering of “Sinksphere” by Scottysoltronic and JenkStars, 2025“The Lightning Tower” from Italy features hand-blown neon bars visually recreating awe-inspiring lightning bolts, drawing participants towards its electrifying presence.

One of the highlights of Burning Man art is seeing the limitless potential of materials often overlooked in traditional art-making, reminding us that creativity is not only about what you create, but also about what you use to create it!

Other Highlights and ThemesSome projects are confronting the realities of an uncertain world, offering space for reflection and strength. A Ukrainian collective is bringing “Black Cloud,” an inflatable storm cloud hovering above, symbolizing looming threats. “Resilience” is coming from western North Carolina; they’re repurposing materials from the devastation of Hurricane Helene and featuring artwork from artists impacted by the natural disaster. “Celestial Intertwinement” is a glorious interpretation of a screaming booth, where participants can audibly release their feelings and see them transformed into a vibrant beam of light, symbolizing pain and love made visible, beautiful, and infinite.

Sketch of “Black Cloud” by Oleksiy Sai and the Ukrainians ART Group, 2025There is also a serious amount of playfulness! Relive your playground days with a giant tetherball in “When We Were Young.” Or spin, jump, and swing on “Seesaw Organ,” “Loop,” and “Hey Queen,” with the latter being a sculpture of a woman with a merry-go-round crown, swing earrings, and long dreadlocks that you can use to jump rope.

Rendering of “Disco Snail” by Alyssa Oliveira and the Alpine Artists Collective, 2025For some projects, family ties play an important role. Longtime BRC artist Kevin Clark is mentoring his teen daughter, Harper, who will lead “Guma,” a 65-foot long alien animal creature. Sisters behind “Tim’s Bench” honor their late father, who introduced them to Burning Man and often brought his own chair to events because “there are never enough fucking places to sit at these things.”

Rendering of “PropanePunk” by Brent K, 2025Sixteen projects will ignite the playa with fire and flame effects. “What Lies Beneath?,” an ancient submarine erupting from the playa surface, comes from the same crew behind the unforgettable “Great Train Wreck” of 2018, so expect a spectacle of pyrotechnics when it burns. Meanwhile, “Flame Pixel” lets you harness fire itself to create glowing words and symbols from its grid, an evolution of the 2015 piece, “Fire Tetris.” Get ready to feel the heat!

If you love the big and dramatic, then look for “The Sphinx Gate” and embark on an immersive adventure of self-discovery. One beacon to help you find your way at night will be the 30-foot tall “Event Horizon,” an audio-reactive LED sculpture with five concentric rings that spin like a gyroscope around a central spherical infinity mirror. Woaaaah.

Rendering of “The Sphinx Gate” by Tania Abdul, Mareesa Stertz, and the Sphinxters, 2025In addition to 18 states in the US, including the unincorporated territory Puerto Rico, we’re pleased to include 11 international Honoraria projects this year. There are three from Canada and one each from Denmark, Estonia, India, Italy, Mexico, the Philippines, Ukraine, and the United Kingdom. One of the most anticipated projects is “Rose Wonders” by Thomas Dambo, originally selected in 2020, and now finally making its way to Black Rock City from Denmark!

Sketch of “Rose Wonders” by Thomas Dambo, 2025Empowering People to Become ArtistsEach year, the Honoraria Committee seeks artworks that do more than just stand out — they invite interaction and embolden new artists-in-the-making. James Gwertzman, lead artist of the 2025 Honoraria piece “Moonlight Library,” speaks about how participating in Black Rock City inspired him to become an artist who is now bringing his third artwork to playa.

“As a kid, I dreamed of a career designing theme parks, and in college I spent most of my free time in the theater, designing sets and lights. But then when it came time to enter the ‘real world’ I turned my back on my creative side… More and more it was starting to feel like something fundamental was missing from my life. In 2022 I finally did something about that. Together with an amazingly talented team, we created and brought the ‘Prairie of Possibilities’ to the playa, and the experience was so much more rewarding than anything I could have imagined. It reawakened my inner artist, and has set me on the path now to becoming a full-time professional artist.”

Not only are there first-time Black Rock City artists among this year’s Honoraria recipients, but seven 2025 grantees will be touching down on the playa for the very first time, AND bringing art. We love the courage and inspiration that Burning Man ignites in artists and their crews to step into unchartered territory and create audacious things.

Rendering of “Kauyumari Ceremonial Center” by Leyla Brashka, 2025Your Turn to CreateWhile these funded projects are something to celebrate, the real magic of Burning Man is created by YOU. These Honoraria selections are meant to inspire, not intimidate. You don’t need a grant to bring art to the playa — in fact, most of the ~400 art installations in BRC are self-funded. Regardless of scale, every act of creativity transforms the playa from a blank canvas into our collective masterpiece. Check out the recent Journal post The Art of Leveling Up: Your Small Project Can Have a Huge Impact to see how others have brought their creative visions to life in BRC.

How will you creatively activate in 2025? Are you ready to change up your Burning Man experience by bringing something uniquely yours, or joining a project that sparks your imagination?

Explore the list of 2025 Honoraria projects below, and if you feel inspired to create something, you are warmly invited to register an art project of your own. If you’re looking to lend your skills, learn under an experienced lead, or connect with artists, check out the collaboration tool Spark.

The future of Burning Man is built by your hands. We can’t wait to see what you bring. In the meantime, here are this year’s Honoraria recipients.
Drum roll, please…

The 2025 Black Rock City Honoraria Recipients(RE)Routing — Tabasco Mills and Iron Monkeys — Seattle, WA

Afterlife Reincarnate — Blitzy and The Afterlife Artists Collective — San Francisco, CA

Altar of Awen: Temple of Reflection, House of the Radiant Heart — Kristin Wesley and Roosevelt Artworks — Phoenix, AZ

An Event Horizon — Andrey Sledkov — Salt Lake City, UT

Ancestors of Dawn — Iyvone Khoo, Miguel Guzman, and Dust Spores Studio — Joshua Tree, CA

Aquatica — Anna Gribovsky — San Francisco, CA

Arm Chair — Meghan “Juniper” Rimelspach and Mike Bliss — Baltimore and Towson, MD

Beast Mode — Beau Blanche and Dust and Beau — Victoria, BC, Canada

Black Cloud — Oleksiy Sai and the Ukrainians ART Group — Kyiv, Ukraine

Black Rock City Chicken Ranch — Rob Brown and The Followers of Floyd — Cordova, AK

Black Rock Monster Containment (BRMC) — Carrie and Chris Jurney, Fat Panda — San Francisco, CA

Celestial Intertwinement — Dominique Birdsong — San Francisco, CA

Celestial Mechanica — Gescykae “Jessika” Wrecca Welz — San Francisco, CA

Disco Snail — Alyssa Oliveira and Alpine Artists Collective — Alpine Meadows, CA

Dispensing Influence — Gerry Laureus and The Black Flame Collective — Denver, CO and New York City, NY

Down the Drain — Michael Christian — Bay Area, CA

DROP — Auli Uiboupin — Riisipere, Estonia

Dust City Diner —David Cole and Michael Brown — Bay Area, CA

Event Horizon — Ben Bartlett — San Francisco, CA

Firebird / Ohnivý Vták — Skyhunter Creative — Dallas, TX

Flame Pixel — Esmeralda Nadeau-Jasso — Slocan, BC, Canada

Future Sketch — James Beach and Ideasmiths — San Francisco, CA

Grinder Garden — Adam Frey — La Ventana, Baja California Sur, Mexico

Guma — Harper Clark and Guma Group — Petaluma, CA

Haven — the Flaming Lotus Girls — SF Bay Area, CA

Hey Queen — Chelsey Hathman — Oakland, CA

Home Grown — Raylene Gorum and Little Earth Makers — Oakland, CA

I Wish You Could See — Benjamin Thompson — Grand Meadow, MN

Inikadowa — Lynn Bryant — Santander, Cebu, Philippines and Mojave Desert, CA

Jukebox Country — Max Juren — Austin, TX

Kauyumari Ceremonial Center — Leyla Brashka — Torreón, Coahuila, México

Kiosk — Studio Woo Woo — Nevada City, CA

Loop — Dan Rabinovitch and Aromatic Designs — Stowe, VT

Moonlight Library — James Gwertzman and The Moonlight Collective — San Francisco, CA and Seattle, WA

Mother — Weld Queen — Miami, FL

Namaskaram — Srikanth Guttikonda and Looking Up Arts — San Francisco, CA

Navagunjara Reborn: The Phoenix of Odisha — Jnaneshwar Das and Earth Innovation Hub — Cuttack, India and Tempe, AZ

Nested Heart — Stephen Reynolds — Los Angeles, CA

Nova — Chuck Sommerville — Folsom, CA

One Tin Soldier — Mark Deem and The Misfit Toys, LLC — Bolinas, CA

Oneirotica — Kirsten Berg — Berkeley, CA and Nevada City, CA

ORBs — David Oliver — Ventura, CA

Ouroboros — Steel Tigerlillies + Bathsheba Grossman — Milwaukee, WI and Boston, MA

Out the Other — Kathryn Greenberg — San Francisco, CA

PATCHES — Hope Antrim and Stardust Alchemy Studios — Brooklyn, NY and Los Angeles, CA

Pillar of Po Tolo — Antwane Lee and The Solar Shrine Collective — Chicago, IL

Pitirre — JuandelPuebl0 and the Parliament Art Crew — San Juan, Puerto Rico

Prisms — Michael White / Chaord Collective — Brooklyn, NY

PropanePunk — Brent K — Arcadia, CA

Proteus — Barbara Lietzow — Oakland, CA

Reborn — Clinton Lesh — Bozeman, MT

Resilience — Whitney Webb — Asheville, NC

Riding the Thermals — Mel Meow and Florian Stadler AKA The Neverending Source — Los Angeles, CA and Sydney, Australia

Rose Wonders — Thomas Dambo — Gadstrup, Denmark

Samsara — Emi Watanabe and Art with Arundo — SF Bay Area, CA

Seesaw Organ — Daniel Newman-Lessler — Los Angeles, CA

Sinksphere — Scottysoltronic and JenkStars — Park City, UT

Solar Synaptic Dynamo [aka Reflections] — Steven Knauff and Temple of the Utterly Indifferent — Saticoy, CA

Staircase to Exordium — Joe Lilley — London and Oxford, United Kingdom

Star Love — Taylor Dean Harrison — Penngrove, CA

Stormborn: The Tyrant of Lightning — Andrew Frank, Space Cadet, and Goldenblack — Reno, NV

The Biggest Ball of Twine in Nevada — Woodruff Burley aka Xeno, Shayna Wade-Reich, and BRC Twine Ball — Oakland, CA

The Cosmic Carousel: A Human-made Object for an Alien World — Michael Walsh — Oakland, CA

The Cosmic Cuddle — Miki Masuhara-Page — Portland, OR

The Fire Hummingbird / El ColibrÌ de Fuego Pyramid — Adrian Arias — Oakland, CA

The Lightning Tower — Pepemaniak — Rome, Italy

The Midnight Museum of That One Time at Burning Man — Jerry Snyder — Reno, NV

The Quantum Existence — STuro — Reno, NV

The Solar Library First Branch — Jared Ficklin aka Pearlsnaps— Austin, TX

The Sphinx Gate — Tania Abdul, Mareesa Stertz, and the Sphinxters — Oakland, CA

Tim’s Bench — Lauren and Caitlin Randolph — Reno, NV

Un Nuevo Camino — Mark Rivera aka Kidnetick — Santurce, Puerto Rico

Voxelite — Tyler Soon — Vancouver, BC, Canada

What Lies Beneath? — Reno Core Project — Reno, NV

When We Were Young — Chris Struble and buttcountry — Crestview, FL

Wings of Resonance — Denver Miller III — Reno, NV

Full project descriptions with images and links will be available later in the spring.
Mark your calendar for Desert Arts Preview on June 1, 2025, where you’ll get a behind-the-scenes look at some of this year’s art and hear directly from the artists bringing it to life.

The BRC Honoraria Program relies on the generosity of our community. You can help support this program and an array of on- and off-playa artist services by making a gift here.

We’re so grateful to all the artists who will be sharing their creativity in Black Rock City in 2025, and we can’t wait to explore this outpouring of creativity together!

Cover image rendering of “Moonlight Library” by James Gwertzman and The Moonlight Collective, 2025

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There comes a time in the evolution of (almost) everyone who goes to Burning Man: the day the timer goes off. Their number is called. A disembodied voice echoes in the halls of the brain and informs you “Now is your time to bring something.”

It’s an exciting call. Though wildly daunting, the prospect of transforming an idea into a reality is hard to resist. If you’re feeling like 2025 might be your year to bring a creative vision to life in Black Rock City, but doubts are creeping in about whether you’re up to the challenge, we have good news: leveling up your participation is easier than you might think.

We’ve gathered some great examples of new small theme camps, art, and even a mutant vehicle to prove that you—yes, you—can bring wonderful, small things to life in Black Rock City.*

*Most of the camps featured in this article gift edible and drinkable offerings to BRC. But there are many kinds of gifts to give; food is just one of many.

Undaunted by DistanceMeet Tini Rich, co-lead of Priscilla, a fabulous pink theme camp hailing (primarily) all the way from Australia. Traditionally Priscilla offers dance parties and events to the playa all week. But iIn 2024, Tini and her campmates knew they wanted to bring a taste of home to the desert. “We wanted to do a sausage sizzle, which is quite iconic to Australia,” she explained. Hurdle one: sourcing authentic Australian sausages in Nevada (Spoiler: Australian sausages are not the same as American hot dogs.) Undeterred, one of Tini’s Aussie campmate, Yin, set up a sausage sizzle test kitchen at her home for months prior to the burn. After testing out all a range of snag options to best match the Aussie way and serving sausages to countless dinner party guests, the camp found a Bay Area butcher to craft hundreds of bangers to spec.f Last year on playa, Priscilla served up over 300 authentic sausages at their inaugural sausage sizzle, complete with grilled onions and traditional tomato sauce.

A scene from Priscilla’s 2024 Sausage Sizzle, a new Aussie tradition on playa (Photo by Chris Smith)

Priscilla’s Level-Up Tip: Be creative in sourcing authentic materials; geography doesn’t have to limit your vision!

(By the way, if you’re a theme camp planning to serve up grub in BRC, make sure you read about any requirements here first.)

Bringing a theme camp and food offering to playa from another far-off place Vienna, Austria, Dominik Karr and the campers of Schnitzel Camp encountered some obstacles of their own. Eager to serve the eponymous Austrian specialty to their fellow Burners, the first-year theme camp made plans to rent a kitchen truck. A week before Burning Man, the plot thickened: they discovered their rental was a scam. But with the help of sympathetic on-playa neighbors who lent Schnitzel Camp a freezer, a shade structure, and an entire kitchen setup, the schnitzel went on. Over the course of the week, the 12-person Schnitzel crew gathered every night at midnight to pound and fry and bread pork and vegan wiener schnitzel for the playa. To accompany the 1,000 servings of schnitzel they made last year, the Viennese campmates hand-carried 10 magnums and 26 bottles of Austrian white wine across the world to quench the thirst of new friends in Black Rock City, serving the wine in glass stemware (real glass!).

Proof positive Europeans have their priorities straight.

Schnitzel Camp’s Level-Up Tip: Community support can save the day. Get to know your neighbors in the lead up to Black Rock City. You may be able to help each other make your dreams come true, or help each other out when you’re thrown a curveball.

Dominik (far right) and fellow Schnitzel campmates enjoying authentic Austrian wine hand-carried all the way from Vienna in bona fide glass stemware, 2024 (Photo courtesy of Dominik Karr)It Doesn’t (Necessarily) Take a VillageRobin Eno is another tiny theme camp cooking superstar. The accidental one-woman show behind the first-year theme camp Camp Stone Soup found her on- and off-playa calling during a serendipitous moment at Burning Man 2023.

Sheltering in her RV during one of the year’s infamously torrential rainstorms, Robin tuned into BMIR radio via her car radio and heard a DJ say a line that changed her life: “If there’s anything that you can do for your neighbors, please do.”

Inspired, Robin sprung into action, cooking up a number of vegan stir-fry and oatmeal for her fellow Burners over the next several days. Then and there, she decided to return in 2024 to form a mini theme camp that cooked dinner every night for hungry playa wanderers.

When her two other campmates dropped out of Burning Man in July right before the event in 2024, Robin didn’t let that stop her. Undeterred, she became a one-woman feeding theme camp. She cooked and served pasta in red sauce with parmesan cheese, fried PB+J sandwiches, and other tasty treats to 75-100 grateful people per night.

But that wasn’t all for Robin. After quite literally hearing the call over the BMIR airwaves during the rainstorms of 2023, her vision involved cooking for those who needed a hot meal off-playa.

An early retiree and full-time RV traveler, Robin wanted to give back via a “mobile food ministry” to serve people experiencing homelessness and decided to come back in 2024 to treat Black Rock City 2024 as her testing ground: “Camp Stone Soup was my preparation for being a mobile feeding camp and feeding the poor,” Robin explains. In the lead-up to her first burn as a placed camp, Robin stress-tested her gear and recipes, serving food to small groups and gathering feedback.

After Camp Stone Soup’s debut, Robin took her kitchen beyond BRC a few months later. In December 2024, she served hot meals to people experiencing homelessness in a San Bernardino church parking lot, inspiring a local non-profit and Loma Linda Community College to coordinate a health fair alongside her gifted meal. “Burning Man was one step,” Robin said. “My ultimate goal was this.”

Camp Stone Soup’s Level-Up Tip: Use Burning Man as a testing ground for your ambitions and dreams that extend beyond the playa. And, know that one person can –and will–make a meaningful impact at Burning Man.

Robin Eno serving a meal at her December 2024 mobile feeding camp in San Bernardino, California (Photo courtesy of Robin Eno)Chase Orton is also no stranger to tiny-but-mighty camps. He is the mastermind behind another first-time theme camp, Stoop. In 2024, Chase used his box truck-turned-tiny home with a big window cut out of the side as his theme camp HQ. Inside, Chase and his crew of three campmates slung 800 grilled cheeses, griddled 800 blueberry pancakes, and poured and shook too many coffees and cocktails to count.

A shot from inside Stoop HQ, camp lead Chase Orton’s tiny home on wheels during the rest of the year, 2024 (Photo courtesy of Chase Orton)Chase – an experienced Burner and first time theme camp organizer – says he envisioned transforming his mobile tiny home into your favorite local Black Rock City neighborhood hangout. The key to making that dream a reality was to empower campmates and neighbors to co-create the experience with him, inviting others to come into the tiny home and take a turn hosting too. Reflecting on the smash hit of Stoop, Chase muses, “It’s crazy that the best idea I ever had was cutting a hole in the side of a box truck.”

Stoop’s Level-Up Tip: Repurpose what you already have…your tiny home box truck can become a theme camp HQ. And rather that only serving, empower others to co-create by inviting participation.

It Doesn’t Have to Cost a FortuneFor Elliot Kirk, Whitney Wilhelmy, and Kat Ebert, Gen Z co-leads of the theme camp Neodebauchery, their playa story began in 2020 with a serendipitous Facebook Marketplace find too good to pass up: a cheap geodesic dome.

The group bought the dome and took it for a spin on the playa in summer 2020 during the pandemic. Despite the daunting logistics of starting and running a theme camp on the budget of 20-somethings, they knew they wanted to bring Neodebauchery to the big leagues of Black Rock City in 2022, gifting a variety of offerings to the playa, including a catty comments coffee bar in the mornings, and a temple devoted to the worship of Steve Buscemi, open 24/7.

“We were definitely very scared of the idea but loved it at the same time,” Whitney recalls. “There’s nothing quite like going to Burning Man with a community you love and are invested in.” For Neodebauchery, the juice is worth the squeeze.

The next generation of Burning Man, members of the theme camp Neodebauchery in their Temple to Steve Buscemi, 2024 (Photo courtesy of Neodebauchery)

Neodebauchery’s Level-Up Tip: Start with what you can afford. Work with the budget you have today and scale up gradually.

Listen to Whitney and Kat speak about their experience as the next generation of Burning Man on the Burning Man LIVE podcast episode “Rising Sparks: Bridging Burner Generations”:

Apply to bring a theme camp to Black Rock City here.

Small Art Can Have a Huge ImpactWhile these theme camps were cooking away and fueling participants’ adventures, artists on the open playa and throughout the city offer much needed catharsis. Among them was Mila Timofeeva, who brought her first art piece to playa in 2024 called “A Journaling Moment.”

Anyone who found Mila’s installation at the trash fence was invited to sit down, consider the limitless expanse of open playa before them, and journal about moments of serendipity and joy. Inside the journal was the code to a safe containing sticker versions of Mila’s three silk flags hand-painted with loving messages from the Universe, also affixed to the trash fence. Writers were invited to take two stickers, one for themselves and one to gift to a stranger.

In an act of self-reliance through and through, Mila sewed the flags herself and brought all materials for her piece – including telescoping poles, a folding table, and two folding chairs – and all her personal gear in half a suitcase all the way from Germany, making the last leg of her journey to playa on the Burner Express bus. Mila’s small piece struck a chord. “I have two fully filled journals with people’s stories,” she marvels. “For me, it was a little bit as if I created space to have deep conversations.”

Mila, who is not a professional artist, brought her first art piece in her third year in BRC, but she has been dreaming about making something since her first:

“The first time I went to the Burn, I thought, I really want to bring something and I really want to contribute, and I really want to be an artist at the Burn. And then it was just the whole journey of, okay, what can I bring? What inspires me and what can be something that engages people that they communicate with, and that they maybe carry with themselves later.”

Artist Mila Timofeeva’s Level-Up Tip: Simple ideas can create deep connections. And, if designed thoughtfully, everything can fit in a suitcase.

The artist Mila Timofeeva posing with “A Journaling Moment,” 2024 (Photo courtesy of Mila Timofeeva)Matt Garrity is the Boston-based lead of the art trio Pretty Good Collective. The collective’s first Burning Man art piece, Burner Industrial Dome, was an homage to the creative reuse of iconic Burning Man objects. Intrigued by the glowing repurposed water cubes of 2023’s beloved artwork BitCube, in 2024 Matt challenged himself to build a structure entirely from the infamous yellow-topped black storage bins Burners use to store and transport all manner of gear.

“My thought was, what if we focus specifically on using things we already have? The bins and everything was tensioned together with ratchet straps,” Matt explains. “I held everything placed with zip ties kind of intentionally. That may not have been the best way to do it, but I wanted to bring items essential to making Black Rock City to the forefront.”

Burner Industrial Dome is art with a ripple effect. Post-Burning Man, Matt transformed the bins into Burning Man starter kits, stocking them with essential Burning Man supplies like ratchet straps, zip ties, cable ties, and lights. Currently, he’s in the process of giving the bins away to anyone in the Boston-area who requests them.

Matt Garrity’s Level-Up Tip: Use materials and supplies already in your Burning Man arsenal. And consider designing a pay-it-forward afterlife of your project to extend its impact beyond the playa.

Matt Garrity and the artists of Pretty Good Collective, the creators of Burner Industrial Dome, 2024 (Photo by expressobuzz)Register to bring an art installation to Black Rock City 2025, here.

Upcycling the Mutant Vehicle of Your DreamsWhen siblings Hilary Somers and Seneca Spurling founded Word Play Café with a handful of friends in 2022, their reasons were personal: to avoid losing the New York Times word game daily streak established during the pandemic.

Two years on, Word Play Café has grown to a 40-person camp, still intimate by BRC standards. Word Play Café is a space where word nerds can gather over a morning cup of coffee to play classic word games like Boggle, Scrabble, and Bananagrams along with custom-made, Burning Man-themed word crosswords before heading out there to get weird.

Guests completing a custom Burning Man-themed crossword puzzle with blacked out squares in the shape of the Man, 2024 (Photo courtesy of Hilary Somers)In 2024, Word Play Café decided they were ready to take their show on the road. They repurposed an old mutant vehicle, rechristening it Fun Across (a play on the first clue in a crossword puzzle, “one across”).

The Word Play Café crew registering Fun Across at the DMV, 2024 (Photo courtesy of Hilary Somers)Now, anyone on the open playa can go head-to-head in a round of custom, playa-themed Wordle or other playa-themed word games displayed on Fun Across’ LED screen.

“The most rewarding thing about it is everyone who comes in who loves it and is just so happy,” Seneca says. “We were worried; we were like, Will there be more than 10 people? Or even 10 people who also think this is cool? But no, tons of people do and they love it.”

Word Play Café / Fun Across’s Level-Up Tip: Bring what genuinely excites you to playa. Who knew how many playa crawlers love word games! And rather than building a mutant vehicle from scratch, consider adopting and adapting someone else’s retired MV.

Apply to bring a mutant vehicle to Black Rock City 2025 here.

What’s the moral of all of these fantastic stories? To bring something to Black Rock City, all it takes is a willingness to dream one size bigger.

Across countries and continents, these pioneering theme camp leaders, artists, and newly minted mutant vehicle captains all share the same radical, can’t-keep-it-down, ingenious, and impassioned creativity and resourcefulness. Against the odds, they all found a way to bring their dreams to life.

Listen to Event Operations Director Charlie Dolman, DMV Council Lead Chef Juke, and Head of Placement Level talk about how Burning Man Project is cutting away the red tape and making it easier to bring your Black Rock City dreams to life in 2025 in the Burning Man LIVE podcast episode “De-bureaucratizing Your Burn”:

These stories remind us that the magic of Black Rock City doesn’t require you to be a technical wizard or to have scores of collaborators or a limitless budget. You don’t even have to live remotely close to Black Rock City! All you need is scrappy ingenuity, a collaborative ethos, and the desire to contribute whatever lights your fire.

In a city founded on dreams and built by human hands, these Burners prove one playa truth beyond measure: the only limit to your participation is your imagination.

What are you going to bring?

Apply to bring your theme camp, art installation, or mutant vehicle to Black Rock City in 2025 by clicking right here.

Cover image of members of micro-theme camp Stoop, 2024 (Photo courtesy of Chase Orton)

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Before the pandemic, when Burning Man was in its “High Culture” phase, there was a strong sense that the kind of organizational systems and bureaucracy that work for conventional organizations won’t work well for this culture … and so while we needed systems, we also needed to find a way to “make bureaucracy Burning Man compliant.” Today, with Burning Man in its “Diaspora” phase, we have that same need — just from the opposite direction. Burning Man needs systems that “feel like Burning Man,” that seem native to our culture, in order to keep people connected, keep from reinventing the wheel, support best practices, and help us be greater than the sum of our parts.

In 2017 and 2018 I held a series of workshops with Burning Man staff and volunteers to ask: what would systems like that look like? How do we imagine a “Burning Man compliant bureaucracy would work?”

These are the ideas we came up with, some of which I’ve written about before, some of which are presented for the first time.

What We Do When We’re Doing It RightHow do we make bureaucracy Burning Man compliant? We begin by examining Burning Man culture itself, the way Larry did when he established the 10 Principles. We’re not trying to impose our vision of what a “good bureaucracy” is, we’re asking: when Burning Man is working, when everyone is contributing and enjoying themselves and only overworked in meaningful ways … what is it that’s happening? What are the conditions when we get this right? What is our system like when it is working in line with our culture?

We concluded that the experience of volunteering for Burning Man — when we’re doing it right — succeeds so spectacularly because volunteers access and experience five things that are usually hoarded at the very top of organizations (if they’re offered at all). Over time, I would come to call these “RACER” qualities, mostly because the acronym was sitting right there. They are:

• Relevance – People, and the work they’re doing, really matter, and is respected as such.
• Agency – People can behave according to their personal values, choose the kind of work they do, and (to the extent humanly possible) how they want to do it
• Competence – People can bring their full capacities to tasks, and if they are able to do better than the system is set up for, they can change the system to accommodate their talents
• Relatedness – People get to make meaningful social connections and develop social currency
• Engagement – People are interacting with people and things that aren’t bland, that show personality and distinction, and they themselves can show personality and be distinct

When we are able to both experience and do these things, the experience “feels like Burning Man” or at least “rhymes with Burning Man.” Therefore our processes should be designed in such a way as to generate and spread these experiences. Much in the way that people are willing to put up with incredible inconvenience at Burning Man if they see it as a meaningful part of their experience, if it feels like Burning Man, bureaucracy that feels like Burning Man will be seen as part of the experience, rather than something taking them away from the experience, or blocking it entirely.

For a deeper look at these qualities and how they’re used, read the Burning Man Journal article: “Don’t Bogart That Leadership — Burning Man is not a Zero Sum Game.” (Note that this post is from much earlier in the process, before Engagement was added. Otherwise it’s in line with this discussion.) Leaders in Burning Man culture are fundamentally not people who make decisions for other people, but who help other people access these qualities in the work they do. That’s what our bureaucracy needs to do too.

What Does Applying RACER to Bureaucracy Look Like in Practice?That’s what we have to figure out, but here are the initial design recommendations that the workshops developed:

• Make sure people involved in the processes have the possibility of establishing and using social capital. If they can’t develop social capital by feeling connected, and allowing others to feel connected to them, it’s going to feel that much less like Burning Man.
• Turn bureaucracy into narrative.
  • Weave a sense of purpose into documents, so people can understand why the forms they’re filling out and the processes they’re going through matter. If the process cannot be easily explained, then can engaging with it be made more intuitive or engaging? If the process cannot be easily explained, made intuitive, or engaging, then perhaps the process itself should be examined. It might be a bad process for us.
  • Use communication techniques ranging from documents to infographics to make our processes transparent. The only surprises should be delightful ones.
  • Where possible, tell a simple “story” of how this process works to make it more intuitive
• Give paperwork and processes a playful voice, and provide opportunities for the person engaging with them to be playful in turn. Make paperwork an art project.
• Provide acknowledgement and recognition, as part of the process, of the important work people are doing by participating in this system.
• Ask for voluntary sublimation — get expressed buy-in about the process they’re going to go through. Restrictions on autonomy are subjectively much less onerous if they’re something you affirmatively choose, rather than something that is imposed upon you. So give people opportunities to actively buy-in. If someone learns about the process and says “no, that doesn’t sound like me,” then maybe we can’t help them, but we can still encourage their exploration of ways to do things outside our system. When people decide they’re better off doing things outside our system, the correct response is not dismissal but to ask: “How can we help?” and “What can we learn?”
• NO BUSY WORK! First choice: kill meaningless systems! Automate the meaningful but repetitive. If neither can be achieved, communicate the underlying value of the work and turn it into an art project so it’s meaningful instead of busy.
• Allow for flexible reassignment of duties and roles. We may not be able to offer people every choice they want to make, but if they are able to make choices and try new tasks and new roles, then buy-in and sublimation are much more likely.
• Support autonomy in other areas. Some processes may require you to do what we tell you, the way we tell you, but you can do it in a onesie. You can choose your own name. You can play your own music while you do it, or have a DJ performing and a fluffer bringing you drinks during the task. This is, to be sure, window dressing — but sometimes it helps.
• Give processes a personal face. Where possible, avoid impersonal touches like a “feedback@” type email address, or “the committee will review” language — instead, give the person or team at the other end of the system a personality.
• Give role and process histories. How was this developed, by whom, and why? Not only provide a historical story and context, but make this something that one can join by engaging.

That’s what we’ve got as bullet points. In the next (and last?) post in this sequence, I’ll talk about my own experiences trying to implement approaches like these, and how they did (and didn’t) work out.

Cover image of “The Corporate Ladder” by Michael Spraker Night Visions Studios, 2022 (Photo by Ales Prikryl)

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Okay, let’s talk about big cultural challenges. Because … we’ve got them.

Burning Man has come to a point of unprecedented reach, scope, and diversity, with more people in more places “Burning” in a greater variety of ways than ever before. That’s the good news. The bad news is, that presents as many challenges as it does opportunities.

In my last post, I talked about how this represents a move from Burning Man’s “High Culture” phase, when it had a relatively robust bureaucracy for connecting all these pieces, and a relatively centralized idea of how it should all operate, into a “Diaspora” period, when how Burners relate to their neighbors is more important than how they relate to the Burning Man Project, or its centers in Black Rock City, San Francisco, and Reno.

That makes global “Burning Man” culture very different from what it was just a few years ago. And yet … and yet … the fundamental challenge of this Diaspora period is essentially the same (just from the opposite direction) as the fundamental challenge of the High Culture period: how to have a healthy relationship between the various parts trying to keep Burning Man coherent and centralized, and the various parts trying to decentralize and localize it.

I call this challenge: “Making bureaucracy Burning Man compliant.”

Are We Having Fun Yet? What’s Stopping Us?I know, I know, we hate bureaucracy.

Except that we don’t. We hate the bureaucracies that we hate.

When we like a bureaucracy, we call it a “system.” We love a good system! Systems help us with all kinds of things! Or we don’t call it anything at all, it’s just a process we use. It’s only when we find a process onerous, confusing, or dehumanizing that we start calling it a “bureaucracy” and rebelling against it.

But in fact there are a lot of advantages to a bureaucracy that works! From a Burning Man standpoint, a good bureaucracy reifies the principles of Participation, Civic Responsibility, and Communal Effort (at least). Good bureaucracies are how different groups with different customs can work together, and how repetitive processes can be usefully automated.

Advantages to bureaucracy, which are essential to any large undertaking, include:

• Growth of infrastructure – this allows you to scale in ways that you can’t without it.
• Support for improving a process – you can iterate and improve without re-inventing the wheel.
• Forms – wait, why are forms on the plus side? Because if you do it right, filling out 1 moderately annoying form keeps you from having to write 12 really annoying emails. Yay forms!
• Saves time – an efficient bureaucracy means everybody knows what they need to do going in and can do their things with lightning efficiency.
• Gets shit done – an efficient bureaucracy allows you to just zip through tough tasks.

But there is a cost — and we hate the cost. A lot of times, we say it just isn’t worth it: all the pain points created by bureaucracy … the facelessness, the loss of personal agency, the way it can take time away from what you actually want to do and push you into serving the system … can kill what the bureaucracy is meant to support.

But let’s be clear about this: the Burning Man Project didn’t invent bureaucracy, nor is it the reason we have it. We have it because Burners get inspired to collaborate with one another. A need for these systems is going to arise any time diverse Burning Man groups, from Regionals to theme camps to art projects to initiatives like Burners Without Borders, try to collaborate on anything big. If we are going to be anything more than a bunch of isolated people with a common name who once shared a history, bureaucratic systems are going to develop.

If we want to be greater than the sum of our parts, we’re going to need to find systems that allow us to collaborate without reinventing the wheel every time.

The trick, then, isn’t to try to do away with bureaucracy, but to develop approaches to bureaucracy that “feel like Burning Man.” That express what we love about this culture in the first place.

To create systemic superstructures that also encourage local self-determination and agency, and to develop local systems that also encourage connection and collaboration across groups and borders.

Connection Over ConvenienceDo I know how to do that?

No. No, I do not. I don’t think anybody does. Some people used to say “the internet will do it for us!” and most of those people are now either weeping at the state of the world they created or are trying to sell us crypto.

But I do have ideas. In 2017 I started holding workshops on “Making Bureaucracy Burning Man Compliant” at Burning Man staff events, to get ideas and inspiration. Back then we were coming at this from the other direction: our bureaucracy is stifling local initiative and agency, so how do we create something that encourages it while still holding us together and making us greater than the sum of our parts?

I was reminded of these workshops both by Burning Man’s current debates and by a recent column in the New York Times: Human Interaction Is Now A Luxury Good. Because Burning Man cultural spaces are a place where it very much isn’t. I’ve written before about how much people struggling with a “loneliness epidemic” in our culture can learn from Burning Man, and writer Jessic Grose insightfully explores all the ways in which “default world” world culture is pulling us apart. Our incessant drive for technologically enhanced efficiency and revenue maximization is uprooting all the ways in which we connect as human beings. And yet … ”Even with all the ‘extraordinary advances’ of interactive technology,” she writes, “humans lose interest in interacting with machines after a while, partly because of machine predictability. Most of us still crave the spontaneity that comes from talking to human beings, especially at our most vulnerable.”

Burning Man culture makes that easy, and abundant. This dynamic, I think, is also at the heart of what it means to make bureaucracy Burning Man complaint. It’s okay to have systems, but they need to “feel like Burning Man,” which is to say that they need to connect you to people, rather than to wrap you in rules, and they need to treat the people using the systems like participants, rather than spectators or objects. They need to invite the user to put their own humanity into what they’re doing.

That’s a lot to ask from a form or a process, but I think we’re up to it. The whole point — much like Burning Man itself — isn’t to make the experience more convenient for everyone, but to create opportunities for the 10 Principles to be applied, and magic to happen.

In the next post, I’ll show what the workshops I held with Burning Man staff and volunteers came up with.

Cover image of the Bureau of Needless Bureaucracy (Photo by Arthur de Smidt)

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Other than the Man itself, it’s hard to imagine any element of Burning Man more iconic than the Temple. Though different in style and form each year and one global event to the next, all temples stand as a beacon of calm, a place of remembrance, and serve as sanctuary.

Over the past 25 years, these landmark spaces have evolved into an essential part of the Burning Man experience. Beloved by many, belonging to no particular spiritual tradition, the community comes together in these temples to celebrate life’s joys, grieve its sorrows, and search for meaning in the crucible of the human experience. And then, release it all in contemplative fire.

Every year a new lead artist of the Temple in Black Rock City is selected, and a unique Temple design begins to take shape. But making that dream a reality takes many hands and many kinds of contributions. From the Temple builders who create the structure, to the Temple Guardians who hold the space within it, to the donors who help fund these projects, to the Regional artists and builders who bring these healing spaces to their local communities around the world — the effort is vast. The creation of Temples has birthed a far-reaching network, one that has given thousands of people new skills, clear purpose, and lifelong community.

Prototyping a Better FutureThis year’s Black Rock City Temple, Temple of the Deep by Miguel Arraiz García, promises to be a groundbreaking community-fueled project that exemplifies the global reach of the Burning Man ethos. Arraiz, an artist and architect from Valencia, Spain, brings a unique perspective to this year’s Temple, shaped by his journey from Burning Man participant to Honorarium artist, then from Regional Contact to lead artist of the Temple. This exchange of cultural influence has enriched both his community work and art practice in Spain, where he recently served as Projects Director when Valencia was selected as World Design Capital in 2022.

Listen to the Burning Man LIVE Podcast interview with 2025 Temple Artist Miguel Arraiz García about “Temple of the Deep”:

In an intriguing departure from many Temples past, Miguel’s concept doesn’t reach up towards the heavens. Instead, “Temple of the Deep” is horizontally oriented, a design choice that’s intentional, created with community connection in mind.

“We are always looking for the answers above us,” Miguel says. “I was trying to make something just to look for the answer between us or among us.”

“Temple of the Deep” is also unique because it won’t feature an altar — another intentional decision.

“Inside, there is an agora. A place to meet that is surrounded by small chapels that are the places where you can put the offerings. But this agora is where you meet. You meet other people who have gone through grief or are going through grief.”

An agora, by the way, is a concept borrowed from ancient Greece — a central open space that served as a meeting place for citizens of the Greek city-states.

“So it will be like a small Black Rock City inside the Temple,” Arraiz says.

2025 Temple artist Miguel Arraiz García speaking at an artist Tea Talk at Burning Man Headquarters in San Francisco, 2025 (Photo by Michael Fox)Interior space of “Temple of the Deep” by Miguel Arraiz, 2025 (Rendering by Arqueha)Miguel hopes that, like his personal healing journey in creating its design, the Temple will serve all who contribute to its creation. “The Temple has already done with me what it needs to do. Now I want to give it to the community.”

To volunteer as a Temple Builder for “Temple of the Deep,” or to make a financial contribution to the project, visit the “Temple of the Deep” website.

Volunteers Who Bring the Temple to LifeWhat kind of people dedicate their time and skills to building the Temple for Black Rock City each year?

“I think we’re all chronic helpers,” says Sarah McManus, a Temple builder since 2023. “We see something that needs to be done and 10 people jump on it straight away. We’re all trying to fix problems. It’s just part of who we are.”

After relocating to California from Australia, volunteering to build the Temple paid dividends for Sarah in fostering deep community and self-confidence.

Sarah McManus working on the Temple build, “Temple of the Heart” by Ela Madej and Reed Finlay, 2023 (Photo by Rand Larson)“The more you show up, the more opportunities you get given,” Sarah says. “It’s being on playa before everybody else gets there. It’s getting to play with all the cool toys, and every time you go, you learn something new about yourself or you get to teach somebody else something. And that’s super rewarding, seeing somebody else who is in my shoes show up and saying, ‘Hey, do you want to learn how to use this?’ You’ve got this person who walks out at the end of the day being like, ‘Holy shit, I just learned to use a [circular saw], that’s really fun.'”

Temple builders at work on the “Temple of Together” by Caroline Ghosn, 2024 (Photo by Amber Reynolds)Temple builders on site at the “Temple of Together” by Caroline Ghosn, 2024 (Photo by Amber Reynolds)Temple Guardians also play a vital role in the Temple ecosystem, providing round-the-clock stewardship of the Temple on playa, during Build Week and throughout Burn Week. Part Temple host, part witness and part empathetic listener, the Temple Guardians act as silent, background protectors who ensure a peaceful and contemplative atmosphere.

Temple Guardians are on shift at the Temple 24 hours a day. Wearing no uniform save a discrete blue bandana, they only emerge out of the background with safety reminders, to gently redirect disruptive behavior, or to offer a friendly ear or a heartfelt hug for those in distress.

David Johnston (Captain) in his Temple Guardian scarf, at the “Temple of Direction” by Geordie Van Der Bosch, 2019 (Photo by Mary Therese Carey aka “Tess”)Temple Guardians are “drawn to the empathetic, heartfelt, emotional side of things,” says David Johnston, the Temple Guardians Council Lead. “A lot of people come to us that same way. They are just drawn to the Temple because it had such a profound impact on them that they wanted to become a part of it and do something to support it.” Most Temple Guardians find the work so rewarding that they return year after year. Currently, between 400-500 BRC participants volunteer as Temple Guardians every year.

Temple Guardians outside the “Temple of Direction” by Geordie Van Der Bosch, 2019. (Photo by Tom McWhorter aka “Project”)Temple Guardian volunteers at “Galaxia” by Arthur Mamou-Mani, 2018 (Photo courtesy of Temple Guardians)To volunteer with the Temple Guardians, please fill out the Burning Man Volunteer Questionnaire in your Burner Profile and mark “Temple Guardians” as your department of interest.

Taking the Temple Back HomeThe Temple’s influence extends far beyond Black Rock City. Temple builders at Burning Man Regional Events around the globe — and outside of Regional Events too — have found innovative ways to translate the Temple’s essence to suit their local cultures and event sites. In 2024, there were over 87 official Regional Events around the world, many of which designed and built their own temples. Here are just a few examples from the Regional Network:

• In Israel in 2018, the Midburn staff took a step back to reassess the purpose of a Temple at their event. With this in mind, they created The Compass, an alternative structure for personal reflection that was uniquely suited to a part of the world where the word “temple” is often most closely associated with Jewish synagogues.

Midburn Temple 2018, “The Compass” by The Quasi Company (Photo by Dror Ben Naftaly)* At North Carolina’s Regional Event Transformus, in 2015, artist Andrew Nigh built a floating temple on a lake, adapting his design to the serene mountain setting. He engineered a floating platform such that it left no trace when it was burned. * Colorado’s Regional Apogaea faces a unique challenge each year: a burn ban that prevents open fires. Undeterred, Apogaea turned to the transformative power of another element — water. Last year in 2024, Apogaea’s Temple, “Well?” By Diana Merkel, featured a wishing well filled with water. Participants could drop dissolving rice paper wishes inside, creating ephemerality sans flame and preserving the Temple’s cathartic purpose while respecting local environmental sensitivities.

The Temple tradition keeps growing. It has even grown beyond official Regional Events. A Temple in Derry, Ireland was built to heal in the wake of The Troubles. You can listen to Larry Harvey’s brother Stewart Harvey tell the fantastic and hope-inspiring story of the Derry Temple — built on the literal dividing line between the Catholic and Protestant sides of town — in this episode of the Burning Man LIVE podcast:

The Temple of Tomorrow, TodayBlack Rock City is beginning to take shape. You are invited to help make it happen. In a world that cries out for healing, connection and purpose, building a Temple is a radical act of optimism — a beacon of the future we believe is possible. Join us in co-creating a Temple to contain our highest visions for tomorrow, today.

Your participation and support matters.

To volunteer as a Temple Builder for “Temple of the Deep,” or to make a financial contribution to the project, visit the “Temple of the Deep” website. To volunteer with the Temple Guardians, please fill out the Burning Man Volunteer Questionnaire and mark “Temple Guardians” as your department of interest.

Cover image of Temple of the Deep by Miguel Arraiz, 2025 (Rendering by Arqueha)

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TL;DRBlack Rock City passed the 2024 BLM Post-Event Inspection! We achieved our best inspection score since the near-perfect results of 2019, a remarkable comeback after the torrential rain and MOOP (Matter Out of Place) challenges of 2023. However, Playa Restoration’s 2024 MOOP Map highlights a persistent issue: lag bolts and tent stakes left behind, which require immediate community action. As we gear up for BRC 2025 and the #bestburnever, let’s take a moment to look back on and learn from 2024.

No Matter Out of PlaceWith over 70,000 participants, Leaving No Trace relies on a commitment from the entire community. Black Rock City’s undefeated BLM inspection record is a testament to the dedication of participants, with Playa Restoration providing essential follow-up to ensure that we leave the desert clean and beautiful.

Burning Man’s Leaving No Trace PrincipleOne of the 10 guiding principles of Burning Man, Leaving No Trace, states: “The Burning Man community respects the environment. We are committed to leaving no physical trace of our activities wherever we gather. We clean up after ourselves and endeavor, whenever possible, to leave such places in a better state than when we found them.”

(Video by Martin Rodriguez)

MOOP Map 2024: A Clean Sweep!The 2024 Burning Man event in Black Rock City saw the community step up our Leave No Trace efforts—camps were cleaner, departures more organized, and participants conducted Matter Out of Place (MOOP) sweeps and DIY MOOP tests. Amazing work! These efforts helped Playa Restoration successfully sweep over 3,700 acres.

The 2024 MOOP Map reflects noticeable improvements, especially in the back city blocks, which had been more impacted in previous years. The majority of the city was impressively clean, though some red areas still required focused attention.

Playa Restoration’s role is to fine-tune and finalize our collective effort. In preparation for the BLM Post-Inspection, Resto’s Test Team conducted pre-inspection MOOP tests (represented by blue dots on the MOOP Map) to gauge progress. Thanks to Resto’s final concentrated push, Black Rock City achieved its best Post-Event Inspection score since the record-breaking 2019 season. This success underscores the power of a united community, the dedication of Playa Restoration, and our shared commitment to Leaving No Trace. The 2024 win belongs to the entire community—every camp, participant, and team that showed up to Leave No Trace.

BLM Post-Event Site Inspection Standard1. The BLM’s allowable MOOP standard for BRC is 1 square foot per acre on average. 2. As of the 2019 Environmental Impact Statement, no more than 10% of the 120 test points can fail this standard.

BLM conducting MOOP test with Playa Restoration, 2024 (Photo by Martin Rodriguez)On October 7, 2024, the BLM conducted its annual inspection. Only three of the 120 test points exceeded the standard, all within the city grid (Esplanade to K Street, 2:00 to 10:00). This was a marked improvement from 2023, when 11 test points failed, putting us dangerously close to the 10% limit.

MOOP in the bag during Playa Restoration, 2024 (Photo by Martin Rodriguez)Additionally, six specific Points of Interest are under repeat observation and calculated separately, including Man Base, the Temple, and several others. Of these, only one exceeded the standard.

Resto Calls Out LAG BOLTS/TENT STAKES as #1 Worst MOOP (Again)!(Photo by DA)Worst MOOP three years in a row: lag bolts, tent stakes, and rebar, 2024
(Photo by DA)Despite our overall improvement, with 1,508 recorded instances this year, LAG BOLTS/TENT STAKES remain the worst MOOP and most dangerous again. Unfortunately, the numbers have shown little improvement from previous years despite repeated warnings.

Recorded instances of lag bolts/tent stakes rose from 101 in 2019 to 1,023 in 2022, peaking at 1,547 in 2023, and slightly dropping to 1,508 in 2024. These figures, based on GPS data, likely underestimate the total.

Tips for Stake Removal* Assign someone to account for all stakes/lag bolts and communicate with your campmates. * Use an impact driver to remove bolts, or a multi-tool or vise-grips if needed. * Tie bright-colored markers to bolts when installing to prevent loss in dust or mud.

All spikes put in the ground must be accounted for and removed by the participant, camp, or project that placed them.

Moving forward, the Placement team, Art Department, and Resto will work with participants to refine their Leave No Trace plans. We’ll assess MOOP sweeps, pre-departure MOOP tests, and ensure stakes and lag bolts are accounted for and removed.

Burning Man has always been a proving ground for what’s possible when our community comes together with intention. Let’s have a blast and make 2025 the year we leave no doubt by leaving no trace (and no lag bolts!), keeping the Black Rock Desert clean and beautiful—Tomorrow Today!

Aerial view high above the Black Rock Desert: The 150 people of Playa Restoration 2024, Leaving No Trace (Photo by Nick Cahill)

Cover image of 2024 MOOP Map (Graphic courtesy of Playa Restoration team)

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Welcome to Tomorrow Today and this year’s edition of how ten remarkable artists proposed a vision for the Pavilion, the podium upon which the 2025 Man will rise. As you will see, there are many ways to view the role of the Pavilion — some reflections on tomorrow of yesteryear, tomorrow tomorrow, and yes, Tomorrow Today. Each unique and each a gift to the community.

The artists invited to submit a concept reflect a range of design impulses and backgrounds; all share in common a love of Burning Man and a passion for the work they create in Black Rock City. As you will discover, participating in Burning Man was a catalyst for these artists’ creative journeys. Over the years, they drew inspiration from Burning Man, began bringing art, and ultimately were tapped to submit creative concepts for the 2025 Man Pavilion. Black Rock City has a way of turning people into artists, then inspiring them to build audacious things. What do YOU dream of creating?

Let’s get to know the creators behind this year’s Man Pavilion concepts — their art, and the designs they submitted. Gradually, we’ll make our way to sharing this year’s chosen design.

Antwane LeeAntwane began by making art for Regional Events in the Midwest before and submitting a proposal to bring an Honoraria artwork to Black Rock City. Awarded a grant but delayed by the COVID-19 pandemic, Antwane brought “The Solar Shrine” to Black Rock City in 2022. Self-described as an Afro-Futurist, Antwane is both an architect and an artist who lives in Chicago.

Antwane says about Burning Man:

Burning Man brings together talented global creatives with unique views and skill sets. I feel that the artists desire to manifest societal change by integrating imagination, inventiveness, and the principles of Burning Man. I am so happy to be part of a culture where we are transforming the world.

“Solar Shrine” by Antwane Lee, 2022 (Photo by Metapattern)Rendering of Antwane’s design for the Man Pavilion: “Mantropolis”Zach CoffinIt rarely gets more epic than Zach Coffin and his love affair with rocks. His first Burning Man was 1996 and his first art project was supporting Michael Christian’s “Bone Arch” in 1997. By 2000 when the theme was “Body” he brought his first big rock, to represent the kidney. Larry Harvey asked him to make it spin (because, Larry) and that became Zach’s first “Rockspinner.” In 2023 Zach’s recent version of “Rockspinner” was opened to the public at Google’s Gradient Canopy Plaza in Mountain View. Zach tells us, “Why I started doing work at Burning Man is a very long discussion and the How could fill a book.” “Temple of Gravity,” at Black Rock City 2003 and again in 2017, had a total weight estimate of 180,000 lb..

Zach Coffin’s design for the Man Pavilion – exterior view: “People Powered Pendulum”Zach Coffin’s design for the Man Pavilion – interior viewwww.zacharycoffin.com

Jon Sarriugarte and Kyrsten Mate with Zolie SarriugarteThis dynamic family trio boomeranged into the Brutalist past and brought back a mid-century approach to space age buildings for their submission. You wouldn’t think that the history of Burning Man artists goes back further than Zach Coffin, yet it does, as we listen to the unwinding tale of Jon’s Burning Man experience:

Burning Man has been a vital part of my creative journey since I first set foot on the playa in 1995. It’s not just an event—it’s a crucible of creativity, experimentation, and human connection that has shaped who I am as an artist, designer, builder, and collaborator. Before Burning Man, I was deeply involved in the Cacophony Society, where absurdity, chaos, and creativity collided in the most unexpected ways.

Kyrsten Mate, Jon’s creative and life partner is a sound designer with a phenomenal approach to immersive environments, audio, and participatory experiences. Working in the world of sound design is a labor of joy for her. As well as shaping sound, Kyrsten shapes metal, creates fantastical color schemes for art, and produces immersive sound art pieces that work in concert with large scale sculptures. Kyrsten is currently a sound designer at Skywalker Sound in Marin, California.

One final important collaborator to note is Kyrsten and Jon’s daughter Zolie Mae Sarriugarte, a sculptor and artist in her own right. Returning once again to Jon’s words:

For the last 22 years, I’ve had the privilege of sharing this creative journey with my wife, Kyrsten Mate, and our 18 year old daughter, Zolie, who has grown up immersed in the magic of the playa. Watching her and her friends engage with this culture, with the same sense of wonder and curiosity I had when I first started, has been deeply fulfilling.

Jon, Kyrsten and Zolie’s Man Pavilion design: “Tomorrow Today”www.formandreform.com/

Miguel Guzman and Ivyone KhooTaking us back to the future are multimedia eco-artists, Miguel and Ivyone. Sculpting in mycelium, plankton, and upcycled materials, they truly ‘grow their own’ when it comes to art and materials. First time Honoraria art grant recipients in 2017, they’ve returned to Black Rock City many times in the last six years. Climate and conservation conscious, their artistry exemplifies how we can take care of the future through our choices today.

In their words:

The underpinning concern for us as makers was the amount of waste we generated and the impact of our art on the environment. Our biggest challenge was to conceptualize, design and build something that would withstand 60 mph winds, fluctuations of desert temperatures and survive the interactions of Burning Man participants. We turned to mycelium, a sustainable and biodegradable material. We developed ways to work with this material to make it ‘Playa Friendly’ and eventually learned how to sculpt and reinforce it to create larger pieces.

Maguel and Ivyone’s Man Pavilion design concept: “Cosmos Within”“A Moment in an Aeon” by Miguel Guzman and Ivyone Khoo, 2024 (Photo by David Tupper)Christopher BreedloveWith the inspiration of infinity and a dedication to a regenerative future, Christopher Breedlove is a constant inspiration and his impact over time is beyond measure. Christopher’s involvement with Burning Man goes back 19 years, first as a Regional Contact, and then as the leader for Burners Without Borders. His design includes an ‘infinity walk’ inviting us to connect with the cyclical nature of time, innovation, and the eternal quest for a better future. Underneath he designed a gallery walk where innovative and regenerative ideas from across the community can be shared — something we plan to explore with the design we selected.

Christopher states:

Although much of my large-scale installation and design work has taken place outside Black Rock City, I see my contributions within BRC as acts of narrative creation, world-building, and social experimentation. For me, Black Rock City is an unparalleled canvas for experiential production and ontological design — an opportunity to experiment with new ways of being, foster community, and dream about how we might bring these lessons back to the world.

Christopher’s Man Base design: “Tomorrow Today”Diane Hoffoss and Gordon HoopleThere is nothing mundane about Diane and Gordon’s vision for Tomorrow Today. In fact it’s spectacular and audacious and beautiful. We think of it as Tomorrow Tomorrow — and just a bit beyond reach. Titled “Equilibrium,” Diane and Gordon offer in their design narrative:

Inspired by World’s Fair architecture such as the Unisphere and Eiffel Tower, “Equilibrium” challenges visitors to shift their perspective from an individual viewpoint to a collective, global vision of the future. At its heart stands the Man supported by the globe, a powerful symbol of humanity’s shared journey and reliance on our collective home.

When asked about how they first began to come to Burning Man they share that a single math professor came and was inspired in 2016, which then became this story:

Our first piece of art together as a team, “Unfolding Humanity,” was ambitious and maybe a little crazy. Two math professors and their students dreamed up a concept based on an unsolved math problem. None of us had much building experience, but being on a university campus made it easy to find expert help. Despite countless late nights on a project that overtook our lives, tens of thousands of dollars spent, and even an emergency medevac from the playa, we knew we had to keep making art. ArtBuilds was born.

Diane and Gordon’s Man Pavilion design – nighttime view: “Equilibrium”

Cjay Roughgarden, Stephanie Shipman, Jacquelyn ScottA powerful trio of women artists and builders from the Bay Area, most recently known for their 2024 art project “Naga & the Captainess,” we were excited to see what their conception for the Man Pavilion would entail. Their vision was grand and even proposed a village within the heart of the city. Their collective knowledge and experience is impressive. Jacquelyn works as a production and scenic designer for theater and film. Stephanie Shipman is a woodworker, artist, designer and teacher. Cjay is an artist and architectural metal fabricator. They are all kick ass.

Jacquelyn states:

Through making large art on playa, I have gained the greatest of friends and such an incredible community of artists who support one another. Although my career allows me to design and create, it’s always for a client or director. It’s often only once a year, at Burning Man, when I get to create something truly for myself to share with the world. Playa is such a special place to be inspired by other fellow artists with their ingenuity and tenacity.

Cjay, Stephanie and Jacquelyn’s Man Pavilion design concept: “Protopia”www.cjayroughgarden.com | About “Naga & the Captainess”

Silvia RuedaColombian architect Silvia Rueda runs Understory Creative Studio, where they create immersive installations that take inspiration from natural systems — particularly fungi and their interconnected networks. Their projects address contemporary challenges such as urban isolation, while fostering community connections through technology. Silvia’s design titled, “Healing Forest” is elegant and subdued, drawing on recycled wood and relying on lighting to animate. The creative concept is constructed along with a poetic narrative. It seems best to share a portion of that narrative as the inspiration is vast and timely:

A single tree, ancient and gnarled, remained in a forgotten grove hidden from human eyes. It had seen generations fall before it, and it bore their memories in its roots. Under the faint, silvery light of a poisoned moon, the tree began to change. Drawing from the marrow of the Earth and the whispers of the wind, it awakened something new: the ability to heal itself. Wounds that would have bled it dry now sealed with bark as tough as iron. Its branches regrew faster than axes could cut. The ancient tree shared its gift, sending signals through subterranean fungal networks to the remnants of its kind. Slowly, across the barren lands, trees began to sprout anew. They healed themselves, and in doing so, they began to heal the Earth.

Rueda’s Man Pavilion design – interior view: “Healing Forest”Rueda’s Man Pavilion design – exterior view: “Healing Forest”

www.understorystudio.co

William NemitoffGrand vision, Buckminster Fuller, a global presence, are all encompassed in Wiiliam Nemitoff’s concept design. He is an artist, designer, and founder of Curious Form, an art studio specializing in digital fabrication and large-scale installations. Informed by William’s Master of Architecture degree, his work bridges the worlds of design, engineering, and public art. Rooted in the belief that art has the power to inspire connection and joy, his interactive sculptures and installations invite audiences to play, explore, and rediscover their sense of wonder. You may recall his artwork “Dream Slide,” a playful, yet lovely, unicorn slide at Black Rock City 2024.

About his design, William says:

Suspended within a glowing geodesic sphere, the Man becomes a symbol of humanity’s shared aspiration and potential. The surrounding landscape of colorful seesaws transforms participants into active co-creators, requiring them to balance and move together. Their collective actions create an up-lifting visual metaphor — progress as a shared effort that “lifts” us all. The installation celebrates play, connection, and collaboration, reminding us that the future is not a solitary endeavor but one built on trust, balance, and shared momentum.

William Nemitoff’s Man Base concept designWilliam Nemitoff’s Man Base concept design – interior viewwww.curiousform.com

Mark Rivera – Selected DesignLet’s get personal and share with you about Mark Rivera in his own words:

I first learned about Burning Man back in the dial up days of the internet, and it had always been on my bucket list. In 2022, I ran into a friend at a bar and she offered me a ticket. Looking back now, it was one of the best decisions of my life.

Born on March 2, 1975, in Panama City to Puerto Rican parents, I relocated to Puerto Rico in the late 1980s. By the early 2000s, I had established myself as a multifaceted professional, excelling in building, art direction, woodworking, welding, and general contracting across the film and art industries. Simultaneously, I toured as a musician, which broadened my understanding of art and its transformative power.

In 2013, I moved to Santurce, Puerto Rico, where my home became a creative hub for a street art movement. Collaborating with fellow artists, I found my passion for sculptural work, specializing in large scale mixed media creations.

In 2023, I was selected to bring art to Burning Man. At the same time, I was displaced from my apartment in Puerto Rico, which had been sold to an investor. With no other options, I had to move on and to a Puerto Rican friend’s shop in California to focus on the sculpture.

Fueled by the frustration and anger of that situation, I created “Jíbaro Soy” — a piece to show the world who I am and where I come from. A 20-foot jíbaro, with his shirt open, revealing his essence, his people, and his barrio. With his pava and two machetes in hand, he stands to protect his culture and identity, sending a message to the world no one can take who I am.

And so we present to you Mark Rivera’s design, “The World Fair of Unity.” As Mark describes it:

Inspired by the World Fairs of today and tomorrow, this pavilion serves as Black Rock City’s global cultural center. “The World Fair of Unity” is a gathering place where citizens from around the world come together to celebrate creativity, diversity, and shared humanity. This pavilion is a hub of expression, a vibrant space for performances, art exhibitions, and the exchange of ideas. Whether you’re here to create, collaborate, or simply connect, “The World Fair of Unity” invites you to contribute to a collective vision for a more united and inspired future.

Rendering of Mark Rivera’s Man Base design conceptRendering of Mark Rivera’s Man Base design concept – aerial viewRendering of Mark Rivera’s Man Base design concept – interior view

Cover image of selected 2025 Man Base design by Mark Rivera (Rendering courtesy of Mark Rivera)

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*UPDATE: the next and final sale for tickets to Black Rock City 2025 is the OMG Sale. Registration will be open July 21 to 29. The sale begins July 30 at 12pm PT. Learn more and register here.

Burning Man 2025 is ready for launch! Galvanized by the theme Tomorrow Today, Black Rock City 2025 is awakening in thousands of hearts, minds and imaginations. With great anticipation, here is everything you need to know about tickets to Black Rock City 2025.

What’s new? With Radical Inclusion and Gifting guiding this year’s ticket offerings, momentum is building for the best Burning Man ever. Tickets to Black Rock City 2025 start at $550 and range up to $3,000 on a tiered and flexible model. With ticket prices lowered to $550 this year, we’re keeping Burning Man financially accessible and culturally diverse — welcoming all to build, explore, dance and connect. This lower price is supported by several tiers of higher-priced tickets. When you buy a ticket priced $750 or higher, you cover the full cost per participant to produce Black Rock City, which was an estimated $749 in 2023. This means YOU are helping to bring more dusty humans, and sponsoring more participatory art, Radical Self-expression, joy and awe in the wondrous city we all build together.

This is part of a larger shift to make it easier for more amazing and creative beings to participate in Black Rock City 2025. The barriers are coming down. The gates are opening wider. YOU and your friends are cordially invited to participate in co-creating one of the planet’s most phantasmagorical experiences.

The best opportunity to secure lower price tickets to Black Rock City is the ‘Today Sale’.

Register for the ‘Today Sale’ Monday, February 3rd at 12pm PST for 8 days through Tuesday, February 11, at 12pm PST. The ‘Today Sale’ starts on Wednesday, February 12, 2025 at 12pm PST.

Why put off until Tomorrow what you can do Today? Secure your ticket early and jumpstart Black Rock City’s powerful engine.

Important Dates for the ‘Today’ Black Rock City 2025 Ticket Sale

• Registration opens: Monday, February 3 @ 12pm (noon) PST
• Registration closes: Tuesday, February 11 @ 12pm (noon) PST
• Sale opens: Wednesday, February 12 @ 12pm (noon) PST

Register, access ticket sales, and find all information at tickets.burningman.org.

NEW AND IMPORTANT DETAILS ABOUT BLACK ROCK CITY 2025 TICKET SALES* Tiered ticket prices make Black Rock City accessible to all who wish to participate (details below). Be a part of the community ecosystem and pay at the best level you can. * There will be three open public ticket sales for Black Rock City 2025: in February, April and July. Sales subsequent to February’s ‘Today Sale’ and included ticket tiers will be based on ticketing availability. Fewer tickets at lower levels will be available later. Lock into your best price tier early. * As usual the Stewards sale has its own ticket allotments reserved and unrelated to the ‘Today Sale’. * Each sale will have a registration period; register with our ticketing partner (link will be added here on February 3 and announced on our channels). * Find all information, access to ticket sales, and registration links at tickets.burningman.org. * You DO NOT need to create a Burner profile for public ticket sales.

THE THREE PUBLIC BLACK ROCK CITY 2025 TICKET SALE DATES ARE:BLACK ROCK CITY 2025 TICKET PRICESThe cost to produce Black Rock City in 2023 was an estimated $749 per participant. This means that when you purchase a ticket to Black Rock City 2025 for $750 or more, YOUR generosity helps more people experience the magic of Burning Man, funds Honoraria art grants, and underwrites Black Rock City operational costs.

YOU decide how much you want to pay. Subject to availability, ticket prices begin at $550. Prices scale up from here — $650, $750 and $950. There are also $1,500 and $3,000 tickets, which support more Burning Man for more people by subsidizing reduced-price tickets through programs such as Ticket Aid and Resilience.

Learn all about 2025 ticket pricing on the ticketing page.

The Ticket Aid program will once again make reduced-price tickets available to people with limited financial means. The application opens on February 19.

WHAT ELSE IS NEW WITH 2025 TICKETS?As mentioned above, You will not need to create a Burner Profile for public ticket sales. But you will need to register for each sale individually; the link to register can be found on the ticket page during registration periods.

Stewards Sale Tickets for Camp, Art and Mutant Vehicle Crews
As usual the Stewards sale has its own ticket allotments reserved and unrelated to the ‘Today Sale’. New for 2025: Camp and crew leads can opt to allocate tickets as they always have, OR they can opt to make one purchase to buy the group of tickets for their crew. This option must be arranged in advance of the start of the Stewards Sale. Allocating tickets for the Stewards Sale will still require a Burner Profile. Stewards Sale allocations will be open February 21-28; the sale will happen in early March 2025.

Introducing the Renaissance Champions and Resilience Ticket Programs
Two new programs are opening their doors to support community members and invite participation in Black Rock City. More information about both of these programs will be announced by February 19.

• The Renaissance Champions program taps connectors to invite networks, inspired groups and collectives to bring their magic to Black Rock City.
• The Resilience program makes tickets available to participants who have recently been impacted by natural disaster or geopolitical conflict.

There will be NO FOMO sale for 2025, and maybe never again. If you’d like to create more Radical Inclusion by making a gift of $2,500 (the former FOMO price) that supports participant access and art Honoraria grants, read about a limited time opportunity to do so through the Patron of Black Rock City Program.

OK. ARE YOU READY FOR THE BEST BURNING MAN EVER?As the Burning Man joke goes: It was better next year. After a phantasmagorical 2024 event, with stellar weather, an amazing vibe playa-wide, and so much mind-bending art and music… How can YOU, and collectively WE, make Burning Man even BETTER this year? As we roll into “Tomorrow Today” together, we are all being called to reimagine what Burning Man can become, how it can catalyze the most playful, innovative, creative aspects of humanity.

What are you imagining? Now’s the time to commit. Get your ticket and start planning, organizing, building and bringing it into the world. Get started here.

bestburningmanever #thankslarry #tomorrowtoday #BurningMan2025

Cover image of 2024 Man Burn night in BRC (Photo by Rand Larson)

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Today, Burning Man Project CEO Marian Goodell emailed the latest update to the Burning Man community — it contains information about adapting to 2024 financial challenges, expresses deep gratitude for the community, and looks forward with excitement to the best Burning Man ever in 2025, enhanced by streamlined process and a new pay-it-forward ticket model. We’ve shared it here in its entirety. Please give it a read and help us keep Burning Man alive!

Hello friends and community members,

As I reflect on 2024 and look forward to 2025 I feel an immense sense of gratitude, purpose, and optimism.

I keep coming back to a memory of 1997; we were in a tough place, our first major crisis as an organization. If you were there in 1996, you’d remember the city was a mess. We were doubling in size every year, and things frankly just broke. So, following the mayhem of 1996 we moved the event to nearby Fly Ranch, the one and only time we held the event at Fly. Our troubles compounded when 100% of gate revenues were impounded by the sheriff’s office, which threw us into debt for the first time.

In retrospect, this was one of the best things that could have happened to us as an organization, and as a community. Let me explain…

Moving to Hualapai Playa and the adjacent Fly Ranch, which was private land, meant we had to comply with a number of laws and regulations that we had never had to deal with on public land. This forced us to learn strategic city planning. It was the first year we had to have a city map with mapped streets, street names, and street signs. We learned how to spatially optimize a street grid for transit, we learned how wide a county-compliant street should be. We learned that it was important to print the names of streets on BOTH sides of the street sign. We learned.

Holding the event on private land, we chose to incorporate as a Limited Liability Corporation. This forced us to start operating as a business. We had to professionalize our rudimentary processes and systems. We grew up.

Faced with this challenging situation the founders and the community committed even more deeply. We came together.

The next year, 1998, with a more efficient and organized organization, when we made it back to the playa we built a street map, and a stronger community — and it was fucking awesome.

Just as the challenges of 1997 forced us to reimagine what was possible and ultimately made us stronger, today’s moment of change has created unprecedented space for reinvention. We have something now that we didn’t have in 1997: the collective wisdom of our global community, tens of thousands of passionate creators, and decades of proven resilience. When I look at the extraordinary energy and ideas already building for 2025, I don’t just hope — I know — this will be the best Burning Man ever, because each of us has the power to shape what comes next. The future of Burning Man is quite literally in our hands.

A THANK YOU

As we prepare for what promises to be a transformative year ahead, I want to pause and express my deepest gratitude to each of you.

Thank you for being part of our amazing Burning Man community. I am so saddened in the wake of the fires in Los Angeles County, which are on track to be the worst natural disaster in U.S. history. My heart goes out to those who experienced extreme loss, and those of us feeling the many direct and secondhand impacts.

Over the last two weeks I’ve received emails, texts and calls that give me hope — reminding me why I love being part of this Burning Man community. I have been heartwarmed by the stories of Burners helping each other. One friend reflected that the ephemeral nature of BRC brought her hope that her community would rebuild after her neighborhood burned.

Local camps have rallied to support the LA community by providing vehicles with shower supplies, setting up countless grassroots fundraising campaigns to support community members who have lost their homes, and managing communication channels between fire spotters and the Los Angeles Fire Department.

Burner-affiliated organizations, Solar Punks and Footprint Project (members of both have attended and contributed to Green Theme Camp summits, Burners Without Borders campouts on Fly, deployed solar for art projects on playa and were also supportive in North Carolina after the hurricane and floods in October) are mobilizing innovative renewable energy solutions to power residents’ critical medical equipment, lighting needs, internet hubs, and provide related emergency support for first responders in affected areas.

In times like these we need each other more than ever. There are so many who have, in the last 12 months, experienced loss in a natural disaster such as the recent fires in LA or Hurricane Helene, or extreme hardship and displacement from geopolitical conflict. We know that Black Rock City can be healing for those who have experienced loss and grief. The Resilience Ticket opportunity will make it easier for anyone affected by these challenges to come home to Black Rock City this year. More information will be included with the launch of ticket sales in the first week of February.

Thank you for your generous gifts. I need to express my heartfelt thanks to everyone who contributed to our recent philanthropic efforts, whether you donated, shared our messages, or acted as an ambassador for our mission.

With the support of thousands of generous community members, our $3M December Community Campaign has been a success. We exceeded our fundraising goal and saw a 20% increase in the number of donors from 2023 to 2024. While this is certainly something to celebrate, we didn’t meet the fundraising goal we set for ourselves. This has forced us to take a hard look at how we operate, how we fundraise, and what our priorities need to be going forward.

FISCAL RESPONSIBILITY & BLACK ROCK CITY

As I’ve shared in past letters to the community (Oct. 3, Oct. 22, Oct. 31 & Dec. 19), the reduction in sales of certain tiers of tickets in 2024 and coming in shy of our 2024 fundraising target led us to take drastic actions.

When we saw lower ticket demand last June, we immediately cut discretionary spending. We stopped all fixed asset improvements, paused new projects and limited travel. Seasonal hiring was slowed, and in July all department heads were directed to reduce all expenses. After the Burning Man event, we had a formal reduction in force (RIF), reducing headcount by 10%. We renegotiated key contracts and cut expenses throughout the organization.

We are still closing our books for 2024 (our financials will be published later this year in our federal Form 990 filing and on our website), but the gist of it is this: overall, cash-in was down approximately 16% from the plan (all your donations really helped to reduce the gap), and the resulting savings from spending cuts were approximately 9% from our original plan for the year. What does this mean? We ended up losing money in 2024.

While we still are moving toward a long-term vision for Burning Man, including a bright future for year-round programming, our current priority is the Burning Man experience in Black Rock City. We believe helping people get access to Black Rock City plays a critical role in our mission to “facilitate and extend the culture that has emerged from the Burning Man event into the larger world.” We will continue to tightly manage operating expenses and capital expenses across the organization. I look forward to sharing our progress as we move forward.

It is through this journey that we’ve created unprecedented space for reimagining what Black Rock City can become. The challenges of 2024 have stripped away what isn’t essential, opening up new possibilities for radical reinvention. That’s why we’re not just hopeful, but certain, that 2025 will be the best Burning Man ever — because this moment of transformation belongs to all of us, and bold ideas are exactly what this moment needs.

HOW WE’RE ALL GOING TO MAKE THIS THE BEST BURNING MAN EVER!

Every great evolution in Burning Man’s history has come from junctures like this — we can together ask not just what we want to preserve, but what we want to become.

Right now, we stand at the threshold of a new frontier. The world is rapidly changing, and Burning Man’s role in that world has never been more vital. This isn’t just about weathering challenges — it’s about harnessing our collective creativity, wisdom, and radical spirit to shape a shared experience that speaks to where we are and to the future we’re moving toward.

The magic of Burning Man has always been in its ability to evolve while staying true to its core principles, and that evolution has always been driven by you — the community that dreams up the impossible and then makes it real. This year, that transformative power is in all of our hands. Together, we have the chance to write the next chapter of Burning Man’s story, one that responds to the needs of our time while creating new possibilities for human connection and cultural transformation.

Looking back, the burn in 2024 was damn good, especially after two challenging years of difficult weather. The vibe was great and morale remained sky-high throughout the week, sunrises and sunsets were spectacular and it was bookended by smooth ingress and egress that led to making Black Rock City rock on all levels.

We’re excited to share a number of specific operational updates with you that will carry forward the energy and make this year even better. We’re determined to make things easier for those of you who bring your creativity to life on the playa:

• Simplify Theme Camp and Mutant Vehicle Processes: In response to your feedback, we’ve streamlined the Theme Camp and DMV (Department of Mutant Vehicles) Questionnaires, making them shorter and more efficient. These two departments have also instituted “office hours,” giving community members easier access to ask questions and get answers — subscribe to the Jackrabbit Speaks (or engage with the relevant department) to learn more about office hours and how to sign up.
• Encourage More Artists, Musicians, Craftsmen, International and Next Generation Burners: The people who inhabit and activate Black Rock City are what makes it incredible. This year, we’re going beyond what we’ve done in the past to make sure we continue to stimulate the Radical Self-expression we hold so dear and encourage folks from near and far to come and play — especially those who always felt the call to Burning Man but never thought it was possible for them. The new Rising Sparks initiative is a great example of this. It is actively recruiting next-gen Burners to come to Black Rock City 2025 and be part of the magic (email: therisingsparks at burningman dot org).
• Revisit Delivered Housing On Playa: In 2022, to address the growing number of convenience camps, we made the decision to stop housing deliveries by outside services vendors. However, this led to some unintended consequences — many Burners faced higher costs for RV rentals, and participants with disabilities, those less comfortable driving large vehicles, and international travelers all found it more difficult to participate. We heard you. In response, we are reintroducing delivered housing services in a carefully crafted way that puts controls in place. We believe we can reintroduce housing delivery services in a way that makes Black Rock City more accessible to those who need it, while maintaining clear guidelines that prevent the shift toward convenience culture that we’ve worked so hard to avoid.
• Improve Ingress and Egress So You Can Get In and Out More Easily: We had the best ingress and egress in 2024; fastest ever, lowest wait times ever, and we debuted a public dashboard website showing wait times and weather in real time. It was a win, and we’re making some additional improvements around operational efficiencies and empowering our volunteers. Let’s ring that bell and see those dust angels (safely, and quickly please!).
• Integrate the Principle of Gifting into Ticketing — Pay What You Can: We’ve thought long and hard about how the ticketing process can balance the resources needed to bring Black Rock City to life with our commitment to making participation possible for our diverse community. We’ve been explicit about the cost to put on the Burning Man event, and that the proceeds from ticket sales alone do not support the event costs. As we move forward, we’re inviting you to reflect on the cycle of giving and receiving that makes Burning Man possible — asking both ‘What can I contribute to our shared experience?’ and ‘What support might I need to make it home?’

This is a community-based ecosystem. When you choose your ticket tier, you have an opportunity to have an impact on our collective experience

We are close to announcing our ticket sales and I can tell you now that there will be lower-priced tickets for those who cannot afford the baseline ticket price, and higher-priced tickets for those who feel excited to expand access for others to Black Rock City.

2025: #BestBurningManEver

All this improvement is riding with the flow of some incredible early momentum. The first sign of that excitement is receiving interest from the largest number of theme camps ever expressing their intention to participate in BRC in 2025! Woot! #Bman2025!

So much of what we are crafting came from your input. Thank you for all your ideas and feedback so far. Keep it coming, and thank you!

As we imagine how incredible the 2025 Burn will be, we want to make sure all your voices are heard. What ideas do YOU have around what could improve in Black Rock City in 2025? What are the challenges and opportunities YOU see? You can send your thoughts to: feedback at burningman dot org.

TOMORROW TODAY

In thinking about this year’s theme, Tomorrow Today, I’m reflecting on this moment we’re in, both as a community and as a species, and as we plan for the best Burning Man ever, I come back to one of my favorite quotes from Larry Harvey:

“Burning Man is a reminder that we are capable of creating the world we want to live in.”

Thank you again for being part of this incredible event, community, and culture. Come create the world with us.

With gratitude and love,

Marian Goodell
CEO, Burning Man Project

P.S. Edited listening to The Smiths “How Soon is Now” with a little of The Cure for dessert.

P.P.S. Burning Man is over. #bestburnever #fuckyourburn #burningmansucksdontgo #nosocialmedia #burningmanlovesyou

P.P.P.S. Takes a village to bring a message like this out to the world. Deep gratitude to over a dozen humans who drafted, edited, researched, fixed web links, made web pages, gnashed teeth, edited again, and pestered me. Thank you!

Cover image of “The Hive” by Tim Bremner (Photo by Eleanor Preger)

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Editor’s note:

As fires devastate communities in Los Angeles, many of our friends, family, board members, and fellow Burners are enduring unimaginable challenges and loss. Announcing the design of the 2025 Temple in this moment felt uncertain, but Burning Man is a culture rooted in resilience, connection, and the power of art and beauty—all of which feel especially vital right now. The 2025 Temple embodies these values, offering a beacon of hope and togetherness, which is why we felt compelled to share this announcement with you today.

The Temple of the Deep is a space that honors both strength and vulnerability, a sanctuary for reflecting on light and shadow. At Burning Man Project, our thoughts are with everyone impacted by the tragedy in LA. We hold you in our hearts as we look ahead to co-creating spaces that bring healing and meaning to us all.

With the start of a new year, we’re excited to announce the innovative Black Rock City Temple for 2025: Temple of the Deep by Miguel Arraiz! Arraiz is a Spanish architect living in Valencia, and the Burning Man Regional Contact for the Spain – Valencia community.

The DesignThe Temple of the Deep embodies both strength and fragility. Inspired by ancient volcanic rocks from the surrounding Black Rock Desert landscape, it is a sanctuary for shared reflection and healing.

Miguel’s design is a bold evolution from recent Temple designs, with a natural yet futuristic vision that is both raw and ornate. Rich layers of meaning underlie the 44-foot-high by 105-foot-diameter design, exploring concepts of light and dark, personal and communal, and the power of honoring our journey. Step into the 3D model to understand what it will feel like in the space.

Design rendering of the Temple of the Deep at dusk by Miguel Arraiz, rendering by ArquehaCrafted from wood, the monolithic black rock evokes power and represents a connection to the personal depths that we develop through loss and healing. Reminiscent of organic places of shelter — such as caves, rocks, and mountains — the Temple will be a space where participants can connect, reflect, find meaning, and tap into the mysticism of the Earth.

Its fractured surface, symbolizing the heart and soul shattered into a thousand pieces, glows from within, creating a captivating interplay of light and shadow. The design references kintsugi, the Japanese art of mending broken pottery with gold, celebrating flaws as sources of strength and beauty rather than hiding them, reminding us that healing comes from exploring, not erasing, the journey.

The radial symmetry and alcove shapes create a sense of balance with the striking exterior design. Seven entrances signify the seven stages of grief, guiding participants along introspective healing paths that converge in the shared central space. The interior seating mirrors BRC’s city plan, embracing unity and transforming it into a space for communal healing.

Sketches by Miguel Arraiz for Temple of the DeepMiguel invites us all to see ourselves reflected in the Temple’s philosophy of radical acceptance. It is a space for honoring your own journey and finding peace in its imperfection.

As Miguel writes: “We gather under a symbolic rock—our heart and soul shattered into pieces. Through communal healing, these scars tell our journey (kintsugi), turning loss into peace and connection.”

The Lead Artist and TeamMiguel Arraiz brings a global perspective to the Temple as the first Spanish native to lead the project, reflecting Burning Man’s thriving international community.

Miguel Arraiz at Burning Man, 2015 (Photo by Noel Arraiz)A childhood dream of being a poet and architect led him to architecture, but the 2008 financial crisis pushed him toward ephemeral art. His 15 years creating burnable art for Valencia’s Las Fallas festival unknowingly prepared him for a life-changing encounter with Burning Man in 2015 and 2016. Collaborating with pink intruder on Renaixement, an Honorarium artwork exhibited in both Black Rock City and Valencia, Miguel discovered parallels between the fiery spirit of Las Fallas and Burning Man’s ethos of innovation, community, and impermanence. (Check out this documentary!)

Renaixement by Pink Intruder, 2016 Honorarium (photo by Noel Arraiz)Now, leading the Temple of the Deep — a project inspired by love, reflection, and respect — Miguel collaborates with Spanish colleagues including Javier Molinero, Arqueha, and Javier Bono, plus seasoned Temple Builders Guild members and other experienced leads from recent years to create a celebration of community and global collaboration.

Stay tuned in the coming weeks for a podcast all about this year’s Temple artist and a Journal post covering all things Temple, from its builders to its guardians.

The Selection ProcessAfter 25 years of the Temple tradition, Black Rock City has seen many remarkable Temple designs. We owe much to David Best for initiating the tradition and shaping the Temple’s design for years. And, as an organization at the forefront of creativity, Burning Man Project embraces innovation and experimentation.

The Temple of the Deep breaks from tradition with a bold new design. The Temple tradition allows diverse styles as long as the design provides a non-denominational, welcoming space for thousands of participants and their offerings. It must also meet practical requirements, including a feasible build plan and limited installation time on playa.

Miguel’s design stood out for its imagination and depth. From the cracked black rock symbolizing resilience to the open interior fostering connection, its nuanced meaning made it a compelling choice. We also appreciated its potential to inspire new creative directions.

Design renderings of the Temple of the Deep interior by Miguel Arraiz, renderings by ArquehaWhile design is key, the integrity and leadership of the lead artist are equally important — Miguel’s leadership, sincere passion, and selfless motivation were deeply impressive. It’s also exciting to feature only the third Temple by an international artist.

Miguel’s journey — from Valencia’s Fallas festival to the 2025 Temple — embodies Burning Man’s spirit of participation. With a vision, a willingness to collaborate, and a big dash of grit, you too can create something extraordinary.

YOU Can Participate in the Temple!

Anyone — regardless of skill or background — can contribute to this powerful symbol of connection, healing, and reflection. The Temple of the Deep will come to life through the hands, hearts, and minds of many. Its creation is not just a feat of architectural brilliance but an act of community-building. While some leads are already in place, there are still many opportunities to join. The build will be based in the Bay Area, but roles are available for both remote and in-person participation. Fill out this form to get involved!

The Temple grant only covers a portion of the project’s expenses, and additional support is essential. Be among the first donors by emailing burningmantemple2025@gmail.com. Donations of any size are welcome, and a crowdfunding campaign will launch in February.

Design rendering of the Temple of the Deep by Miguel Arraiz, rendering of one of the entrances by ArquehaYou can also contribute written offerings to the Temple, even if you can’t attend BRC. Look for more details in the coming months. Your participation makes Temple of the Deep a true gift for all — a space to reflect, connect, and release.

Be the Artist You Are!With a vision and the willingness to try, anyone can be an artist at Burning Man. Whether designing large-scale or small-scale artworks, joining a build crew, or creating other interactive experiences, step out of the spectator seat and into the ring.

Burning Man is something to create, not consume. Whatever it is, we invite you to bring your artistic vision to life. The creation of the Temple of the Deep exemplifies how collaboration and determination make the extraordinary possible.

To keep Burning Man accessible and help fund Black Rock City art like the Temple, we need your support, now and into the future. Make a tax-deductible donation today.

Cover image: rendering of the Temple of the Deep at night by Miguel Arraiz, rendering by Arqueha

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Placement’s Statement of Intent (SOI) is now open for Black Rock City 2025! If you’re sure (or mostly sure) you’d like to be placed as a theme camp, this Journal post applies to you — whether you’re returning after last year’s stellar year, coming back from a break, or shiny and new to the placement process. Thank you to everyone who filled out the quick poll sent out a couple weeks ago — so far it looks like around 87% of camps who are definitely or likely returning in 2025!

Placement exists to support Burning Man’s creators (artists, theme camp organizers, donors, etc.), and with this service-oriented mindset, our team’s mission is to make it possible to bring your theme camp to Black Rock City. The team is looking inwards at the core of how we operate, thinking about how to make things smoother for everyone, and how to support you (or get out of the way) so you can bring your best to that thing we all build in the desert. The culture of Burning Man that emanates so brightly in Black Rock City is so important at this time in our world. The Placement team is excited to continue collaborating with you, and to make 2025 one of the best yet.

Submitting an SOI (via the Participate section in your Burner Profile) is how you let us know officially that you plan to join us in Black Rock City as a placed theme camp — SOI’s are due by January 16. The SOI allows us to determine how many Stewards Sale tickets to offer each camp, and helps us anticipate any major changes in store for BRC’s neighborhoods (since every camp contributes something special). If you are a returning theme camp, you’ll notice a shorter form that should only take 10 minutes to complete.

Making It Easier for YouSince 2022, Placement has been working on a key part of the Cultural Vision of Residential Black Rock City to have Transparent Communication from Burning Man Project to Residents, shifting the team’s culture and practices to be more supportive, transparent, and responsive to the community. Going to Black Rock City is hard enough, and Placement is working on a smoother experience. You can expect some key changes to the Placement process including:

1. Meeting more theme camp ticket needs
2. Introducing a fast-track system for veteran theme camps
3. Making sure you have increased and clearer access to the Placement team

Meeting More Theme Camp Ticket NeedsPlacement has heard concerns about ticketing for theme camps and has been working with the Ticketing Department to address them. Taking care of our cultural collaborators such as theme camps is a priority — you’re a core part of the community. While Stewards Sale allocations have suited the needs for some theme camps, we’ve heard that others have been stressed about receiving fewer tickets than they need. Based on the recent survey results, Stewards Sale ticket needs will be met for most theme camps in 2025. For camps taking the year off, some campmates may still want to attend the event without your full camp and we’re working on a way to support this.

Please do not overestimate your needs in this early part of the season. No one wants anyone to have an excess of tickets in summer because you’ve bought more than you needed in the Stewards Sale. To remedy this situation, we’re attempting to be more dynamic and responsive to ticket requests the closer we get to the event. If you still find your camp short after the bulk of public sales have concluded in May, you can reach out to Placement directly (at placement@burningman.org) to request additional tickets. We will do our utmost to meet all of the remaining needs of theme camps then.

Introducing a Fast-track System for Veteran Theme CampsPlacement is excited to debut a fast-track process for veteran BRC theme camps. If you fit this criteria, you will see 20-30% fewer questions in the Placed Camp Questionnaire (PCQ) that opens in February. This simplified version trims down the questions to include only essential information Placement and other Burning Man departments require. Additionally, for all returning camps, some of our lengthiest questions will be pre-filled with your answers from the previous year, so you can use the same response if nothing’s changed (or edit if things have). The questionnaire is still needed from each camp seeking placement, as camps do make adjustments year-to-year — in size, interactivity, theme, desired location, and even camp name and leadership.

Who’s eligible to be Fast Tracked? Any previously-placed theme camp that has been in good standing for the last three consecutive events and who has raised no concerns with camp interactivity or size. That’s nearly two out of every three camps in BRC out of approximately 1,200 theme camps!

Increasing Access to the Placement TeamMonthly Office Hours will be held beginning in December so you can speak directly with Placement. The office hours are drop-in sessions to: ask questions about the Placement process, understand the pieces that make Black Rock City work, and learn about the Placement team. We love meeting camp organizers! Check the Placement Newsletter for each month’s Office Hours link (Subscribe to the Placement Newsletter here — anyone can sign up).

Every volunteer on Placement’s three teams — Placement, Camp Support, and Placement’s Exploration & Engagement Research Squad (PEERS) — comes from the community and dedicates their free time to support and connect camp organizers on playa and throughout the year. Camp Support organizes monthly Campfire Talks, the annual Camp Symposium, and a Camp Advisory and Mentorship Program that’s open to all. On playa, Placement also has headquarters at Esplanade and 5:45. Stop by and say hello!

As always, emailing us at placement@burningman.org is the best way to reach us; we strive to respond to everyone within 48 hours on weekdays. If there’s anything you wish to discuss or appeal with us, write to us to start the conversation.

Making it Easier on YourselfAlongside Placement’s efforts to bring more ease to the placement process, we hope camps can also look at how to make your own plans smoother and more enjoyable. The 2024 event was a stellar year by most accounts, and it was due largely to smaller camps. A significant number of camps reduced their sizes, which came with benefits: more manageable logistics, stronger interpersonal bonds among campmates, increased collaboration within and across camps, and all-around reduced stress.

One camp lead stated in their Post-playa Report, “Given our need to simplify this year, due to camp attendance, we’ve discovered simpler is better. It allows for just as much of a contribution and presence, but negates the bigger challenges of trying to do and build too much with a smaller group. It felt safer and more beneficial to all.”

We’ve noticed a trend: camps who struggle the most in BRC tend to be larger camps with larger logistics and challenges around Decommodification. Every year there are camps with only a few people left standing to clean up for campmates who’ve abandoned them. Larger camps have a harder time acculturating their campers, they have weaker community ties to feel responsible for each other, and sometimes campers within the same camp never even interact. Camp size has real cultural consequences. We urge every camp to thoughtfully consider your camp population.

If your camp has more than 100 people and you have things dialed in — wonderful! We want to continue supporting big dreams and large camps.

But take it from one of our largest sound camps: “We truly enjoy our pattern of being big and then taking a step to a more intimate offering every other year. In the smaller years we get to focus on our Immediacy, communal nature and Decommodification together in a more focused way. When we offer up the big stage, it is harder to accomplish due to the level of work that is needed to keep the big camp operational for a full week.”

This isn’t about limiting ambition. It’s about finding the right scale. Going smaller can truly make for a better Burn. Here’s to a more easeful year for all of us!

Before I started volunteering for Placement, I was a theme camp organizer and know how much it takes to organize a camp in BRC. Being a camp lead was truly a labor love and I brought that same love with me when joining the Placement team. Every volunteer under the Placement umbrella knows how much passion and dedication it takes to wrangle all the cats to bring a successful theme camp to BRC. We’re a bunch of nerds who care deeply about the community, Burning Man culture, and building great neighborhoods that can’t be found anywhere else. I’m excited to see how we can all bring more joy and ease to BRC this year!

Cover image of “SWING” by The ManDts, 2019 (Photo byRick Egan)

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Earlier this morning, Burning Man Project CEO Marian Goodell emailed an end-of-year update to the Burning Man community — it contains updates about our end-of-year fundraising campaign plus a bunch of info about the year ahead. We’ve shared it here in its entirety. Please give it a read and help us keep Burning Man alive!

Dear Burning Man community,

Here we are two weeks before the end of the calendar year. Thank you to all of you who have sent words of encouragement, donations, and pledges to participate in Burning Man and bring more joy, awe, art and engagement to the world.

Let me give an update as to where we are so far in our year-end fundraising effort, and what’s in store.

We started 2024 with a commitment to raise $10M philanthropically. This was up 20% from the $8.2M raised in 2023. Due to the ticket sales shortfall to Black Rock City in 2024, we found ourselves needing to make mission-aligned budget adjustments and raise the remaining deficit to the tune of approximately $10M — this, in addition to the initial $10M goal.

We cut expenses, reduced the year-round workforce, deferred some payments, got reductions on our office rentals, and doubled down on our commitment to do more to bring Burning Man and Black Rock City to the world, not less.

Burning Man is like nothing else in the world. There is no other mass gathering the size and length of Black Rock City that, driven by Principles including participation, gifting, and inclusion, creates such awe and joy — all without corporate sponsorship, vending and merchandise to subsidize the operation. Much bigger than an event or festival, Burning Man is a global cultural movement that is already benefiting the world.

So, how do we sustain it, and get more Burning Man out there?

We have dedicated and passionate donors and supporters. Thank you. With your support, we will continue to lean into what Burning Man Project is:

A global arts and culture nonprofit that needs year-round philanthropic support to accomplish our mission to facilitate and extend Burning Man culture to the world.

This is the first front of our inflection point: leaning into philanthropy to bring more belonging, connection and creativity to the world.

We launched a $3M December Community Campaign on Nov. 25. Now, thanks to the generosity of enthusiastic donors, we are able to offer a match to your donations through the end of the year to help us reach our goal. Every dollar donated is worth $2.

Consider a monthly or annual recurring contribution! From now until the end of the year, you can double your impact — every gift will be matched dollar for dollar!

The opposite of shrinking, we are also leaning into our role as a service provider. This is the second front of our inflection point. Burning Man Project is in service to a global cultural movement advancing a more creative, connected and thriving society.

And, to be in service to you, the participants that bring Burning Man to life and sustain it 365, we are making it easier to participate in this phenomenon that started on a beach and migrated to the Nevada desert and out into the world. How?

• We are determined to keep Burning Man financially accessible by offering reasonably priced ticket options for Black Rock City 2025, and we’ve improved many processes to provide better access to tickets and support your efforts to bring your self expression to Burning Man. Ticket details are still being ironed out, and today’s philanthropic support helps inform planning for the 2025 event.
• We have reduced many administrative processes, including how you bring your art, content, mutant vehicles and Theme Camps to Black Rock City. This includes the shortening of forms, including the Theme Camp Statement Of Intent, the Placed Camp Questionnaire and the Department of Mutant Vehicles (DMV) Application Form, and removal of unnecessary questions, to ensure we are seeking only the most necessary details. Additionally, with a new fast-track system for returning camps in good standing, you’ll find many questions pre-populated from your previous applications.
• *We are looking deeper into feedback around delivery of Recreational Vehicles not being allowed to the playa, to ensure the policy best balances your safety and mitigation of onsite commercial activity.*
• As we did in 2024, we will continue to visit Theme Camps less for compliance to government regulations and instead lean more heavily into pre-event education. In Black Rock City 2024, we simplified the complex fuel storage guidelines to make it easier for participants to follow.
• We are also making ourselves more accessible. By offering town halls, office hours and more clearly providing contact points for you within the nonprofit, we are making ourselves available to participants as a resource, supporting them to successfully contribute to and advance Burning Man culture in every corner of the world.
• We will continue to optimize your Black Rock City gate experience not only for wait times, but to also feel welcoming. This includes helping you prepare for what is expected for entry, and resolving side trips to D-Lot quickly and respectfully.

It is heartwarming and frankly overwhelming at times to hear all of your powerful stories of change and transformation at Burning Man. Most recently, we were thrilled to hear from a major Black Rock City theme camp and art car community that is working to have their group achieve 100% participation in donating to Burning Man Project. Gifts of any amount help us increase our fundraising participation numbers, and when everyone takes part, the benefit Burning Man can have on the world is limitless.

The world needs more Burning Man — let’s lean in and make it happen together.

With gratitude and love,

Marian Goodell
CEO, Burning Man Project

Cover image of “Naga and the Captainess” by Cjay Roughgarden, Stephanie Shipman, and Jacquelyn Scott, 2024 (Photo by Espressobuzz)**

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This is a very interesting time for Burning Man culture, and Burning Man institutions.

So naturally we’re all fighting about it.

But before we talk about that, let me tell you a bit about how I’ve been “Burning” these last few years, as a way of illustrating a point.

How I Burned: Then and NowI started my Burning Man participation a little over 20 years ago, going to Regional events.

I went to Black Rock City, and then started volunteering with work camps (I was the Volunteer Coordinator for Media Mecca) and helping out at theme camps, starting wars, and trying to create large scale mischief. When I wasn’t doing that, I was involved with institutional initiatives, most particularly co-founding the Burning Man Philosophical Center.

That was then. Now…

I haven’t been to a Regional in maybe seven years or more.

I missed the last two Black Rock Cities (although one was a funny story… I tried to go…).

I didn’t go to any of the “Renegade Burns” (a name that always bothers me because … who’s telling you not to do this? Literally everyone I know inside and out of the Burning Man Project is supportive of these things). Instead, I turned my apartment building’s backyard into a makeshift theme camp and created art experiences there that I would invite friends, acquaintances, and complete strangers to come and participate in.

One of those backyard art experiences was designed to be unrepeatable, it could never be done again. But the second one — The Demon Garden — could be repeated and, though I never planned this, has turned into something that I have taken on the road, offering it at venues across the country and internationally. I don’t do it often, but it has become one of my signature offerings.

But that’s not all.

While I was on a recent trip, a group of people I was briefly with were prompted to talk about (of all things) gifts, and so someone I’d never met, who knew nothing about me, sat down next to me and asked “What’s the gift you’re most proud of giving?”

“Well,” I said momentarily stumped, “the kind of gifts I am proud of giving are actually art experiences that…”

I saw the baffled look on his face.

“You know what? It will be easier if I show you. May I give you a gift?”

He said yes, and I reached into my pack and pulled out the art project I brought to Black Rock City in 2019. It’s small enough to fit in my hand, and so I often have it with me. I took him through it, and his jaw dropped. The next day we ran into each other, and he told me he hadn’t been able to stop thinking about it, that it gave him a new perspective he needed, and may be helping him in this time of life.

Not long before that, I had been talking with a small group of people about creating magical experiences, and when they’d wanted more details I again said, “It would be easier to show you,” and pulled out the project that I brought to Black Rock City in 2016, which is not so small that it can fit in my hand but is small enough to fit in a backpack. Once again, minds blown.

A few days later, I was asked if I could come up with an exercise for a group of around 20 people to help unlock their creativity, and once again I had a project on hand. This one I’d created in 2020 as a way to help ease the psychological suffering of people who were experiencing a sense of nihilism in the pandemic. It didn’t originate at Burning Man, but I knew I could create it because by that point I had done so many small, human sized, experiences at Black Rock City that I knew I could create a project like this outside of it. I invented a new use for the project and it had a great impact: people threw themselves through it and into their own Radical Self-expression.

This has become the essence of what I’m doing now. I rarely show up at big, or even medium sized, events, but I have a number of art projects that I can do spontaneously — “magic on tap,” I call it — that directly came out of my experiences at Burning Man, and often debuted at Black Rock City.

Now… Twenty year ago, if I had told people “well, I don’t go to BRC any longer, and I haven’t gone to Regionals in a while, but I do have these art projects that I learned to make through Burning Man that I use when the moment requires some magic,” I think a lot of people would have argued that this was a very nice thing — a great thing — for me to have taken away from my time at Burning Man, but that it didn’t make me an active participant in the culture any longer. To be a “real Burner” back then, a lot of people thought you had to show up at a very limited number of events, especially BRC.

Today? Nobody says that. When I say, “Oh, I have my own path through playa magic that I do wherever I am,” they have a very different reaction: they are happy for me that I have found a way of participating in this culture that I am passionate about. No one accuses me of not really participating.

That’s a major change, and the essence of this new era of Burning Man culture that we’re in.

How Black Rock City Went from a Prototype to an OutlierBurning Man is experiencing a new cultural era. The pandemic was the beginning of what I’ve referred to as Burning Man’s “Diaspora” period, when we went from a highly connected, even bureaucratic, global network trying to do difficult things across cultures, with Burning Man Project headquarters (BMHQ) at its center… to a super-localized environment in which the way Burners interact with their neighbors is far more important than the ways they interact with BMHQ.

Back then, there was a relatively centralized vision for what “Burning Man” looked like and did in the world. Now there are a lot of local visions.

The globally interconnected network still exists, of course, but it has a very different relationship to Burning Man’s “centers” — Black Rock City and San Francisco. No one is comfortable in this new relationship yet, which is probably why there’s so much controversy around Burning Man’s recent fundraising appeals. People are asking “What are you doing? What are you good for? What do we need from you?” And these are very appropriate questions. This stuff needs to be figured out. But the existence of differences of approaches is being seen as a threat, a challenge, rather than — as is usually the case in Burning Man culture — an opportunity for people to support each other in making their visions happen.

But even more than that: “Black Rock City” emerged during Burning Man’s earlier cultural periods, and became the prototype, the aspiration, for the Regionals and events that followed. It was what we pointed at to say: “Burning Man events are kind of like that, even if they’re not really.”

Now, in the Diaspora period, Black Rock City is no longer a prototype — it is an outlier. People “doing Burning Man” are getting more experimental with form and approaches, and Regionals are more likely to point at each other as an example of what they are doing than they are BRC. And then there’s organizations like Burners Without Borders, and people creating civic institutions based on Burning Man Principles…

In Burning Man’s earlier cultural phases, people were experimenting with the kind of theme camps they could create, the kind of art projects they could develop, and the kind of organizations they could have to manage all this — but they were still working on the model of Black Rock City. In this cultural phase people are still experimenting with these things, but they are experimenting with the container itself, figuring out ways to do “Burning Man” that is based on something besides that model.

Where once Burning Man was a thing that we were working to make happen around the world, now Burning Man is a thing that happens differently wherever it touches.

And there’s nothing wrong with this. In fact, it’s an indicator of success: this is what a healthy culture, that people love and care about, does.

But it’s not the only thing a healthy culture does, and this era, like any other, comes with its own distinct opportunities we can live up to and challenges we have to meet.

The Same Challenge from the Other DirectionIn many ways the challenge of a Diaspora period is the symmetrical inverse of the High Culture period.

During Burning Man’s High Culture period (which I would say ran from about 2013 to the pandemic), we had (relatively) strong institutions that were able to communicate and function clearly across cultures, but those institutions threatened to choke off local creativity. All too often it felt like Burners needed to get the Burning Man Project’s permission to try to do interesting things, which is fatal to our culture. (And part of the reason I wrote that we needed to “decommodify permission”)

The challenge therefore was to “make bureaucracy Burning Man compliant” — to keep the benefits of cross-cultural institutions without making everyone ask their permission. To make sure everyone felt (and really had) agency.

This is a really difficult challenge and — I’m just going to say it — I think Burning Man was failing to achieve it. Maybe it would have succeeded given more time, but I can say pretty explicitly (I was working for the nonprofit at the time and talking with Larry specifically about this) that figuring out how to square that circle was still being actively experimented with, and that no clear path forward (that was being tried) had emerged.

Then the pandemic hit.

Now we have the opposite problem: the Diaspora period is opening up the valves on local creativity and engagement. People have new ideas and are not looking for permission to do them. It’s amazing.

But we are in danger of losing not just the organizations that keep us connected and better able to pool our resources, but the very lines of communication that a culture needs to stay coherent across distances and borders. There is a level of cultural coherence that we have long taken for granted — so much so that we have often fought against it! — that we are now in danger of losing, which will make everything we want to do that is not strictly local (and maybe even then) more difficult.

We don’t need to recreate the center we had, but we do need ways of coming together, communicating clearly, supporting one another, and solving larger scale logistical problems. If along the way we can share best practices and help those new creative ideas travel, that’s even better.

And we need to do it in a way that feels representative — and helpful — to the people who are diversifying what it means to be a “Burner”… to the artists, the “renegades,” the creators of Regionals, and people doing things we haven’t even thought of yet.

The job is still, in that sense, to make a Burning Man compliant bureaucracy. And it is still a very difficult challenge.

It will be that much harder if we succumb to the terrible mistake — so common among subcultures — that people who are doing things differently than we would are an enemy. That somehow Renegade burners and Black Rock City burners are on different teams, that Regional burners and smaller event burners and Burners wandering through the world practicing art magic (like me) are in a zero sum game.

We’re not. We’re all stronger when we all thrive. A healthy Black Rock City makes renegade burns easier, not harder. Regionals are more empowered the more people are successfully engaging in different forms of Burning Man culture. We are on the same team.

This is especially important because perhaps the truest expression of Burning Man culture is to offer to help. To participate. To see someone doing something weird and wonderful that you don’t really understand, and instead of criticizing it or condemning it, to ask: “Can I help?”

That’s who we are at our best. That’s what we need to make sure we preserve in this Diaspora phase, a time of wondrous and brilliant diversity. To see other Burners trying to do difficult things and ask: “Can I help?”

That’s what we need to succeed in this moment.

Cover image of “Earth and Beyond” by Karel and Marie Machalek (Photo by Jane Hu)

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Earlier today, Burning Man Co-founder Crimson Rose emailed the Burning Man community. We’ve shared it here in its entirety. Please give it a read and help us keep Burning Man art alive!

Do you remember the first time an amazing work of art at Burning Man opened your heart? For me, it was the Man itself, which I had the honor of sending to its fiery release at my first Burn in the desert in 1991. Now, imagine a newcomer coming to Black Rock City and experiencing Burning Man art for the first time, just as we did. How would their hearts open?

Radical Self-expression is one of our core principles, and art has always been central to the Burning Man experience. A work of art can take you on a journey and give you insight into your own art spirit, for we are transformed from spectator to participant and we are given permission to become active contributors to the creative process.

“A work of art can take you on a journey and give you insight into your own art spirit…”

But it also requires an incredible contribution from the community to make it possible — countless hours of work and the essential monetary support. When you tally it all up — the annual Honoraria grants, art support services such as heavy equipment, and ticket assistance for participating artists — the nonprofit’s annual cost for facilitating Black Rock City art is approaching $5 million. This is a relatively small part of the $55 million* estimated adjusted cost to produce the event in 2023, but it’s a priceless and irreplaceable part that brings so much joy to so many.

To keep Burning Man accessible and fund Black Rock City art, we urgently need your recurring support, now and into the future.

While it may seem we just finished Black Rock City 2024, the Burning Man Project art team and artists around the world are still in high gear, focused on creating next year’s Burning Man art.

The Tomorrow Today art theme has been announced, the Honoraria grant process is underway, and proposals for the Temple have been submitted and are under review.

But ticket prices have not yet been set. In order to keep them reasonable, and to fully fund our art programs, we need elevated long-term financial support from the community to be able to plan with confidence for the future. Burning Man needs your help to raise $3 million that will go towards art and engagement in Black Rock City.

As stimulating as the art of Black Rock City is for so many people, its influence extends far beyond the city limits, reaching local communities around the world, every day of the year. Did you know — community members have helped place hundreds of art pieces from Black Rock City out in the world. The joy and connection on the playa reaches beyond it! I remember when we chose “Charon” by Peter Hudson for an Honoraria grant in 2011. Little did we know that work of art would spend years touring France, Belgium and the UK.

Artwork that once had a life in Black Rock City can live again. By installing art in a community, the same creative energy that was born of the desert is exposed to new audiences. We always look for art that resonates in Black Rock City, and we are overjoyed when people around the world get the chance to experience this art too.

We are making progress toward the 2024 fundraising goal and we thank you for being so responsive and involved. The community goal for December to raise $3 million plays an important role in securing the future of Burning Man art — on the playa and in the world. And, that goal will help to keep Black Rock City accessible. If you have the means to contribute, I’m asking for your help. I have been part of building and running the art program since 1991 because of the people I’ve met and the art I’ve experienced at Burning Man events around the world.

Join me in supporting Burning Man Project with a tax-deductible donation today.

Burn brightly,

Crimson Rose
Burning Man Co-founder

Note: The version that was emailed out earlier today incorrectly listed $48 million. The correct estimated adjusted cost to produce the event in 2023 is $55 million.*

Cover image of “Charon” by Peter Hudson, 2011 (Photo by Anthony Peterson)

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For one week each year, we all know that a portion of the Black Rock Desert transforms into a city. But that city is more than “just” a city; it’s also an open air mad science laboratory for grand experiments, a sandbox for big ideas, and a potent proving ground for hunches about offerings that might make meaningful contributions to the wider world.

Reporting live from How Burning Man Makes the World Better, here are two remarkable stories of how time spent in our one-week-only fair city of dust has led to positive change that lasts.

Powering Hope: How Burning Man’s DIY Spirit Created a Disaster Response RevolutionWhen Will Heegaard first brought a modest solar trailer to Black Rock City in 2016, he wasn’t planning to revolutionize disaster response. Mainly, he wanted to satisfy his own curiosity: could mobile solar microgrids power critical infrastructure in a harsh environment?

Heegaard’s experimental array worked so well that it eventually ended up powering Rampart, Black Rock City’s emergency medical field hospital. Heegaard and a team of tinkerers returned to Black Rock City again and again, using the harsh playa environment to continue iterating on solar solutions.

“Burning Man was kind of a testing ground,” Heegaard explains. “If you can test or deploy these types of technologies in non-disaster events for critical needs, you can get a lot of data and learning that can be directly applicable to a disaster.”

Those early experiments evolved into Footprint Project, a nonprofit that brings sustainable power solutions to communities hit by natural disasters. Today, their fleet of mobile solar microgrids and battery systems provides essential power to emergency response facilities, medical equipment, and community centers in crisis zones across the US. They have gone on over 20 disaster and recovery missions to date and provided emergency clean power access to more than 50,000 people.

Footprint Project solar panels being transported by the United States Army via Chinook helicopter, 2024 (Photo courtesy of Footprint Project) In the wake of 2023’s Hurricane Idalia, Footprint Project deployed over 50 solar-powered systems across the Carolinas, powering everything from fire stations to home health devices. When roads were impassable, they even partnered with helicopter teams to airdrop solar kits alongside Starlink units, establishing critical communications in isolated mountain communities. Currently, Footprint Project is deeply immersed in Hurricane Helene relief efforts.

National Guard troops install Project Footprint solar panels at Camp Miller Forward Operating Base Basecamp for Hurricane Helene Relief in Pensacola, North Carolina, 2024 (Photo courtesy of Footprint Project) “The reality is that I can’t even keep track at this point of how many individual home health needs we’re supporting,” Heegaard says. “We were getting calls two to three to four times a day in the first couple weeks of people saying ‘My neighbor, friend, grandfather, family member is on oxygen, and if our generator goes down, we don’t know what we’re going to do.”

Footprint Project solar panels installed in a Hurricane Helene victim’s yard in North Carolina, 2024 (Photo courtesy of Footprint Project)As they say, the playa provides… a potent convergence of necessity and wide-open space for innovations that evolve to meet urgent real-world challenges. The same improvisational spirit and technical ingenuity that power Black Rock City are now bringing light to communities in their darkest hours, literally and figuratively.

Footprint Project demonstrates Radical Self-reliance doesn’t mean going it alone — it means building resilient systems that help communities power themselves through crisis, one solar panel at a time.

One of Footprint Project’s microgrid trailers near an aid station in western North Carolina, 2024 (Photo courtesy of Footprint Project)If you want to know how the rich legacy of Burners supporting disaster relief efforts began, take a listen to the new Burning Man LIVE podcast episode “Tom Price: From the Playa to the Planet” with Tom Price, co-founder of Burners Without Borders, Black Rock Solar, the XRT (External Relations Team), and a company that gifts clean-burning kitchens to people in Kenya.

Hot topics include: the importance of a gift economy and innovative solutions for climate change, and exploring how the values of Burning Man can extend beyond the event itself into everyday life.

JAGUARA: When Playa Art Becomes a Movement for Environmental EmpathyOn a moonlit night in 2017, Leo Vilar and Catalina Pulido found themselves standing on the open playa, exhausted but elated after completing work on an Honorarium art project they had volunteered to build. As if on cue, in that moment of completion, Mayan Warrior drove out of the dust, massive light array sparkling and legendary sound system filling every inch of desert air with sound. In the midst of this awesome serendipitous spectacle, Vilar, ever the technician, found himself mentally cataloging the art car’s lasers, noting the placement of every speaker, and checking to see how the light array was hung. As his mind whirred, a bigger dream began taking shape. Like so many citizens of Black Rock City before him, Vilar found himself thinking, “I want to make something like that.”

But his dream wouldn’t be another mutant vehicle only for art’s sake — it would be a messenger from the Amazon rainforest to the world.

The concept for JAGUARA, Vilar and Pulido’s mutant vehicle with a mission, was born during a traditional ceremony in their home country of Colombia. It was then that the duo realized they could combine the languages of art, music, and technology to facilitate environmental empathy. The result is a stunning fusion of ancestral wisdom and modern expression: a massive jaguar-shaped art car that serves as both stage and sculpture, carrying the urgent message of rainforest conservation.

Jaguar Day Celebration at Parque Jaime Duque amusement park uniting scientists, institutions, the general public, and leaders from different tribes and regions of Colombia to celebrate the jaguar through art, music, talks, films and cultural performances, 2021 (Photo by Catalina Bohorquez)After its 2018 debut in Black Rock City, JAGUARA caught the attention of the Biennial of the Americas festival in Denver, where it became the cultural centerpiece of a ten-day gathering focused on sustainability. The project has since evolved into a movement, inspiring conservation efforts and educational initiatives throughout Colombia and beyond.

JAGUARA as a centerpiece of the Biennial of the Americas Festival at the Civic Center Park in Denver, Colorado, 2019 (Photo by Juan Pablo Fagua) And just this fall, Vilar and Pulido brought JAGUARA to COP16 (short for Sixteenth Meeting of the Conference of the Parties to the Convention on Biological Diversity) in Cali, Colombia. There, the duo orchestrated the creation of a grandly immersive outdoor theater space called the Circuito Terra Experience presided over by JAGUARA. The Circuito Terra Experience became a vibrant hub for environmental and cultural programming alongside the formal conference.

However, rather than producing a pre-programmed experience, they followed a principle familiar to any Black Rock City citizen: build the container and let the community fill it with meaning. Participants from around the world screened films, led discussions, and shared their work on topics ranging from the Amazon Rainforest to worldwide ocean conservation to the Sierra Nevadas.

Even the logistics of the two-week event echoed Black Rock City’s spirit of Communal Effort and Radical Self-reliance. “This is the closest we have been to Burning Man,” Vilar reflects. “Because it was so expensive for hotels, we ended up renting empty houses that were close to the conference and putting mattresses on the floor. There were always people cooking. And I was happy because my kids, for example – they’re 11 and 9 – they were involved too, baking cookies and contributing, just very much like Burning Man. Everybody was there together, really happy.”

JAGUARA at the COP16 Circuito Terra Experience at COP16 in Cali, Colombia on Amazon Day while the film ‘Amazonia, Corazon de la Madre Tierra’ plays, 2024 (Photo by Felipe Acosta)The Burning Man EffectFootprint Project and JAGUARA are living proof that the arid playa is actually fertile ground. Seeds of innovation planted there flourish long after the dust settles.

More than watching lasers dance across the desert night, it’s about the inspirations that result, and the wild realities those inspirations become. It’s beyond the technical knowledge gained from stress testing equipment in extreme conditions; it’s really about the unique alchemy that occurs when creative minds encounter the freedom to experiment backed by a community eager to support bold ideas. All that is what makes change happen.

These two projects are beacons for Burning Man’s Ten Principles in the wider world – Participation, Civic Responsibility, Gifting, Radical Self-Expression, Communal Effort, and Immediacy are the obvious ones, but when any project makes its way from playa to the planet, all Ten Principles are inevitably in the groundwater. Whether powering communities through crisis or inspiring environmental awareness through art, projects like these show how the playa’s transformative spirit takes root and flourishes, far beyond the dust.

Cover image of the JAGUARA mutant vehicle at the Biennial of the Americas Festival in Denver, Colorado, 2019 (Photo courtesy of Sonic Design)

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You may have heard about our fundraising efforts and that we need ongoing charitable support to keep making Burning Man happen, in the Black Rock Desert and all over the world.

These FAQs provide info about Burning Man Project’s mission, programs, and funding. Stick with us as together we work to secure Burning Man as a cultural institution that will be here decades from now, empowering future generations to reimagine the world they live in.

NONPROFITWhy is it important for Burning Man Project to facilitate programs beyond Black Rock City?For the nonprofit to fulfill its mission “to facilitate and extend the culture that has issued from the Burning Man event into the larger world,” it means making Burning Man culture accessible through diversified, impactful programming.

People naturally come to us with ideas for how they can create participatory events and experiences, support community resilience, or carry out disaster relief work. We give them tools and knowledge to create projects and events that are decommodified, participatory and inspired by our culture.

Burning Man is not, nor has it ever been, “just a festival.” Black Rock City serves as the heart and foundation of our global community and will always remain our priority. But, to focus solely on producing the event would be doing a disservice to all the amazing people and projects that are actively bringing the Burning Man ethos to the world.

What role do Northern Nevada properties, including Fly Ranch, and programs like the Regionals and Burners Without Borders (BWB) play in advancing Burning Man’s mission?Burning Man’s Northern Nevada properties provide the platform for prototyping the community and regenerative practices of the future.

Campouts at Fly Ranch, for example, have produced and fueled participant efforts around sustainability, including: Burner Leadership Achieving Sustainable Theme Camps (BLAST), Renewables for Artists Team (RAT), and the Green Theme Camp Community. All of these groups bring their forward-thinking solutions to life in Black Rock City and iterate towards solutions for the world. Additionally, the nature walks at Fly Ranch are open to the public.

Other properties are used to store Black Rock City infrastructure, which saves on trucking from Reno and allows us to maintain extensive assets used to deploy BRC. Our year round presence in Gerlach supports the event and culture.

For nearly 20 years, local Burners Without Borders (BWB) groups have utilized the skills and can-do attitude embodied by so many in Black Rock City to respond with kindness, connection and humanitarian and community support — from Hurricane Katrina (the beginning of BWB) to Hurricane Helene and everything in between.

And, as we wrote about recently in Sparking Kindness & Connection, From the Windy City to Rural Romania, Black Rock City participants were inspired to create RoBurn, an official Burning Man Regional Event in Romania. Romanian members of our community use their Regional to reach out to isolated elders. Through the Regional Network, we provide tools and share best practices that enable anyone, anywhere (including the RoBurn founders), to manifest Burning Man’s 10 Principles for the benefit of their local community.

The connection, creativity and innovation resulting from these programs and properties facilitates and extends Burning Man culture in the wider world.

FINANCESWhy is this year’s fundraising goal $20 million? Since becoming a nonprofit, we have raised funds to support operations. At the start of 2024, our philanthropic fundraising goal for the year was $10M. The $5.7M revenue shortfall resulting from 2024 Black Rock City higher-priced tickets not selling as planned, combined with a $3M dip in main sale tickets and vehicle passes means our initial year-end charitable donation target essentially doubled to nearly $20M.

The main sale ticket price is not priced to cover event costs (more on that below) and higher-priced ticket tiers have subsidized the event as a form of philanthropy for years. This is why recurring philanthropic support is needed to sustain our mission – now and into the future. See our Summary Financial Information for the details.

For us to continue enabling togetherness, mental well-being, creativity, innovation, and storytelling that sparks change, we must rise to this challenge. Philanthropy will help us maintain Black Rock City as the vibrant heart of Burning Man, and protect the culture with which the event is intertwined.

What do donations fund? Donations fuel everything which is core to Burning Man!

• ARTS: Through Honoraria grants, donations fund artists who build incredible participatory art as well as ~1,375 gifted tickets for artists. (That’s $790,000 of regular priced tickets)
• CULTURE: Donations keep Black Rock City tickets reasonably priced for all ticket purchasers (ticket prices are not based on actual event costs–read more below).
• DECOMMODIFICATION: Donations maintain a decommodified event – free of corporate sponsorship or merchandise sales – which helps create the space for authentic connection.
• TICKET AID: Donations subsidize Ticket Aid tickets, which enable low-income participants to attend Black Rock City.
• CONVENINGS: Donations support incredibly powerful educational and culturally rich co-created prototyping experiences like Burners Without Borders campouts on Fly and this year’s European Leadership Summit.
• The bottom line: Donations fuel Burning Man Project operations across the board, and we can’t do what we do without your ongoing support.

Why don’t ticket sales cover the cost to produce Black Rock City? While at face value it might sound crazy, we have purposefully maintained lower ticket prices–lower than the cost to produce Black Rock City. In 2023, for example, the cost to produce Black Rock City was an estimated $749 per participant while the main sale ticket price was $575. This intentional price-setting aims to keep Black Rock City accessible.

We aren’t like traditional festivals. Whereas traditional festivals subsidize their ticket costs through corporate sponsorship, VIP benefits, and other commercial mechanisms, (which can account for between 25-30% of revenue), we rely on philanthropy to cover the difference.

Black Rock City is free from brand influence and transactions which enables more authentic engagement, contributing to and shaping the experience of the ephemeral city.

Through 2023 we have fortunately been able to maintain lower ticket prices because of the generosity of our community, including through sales of higher-priced tickets (a concept we first talked about back in 2016).

Now and into the future, the community’s generosity and broad philanthropic support is needed to keep ticket prices reasonable and Black Rock City culturally diverse. This is the model by which nonprofit theaters, museums, opera and ballet companies survive. Same goes for universities who count on supportive alumni. In all cases, the cost of admission, tuition, or a ticket to the event doesn’t cover all of what the cultural experience is offering. These cultural institutions, like us, rely on community support from people who believe in their mission.

How is the estimated $749 per participant cost to Black Rock City 2023 calculated?Feel free to check out our Summary Financial Information for cost per participant dating back the past 10 years. Specific to 2023, the cost per participant was an estimated $749. This includes the cost of Black Rock City and the Arts program, as well as 80% of the time in Management and Administration, divided by the population as indicated on the Burning Man timeline website and submitted and agreed upon with the Bureau of Land Management. Management and Administration is primarily composed of Information Technology, Accounting, and People Operations, where the efforts are approximately 80% of the time focused on supporting Black Rock City.

Would an increase in ticket prices help?Raising ticket prices would increase ticket revenue, however, Burning Man is different and always has been. Increasing ticket prices would call our Principle of Radical Inclusion into question. We have cultural diversity, with participants representing all 50 of the United States. In 2024, we had 89 countries represented. Philanthropy, which is key to subsidizing ticket prices, helps us avoid a situation where the cost of a ticket prevents a community member or new Burner from coming to Black Rock City.

Could Regional Events drive revenue?No, Regional Events are not a money-maker. Burning Man Project offers guidance to Regional Events, but we don’t fund them or earn revenue from them (hat tip to Regional Events that have made donations to Burning Man Project!). These gatherings are locally organized and are financially separate from Burning Man Project. Providing counsel and liaising with Regionals is an incredibly effective way to advance our mission and support the growth of Burning Man culture.

What about the office space? Could greater savings be achieved, particularly in San Francisco?Maintaining our office space, the footprint of which we reduced by half in San Francisco during the pandemic, is vitally important. Building connections in person is core to Burning Man culture, and to our ability to work efficiently, collaborate deeply and innovate for the future. In working to reduce costs expected in 2025 (and beyond), we were pleased to work with our landlords in Reno and San Francisco to find savings in rent.

Specific to San Francisco, Burning Man was born here, and it is home to the largest number of Burning Man creators and participants. The majority of our year-round staff and volunteers also live in the Bay Area. It is a venue for fundraising, a gathering space for up to 120 people, and a space to host donors, for staff and board meetings.

Are Burning Man Project board members compensated? Unlike for-profit boards, we have no Burning Man Project board member compensated in their capacity as a board member. However, we do have board members employed in staff roles, including five of the six Burning Man Cultural Founders who have built the event since before 1997 and designed the mission for the Burning Man Project since 2008. Will Roger Peterson is employed as Director of Nevada Relations; Crimson Rose (listed in the 990s as Nanci Peterson) is Art Transitional Officer (she is also holds the official title of Secretary of the Board, which means she is responsible for official filings and approval of meeting minutes); Michael Mikel is Historian & Archivist; Harley K. Dubois is Chief Culture Officer and Marian Goodell is Chief Executive Officer. These five founders are also Board Directors and join the other 13 Directors serving on the board. The 990 lists other key employees or highly compensated individuals with the title of “Director of…..or ….. Director”, like Charlie Dolman who is Director of Event Operations. These are not “Board Directors.”

What is Burning Man Project doing to reduce costs? In examining and restructuring our operations, we’ve reduced our expected 2025 (and beyond) costs by several millions of dollars. Our efforts have already included reductions in vendor and payroll costs, including reductions in the number of regular year-round employees on staff, and office rent reductions.

We continue to trim an already lean and tight Black Rock City infrastructure and nonprofit management. However, we can’t budget-cut our way to securing the long term future of Burning Man. It’s taken nearly 40 years to build the Burning Man culture and Black Rock City event to where it is now. Bringing joy, collaboration, art, and innovation through our culture co-created with amazing people all over the world is the priority and will remain so as we balance it with good business practices.

For Burning Man to continue on into the future — not just as an annual event in the desert, but as a cultural institution that will be here decades from now, empowering future generations to reimagine the world they live in – community support through philanthropy is imperative.

What is Burning Man Project’s long-term financial strategy? Long-term financial planning is essential to sustain our mission to bring more Burning Man to the world, including through Black Rock City. Our long-term plan aims to reduce reliance on ticket sales by emphasizing diversified revenue sources and expansion of philanthropy and grants. Further, building a significant reserve and, in the long-term also an endowment, are things that will enable stability and continuity in the face of economic shifts. The reserve and deeper philanthropy will enable us to support a culturally diverse Black Rock City and keep the event decommodified.

Are major donors granted special decision-making power?No—donors are not granted special decision-making power. You can read more about it here, our statement of values on gifting.

Why should I donate when I already volunteer and contribute significantly to my Burning Man camp or project?First, thank you for every moment you’ve dedicated to making Burning Man what it is today. We appreciate how much you give and can’t overstate our gratitude. <3

Gifting is part of the culture and comes in many forms. We can’t all do everything. We all lean into what we co-create in different ways.

Donations power everything we do to get more Burning Man in the world, and there are many reasons to make a gift today. Like an alumni organization, we see anyone that’s ever attended Burning Man as part of the culture. We want to give everyone a chance to help support us whether they attend Black Rock City currently or not.

If you can’t donate, you can help by spreading the word about why Burning Man matters. It may inspire others to give. This outreach, along with your continued participation – as a theme camp lead, an artist, a mutant vehicle visionary, a performer, a costumer, a musician, a chef, a sous chef, a Black Rock City volunteer, a mechanic, and electrician, a programmer, a staff member, a regional contact, a filmmaker, a photographer, a writer, a storyteller, or however you like to be involved – helps ensure the spirit of the playa continues to thrive and impact the world for the better.

We so ardently believe the world can benefit from the magic, creativity, and inspiration of Burning Man. And that’s why we’re letting our entire community know – why we’re letting you know – that we need philanthropic support to continue our mission.

MORE INFORMATIONEarlier communications on the blog:

• What’s Happening in the World with Burning Man (8/18)
• Our Current Financial Situation (10/3)
• The Inflection Point Requiring This Broad Call for Support (10/18)

Recent email storytelling:

• Marian Goodell’s The Future of Burning Man (10/31)
• Stuart Mangrum’s Burning Man 2025, by Heineken (11/9)

Summary Financial Information

Cover image of “Identity Awareness” by Shane Pitzerin, 2015 (Photo by Mark Nixon)

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Earlier today, our cacophonous instigator and Director of the Philosophical Center, Stuart Mangrum emailed a call to action for the Burning Man community. We’ve shared it here in its entirety. Please give it a read and help us keep Burning Man sponsorship-free!

Friends — apologies for the subject line, but it begs the question: why not? Wouldn’t a cushy co-branding deal solve Burning Man’s money problems in a hot minute?

After all, it’s standard practice in the festival business to make a big percentage of your revenue from corporate sponsorships. Along with additional income streams such as merchandise sales, food and drink vending, and premium VIP services, it’s how festivals stay profitable despite rising production costs.

But here’s the thing: we’re not a festival. And we’re not here to make a profit. Sure, Burning Man Project is a business, but our business is culture: creating spaces for art, innovation, connection and joy, and making the potentially life-changing experience of Burning Man available to anyone who’s willing to take the ride.

Make a recurring gift today to help keep Burning Man decommodified.

Back in the 90s when Burning Man’s early organizers were first figuring out what we wanted Burning Man to be, we used to joke about this. Who could we persuade to write us a big fat sponsor check? Home Depot? Bic lighters? Mercifully it stayed a joke, with enough cringe factor that it ended up being directly addressed in the principle of Decommodification.

As was so often the case in our history, we made a good cultural decision that was maybe not the best business decision. Would we be asking you for money right now if we had chosen otherwise? Perhaps not. But we wouldn’t be Burning Man anymore, either.

The other thing any sensible festival would do in the face of soaring costs is to jack up ticket prices, which we’re also not going to do if we can possibly help it. We are way behind the profitability curve when it comes to pricing tickets to the event, and have been for years. The actual per-person cost of producing the 2023 event was $749. Which means we are losing $174 on every full-price ticket, $524 on every reduced-price ticket sold through the Ticket Aid Program, and the full $749 on every one of the more than 1,300 gift tickets we distribute to artists.

So what’s to be done?

I’m looking at you, Burner. Because we need your help.

In some respects, the current money challenges are predictable growing pains rooted in our transition from an event production company with a nonprofit side-hustle to an arts and culture nonprofit that also performs the annual magic trick that is Black Rock City. We are taking a cue from other cultural nonprofits, such as orchestras and theater companies, and swinging the finance needle away from ticket sales and deeper into philanthropic support now and into the future.

Thanks for helping with that.

The moment we’re in is challenging, but it’s more than a moment. The future of Burning Man as a cultural force in the world depends on our ability to keep producing Black Rock City without compromising on our principles and not going bankrupt in the process.

Whether or not Burning Man is still your thing these days, let me ask you this: do you really want to live in a world where there’s no Burning Man anymore? Or one where it’s just another festival with a $900 ticket price and a huge branded beer tent in Center Camp, next to the merch booth and the overflowing trash cans?

Surely that is a future no one wants. And speaking of the future, that’s the Burning Man theme for 2025: Tomorrow Today. I wrote it because I want us to have a future, and for us to make it real together. Because at this point in time, our future is anything but certain.

If you have the means, and if what we do together is meaningful to you, consider a gift of $749 to cover the cost of one artist’s Black Rock City ticket. Or $524 to help one person get to BRC who couldn’t afford it otherwise. Better yet, make it a monthly gift of $62 or $44 to achieve the same results.

Honestly, your gift of any amount is going to make a difference.

Thanks for listening.

Stuart Mangrum

Director, Burning Man Project’s Philosophical Center

PS: Sorry, no tote bag. It would just be MOOP.

PPS: If you haven’t heard about our fundraising efforts and this is all new to you, you can catch up here: Burning Man Journal.

Cover image of Black Rock City, 2008 (Photographer unknown)

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At first glance, Burning Man looks like a kaleidoscope of contradictions: an experiment in Radical Self-reliance built on a bedrock of collaboration and Communal Effort; a decommodified endeavor that takes many millions of dollars to emerge; an experience of ephemerality that has become a permanent fixture in the lives of hundreds of thousands of people around the globe.

Many of us who’ve made Burning Man a cornerstone of our lives have discovered something profound beneath the surface. There’s deep meaning to be found by participating in Burning Man culture, meaning that compels us to invest our hearts, minds, and resources into this movement.

If you were in Black Rock City this year, you may have encountered a story booth beneath the Center Camp Canopy that asked: “Why does Burning Man matter to the future of the world?”

It’s not too late to share your perspective! However and wherever you Burn — whether you’re a crusty veteran, or this Burning Man thing is new to you — add your thoughts here. Why does Burning Man matter to the future of the world?

When we asked this question in Black Rock City, the responses received were as diverse as the community itself. In aggregate, they pointed the way toward a truth that within our culture lies something far more significant: a curiosity for new ways of solving problems, building community, and reimagining what’s possible for human society.

From togetherness and personal growth, to creating change and building bridges, the following seven themes emerged based on Black Rock City 2024 participant submissions in the Center Camp story booth.

When asked, ”Why does Burning Man matter to the future of the world?,” here’s what participants said:

1. Burning Man matters because it is a laboratory for new social models

“Burning Man is the epicenter of what the world could look like if we built it using different starting principles, different starting values. It’s a city of love. It’s a city where if we live by a different set of rules, what could society look like?”

“We need to be able to reimagine a new way of getting along with each other, getting along with the earth, reckoning with our future, reckoning with our past. Burning Man is a place that allows you to think outside of the box, to imagine and build something that previously was unimaginable, impossible, but we still do it. At Burning Man we create the impossible and we survive in a place that is very inhospitable. If we can survive here, get along here, we can surely do the same in the rest of the world.”

1. Burning Man matters because it creates space for real human connection

“Connection is not going to get any easier. I think even though we are going to be connected to one another, by devices everywhere, real connection with humans, it’s going to be more difficult. So, it’s important for a place like this to exist, where immediacy can be practiced in a way that is available to us in the default world, but that we often don’t get to experience due to a life we built.”

“Burning Man matters because people need to still relate to each other in a personal way. Not on their phones, not texting, not on the computer, but actually relating to people face to face, eye contact, hugs, shoulder rubs, you name it.”

1. Burning Man matters because it is an incubator for creativity and innovation

“Burning Man matters to the future of the world because it is a petri dish of human curiosity, human creativity, and human kindness.”

“The more technological we become, the more we automate everything in the world, the only thing that humans are important for is creativity and creating new things. And there’s nothing that amplifies that or promotes that or creates space for that more than Burning Man. So as the world becomes more automated, I hope that experiences like Burning Man can bring to the forefront the importance of funding and creating the ability for people to be creative and make newness in the world, new thoughts, new art, new ways of thinking of things, new connections, new people in their lives. So spaces like Burning Man are important because in a more dehumanizing world, this is where humanity exists in its purest form.”

1. Burning Man matters because it enables personal transformation

“I’ve learned self-love here. I’ve learned love for humanity here. I stopped becoming a misanthropic person, a person that’s angry and hateful.”

“Burning Man matters to our future because it gives space for individuals to process, to understand who they are, what they’ve been through and who they’re becoming. Burning Man gives us a pause in our day-to-day life, a break from technology, a chance to disconnect and to simply be a human being, not a human doing.”

1. Burning Man matters because it builds bridges between people

“Burning Man matters to the future of the world because intentional communities are the future and building communities through diversity is what the future needs. We need to come together despite all our differences and Black Rock City is the perfect example of that.”

“It’s about the only place in the world where everybody can come together and get along and find fun and peace and love.”

1. Burning Man matters because it shows a different way of human connection

“Burning Man helps the community and the citizens understand each other a little bit more because the masks are down. You meet some of the most beautiful people and I think if we can just take that into the default world and remind ourselves that it’s easy to listen to somebody and opening yourself up to vulnerability, to have access to people’s hearts, we might just be able to save the world.”

“I think Burning Man matters to the world because people need to know that good, kind energy exists in abundance and can exist in their own lives as well. It provides hope for the future, which I think we all need right now.”

1. Burning Man matters because it creates change agents

“Burning Man matters because the world needs to see that it’s possible. Burning Man matters because the bliss that people experience while they are here is what elevates them, is what motivates them, and is what activates them to act in real life.”

“Larry Harvey said that the burden begins when the Burn ends. How do we capture the magic, the creativity, the love, the hard work, and all the values that we bring out here in Black Rock City and bring them into the world? That’s why it matters to the world because when we take what we do here and we bring it out there, we’re making this world a better place.”

So what do you think?

Whether you’re a first-time Burner or a decades-long participant, your perspective matters.

Add your thoughts here: “Why does Burning Man matter to the future of the world?”

We’d love to hear your story! How have your interactions with Burning Man shaped the way you engage with others? How do the principles we practice on playa shape the way you present yourself in the default world? What innovations from Black Rock City could help address challenges in your community or on the global stage? How has your experience of burning influenced your vision of what’s possible?

As we prepare to explore 2025’s Black Rock City theme of “Tomorrow Today,” it is clear that Burning Man matters. We are in a time when our world desperately needs more human connection, cooperation and collective resilience, laboratories for testing new forms of community and culture, and proof that transformative change is still possible.

The idea that there is a deeper ‘why’ to Burning Man — whether it be the event in Nevada, Regional Events and communities, or the culture Burners have collectively created — feels particularly urgent now.

As we find ourselves amidst deepening societal rifts, climate emergencies, technological upheaval, thank you for pausing to ask: What, exactly, is it that makes Burning Man worth the time, attention, and resources of the vibrant people who co-create it? What possibilities are we discovering in the dust (or whatever terrain it is where you burn) that might light the way toward a future we want to live in?

Cover image of “Kaleidoscope Hole” by Michaela Hares, 2024 (Photo by Ales Prikryl)

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“I am no longer accepting the things I cannot change. I am changing the things I cannot accept.” —Angela Davis

The 2025 Burning Man theme is an invitation to imagine the future in new ways, and to make it real through our collective actions. In the exuberant spirit of the prior century’s world fairs, which celebrated not only scientific progress but also cultural exchange and artistic excellence, the 2025 edition of Black Rock City will showcase Burning Man’s global culture of art and innovation. It will provide a venue for us to dream, invent, prototype and share our best and brightest ideas for the years ahead.

If we think of the future as a story we tell ourselves, two plotlines have seemingly come to dominate the popular imagination. On the one hand, a happy modernist fable of tech-fueled utopia, and on the other a postmodern myth of dystopian collapse. It’s increasingly difficult to believe in the first because we now know it’s built on an unsustainable foundation. And we don’t even want to think about the second because it’s a tragedy where no one gets out alive.

Yet for all its uncertainty the future still feels real to us. It’s a time and a place where we’re going to live, sooner or later. What’s it going to be like for you? For us? For all of us? If you could talk to your future self, what would you say? And what would you want to hear? What kind of an ancestor are you going to be?

Burning Man is a lot more than one event these days, and the global culture is strong and healthy. And yet, as we expand our presence out into the world and daily life, we no longer have the luxury of thinking we are somehow apart from that world. The world’s problems are ours, and vice versa. We may not be able to fix everything that’s broken but we just might be able to build something better. Let’s take back the future!

“The future doesn’t exist. The only thing that exists is now and our memory of what happened in the past. But because we invented the idea of a future, we’re the only animal that realized we can affect the future by what we do today.” ―David Suzuki

Most lives are lived in a sort of endless present, or more accurately a fractional second in the past thanks to processing lag. But somewhere back in the Pleistocene, some of the cleverer apes developed the ability to conceptualize time and create mental models of things that did not really exist. The future was one of those things. It was useful but not terribly so, because for a very long time things didn’t really change much for most people. Then, a few hundred years ago, the pace of change suddenly sped up from zero to dizzying. Electric lights! Indoor plumbing! Espresso machines! Before long the slow march of progress had turned into the all-out sprint we know today, and the idea of the future was back in business.

The first of what would come to be called World’s Fairs was England’s Great Exposition of 1851, which showcased bleeding-edge tech like an early fax machine. By the 20th century, this tech-forward depiction of the future had become part of the mythos of western culture, complemented by the starry-eyed prose of “golden age” science fiction and made manifest in popular culture through movies, TV shows, and theme parks. And, of course, advertising; the World’s Fairs and Expos were coming-out parties for debutante products, which sooner or later everyone was going to want to buy. Looking back, the modernist myth of the future seems to have been first and foremost a marketing story. An alluring story, with sexy robots and flying cars, but nonetheless built on an untenable foundation of endless growth and boundless resources.

“Along the road to a utopia, the future seems to have run out of gas.” —Larry Harvey

The term “dystopia” has been around for centuries, coined originally as a snarky counterpoint to the dreamy Utopia of Thomas More. But from a cultural point of view it wasn’t really much of a thing until George Orwell published his 1984, a dark tale of perpetual war and pervasive surveillance. And so was born the prevailing postmodern myth of the future, now typified by planetary ruin, societal collapse, and AI murderbots.

It’s important to appreciate the cultural weight of these two mythic structures – the modernist story of eternal progress and the postmodern story of irreversible destruction. For all its evolutionary advantages, foresight has its shortcomings. Like all mental models it is by definition incomplete. And lazy human computers that we are, we populate it with memes we’ve absorbed from popular culture. Like the AI that famously concluded the meaning of life is cat videos, we have been exposed to enough dystopian thinking that at some level we may start to believe the zombies are real.

Somewhere between the extremes of a perfect but impossible utopia and a terrifying dystopia that nobody wants is a third possible path for the future: protopia. Writer and futurist (and longtime Burning Man participant) Kevin Kelly coined the term to describe a future based on steady progress, better than today but not perfect, and not without setbacks. Predicated not on avarice or despair but on slowly, gradually working to make the world better for everyone, one step at a time. In other words, a lot like the iterative approach that we encourage and embrace in the Burning Man world.

“You can’t see a difference of 1 percent unless you turn around and look behind you. One percent a year, for 100 years — that’s a big difference.” —Kevin Kelly

Burning Man is emphatically not a utopian society, nor was it ever meant to be – but it is an influential cultural movement and social experiment with some unique opportunities to prototype new solutions. As we cross the halfway mark in our 10-year sustainability roadmap, this is a natural point to consider how we can achieve a more harmonious relationship between ourselves, the environment, and the resources required to Burn. In the spirit of protopianism, we are prototyping ways for humanity to survive and thrive in the face of a mounting climate crisis over the decades to come. Our strength lies in our ethos: in the power of communal effort, in our commitment to leaving a positive trace, and most of all in the Principle of Participation, to “make the world real through actions that open the heart.”

This year’s Black Rock City event will seek to rekindle the hopeful spirit of the World’s Fair, fueled in this case not by consumerism but by a shared interest in learning from each other and advancing our collective progress toward a better future. Artists, camp organizers, and cultural contributors of all varieties are encouraged to bring their visions for a protopian future. And since so many of the challenges we face are global, we invite the international Burning Man community to join us in this effort, whether in Black Rock City or in their local actions around the world.

It’s easy to be disheartened these days. Our event, our society, and the planet itself are all facing unprecedented challenges. But we are a can-do crowd, a resourceful bunch with a strong bias to action. So when you imagine the future, what is your place in it? How are you going to show up? As a hero or a victim? Whatever future we imagine, it’s not something that’s going to happen to us. It’s something we’re going to go out and make happen.

• Black Rock City will rise again from August 24th to September 1st, 2025. Your best source for timely and reliable event information is The Jackrabbit Speaks newsletter.
• To learn more about bringing artwork to Black Rock City, see our playa art guidelines.
• If your vision involves fire art on the open playa, please read our fire art guidelines.
• To apply for a grant to fund the creation of artwork for Burning Man 2025, visit the Black Rock City Honoraria page.

Cover image graphic by Mike Hampton, inspired by art from Disco Space Shuttle, Five Ton Crane, and David Best. #thankslarry

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The Jackrabbit Speaks newsletter — affectionately known as the JRS — has been burning brains since 1997, when it was penned by the original Jackrabbit, now Burning Man Project’s CEO Marian Goodell. Earlier today Marian sent an important message, written in the style of her early JRS editions. We’ve shared it here in its entirety. Enjoy!

Hi,

If you’re getting this email it’s because you’ve probably had a ticket to Burning Man in the last 20 years.

Either Burning Man is still a huge part of your life, you F **#$% ing hate Burning Man, or maybe you’re ambivalent. Wherever you land, it’s probably been just as impactful for you as it has been for many of us.

What started for me in 1995 at the edge of a dry lakebed — where a tall man wearing a bedsheet and holding a plastic flamingo told me to “drive 12 miles to a black mountain and then left until you see five pointy things” — has evolved from a bunch of weirdos with guns into a global institution reimagining and reinventing what the world could be like if we did things a little bit differently.

Burning Man now is a worldwide cultural phenomenon that, since 1986, has been built and experienced by nearly a million people, both in Black Rock City and at more than 80 annual official events around the world. You may be one of those people. Whether or not you come to Black Rock City regularly, you are part of the community and we value the ways you have contributed to make Burning Man happen. Thank you.

It’s a little-known fact that revenue from tickets does not support the cultural movement that Burning Man has become. We do not want to raise ticket prices. In the name of Radical Inclusion, we actually prefer to lower them. But, the fact of the matter is that the cost to produce Black Rock City in 2023 was $749 per participant while the main sale ticket price was $575. You can read more about this inflection point and the reduced ticket sales in 2024 and how this has forced a much larger fundraising goal to keep operations going. Or explore the summary financial information going back 10 years to see how the higher-priced tickets have been subsidizing the event for some time, and how the drop in those sales threatens Burning Man.

The plan for 2025 and beyond is to flip the script. It’s time to think about the most Burning Man way to close this gap.

No, we won’t go towards corporate sponsorship, additional RV fees or merchandise sales. Instead, we will turn to the community and invite participation and support to help fill the gap. Yes, we have reduced the number of regular year-round employees on staff, and we’re diving into the budget to trim what is already a lean and tight Black Rock City infrastructure and nonprofit management. But that alone isn’t enough.

Now is the time to ensure that Burning Man can persist into the future — not just as an annual event in the desert, but as a cultural institution that will be here decades from now, empowering future generations to reimagine the world they live in.

I would certainly prefer that our focus be solely on pushing the edge, rather than having to raise money all the time. But as we continue to provide containers for the future to be prototyped, we operate in the context of the default world, and that requires ongoing charitable support year after year to keep this thing going.

You already know we’re not a normal nonprofit — we never wanted to be “normal.” But we are a nonprofit and to keep doing what we do, we need your help.

F-*&$ commercial sponsorship! \<>/

Contribute today so we can:

• Prototype new ways of living, working and being together
• Support art and artists through grants
• Get Black Rock City off fossil fuels
• Nurture Burning Man culture around the world
• Capture the DNA of what we are doing to hand off to the next generation
• Get funky and bring more cacophony of chaos

We are moments away from announcing the Black Rock City 2025 theme — one that’s rich with creative possibilities! Simultaneously, community-led Temple and art teams hopeful for an art grant are hard at work on their proposals for the 2025 event. We urgently need your support to finish 2024 and prepare for 2025 and beyond.

If your friendships, community, family, or personal life have benefited or could benefit from the magic, creativity, and inspiration of Burning Man, I urge you to please support the movement with a gift today.

How much would you pay to keep corporate sponsorship out of Burning Man?

Listen, I am happy to fundraise — it’s an important part of who we are and what we need to do. But, let’s not get so tangled up in that part of the process that we lose sight of what my colleagues and I are driven to do with you. We’re facilitating the building of a massive city on a dry lakebed. Our relationships and friendships with 1,000 temporary seasonal employees help further drive and facilitate 10,000 volunteers directly related to the city infrastructure, who in turn are in service to the 75,000 participant creators of one hell of a magical Brigadoon appearing and disappearing in the middle of the desert. And then THAT brings collaboration, communication, empowerment, resilience, self-reflection and joy back to the world.

I don’t want to raise ticket prices. I wish we could offer Black Rock City as a gift for free. I want more art. I want ephemeral pop-up cities around the world thriving with life and possibility. We are not in service to consumption. We are in service to social interaction. Let’s realize the cultural impact that the experiences we have at Burning Man events can have in the cities and towns we all live our day-to-day lives in. This is the long game toward a cultural shift, and I believe strongly that Burning Man has a role to play.

As our dear friend and OG Burner Larry Harvey once said:

“We think Burning Man has great application to the world, but a larger iteration can only occur as people incorporate the essential ethos of it. The Ten Principles are meant to describe that ethos, that way of life; and then, by their own inspiration and by collaboration with others in the everyday world, people will find applications that are as various as the many gifts they bring to it. It has to be culturally transmitted that way.”

He also spoke about money not “being inherently good,” nor “irretrievably bad,” and that money can be made “to serve non-monetary values in a way that’s self-sustaining” to the culture.

“If there is a moral here, it is that money isn’t moral. It is not inherently good, it is not irretrievably bad; it is like water as it tumbles in its pell-mell progress through our world. But money can be canalized by culture; it can be made to serve non-monetary values in a way that’s self-sustaining.”

It is with these words in my heart that I ask you to join me as I am turning my annual donation into a recurring monthly donation.

Whether or not you regularly attend Burning Man, I hope you’ll join all of us in supporting Burning Man in Black Rock City and in the cultural work that we do out in the world.

Stick with us as we unfold the story together. \<>/

Thank you,

Marian

P.S. Why aren’t we all covering the logos on our trucks like we used to? Let’s make that a thing again. )*(

Cover image of The Man, 1995 (Photo by Rick Egan)

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We are at an inflection point as a nonprofit. On the one hand, global interest is at an all-time high, and the world needs Burning Man more than ever. On the other hand, we are well past the point where ticket revenues from Black Rock City are able to support our year-round cultural work.

A call for your support, this post shares more about our finances, and builds on my prior communications about what’s happening in the world with Burning Man (8/18) and our current financial situation (10/3). The financial information I reference throughout this post is available in full detail here. As I previously shared, the big revenue shortfall causing today’s cash crunch is primarily from 2024 Black Rock City higher-priced tickets not selling as planned. This $5.7M shortfall, combined with a $3M dip in receipts from main-sale tickets and vehicle passes, means that our year-end charitable donation target has essentially doubled to nearly $20M. This needs to happen before 2025 ticket sales and our annual revenue cycle begins in January.

We are working behind the scenes to raise money from dedicated major donors, but this moment will work better if we look to the long term and engage everyone. Translation: We need your help to keep Burning Man accessible for the next generation! Gifting is a core value to our culture, and we need your support now and into the future. Your steadfast generosity and ongoing donations are needed to help secure the long-term of Burning Man.

Before we get into where we are going, it is important to review how we arrived at this moment.

HOW DID WE GET HERE?Core to Burning Man is our practice of the 10 Principles, which enable the conditions for authentic moments of awe and joy. That being said, to operate in alignment with the 10 Principles, including without corporate sponsorship or merchandise revenue (while other events and festivals rely on it for nearly 25-30% of their revenue), generous philanthropy is required to grow and keep Burning Man economically accessible.

Many are surprised to learn that ticket revenue alone does not fund all that Burning Man Project does to bring Burning Man to the world, including the production of Black Rock City, and has not for years. Specific to BRC, in 2023, the cost to produce the event was an estimated $749 per participant while the main sale ticket price was $575 per ticket. Further, since 2014, the Black Rock City production cost per participant has been greater than the main sale ticket price and the event has had to be subsidized.

This gap is why we have sold higher-priced Black Rock City tickets. A concept we talked about back in 2016, these higher-priced tickets not only kept main sale tickets reasonably priced, they also enabled us to provide lower-priced tickets to participants with financial need. And through 2023 the higher-priced tier helped to subsidize some, but not all of the cost increases.

Over the years, we also increased our annual goal for our contributed donations to address this gap and support the global mission. The community rose to the occasion, helping us raise $2M in 2019 up to $8M in 2023. With this increased philanthropic support, we felt confident in our financial outlook despite increased costs following the COVID-19 pandemic. We have been working since 2020 to increase the relative importance of philanthropy to achieve our mission. This year’s ticket revenue shortfall is accelerating our plans and has underscored the importance of year-round philanthropic support.

Before the COVID-19 pandemic, and thanks to a lot of hard work by our staff, we had more than $16M in cash. Then, in the face of the pandemic and without BRC, the incredible response from the community and beyond in 2020 and 2021 resulted in more than $39M in contributed revenue. Like many other organizations, during this time we reorganized our staff, including layoffs, and tightened our belt.

Without Black Rock City in those years, but because of the community’s generous support, we were able to “Save the Man” and retain many full-time employees for a post-pandemic return to BRC and continuation of the cultural movement. Staff were deployed to do work that needed to happen to amplify the global culture. We fostered creative connection through Art Speaks, launched the Burning Man LIVE podcast, provided resources to bring Burning Man to life 365-days a year, celebrated micro burns and promoted local events through Kindling.

Between 2020 and 2022, we also invested in maintenance of Northern Nevada properties such as the 360, and other assets that directly support Black Rock City production (to go deeper on how we invested in those assets during those years, see Summary Financial Information).

Through 2023, the reliable revenue from higher-priced tickets and charitable contributions enabled the nonprofit to produce incredible programming, including Black Rock City, and support other low-budget, high-impact primarily community-driven efforts that stoke the Burning Man global culture and benefit the vibrancy of Black Rock City.

The combination of these efforts is working — there is more Burning Man out in the world and the movement has momentum!

For example, campouts at Fly Ranch have produced and fueled participant efforts, including: Burner Leadership Achieving Sustainable Theme Camps (BLAST), Renewables for Artists Team (RAT), and the Green Theme Camp Community, which then bring their forward-thinking solutions to life in Black Rock City. Participants from around the world (including From the Windy City to Romania) attend Black Rock City to learn and they then bring Burning Man back to their local community members. For nearly 20 years, Burners Without Borders local groups have utilized the skills and can-do attitude refined and realized by so many in Black Rock City to respond to catastrophe and provide humanitarian and community support after events such as Hurricane Helene. The combined budgets to support these efforts can be seen in the Summary Financial Information, under “Civic Engagement” and “Other Programs.”

Innovation at Fly Ranch (Photo by Zac Cirivello)The result is that global participation is now at a record high. In 2023, 95,000 people participated in official Burning Man Regional Events (check out the map!) around the world — on top of the more than 74,000 people who came together in Black Rock City. This means 170,000 people experienced Burning Man events directly in just one year — this is mind-bending!

TODAYWe started 2024 with approximately $9M cash in the bank. As noted above, even with our initial $10M fundraising goal for 2024, we face a cash crunch and need to raise $20M this year.

Fundamentally, we must balance the budget for 2024 now, and then readjust the revenue objectives and cost objectives for 2025 and beyond to secure Burning Man’s future.

Starting to sell tickets now just kicks the can down the road, and increasing Black Rock City ticket prices to cover the nonprofit costs to get more Burning Man in the world is another untenable option. This would price out diverse community participation and is inconsistent with our principles.

With everything at risk, we continue to focus ourselves on the future. This includes examining and restructuring our operations and reducing our expected 2025 (and beyond) costs by several millions of dollars. This has already included reductions in payroll and vendor costs. As you may have heard, we had to lay off talented and brilliant people who make Burning Man happen year-round.

At this inflection point, it’s important to remember why we are a nonprofit and why we must sustain the culture and make it accessible to all through impactful programming.

First, we became a nonprofit in 2011 to better scale the values born of the playa. The first Regional Event, Burning Flipside in Texas, started in 1998, and there were countless untold stories like Flipside, about how our desert city’s culture was spreading its wings far and wide. Being a nonprofit enables those stories to be told, and for resources to be developed to meet the growing demand for tools that enable anyone, anywhere to manifest Burning Man’s 10 Principles.

Second, all nonprofit programs, and the personnel supporting those programs, are part of the vision to bring more of this culture to the planet. As I shared in several examples above, these programs provide value to our culture in two directions — they enrich and support communities around the world and additionally are key to the vibrancy, evolution and innovation of Black Rock City. They are vitally important as we go forward.

The bottom line: We can’t cut our way to securing the long term future of Burning Man.

We must maintain the ability and caliber of our workforce and the diversity of our programs to bring the culture to life. Further, rather than in a vacuum, this work must be done in partnership with the community to ensure the culture remains relevant and accessible for future generations. We seek and appreciate your input!

Specific to the moment we are now in, our need for philanthropic support is extremely urgent.

So, what’s our path forward?

When I say we are at a new moment as a global nonprofit, I invite you to embrace and advocate what we are: A global force for good! The world needs what we offer now more than ever. For us to continue to be this force for good, convening people in person, inspiring creativity and innovation, and storytelling in ways that spark change, we need your help to raise the funds needed to preserve Black Rock City as the vibrant heart of Burning Man, and to protect the culture with which the event is intertwined.

Philanthropy has always been part of the long term plan for Black Rock City and the Burning Man culture. Just like other nonprofits, Burning Man Project depends on financial support to accomplish its mission. The moment to step into this future framework is now.

Give $20 a month to keep Burning Man going year-round!

If your life has been positively affected by Burning Man, you understand the personal growth and wellbeing that results from this cultural movement. Whether you’ve been to Black Rock City, or still attend, or not, you are a member of the community. We are committed to a future where Burning Man continues to be available to more people in the world.

Now, if you are interested, the deep details are available on our Summary Financial Information.

Together we are a community that’s excited and motivated to bridge the gap between people, reduce the loneliness of our time, and lean into “yes we need more connection, creativity and engagement, and we need it now!”

Thank you for all that you do to bring the values of our culture into the world!

Your Support of Burning Man Project creates a thriving world:

• It enables connection: Makes Black Rock City a reality for tens of thousands of participants to find their voices and creativity, including through initiatives such as the Ticket Aid Program and ticket pricing that keeps the city financially accessible and ensures the cultural diversity of the movement.
• It stokes Burning Man culture: Enables the next generation of leaders to connect and create the future of communities and Burning Man at global and Regional leadership gatherings, and funds resources and tools to adapt and bring Burning Man to life in locally relevant ways, in every corner of the globe.
• It inspires creativity and innovation: Makes prototyping the community and regenerative practices of tomorrow a reality and fuels the creative vision of artists receiving grants to build incredible, inspirational pieces of participatory art for BRC and beyond.

Set up a recurring payment today or reach out to giving@burningman.org if you would like to speak with us about how you can make a difference!

Aerial view of the Man base in Black Rock City, 2024 (Photo by Jamen Percy)

Cover image of “Dream Slide” by William Nemitoff, 2024 (Photo by Gurpreet Chawla)

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“We know that every person has value and their contributions are a gift. We honor that. It is the spirit and positive intention of every person who contributed or will contribute that makes Burning Man.”
– Harley K. Dubois, Burning Man Project Co-founder and Chief Culture Officer

Burning Man comes to life through participation. Giving one’s time, skills and resources is a touchstone for this global cultural movement, everywhere — whether in Black Rock City, or in 30 countries around the world. The impact of what we create together generates ripples that inspire and connect humanity.

More than an event, Burning Man is a global cultural movement. The nonprofit in service to this culture requires year-round support — year after year. Support the Burning Man Project nonprofit’s mission to build a more creative, connected world. Make a tax-deductible donation today.

Every August, thousands of hard-working humans (this year, nearly 70,000 strong) make their way to Northern Nevada to co-create a mighty desert city. They get involved in a myriad of ways — from organizing theme camps and building art, to lending their skills to any number of teams and projects. Similarly, around the world people gift their time and resources to create close to 100 official Burning Man Regional Events and a vast number of creative and community projects. Why do this? Because it feels good to contribute to something that brings a sense of purpose and community.

Whether or not you frolic in the Black Rock Desert, there are oh-so-many ways to get further involved. You can connect with your Regional community, participate in a Burners Without Borders chapter, join a volunteer team helping run Black Rock City, bring art to Black Rock City, build an art car or a theme camp, or start a wildly imaginative and completely unique project with your friends.

In Black Rock City we met up with long-time contributors who help run the city’s infrastructure to ask: Why is it important to participate? And how has helping create Black Rock City had a positive impact on their lives and communities? (Want MORE? We also produced a Burning Man LIVE podcast episode featuring Deb, Eric, Trevor and others. Listen to “Volunteer Voices” here.)

‘Topless Deb’ Stiers: Greeters

“I want to help people, serve people, show them other places, things they can do.”

(Photo by Dennis Hinkamp)We connected with Deb Stiers at Greeters Camp, where she lounged with friends beneath a tidy shade structure. Known on playa as Topless Deb, back in 2002 she arrived at her first burn and immediately started greeting newly-arrived Burners.

“I have volunteered for Greeters since I rolled in the gate. I had no idea what it was. I came in the middle of the night and thought ‘Oh, this looks like fun!’ I parked my car. I pulled out a jacket and I started greeting and I’ve greeted ever since. I like welcoming everyone home. I like that you teach and learn from each other when you greet. It’s not one-sided by any stretch of the imagination.” Deb has been a Greeter in Black Rock City every year since — 21 Burns to date.

Deb brought so much of what she learned in Black Rock City into her life beyond the desert. She served as a Los Angeles Regional Contact for many years and co-founded Bequinox, LA’s official Regional Event, which she continues to co-produce.

Watch Deb and her fellow BEquinox producer speak about LA’s Regional Event in this whimsical video:

“What you learn here is easy for me to take into my normal day-to-day life,” Deb observed. “Leaving No Trace is a big one… Volunteering and doing what you can for others is really important. I crochet voraciously and I share that skill with other people. I’m an accountant by trade. I share that skillset with other people. I want to help people, serve people, show them other places, things they can do… I’m retired. You really can go into the community outside of Burning Man and do things for people when you have the time.”

Eric ‘Fuckyeah’ Hale: Man Pavilion Crew

“I see traces of what Burning Man is to me out in the real world when I see people doing things that they feel excellent at because it drives them.”

Eric Hale (Photo by Dennis Hinkamp)Eric Hale, aka Fuckyeah, works on the Man Pavilion as a carpenter. Over the years, he volunteered with various playa teams — including Fence Crew and Arctica. He’s a second-generation Burning Man volunteer; his parents contributed to Greeters and Playa Info.

“What inspired me to first volunteer was actually my parents,” he shared. “They had already been coming to Burning Man for a number of years before I got here. This would have been their 25th year. They’re not here this year unfortunately, for health reasons… They gave me the reason to want to keep doing something, and made me realize [volunteering] gives a sense of purpose and connection.

“I definitely bring what I get here into my default world in the sense that I have learned more about myself as a man and as a person, how I want to be, the values that I have,” he continued. “It’s given me a strong sense of acts of service being a really strong love language and a meaningful way to show care and connection with things that I value and people.”

“I see traces of what Burning Man is to me out in the real world when I see people doing things that they feel excellent at because it drives them… because it is not something that they’re just doing for money, but because they have a want for expression or a community and connection. And when I see that — people doing something in spite of difficulty, it is absolutely this place. This is one of the dumbest places in the world to have a party, and yet here we are,” Eric laughed.

Trevor ‘Ruin’ Tarin: Department of Public Works Shade Crew

“I switched everything around after my first couple years out here… and I started a bunch of small businesses.”

Ruin (Photo by Julian Walker)Trevor Tarin, aka Ruin, is assistant manager for the Department of Public Works (DPW) Shade crew. “We come out here and build roughly 120,000 square feet of municipal infrastructure shade… everything that keeps the city cranking.”

Trevor began his Burning Man journey in 2009, living in a tiny camp with no shade. Subsequently he ran a small sound camp with friends, and ultimately joined the DPW. “I decided that my gift to the playa was going to be a little bit more substantial, and it was going to be sweat equity.”

He cites working hard in a DPW crew as his path to self understanding. “When I come out here, the choice is to work really hard with my team, work really hard on myself, and find out what I’m made of. It’s exhilarating. Every year I come away with another pretty big life lesson, and I endeavor to help share that growth pattern with my crew. I find that to be really fulfilling.”

After his first couple years on playa, Trevor switched his life around. “I stopped being an office assistant, and I started a bunch of small businesses — one of which is something I’ve been working on for over 10 years now, a hat company.

“The reason I do the hat thing is because it’s a way I can participate in people’s transformations in this small way. When someone decides that they want to be a new or a different or more authentic version of themselves, sometimes they need to accessorize with something that’s a very unique hat.”

Burning Man changes people in profound ways. But is it changing the world? Beyond how this global cultural movement has impacted their lives and immediate communities, how do they experience the impact of Burning Man in the wider world?Deb sees change happening one person at a time. “When someone comes to Burning Man, they can’t help but leave this place a different person,” she observed. “I’ve seen people go home and start a brand new business because they’ve discovered that they want to weld or they want to cook for people or whatever it is. Has it changed the world one person at a time? Perhaps? Will it? Hopefully, eventually they’ll all get together and make a difference.”

Trevor points to the awe-inspiring art, which journeys beyond Black Rock City to public spaces around the globe. “It’s undeniable that Burning Man has had a profound impact on not just the local art scene, but on the global art scene. It’s created a new precedent for new kinds of art, especially on large scales. It’s touched millions of people’s lives… I love the gifts that Burning Man has brought to the world. I think that its impact is undeniably positive.”

Burning Man Changes You, and YOU Change the WorldWherever you live, and whatever point you’re at in your Burning Man journey, know this: YOU are a quintessential part of how this playful, inventive, community-minded culture evolves into the future. Whether or not you frolic in the Black Rock Desert, there are oh-so-many ways to contribute to Burning Man. For starters, you can join a project in your Regional community or volunteer to help bring Black Rock City to life.

Ticket sales alone do not support the nonprofit’s year-round work to build Black Rock City and nurture a global cultural movement. The ticket sales shortfall in 2024 has heightened our need for community support to keep going. If you have the means, make a tax-deductible donation to Burning Man project.

Cover image of Volunteers in Black Rock City, 2024 (Photo by Gurps Chawla)

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When it comes to the international reach of Burning Man, the fire metaphor is the gift that keeps on giving. A flame is lit, ideas catch fire, communities are kindled, torches are passed. What began as a tiny spark of curiosity often grows into an inferno of energy and creativity and passion.

This is a good kind of blaze. The kind that ignites that Burning Man flame in people from all walks of life, all around the world.

Burning Man Project’s nonprofit programming enthusiastically supports the global spread of more Burning Man in the world, including through support of the Regional Network, art grants, and opportunities for knowledge sharing online and at forums such as the European Leadership Summit. All of this is for the same cause: to bring more connection, creativity, innovation and thriving to every corner of the world. Send the spirit of the playa flying to the farthest reaches of planet Earth; extend this Burning Man thing as far beyond the trash fence as possible; create a worldwide virtuous cycle of inspiration and transformation. That’s the dream. And, with more than 95,000 global participants in the past year, in addition to the 70,000 at BRC 2024, we are well on our way.

To further fan your Burning Man flame, we are pleased to present three stories of community members around the world whose passion is fully ignited. Through Regional Events, art projects, and sustainable business ventures, these are stories of those fanning the flames of Burning Man far and wide.

More than an event, Burning Man is a global cultural movement, and the nonprofit in service to that culture requires year-round support — year after year. Support the Burning Man Project nonprofit’s mission to build a more creative, connected world. Make a tax-deductible donation today. GIVE TODAY

Bridging Generations: How Burning Man Revitalized a Romanian VillageGabrielle Muscalu co-founded Romania’s RoBurn to bring the deep sense of belonging he felt in Black Rock City home to Romania. Three years into producing RoBurn, Muscalu and his co-organizers had to find a last minute new location for their third event. And that’s when Romania got an influx of unexpected Burners: village elders in rural Romania.

As of 2022, RoBurn takes place every summer in a remote valley outside of a town called Ștefănel in Romania’s southwestern Dolj County. Mascolo knew about this village and its neighboring valley because his grandfather lives in the next town over.

As is the story in so many rural towns, Ștefănel had fallen on hard times. All the young people had moved away, seeking better opportunities abroad. Save for its oldest residents, the village was empty.

It could have been a recipe for disaster. But rather than meeting the RoBurn participants with hostility, the residents of Ștefănel welcomed them. They brought gifts of homemade bread, milk, wine, tomatoes, and eggs. One village local even participated in a cacao ceremony (a gathering where people ceremonially consume cacao to promote healing, connection, and self-exploration).

At the end of the event, Ștefănel’s police came to offer their congratulations.

“We went to the village and started interviewing the people,” recalls Mascolo. “We were fascinated to see that their need is actually a simple but quite interesting one. We asked them, ‘What do you need?’ And they said, ‘We want to be young again.’”

The RoBurn crew is continuing to build a relationship with Ștefănel. In an act of Civic Responsibility and Radical Gifting, they returned in autumn to plant the first new trees the village had seen in 50 years. The mayor has since told Mascolo Ștefănel’s valley is RoBurn’s to use. Every year, for free.

The Burning Man LIVE podcast episode “Burning in Europe: Stories of Home” features recorded conversations from Burning Man’s 2024 European Leadership Summit, where Burning Man regional contacts and collaborators gathered in Estonia to connect, teach, learn and conjure ideas for the future of Burning Man worldwide.

Rooting in Togetherness: Nebula Shroom Grove’s Cross-Continental CommunityAs much as we may work to avoid it, loneliness is an inevitable part of the human experience.

In Colombia, there’s even a saying about it — andaba como un hongo.

Roughly: “I’m lonely like a mushroom.”

“Nebula Shroom Grove” on open playa, 2024 (Photo by Dennis Hinkamp)The Colombian artist Silvia Rueda and the team behind the 2024 Honoraria project “Nebula Shroom Grove” were inspired by this Colombian saying to bring their first art piece to Black Rock City, a place that’s the ultimate antidote to loneliness and a hotbed of connection. Thanks to partial funding of an Honorarium awarded by Burning Man Project, the team was able to bring a piece with a powerful message to playa: that though we may feel lonely, much like mushrooms connected through a mycelial network, we are never truly alone.

The Nebula team has their own mycelial network. They are a group of college friends — architects and designers from Colombia, Venezuela, Spain, London, and Ukraine. They live scattered across the globe, separate from each other’s daily lives. Their art piece was the perfect way to stay connected across distance. “Nebula Shroom Grove” was one of 13 internationally-led Honoraria art pieces on playa this year, and the first Honoraria piece to be woman-led by a Colombian LGBTQIA artist.

The “Nebula Shroom Grove” team, 2023 (Photo by Dennis Hinkamp)“As architects, we just like to have people experience our spaces. I cannot imagine a better place to bring art and a spatial architecture piece, a place where grown-ups act like kids and will explore every little nook of our piece,” Rueda said.

Thanks to a partnership with the design firm Creative Machines, grown-ups and kids will be able to continue exploring “Nebula Shroom Grove” together soon when installed at its permanent home of Second Sky, a community hub in Tucson, AZ. Much like Burning Man, Second Sky was created to “build community by inspiring adventurous play, communication and learning across generations.”

Hauling Dreams: ChiCargo’s Journey from Rideshare to Community LifelineIn the transformative spirit of Burning Man, Drew Huening’s journey from carpooling with strangers to Black Rock City to becoming the founder of ChiCargo, a community shipping program for Burning Man and Regional Events, is a testament to Burning Man’s ability to inspire grand acts of creativity and practicality.

Answering the call to adventure on the Burning Man rideshare board in 2008, Huening embarked on a 3,000-mile drive to Black Rock City with two strangers in a cramped Prius. It was a journey that marked the beginning of Huening’s evolving role within the Burning Man community, from an informal camp leader to organizer of a large theme camp.

Driven by necessity and the ever-growing scale of his camp’s needs, Huening’s transportation methods evolved annually — from a humble Prius to progressively larger U-Hauls, culminating in the acquisition of a 48-foot semi-trailer in 2015 through the creation of an LLC.

ChiCargo containers ready to go 2022, (Photo by ChiCargo)This strategic move gave birth to ChiCargo, which has become integral to the Burning Man experience for many in the Chicago area. The program allows other Burners from the Chicago area to rent space on the company’s trailer to transport gear to and from Black Rock City. This frees Chicago area participants to avail themselves of the Burner Express Bus and rideshares, with a bonus of having a significant net impact on emissions reductions for travel to BRC.

The success of ChiCargo underscores a central Burning Man narrative: what begins as a practical solution can transform into an essential community service. As Huening puts it, the gratitude of participants echoes across the playa — “My burn is so much easier!” “I don’t have to rent a car!” “I can take the Burner Express Bus!” “I can’t imagine burning without it.”

ChiCargo containers on playa (Photo by ChiCargo)It’s all connected. Musing why Burning Man is such an incubator for innovation, Huening said, “If you’re at Burning Man and you see something unbelievably cool and innovative, close by is gonna be the person that made it, sitting on a lawn chair, and they’ll want to tell you all about it and they have the time to. It’s like, ‘let me open the hood to this thing and let me tell you candidly what worked and what didn’t work.’ As a tinkering person, it’s a pure feedpipe of inspiration, but also the hands-on ability to actually learn.”

And thus conclude three stories showcasing the power of Burning Man culture. It fosters innovation, builds community, and creates positive change all over the world. Burning Man Project exists to nurture this global ecosystem of creativity and connection. And we want to hear all about how you bring Burning Man to the world and the impact it has on your family, friends, workplace, school, town.

We want to know all the ways you fuel the fire, so we can fan your flames.

Cover image of Roburn participants, 2023 (Photo courtesy of Roburn)

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Burning Man Project is pleased to announce that we have been working with Ormat Technologies, Inc. for the past year to arrive at an agreement that will benefit both organizations and the town of Gerlach, Nevada.

Ormat is a leading renewable energy provider headquartered in Reno, Nevada, and in 2020 proposed an expansive exploration project for geothermal resources in Gerlach. Burning Man Project, the Town of Gerlach, and several other nonprofit organizations raised serious concerns about the potential and likely environmental, social, and economic impacts.

You can see our previous coverage in Journal posts here.

The agreement between Burning Man Project and Ormat Technologies, Inc. brings to a close the lawsuit filed by Burning Man Project against the Bureau of Land Management related to the proposed exploration project.

Please see below for the public announcement.

Press Release – Burning Man & Ormat – October 2024

Cover image of Highway 447 at Dusk, 2022 (Photo by Deets Shay)

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Black Rock City is a living manifestation of Burning Man culture, and the act of collaboratively building the city renews our hope, connection, and excitement. With nearly 70,000 participants this year, wow, did Black Rock City deliver! The way we gather offers a great reminder of why more Burning Man is needed.

Fostering interactions, innovation, and community based on shared experiences, Burning Man is the antidote to the division, hostility, isolation and conformity we see too often in the world.

Burning Man is more relevant than ever and global participation is at a record high, but 2024 Black Rock City tickets in the higher price tiers did not sell as planned. The resulting revenue shortfall means everything is now at risk. In fact, when compared to 2023, the revenue shortfall from the higher price tiers was approximately $5.7 million. This is only representative of a portion of what we must raise in 2024. More than an event, Burning Man is a global cultural movement, and the nonprofit in service to that culture requires year-round support — year after year.

Give $20 a month to keep Burning Man going year-round!

Every dollar helps! Just like other cultural and arts nonprofits, including your local symphony or theater company, Burning Man Project depends on the generosity and support of its community members to accomplish its mission. Ticket revenue alone does not fund all that Burning Man Project does to bring Burning Man to the world, including the production of Black Rock City, and in fact has not since 2014. This is why whether you went to BRC this year or not, you are a member of our community, and a monthly contribution of $20 will help to keep Burning Man programs alive. Without corporate sponsorships — which we’ve never had and will never have — to underwrite our operations, we are increasingly reliant on philanthropy (including your generous purchases of those higher-priced Black Rock City tickets).

We are taking steps to focus our operations for the future, and need the community’s help to raise the funds needed to preserve Black Rock City as the vibrant heart of Burning Man, and protect the culture with which the event is inextricably intertwined.

The power of the Burning Man community is incredible — we come together, do hard things and overcome challenges head-on. We got through a rain event, we’ve battened down through dust storms, and we’ve even navigated a pandemic together.

With your help, we will accomplish what is good for the world, save the future of Black Rock City and continue to get more Burning Man out there. Consistent with our 10 Principles, your generous participation and gifting is what sparks the Burning Man flame.

My hope is for you to be the spark for more Burning Man, and I invite you to be a part of co-creating the future. I look forward to your involvement.

If your friendships, community, family or personal life have benefited or could benefit from the magic, creativity and inspiration of Burning Man, I urge you to please support us with a gift today.

Your Support of Burning Man Project creates a thriving world:

• It enables connection: Makes Black Rock City a reality for tens of thousands of participants to find their voices and creativity, including through initiatives such as the Ticket Aid Program and ticket pricing that keeps the city financially accessible and ensures the cultural diversity of the movement.
• It stokes Burning Man culture: Enables the next generation of leaders to connect and create the future of communities and Burning Man at global and Regional leadership gatherings, and funds resources and tools to adapt and bring Burning Man to life in locally relevant ways, in every corner of the globe.
• It inspires creativity and innovation: Makes prototyping the community and regenerative practices of tomorrow a reality and fuels the creative vision of artists receiving grants to build incredible, inspirational pieces of participatory art for BRC and beyond.

Set up a recurring payment today or reach out to giving@burningman.org if you would like to speak with us about how you can make a difference!

Cover image of “METAHEART” by Johnny Crash (Photo by Gurps Chawla)

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Remember back in 2020 when Burning Man Project collaborated with digital creators to build several digital worlds? These virtual worlds became a veritable smorgasbord of Burner shenanigans during the COVID-19 pandemic, when Black Rock City and Burning Man experiences around the globe hit pause and Burners were looking for safe ways to gather and create together. When the world opened up again, many of these virtual Burning Man adventures quietly closed their doors. Burn2 kept the magic alive in Second Life, and BRCvr kept the digital dust blowing by adding 3D art and hosting fabulous parties on the AltspaceVR virtual reality platform until March 2023, when AltspaceVR was sunsetted.

Up until they lost their platform, BRCvr was a thriving virtual playa where Burners gathered to meet far-flung friends and share immersive, participatory adventures. Rather than call it quits, BRCvr founders Athena Demos and Doug Jacobson seized this opportunity to build an even more lifelike Black Rock City experience – to bring people together and to tell the story of a global community of communities.

Over the past three Black Rock City events, Athena and Doug have been gathering footage (with consent & permission, and collaboration with Burning Man Project) that will revolutionize their next immersive Burning Man social VR experience — now called BRCvr presents BurnerSphere.

As we’ve learned from supporting the global, year-round Burning Man community, people gather in all sorts of ways – it is clear that Athena and Doug’s vision for the platform will be an awesome and authentic way for people to convene and be inspired. We sat down with them to learn about the past, present and future of their exciting new project.

Want to be a BurnerSphere alpha tester? Read on, and visit their website to learn how you can get involved.

Kirsten (aka kbot): Before BurnerSphere, you created BRCvr. What’s the story behind how BRCvr came to be?Athena: We created BRCvr, an official virtual Burning Man experience, out of a desire to get the community together during a time when Black Rock City and official Burning Man Regional Events were on pause during the COVID-19 pandemic.

So in 2020 and 2021, we built a network of immersive virtual worlds on a social VR platform that made it possible for people to gather in social spaces and then visit different Burning Man inspired worlds to feel a sense of presence and connection to the larger community. BRCvr was housed on Microsoft’s AltspaceVR platform.

Doug: You could put on a VR headset, or use it in 2D on your mac or PC, then walk around as an avatar and meet your friends, then check out Burning Man art and interactive experiences, listen to artist talks and DJs, and hang out. The magic was the people. It was the community. And it was 100% immersive, much like Black Rock City. You’re there, you’re talking to people, you’re connecting with people. It had that magic soup. You start having these experiences where your friends are running off to something and you’re like: “Wait up, hold on, we’re going this way!” Artists created a lot of art that was from playa and some that could never exist in the physical world. With the sights and sounds as well as the ability to look around in 3D, it took you to that immediate moment.

What motivated the transition from AltspaceVR to creating BurnerSphere?Doug: We ran BRCvr continuously until March of 2023. Then AltspaceVR — the platform on which BRCvr was built — was sunsetted. It left the BRCvr digital Burner community without a home. We must have looked at 30 different platforms. We really did try to find a new home, and nothing met our storytelling needs or the needs of the community. We felt like the rug was pulled out from beneath us when AltspaceVR was gone. As we looked at other platforms, we began to ask: what’s preventing these from also disappearing? Ultimately we decided to create our own platform, a safe place for the community, and be in control of our destiny.

How does BurnerSphere capture the essence and spirit of the real Burning Man event?Doug: Once the dust settled on us, and there was no more Altspace, we asked ourselves, “How can we take this and make it better?” We decided we wanted to add lots of live recorded footage, live video and photogrammetry scanned art. So we took many photos of the art and created 3D models of playa art. Since 2022 we’ve been shooting an immersive documentary of Black Rock City in 3D that tells the story of the community of communities.

Then we started creating experiences — for example, you could be standing on a Mutant Vehicle (digital) and driving around Burning Man (physical video)… and you’re really driving around within a real video of Burning Man. We tried to find as many ways as possible to put real video into the digital worlds. We also recorded 3D sound. It got a little crazy… we even captured the smell of Burning Man (though the technology isn’t ready to create VR smell… yet).

https://journal.burningman.org/wp-content/uploads/2024/09/frog3.mp4How will people be able to access BurnerSphere?Doug: Currently BurnerSphere is a Unity-based app designed for the Quest. We’re starting off with the Meta Quest because it is the easiest and most immersive to develop for. Eventually it’ll be on the Apple Vision Pro and available on desktop computers, in 2D on your Mac or PC like BRCvr was; that’s how a lot of people will experience it.

Athena: We’re trying to keep it as simple as possible. A lot of thought went into how much energy it takes to onboard people into their first VR experience. We’re trying to make the user experience of setting up your account, getting on the platform, and building your avatar as fun as possible. If you have fun doing it, you’ll have fun teaching other people how to do it, too.

How are you making it possible for people to learn about the 10 Principles and put them into practice in virtual space?Athena: We’ve worked extensively to translate the 10 Principles into a digital experience, featuring videos that explain each principle’s meaning and activities for hands-on learning. One principle requiring significant tech development is Gifting—finding ways to create a true gifting experience within the virtual space and making it a core app feature. We’re also excited about developing a unique avatar builder for Radical Self-Expression and incorporating various interactive objects for diverse participation. By focusing on Radical Inclusion, the app will broaden access to Burning Man’s culture, ethos, and community, with plans to enhance accessibility for those who find virtual technology challenging.

How is BurnerSphere rolling out? How and when can people experience it?Athena: We’re building BurnerSphere from scratch with a focus on community input. You can apply for the alpha version at burnersphere.com, which requires a VR headset (Quest 2, 3, or Pro). We’ll gradually invite participants who have some basic understanding of VR and Burning Man culture, though VR expertise is welcome. Your feedback will help shape the experience.

Doug: We have the foundation for exploration and interaction in place and are now focusing on building out content. First, we need testers to check the servers and functionality. Once we reach a set number of participants in BurnerSphere, we’ll launch a closed beta to test new features added after the Alpha. Alpha and closed beta participants will have the first chance to invite friends before we transition to the public open beta.

In order to be sustainable and cover ongoing expenses, we will have to charge something for BurnerSphere. We will have “camp dues” for open beta. We promise to keep the amount as low as possible and to be transparent about what expenses are covered — just like camp dues in BRC.

We’re hoping this time next year we’ll get to that level.

Will people be able to fly around the playa like they did in BRCvr?Doug: We definitely want to bring flying back. It’s on our feature roadmap. Everybody wants to be able to fly around the playa.

It’s not cheap to build a technology platform. How are you paying for all this?Athena: Initially, we were fortunate to have AltspaceVR host us, but now we’re building everything ourselves and hosting the server space, which is costly. We’ve self-funded the project through some client work and support from friends and family. As we approach the final push to complete our extensive feature list, we’re eager to connect with like-minded Burners interested in investing in BurnerSphere’s mission to spread the community’s ethos. If you’re interested, please visit BurnerSphere.com and click on “contact.”

Cover image of the Burnersphere, 2024 (Screenshot courtesy of the Burnersphere team)

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I’ve heard nothing but glorious things about this year’s Black Rock City — lots of people saying that it was their best year ever.

But most of the online discussion about it was still as awful as ever. Honestly, if I didn’t already know and love us from all my in-person experiences, I probably wouldn’t want to have anything to do with us based on what I see on my social feeds.

So I was struck by a social media post by Halcyon noting that “the magic of Burning Man community has never translated into positive online socializing.”

He explains that:

In my 26 years of Burning Man participation, I have continually been disappointed by how quickly the positivity of Black Rock City disappears when we start to talk about it online.

Without the face-to-dusty-face element, something significant is lost.

I agree, but it’s not just “in Black Rock City” as opposed to the “default world.” It’s all the conversations that we try to have online. Over the years I’ve gone across the U.S. and (to a much more limited extent) the world, having challenging conversations with Burners about this thing we do, its philosophy, and its cultural implications. And every time — literally every time — the conversations that we had in person went much, much, better, than they ever do online. Even when the same people were involved. Often, the in-person discussions of difficult topics felt very much like Burning Man — playful, experimental, courageous, kind. The online discussions almost never do.

This isn’t unique to us, of course: pretty much the only thing we can count on in this world is that talking about something online makes it worse. It’s a difficult dynamic because we are social creatures. Just as it’s harder to live the 10 Principles in the default world because everybody around us is living as if they’re in the default world, it’s even harder to live the 10 Principles online because, well, everybody is behaving the way they’ve been conditioned to behave online. The way the structure of online communications is essentially designed to encourage.

As I wrote a few years ago:

The problem with thinking about the internet as the “new Black Rock Desert” (and I’ve been guilty of it, too) is that for virtually everyone who first goes to Black Rock City, the open playa is a completely alien environment. We see it, we feel it burning our skin, and we are in a new and unfamiliar world. We don’t know shit about how to exist here, and we are crushingly aware of our ignorance. That ignorance also happens to be opportunity: we know so little that we get to invent everything, including ourselves. We are all, suddenly, amateurs.

The internet, on the other hand, is an environment that we already know intimately. We have developed a lifetime of habits around it, many of them terrible (if we’re being honest about it). Most of our internet habits involve not connecting with and humanizing one another, but keeping other people at a distance — both presenting and seeing only our facile representations of who we want to be — and dehumanizing one another.

It’s not our fault, but it is something that we have to deal with. Because while we have tried, with some success, to use digital avatars as means of improved communication (the talks in Burn2 and the VR Burning Man tended to at least be civil), we are clearly not reaching the standards we hold for ourselves. And so either we need to figure out how to be keep our standards online, or we need to be upfront: Burning Man is fundamentally an in-person phenomenon. You have to show up, in person, to get the experience right.

Is that true? Can we not do online what we were able to do in one of the harshest physical environments on earth?

Here’s What I’ve TriedI’m open to that possibility, but right now I’m betting against it.

First because I don’t think we’ve really put our minds to trying. We collectively put so much more effort into our BRC theme camps than we do our online dialogue — we shouldn’t conclude we can’t do anything until we’ve really tried something.

Second because my own experience trying to create “Burning Man” type experiences over Zoom during the pandemic taught me a great deal about how to successfully shift from in-person to online experiences. And while “making art experiences” is different from “having a positive community dialogue,” I think some of the lessons will cross-over. Or at least support the search for a new approach.

My general design elements for creating “psychomagical experiences” in the style of Burning Man and the San Francisco art underground are quickly summarized here. All of those apply, but interpreting them for an online environment was not a simple task.

I wrote about my efforts to create Burning Man-like experiences here, here, and here (and a few other places), but a summary of what I learned is below. I want to be clear about something first, though: this is not my list of how I think things should work, or how I want them to work, this is my summary of what did work. The ideas emerged from trial and error. It is also not meant therefore to be an exhaustive or exclusive list: if other people get results that “feel like Burning Man” doing other things, great! Tell me how you did it so that I can try it too!

That said, here goes:

• Time and Place Still Matter: the internet (literally) encourages “browsing” experiences, stepping in and stepping out, jumping in and saying something when you have the chance, then going about your life. This seems to be poison for Burning Man-like experiences online: every successful online experience I created or was part of involved people committing to show up and be present, be actively engaged, for the full duration of the experience. You can’t create magic with people who are distracted and don’t really show up.

I suspect the same thing is true of online conversations. Part of the problem with those conversations is that people jump in, throw a grenade, and then hop out again, repeating the process at their leisure. A better online dialogue might require people to stick around.

• Structure It So That Everybody Gets to Participate: Even in “real world” experiences it’s very easy to let the loud and extraverted people take up all the time and bandwidth of the experience. It’s even easier online, and it’s even more harmful. I discovered in the online experiences I was trying to make “feel like Burning Man” that some kind of turn based system often needed to be included in the structure of the event itself: it needs to be explicitly set up that everybody gets a chance to do the Main Thing (whatever that is), and that nobody gets to go twice until everyone has gone once. I’m sure there are other ways, hopefully less heavy handed ones, to make sure everyone feels like they have participated fully, but so far this is the only thing that worked for me. When people know that they’re not going to have to fight or struggle to participate, it tends to make everyone calm down and more open to the experience and each other.

Once again, I suspect this is true of creating online conversations that “feel like Burning Man” — it seems like it goes against Radical Self-Expression to tell people “you’ve had your turn to talk, wait for other people to express themselves,” but this is an area where Participation, Communal Effort, and Civic Responsibility, seem to matter just as much. Perhaps there are ways in which giving people fewer chances to chime in actually makes each opportunity more precious, and so will be better used. I dunno, but it seems like it helps in some circumstances. I don’t actually like this personally, it feels overly controlling to me, but I found it necessary and effective al the same. * You Need to Take Risks: getting together just to hang out and “have fun” may be okay for people online. Not so much for me personally with groups, but some people definitely get something out of it. Creating experiences of art and whimsy that “feel like Burning Man,” however, requires more. To bring that element up, people need to take risks. They need to put something on the line.

Burning Man events, particularly ones like Black Rock City that exist in harsh and unforgiving environments, present many risks as a basic part of the experience — and that’s in addition to whatever personal risks people take once they’re there. Online experiences rarely seem to have that element built in in the same way; indeed, our social media and conferencing software is designed to be as frictionless and seamless as possible, to minimize risks and keep everything easy. Real risk is an ingredient that can be very difficult to add to an online gathering when we’re sitting at home.

But it can be done. In particular, I found there were four kinds of risks that could be added to any experience with a webcam and a microphone: * Physical risks: do something difficult, spontaneous, or intimate, with your body in your own surroundings; * Emotional risks: do something, reveal something, that feels emotionally risky to you; * Social risks: go out on a limb to learn about and connect with the other participants; * Absurdist risks: do something so utterly bizarre that no one can predict what will happen next.

The more of such risks you manage to tie into an experience, especially one that does last for a prolonged period, the greater an experience of authentic engagement, connection, and even magic is likely to emerge.

This works great for art experiences, but seems like it is going to be particularly difficult to transition over to community dialogue, where you want people to feel safe expressing themselves. Social media is also a places where too many people see edgelord behavior as “risky,” when in fact it is perfectly safe from behind a keyboard dealing with people who you’ll likely never meet. It’s so convenient to flame someone, so easy and risk free it is to just pile on someone you disagree with. Which brings us to the next point:

• Make Communication Inconvenient: Much in the way that we get so much out of how goddamn difficult Black Rock City and other Burning Man events are to access, how much better everything gets because of how much we had to put everything in just to participate … online art experiences can benefit from a substantial helping of inconvenience. This goes against the nature of the medium — social media is designed to be convenient and easy! — but that’s precisely the point. Experiences have more gravitas, and people put a lot more intention on what they’re going to do and say, when participants have worked so hard to get here.

There’s a few other things but this list has gone on long enough and those are the big ones … I think. Again, the point isn’t that I’m right about anything in particular, the point is that this is what I’ve found works for creating online events that actually “feel like Burning Man,” and maybe there’s something helpful here for other efforts to better ways to communicate online.

Trying Together Is More Important Than Being Smart AloneBut it’s also worth remembering that biggest reason Black Rock City and other Burning Man spaces are so different isn’t just that we have better ideas; in fact, Burning Man had been going on for 18 years before the 10 Principles were developed.

The important thing was that we decided to actually do things differently when we were in a Burning Man cultural space, and enough people committed to that and joined in the ethos that new people who came looked around them and saw a culture that truly worked differently. The reason it’s so difficult to be your best Burner self in the default world is that you have very little support for it — most strangers give you weird looks when you try to give them gifts, you have to really coax people into acts of Radical Self-Expression, and there’s an active hostility to Radical Inclusion these days. It’s so, so, much harder to carry the torch alone.

But when we come together, we find brilliant ways of making it work. Culture is not like physics — it can be changed by people who commit to it. The important thing wasn’t just that our ideas were better, it’s that we threw ourselves into the experiment together and followed what worked.

I suspect the same dynamic is true with online spaces. The problem isn’t that we’re bad people (or at least no worse than anybody else), the issue is that we have inherited a set of terrible behaviors for online conversation, and we revert to them.

It’s a free country (more or less) and so we’re not going to ever stop people from saying whatever they want on their own social media forums, nor should we try. We don’t need to be scolds, we don’t want to be scolds — in fact, the endless rounds of accusations and bad faith attacks are what we want to move away from. We can do this playfully. We can try to do better in a spirit of experimentation, a spirit of “what happens if?”

And if enough people get together and try to have important conversations online in a different way, if in their own spaces they develop alternatives and try them together, it will so much easier to change the way we relate online than just handing people a sheet of rules. Seeing other people do it is far more effective than being told how to do it, especially when it looks like the people doing it are having more fun, and being more productive.

We are social creatures. The point isn’t necessarily that we succeed so much as that we are trying together, and having a better time for it. I believe Burning Man culture can create better internet conversations — it will just go through some phases where we fail first and look absurd doing it. That’s okay, that’s our happy place. We can make our online communities feel like theme camps if we apply the same creativity and effort.

Cover image of “Broken but Together” by Michael Benisty (Photo by DustToAshes)

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UPDATE – Monday, August 26, 2024 – 3:00pm

Our statement has been updated, as the Pershing County Sheriff’s Office has identified the participant who passed away on Sunday as Kendra Frazer, 39 years old. Our hearts go out to Kendra’s family and friends.

FOR IMMEDIATE RELEASE

For media inquiries, please contact press@burningman.org

Participant Passes Away at 2024 Burning Man Event[Gerlach, NV] – It is with heavy hearts that Burning Man Project confirms the death of a participant in Black Rock City in Nevada’s Black Rock Desert. Our thoughts and condolences go out to the family and friends affected by this loss. The participant has been identified by the Pershing County Sheriff’s Office as 39-year-old Kendra Frazer.

On Sunday, August 25, 2024 at 11:29am, Burning Man’s emergency services personnel responded to a report of an unresponsive individual. Once on scene, life saving measures were immediately attempted but were unsuccessful.

We understand that this news will be difficult for many in our community. If you’re in Black Rock City and need additional support, there are resources available to you:

• Black Rock Rangers are available to provide peer support services 24/7 at Ranger HQ (5:45 & Esplanade) and Outposts (behind the 3:00 and 9:00 Plazas)
• Black Rock City’s Emergency Services Department’s Crisis Support team are available 24/7 at the ESD stations located at 5:15 & Esplanade and behind the 3:00 and 9:00 Plazas.

The safety and well-being of our staff and community are paramount. We are cooperating fully with local authorities as they investigate this incident. The Pershing County Sheriff’s office investigates all deaths that occur in its jurisdiction. Out of respect for the privacy of the grieving family, we will not be providing further details at this time.

About Burning Man Project

Burning Man Project is the nonprofit organization that produces the Black Rock City event in Northern Nevada and works year-round in service to the global Burning Man cultural movement. Together with the resourceful and generous Burning Man community, Burning Man Project is advancing a more creative, connected and thriving society.

Cover image of Burning Man Project logo

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In days, there will be a gathering of people in the Black Rock Desert celebrating and putting into practice a culture of creativity, innovation and connection. The Burning Man Project has been supporting and encouraging this Burning Man cultural movement since 1986. Burning Man migrated from the beach in San Francisco, to the Nevada desert and then out into the world.

In 2023, 74,000 people came together in Black Rock City, and incredibly, an additional 95,000 people participated in official Burning Man Regional Events around the world.

Specific to Black Rock City this year, we can’t wait for the Curiouser & Curiouser convening. We expect the metropolis to bring together nearly 70,000 participants including similar levels of first-time Burners on playa as in the past. Those who are new will discover as they acculturate with the Survival Guide what community—at Burning Man events and in the world—is truly all about: storytelling, celebration and laughter, informality and care of others, generosity, kindness, and collective effort. Let’s remember, we were all newbies once, and with that wide-eyed expression caught up in awe and joy we went on to do more and bigger things.

From building a wilderness camping experience in Black Rock City as an experiment in civics, to achieving our nonprofit goals, no one said it would be easy. And, the goal remains the same–to make the world better. The key to our collective success is the long-term survival of the Burning Man culture and our continued ability to inspire participation—in Northern Nevada and globally.

In this moment of societal division, isolation, and a decline in people connecting, the antidote is more togetherness, mental well-being, and creativity.

Burning Man culture is more relevant than ever—this is exactly what it offers through art, music, learning, leadership and civic engagement.

In the early years, annual ticket revenue was sufficient, but it alone does not fund Black Rock City and all the other ways the nonprofit brings Burning Man culture to the world. Since becoming a nonprofit in 2011, philanthropic support has been increasingly vital. It is even more important today given lower ticket sales to this year’s event.

It is easy to hypothesize about why we’re in this moment, but let’s not forget that while the movement is vibrant, any culture is impacted by what is happening in broader society. Moods and societal values change, economic forecasts and consumer confidence fluctuates, local, state and federal laws shift, the weather patterns become unpredictable, and costs rise, but one thing remains: Our passion and commitment to bringing more Burning Man culture to the world is steadfast.

Judging by the outpouring of community response to our extended ticket sales—including the return of in-person sales at beloved locations in San Francisco and Reno—and the invitation to share music line-ups earlier than usual, it’s clear you care deeply about what we are doing to safeguard the future, and how you can be involved in it.

When ticket sales slowed for this year’s gathering, we leaned into radical inclusion. We helped more people discover that this could be their year to make it to Black Rock City. Because we are deeply committed to managing ticket prices in a way that facilitates a citizenry from diverse economic backgrounds, we re-opened the Ticket-Aid program for low-income $225 tickets, while at the same time kept $575 and $1,500 tickets available for purchase. Is this the year that a friend of yours can finally come to the desert?

Burning Man culture must continue to be dynamic, organic and evolving in order to be in service to a more thriving world, a world that today needs more and more of what we do.

As an organization, we are looking for ways to say “yes,” while sticking to our shared values. We are also seeking more ways for engagement with participants to co-create and shape the future of community. We welcome your input, and we’re listening.To the Burning Man Project, the future includes prototyping the community and regenerative practices of tomorrow, particularly in Northern Nevada; acting as an effective steward with the global network to increase and expand upon the relevancy and meaning of Burning Man culture; and creating more lower barrier opportunities to engage with the community and the culture while, across all we do, leaning into the bleeding edge of collaboration and co-creation that will enable the handoff to the next generation.

Burning Man isn’t easy. It is a badge of pride to get out of your bubble and convene, create and innovate with people of different interests, backgrounds and beliefs, but it sure is worth taking the risk. The reward is personal growth and communal benefit—oh, and a hell of a lot of fun.

Join in understanding the opportunity for more Burning Man in the world, in exploring how you can play a part, and how you can support the movement beyond Black Rock City. Communities are built on the recognition of the unique abilities of every member, and I thank you for being a part of Burning Man!

Hope to see you out in the world,
Marian Goodell
August 18, 2024

Cover image of “Glotus” by Gidget at sunrise in Black Rock City, 2009 (Photo by Ales Prikryl)

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“Burning Man is the perfect melting pot of creativity and inspiration,” observes Pablo González Vargas of Mayan Warrior, the iconic rolling sound system that is being transformed into an all-electric mutant vehicle over the next two years (yep, even those famed lasers, lights, and speakers). “The things I learn at the Burn from experience, being conscious of the waste we generate and how much fuel we spend — it’s made me change my life.”

This ambitious conversion project is just one of the many threads in a larger sustainability effort that is having a powerful impact. Burning Man events around the world, including Black Rock City, are real-life laboratories where new tech and wild ideas get thrown into the desert furnace. Here, innovation is built, broken, and regenerated, becoming playa-tough and perfected. From the Super Bowl and music festivals, disaster recovery to private homes and municipalities, the ever-advancing power configurations on playa and at 85 official Regional Events around the world are inspiring regenerative solutions that support a more sustainable future.

Burner-conceived Energy Technologies Are Influencing Large-scale Commercial EventsRenewable energy technologies developed in Black Rock City have made their way to the Super Bowl.

Black Rock City Operations and Regeneration teams are working in close collaboration with technology providers to power the city’s electrical grid, as a path to reducing emissions from the city’s operations. By bringing together decades of hard-won experience in the desert, with state-of-the-art gear from companies such as Sunbelt Rentals and Virindi Battery technology, some intriguing real-world results have come about. Sunbelt was also the power provider for the 2024 Super Bowl, where they introduced sustainable technology developed in BRC to power the vehicle screening area during the event in Las Vegas.

“We were able to successfully deploy Viridi batteries at the Superbowl, as well as showcase the Dragon Wings solar product designed by Burners…,” said Gary Meador, a senior director at Sunbelt who has been collaborating with Black Rock City Operations since 2023. “We ran that whole area for a month without turning a generator on hardly at all. Neither of these would’ve been possible without our collaboration with Burning Man Project.”

Developed in BRC, The Dragon Wings renewable microgrid system powered the 2023 Super Bowl’s vendor operations and the construction of the halftime stage. The brainchild of Dr. Ryan Wartena, Dragon Wings answered a need for a mobile energy system to power his BRC theme camp. Wartena shared, “Dragon Wings evolved right from Burning Man and Black Rock Labs’ extensive experience with solar power at Snow Koan Solar in Black Rock City.”

BRC’s role as a crucible for sustainable innovation continues to resonate far beyond the playa. This desert laboratory not only pioneers technologies reducing its own environmental impact, but also helps shape the future of sustainable event production by exporting these solutions globally.

Going Solar, by Profiles in Dust, features projects that are contributing to a net zero Black Rock City. Watch it here:

Burning Man Is a Testing Ground for Regenerative Technology and Practices That Are Changing the WorldPicture this: Beneath the dust-swirled steady thud of revelry in Black Rock City lies a less-visible yet equally vital heartbeat—a complex power grid, woven into the desert surface. This isn’t just a couple of extension cords and a prayer; it’s a full-blown maze of batteries, solar panels, and generators powering the essential infrastructure of a temporary 80,000-person city, day and night. This complex power configuration is an ever-advancing network where renewable energy, alternative fuels, and cutting-edge battery technology are displacing fossil fuels and traditional generators, rapidly paving the way for a cleaner BRC and beyond.

“George Reed: Invisible MOOP and the Net-Zero” on Burning Man LIVE podcast—Stuart Mangrum speaks with George B. Reed III, Director of Regeneration, about how BRC crews and participants are embracing clean energy.

Now, Net Zero Black Rock City plans to convert all staff and participant operations into a net zero carbon model. It’s already resulted in a 25% reduction of power-related fossil fuel use in BRC thanks to a new grid design that uses solar, batteries, and renewable fuels. We’re just getting started—in BRC 2024 we plan to have batteries on 100% of our grid, fast-tracking the shift away from fossil fuels on the city’s operations. “If things go according to plan for this event, we will have reduced the carbon impact of producing power for the infrastructure of BRC by more than 65% in just three years’ time,” says Chris Neary, the Associate Director of the DPW known as ChAos. Burners have always led the charge in innovating cultural, technological and logistical innovations—we’re now seeing those innovations make their way out into the world to solve big problems well beyond Black Rock City.

Commercial Events Around the World Are Inspired by Sustainability Practices of Burning Man Regional EventsBurning Man’s ambitious sustainability goals and the Net Zero BRC initiative have inspired and guided Regional Events to develop their own sustainability roadmaps to address their unique environmental needs and challenges. Founding member Ancka Stefan of Kiez Burn in Germany’s Berlin area shared, “In integrating the principles of Leaving No Trace and Communal Effort from Burning Man, we’ve been able to foster a culture of environmental consciousness and collective responsibility at Kiez Burn. The Sustainability Roadmap and Net Zero BRC have served as guiding lights for us in developing our own sustainable practices.”

Kiwiburn in New Zealand (incidentally the first Regional Burning Man Event outside North America) was the first Regional Event to prototype Burner Leadership for Sustainable Theme Camps (BLAST), a sustainability rating system that assesses theme camps.

Kiwiburn’s sustainability initiatives have influenced larger commercial events, particularly in waste management strategies such as food and plastic recycling. “Green Kiwi-Burners work with other organizations, and there is a ripple effect—our sustainability practices are absorbed into other events,” noted Kiwiburn’s chairperson, Andy Justice. “Kiwiburn is quite often used as a sort of a guideline for other commercial events in New Zealand to look at how to do things.”

KiwiBurn has long planted trees to offset carbon emissions generated by their event; with the implementation of BLAST-inspired Green Kiwi, the initiative is now expanding beyond their own community to other parts of New Zealand. In 2022, KiwiBurn launched the Green Kiwi initiative to encourage theme camps and the wider KiwiBurn community to adopt sustainable event practices such as carpooling, compostable toilets, a compost program, and renewable energy sources. As a result, the event has seen a significant shift towards solar power, with many camps investing in solar panels and battery storage.

Black Rock City Participants Iterate on Renewable Practices That Extend Beyond the DustBurning Man has always been a testbed for innovative sustainable technologies and practices — born in our own backyards, refined on the playa, and extended to the wider world. Through their camps and art projects, participants in BRC and Regional events are actively testing regenerative technologies that will help meet the goal of a net zero BRC, and are already being applied elsewhere in the world.

Black Rock City has 1,188 placed camps, and many more unplaced camps, each contributing uniquely. According to Bryant Tan, Associate Director of City Planning in Black Rock City, 52% of placed camps in 2024 are working towards Burning Man’s 2030 Environmental Sustainability Roadmap, and 61% are using alternative power (mostly solar).

We’re also seeing camps expand their sustainability efforts beyond BRC. Marcus De Paula built a rapid-deployment solar power infrastructure for a camp that has served 35,000 bao buns in its eight years on playa. “I knew nothing about solar last year. I built the whole system in two weeks and learned everything from YouTube.” Bao Chicka Wow Wow’s system in 2023 was 20 panels producing 10,000 watts of power—since they learned that setting up their solar array takes the same amount of time as setting up their normal shade structure, they’re going to quadruple its size in 2024.

After this year on playa, De Paula has plans to market his design to other rapid deployment situations, disaster relief in particular. “Disasters can disrupt roads and infrastructure, creating challenges similar to those faced at Burning Man of getting fuel out to locations that require generators. Running a generator is actually really challenging, and when you have solar, you drop the equipment and then you don’t have to worry about consistently servicing it. They’re pretty robust at this point.”

The Temple of Time is a two-story interactive art car built by William Venable that will be fully electrified at BRC in 2024. It has a 3,000-watt inverter and 10,000 watts of storage capacity on a 48-volt system. Back at camp, it plugs into a shade structure that doubles as a solar power generator, effectively creating a self-sufficient operational base. The whole setup will produce 15,000 watts of power in Black Rock City, more than they need—with the extra energy produced, Venable has arranged to supply excess power to support the Black Rock Observatory’s infrastructure.

Once back in Utah, Venable plans to repurpose this technology to power his home. “There’s nothing quite like a 24 hour free power grid powered by the sun,” Venable shared. “So I think that’s the way to do it, is to start blending our personal lives, our Burning Man lives, our work lives, and we start blending everything together so that they almost become indistinguishable from one to another as far as our energy sources and our energy uses go.”

Join Us and Inspire a Cleaner FutureBurning Man Project is the nonprofit in service to this global cultural movement, in all its beautiful and brilliant manifestations. Your tax-deductible donation will support our year-round work stimulating innovation and creativity, in Black Rock City and beyond.

Mitigating climate change is everyone’s responsibility. Burners in Black Rock City and at Burning Man events around the world have been creating and implementing low carbon practices and technologies for decades, and we’re no strangers to tackling difficult problems. Burning Man is not separate from the world. We are part of it and have always led the charge in innovating cultural, technological and logistical innovations that make their way out into the world to solve big problems. Our work in this realm is no different, and the stakes have never been higher. Join us today!

Cover image of a Unicorn solar array powering the Man, 2024 (Photo by Rand Larson)

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Captain’s Log: C.C. Canopy — Star Year 2024

For the last four months I’ve been deeply immersed in world-building and designing outrageous experiences in the heart of this year’s version of Black Rock City. As the Center Camp Plaza Project Manager, I have the privilege, honor, and great responsibility to hold space for, and in some cases actively orchestrate, the center of the swirl. My mission is to catalyze the emergence of something new, fantastic, and outrageously engaging in a zone that knew its identity for decades, and then plummeted into an odd type of existential decay over the last two years.

From a Ghost Town…

“Ghost Town” is the term I’ve heard used most often to describe what Center Camp became after the COVID-19 pause, and it’s a phrase that fits the desert imaginal scape quite well. I’ve combatted this dismal spell in my own mental space with a conjuring of my own. I dream of myself as a boisterous buckaroo, sauntering into the whistling wild west center of town with bubble guns and kazoos strapped to my bandolier, jokers up my sleeves, and a magic squeaky rubber chicken whose squawk calls in the merrymakers, the pranksters, the zany gag-wits and cutup clowns from across the lands. “Ghost Town no longer,” at least if my magic rubber chicken’s got anything to say about it!

Center Camp ghost town, 2023 (Photo courtesy of the author)And yet, it’s important to recognize that the decline we experienced is part of a larger cycle. Seeing the Center Camp fields lay fallow for a few years gave us the opportunity to experience what it’s like when the heart of the city is empty. From the barren landscape of service camps dark at night, to the image of an unattended canopy cordoned off because it had become a lake in 2023, these memories give us the permission to dream anew and ask the important question:

What wants to spring to life in the center of our great city, here at this important cultural nexus point?

Urban Renewal and Cultural Revitalization in the Heart of the City

It inspires me to report that the concepts of urban renewal and cultural revitalization have been important driving forces in the reimagining of our Center Camp experience. The minds at Burning Man Project and engaged Burners in the community are regularly ruminating on these academic wrinkles. What we are collectively building this year is born from the fruits of their musing.

A fascinating alignment is emerging. This alignment of thinkers and doers, of minds and hearts and desires, is calling forth innovation and a return to togetherness and joyful engagement. It’s like a giant magnet, pulling weird art, wondrous characters, and satirical shticks into an epicenter of awe that will manifest in physical reality smack dab in the midst of the Central Plaza and Center Camp Canopy. Rejuvenation is upon us, mark my words. What’s more, it won’t look like it’s looked in the past — so prepare for that new-new.

One of the most unique facets of our beloved Black Rock City, which sets it apart from every other city on the planet, is the amazingly short urban lifecycle. Across all the cities we know in the world — which we’ve grown up in or visited on vacation or spent four years grinding in their local university halls and service industries — the city lifecycle generally traverses six phases: rapid growth, slow growth, shrinkage, decay, renewal, and revitalization. For the most part, these phases play out over long time horizons, decades or even generations.This is due to the fact that most city streets are paved; the urban planning is complex, rigid, and institutionalized, and the buildings are made of wood and bricks and stone and steel.

Yet in Black Rock City, where the infrastructure is held together by rebar, zip ties, and dreams, and the canvas is wiped clean down to playa each year to build anew, we’re provided with a much more responsive and condensed urban lifecycle. In this special petri dish, the implications for learning about the cultural mechanics underlying urban transformation are tremendous — and not just in theory, but in lived practice.

What will be gleaned from the experiment at hand?

Will we step up to innovate and create together? Will we harvest the learnings from our unique experiment and provide valuable contributions to society at large?

Only time and the omniscient magic rubber chicken can tell.

But What Will It Look Like? To the Galactic Center We Go!

Here’s what I will share, just to be fair to those of you who’ve made it this far: The new Center Camp Neighborhood will be nothing short of a new Galactic Center, alive with weird Burning Man everything. The Plaza is full of theme camps with a balanced array of daytime and nighttime activities. Service camps have been moved out to the Esplanade or peripheral neighborhoods. Rod’s Ring Road is gone; it was time for a change to the neighborhood layout, bringing the energy into the center.

In the Plaza you’ll find a ski slope, a piano bar, a jazz lounge, a few fabulous watering holes, a home-brew beer hall, a sunrise cafe that serves breakfast sandwiches and caffeinated goodness, a teahouse, two karaoke spots, a carousel, roaming appliance robots, and a couple of fire stages where the city’s best fire spinners will be imbuing the space with bold fury! A total of eight camps around the Plaza will be serving muddy bean juice, so hopefully we can just leave that at that. The Plaza was curated by our Placement team intentionally to uplift and encourage the objectives of rejuvenating the zone into a bustling downtown district.

Then there’s the Canopy. This is a place where I’ll opt to leave much of the plans to be a surprise. And what an epic surprise it will be. What I don’t mind disclosing now is that there will be hundreds of activated collaborators bringing their special sauce into the center of the center. A center stage will be built the likes of which center camp has never seen. French Quarter will be installing an epic hundred-foot-long dining room table that will feature absurd tea parties, crafternoon sessions, gaming tournaments, and ridiculous dining pop-ups. You can expect an Around the Clock Teahouse with ceremonial tea service 24/7. There are 16 alcoves around the perimeter of the Canopy featuring cool micro-environments and devious spontaneous experiences. There will be many of the staples you’ve known and loved over the years, such as contact improv, a new and improved art gallery, a speaker series, the People’s Fashion Show, the Cacophony Society mixer, the Billion Bunny Takeover, and spoken word poetry of questionable quality. And there will be new things that Center Camp has only dreamed of hosting before … like the Burner Olympics, the Genius Hour variety show, Black Rock Blackjack, a grand trading post, and so much more… I can’t believe I’m leaving it at “and so much more…” But for real, there is SO MUCH MORE. You might just burst your fun meters, so maybe leave those at home. For those of you keen to brush up on all the happenings, you can peruse the Playa Events Guide for Center Camp activities. Also when you arrive on playa, you’ll want to take a gander at the WhatWhereWhen guide’s sexy Center Camp centerfold — featuring events beneath the Canopy!

If you feel the energetic pull to embark on this journey of renewal and revitalization and you wish to add your intentions to the cauldron, you are cordially invited to participate in the Opening Ceremony, Sunday August 25th at 7:30pm at the main entrance to the Canopy. Let’s convene and remember that the heart of Burning Man isn’t just in the art or the music or the beverages that help us wake up. The heart of BRC is found in the connections forged and the spaces shared. It’s about the magic of the moments spent with other adventurers, in time as it passes. How very precious these fleeting experiences are.

Squawk Squawk!

Captain Gabriel, signing off for now. May we meet in the new Center Camp Canopy Galactic Center soon. And until then may your journeys be filled with dust, dreams, and delightful surprises.

Cover image of aerial view of Center Camp, 2023 (Photo by Barbara Kojis)

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On a dry lake in Northern Nevada, four miles from the pavement and 100 miles from just about anything else, a small crowd gathers on the alkali under the late-afternoon sun. It is 5pm on the 25th of July, 2024, and the raising of this year’s instance of Black Rock City begins with a single hammer strike, tapping a slim steel stake into the hard-packed earth. This is the “Golden Spike” that will mark the exact center of the city, the point in space directly beneath the feet of the Man. It will serve as the survey plug for the placement of civic infrastructure in the weeks to come, and a sort of axis mundi for the ephemeral city that will rise from the dust around it. Soon, for a week this will become the third-largest metropolitan area in the state, and then it will vanish without a trace until the next spike starts the cycle again next year.

As with most ritual objects the spike itself is a meaningless fetish, imbued with meaning only by our intentions. To an outside observer, it’s a length of spray-painted rebar hammered into the dried mud with what looks like the world’s oldest sledgehammer. But to those inside the circle, it is a direct physical connection to something larger than any of us. A chance to contribute directly, with sinew and bone, an actual physical action in the physical world with an undeniable physical effect. Not a pixel cloud, not another Zoom meeting; the feel of wood against the palm and the ringing peal of steel on steel. After so much separation, the beginning of a homecoming.

ax​is mun​di : world axis : line or stem through the earth’s center connecting its surface to the underworld and the heavens and around which the universe revolves.

The ancients believed that the center of the earth, the pathway from this world to the next, can be any place we decide it is. In a world without a center, the center is whatever we agree on, and today this spike marks the center of our world, our Burnerverse. For a moment in time this place will be the axle of our global culture, the capital city of our notional nation.

Group gathered for the Golden Spike, 2024 (Photo by Martin Rodriguez)When you put a stake in the ground, you move from the ideal to the real. The spike we drive into the ground in Nevada has a powerful ripple effect, cascading around the world into hundreds of other cultural touchpoints. Not just the other ephemeral cities of Burning Man like Tankwa Town and Pyropolis, but also smaller spaces and groups. A beach cleanup on the Texas coast, a homeless outreach program in Detroit, a civic art project in Ukraine. Each of these marks a step towards defining the landscape in our own terms, not taking things for granted and not accepting powerlessness in the face of adversity. In a world that seems relentless in trying to tear itself apart, we choose instead to come together, and to work together to make our dreams real. Powered by kindness and generosity, fueled by love. We do this because we can, and for some of us because we must. Because to do otherwise would be to surrender to the helplessness of the world.

“We make the world real through actions that open the heart.” – Larry Harvey

As the shadows lengthen on the playa, founders, elders and DPW team leaders each step up and take a turn at the cockeyed hammer, adding their individual intentions to the collective will. Coyote and his two sons, teenagers now. Mr. Clean and Crimson Rose. John Curley, who has covered this event so many times, taking a well-deserved victory lap after surviving the stroke that nearly took his life. They each say a few words and take a swing, one after the other, until the spike is barely visible above the dust.

Coyote helping John Curley hammer in the Golden Spike, 2024 (Photo by Joe Schottman)Burners at Golden Spike, 2024 (Photo by Joe Schottman)(Photo by Joe Schottman)After the hammering is done and the spike is christened with a bottle of cheap champagne, it will be followed in turn by countless other spikes: the nearly 20,000 placement flags that demark our city’s neighborhoods. The stakes and posts and lag screws that hold everything up, anchoring the vertical to the horizontal. And a 9.2-mile trash fence to hold it all in, with close to 2,000 T-stakes, bounding a playground where we can act out the 10 Principles and try on different ways of being in the world.

Fence Day, August 2, 2024 — installing what will be the Black Rock City 2024 perimeter (Photos by Nick Cahill):

Like all ritual acts, the Golden Spike ceremony exists in an odd relationship to time. I’ve been coming out to the black Rock Desert for more than thirty years, and as I get older, each Burn seems closer to the others than it does to the adjacent weeks and months on the calendar. A series of liminal, luminal moments that are more connected with each other than with anything else; more Moebius strip than straight line, sinuous and continuous.

Every time is the first time. Every time could be the last time. And every time that hammer strikes steel, it’s a wake-up call to go out and make the world we want to live in.

Gathering for Golden Spike, 2024 (Photo by Joe Schottman)

Cover image of the Golden Spike, 2024 (Photo by Martin Rodriguez)

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Whenever a discussion of Burning Man’s philosophy gets big enough, someone who isn’t enjoying themselves always tries to ruin it for everyone by playing the “do we even need a philosophy? Aren’t you all just missing the point?” card.

Which is another way of saying, “That thinking is making me uncomfortable so stop it right now and go dance around a mutant bus where a DJ from Budapest is pretending to be spontaneous, like sensible people do.”

When the argument is presented that way, as an insulting attack on all you thinky-people, it deserves to be met with laughter and ridicule. Because, come on: thinking is a form of Radical Self-expression too. Philosophy is no weirder or less pertinent a way of expressing ourselves than is building a giant sculpture out of pianos or blowing up penis-shaped buildings. Saying “Your thinking is ruining our good time” is the hipster equivalent of being the pastor in Footloose declaring: “There will be no dancing in THIS town!”

Oh yeah? Just try and stop us, old man!

So there’s that. We can do this just because it’s fun.

But there’s another level at which this is a legitimate question. Sure we can toss the philosophy of Burning Man back and forth, preferably naked in a hot spring, as much as we want. But that doesn’t mean it’s important, or any more relevant than that statue that you saw last year … you know, the one at the place, that had the blinky lights on it.

Unless … it is? Is there actually some reason why it matters if people are thinking about Burning Man philosophy, and doing so rigorous and well? Is it important? Does our art party actually need a philosophy?

The answer — not surprisingly — is: “It depends.” It depends on what you want to do with your art party.

If all you’re doing is having a party? If you just want to get together with some friends and make some art and light it on fire and then go home and it has nothing to do with the rest of your life? Then … kinda no. No, actually, you don’t really need a philosophy. Go and have a good time. Get out of your head.

Which is the way most people relate to most parties and festivals, right? Nobody goes to the big music festivals and says, “I want to change the world so that it’s more like Woodstock!” Nobody tries to organize their lives around the premise of Coachella. You don’t go to a birthday party and say to yourself “I like birthday parties so much that maybe I need to quit my job and do something more in line with the spirit of birthdays!”

None of those things need a philosophy, just a premise. Their marketing materials may allude to a philosophy, but they don’t actually have one (just marketing materials) and they don’t need one.

But Burning Man hasn’t been a small family picnic or a party on the beach in a long, long, time. Something about Burning Man inspires people to want to turn it into a culture, and to bring the spirit of this culture into the rest of their lives. They’re not told to do it, they want to do it. And if that’s what you want to do … if you want to have your home be “more like Burning Man,” and your career be “more like Burning Man,” and your life be “more like Burning Man,” then … yeah, it’s kind of important that you figure out what it is you’re trying to do. To understand what distinguishes it and how it works and why.

Your art party needs a philosophy the moment people start trying to make it more than an art party.

Or rather, you have a philosophy the moment people start trying to do that. Because whether or not they think it through carefully, whether or not they are rigorous about it or insightful about it, or wise about it, they have at least a rudimentary sense of what they’re trying to do and why. When they start using Burning Man culture to do community clean ups or refugee support or put more art in their communities, they have SOME sense, right or wrong, about what it is they are trying to bring from a Burning Man event to this other aspect of life, and how. To take it from here to there. They have a philosophy of Burning Man.

And at that point, it’s very helpful if it is thought through. It matters if they get it right.

Which highlights another important aspect of Burning Man philosophy — it is about doing. It exists not to make some abstract claims about the nature of the universe (although, go ahead if that’s fun for you) or to be more correct than that stupid Hungarian DJ that you hate. It exists to help you do things in and with Burning Man’s culture. To make it accessible, to extend it to new people, to other areas of your life, to make it more potent and avoid reducing it. The philosophy exists to support the things people do, not the other way around. Burning Man isn’t about a philosophy, but understanding its philosophy can be helpful and supportive.

This is how it originated. Larry was asked by the Regionals to develop some language that people doing Burning Man where they lived could talk to their communities and neighbors about what they were doing and why. The philosophy emerged out of a need to communicate, it didn’t emerge out of a desire to prove some abstract point. Larry didn’t develop it from a desire to tell people what to do, he developed it by watching what people were already doing when they were successfully engaging in our culture, and describing that.

When we want to use “Burning Man” culture to do something, it matters that we can describe what we want to do. Especially to keep our description free of bullshit. I don’t know if you’ve noticed, but people say a lot of bullshitty things about Burning Man. A whole bunch of nonsense. I don’t mind if it’s funny, in fact that’s great, but most of the time it’s just stupid. I don’t know about you, but I could use a lot less stupid in the world.

Now some people just get Burning Man culture intuitively: they take to it, they’re good at it, they don’t really need anything explained, and they are wonderful ambassadors for it in new domains. Those people are awesome, and I really admire them, and most of the time they don’t need to get all thinky. Which is great. Some of us, though … we’re not so cool. Figuring out how to Burn, how to organize, how to engage, can be hard for us. When we get stuck, having access to some high quality thinking about this culture we’re in can be really helpful. Even a pleasure.

That’s what it’s for. Not to tell anyone what to do, but to help people make their goals and passions more accessible. If all you want to do is show up to a Burning Man space and enjoy yourself, maybe you don’t need it. (Although if you want to understand what’s going on, it could be helpful.) If you want to create a Burning Man space, then understanding the underlying philosophy is probably going to be a lot of help. And if you want to take Burning Man culture out of the spaces where it is native and into other cultural spaces, understanding its philosophy is probably essential.

And yeah, sometimes we need that. Even DJs.

Cover image of Burner at sunset, 2019 (Photo by Juan P. Zapata)

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Larry Harvey wrote the 10 Principles in 2004. He established the Burning Man Philosophical Center in 2013. Five years ago in July, the first formal book on Burning Man philosophy was published, centering on that work.

Yet to this day, the most common question I’m still asked is: “Does Burning Man have a philosophy?” The second most common question is: “Does Burning Man need a philosophy?” The third most common question I’m asked is: “Were you actually invited to this party?”

The answer to all three is “Yes … but also, it depends.”

I think it’s occasionally worth going over what that “it depends” is about, and why. And you should definitely invite me to more parties. I probably won’t go, but it’s really nice to be asked.

What Do You Mean by “Philosophy”?When most people think of “philosophy,” they think of one of three things:

1. Definite maxims intended to provide an eternal truth, like “I think therefore I am,” or “The unexamined life is not worth living,” or “man is condemned to be free,” or “Caveat is on the guest list.” The idea is that if you can repeat these back at somebody, or come up with your own, you are doing philosophy.
2. A set of complicated theorems and proofs, generally known as “analytic philosophy,” in which you attempt to define abstract terms so clearly and logically that only true statements can come from their rigorous application. It’s like geometry, if geometry were less fun.
3. The TV show “The Good Place,” which aired from 2016 – 2020, and is probably the single most philosophically oriented comedy in modern history. If you haven’t watched it, you really should. Seriously. I Good Place therefore I am.

Burning Man has none of those things. None of that is what we do. And if that’s all that someone means by “philosophy,” then no, we don’t have one, and honestly we’re better off without it.

In fact, many of the intellectual elements that were influential in Burning Man’s development were explicitly intended to prevent things like that from developing. Burning Man could, in that sense, be considered “anti-philosophy,” and certainly anti-academic philosophy. Academic inquiry tries to put things in boxes, Burning Man tries to get people out of boxes.

But confident maxims and formal academic inquiry aren’t the only way we understand the world, are they?

No. No they’re not. In fact they’re probably among the least common ways that people, across cultures and history, have tried to make sense of life. There are other options, and those options matter.

And just because those other options aren’t academic or formalistic doesn’t mean they can’t be rigorous — in fact, the best ones usually are. And when they are rigorously applied, when they are open to new evidence and make critical thinking accessible, then they are by any reasonable standard “philosophy.” Like The Good Place.

In a recent article in Aeon, Harvard philosophy PhD student Abigail Tulenkois took a deep dive on what some of those other approaches are, and how much they have to offer in areas that “traditional western philosophy” struggles with.

For example:

“Folklore is an overlooked repository of philosophical thinking from voices outside the traditional canon. As such, it provides a model for new approaches that are directly responsive to the problems facing academic philosophy today.”

“In my view, philosophy is a mode of wondrous engagement, a practice that can be exercised in academic papers, in theological texts, in stories, in prayer, in dinner-table conversations, in silent reflection, and in action. It is this sense of wonder that draws us to penetrate beyond face-value appearances and look at reality anew.”

Well, Burning Man certainly has folklore. It definitely has stories. It has all kinds of conversations. I don’t know that it has “prayer” in the sense that’s normally meant (your mileage may vary), but maybe it’s true that there are no atheists in the Exodus line.

Okay, that was a joke, but actually sometimes you do see people in the exodus line doing amazing things to support, entertain, and engage with each other — and when people participate, what you’re seeing in those moments is very much Burning Man’s philosophy in action.

In this sense, Burning Man very much has “a philosophy”: in fact it has a “wisdom tradition” — a culturally unique way of looking at the world, engaging with the world, asking questions, and finding answers or at least better questions. And that … that is everything we can reasonably ask of a philosophy.

And while it is not formalistic — in fact it tends to laugh at unnecessary formalism — it can in fact be quite rigorous. But it’s grounded not in a series of abstract maxims about the world but rather in the experiences that people are having. (In philosophical terms, it is a “phenomenological” approach.) Being rigorous in Burning Man’s philosophy means paying close attention to ideas, yes, but it is even more important that you pay close attention to, and be honest about, your experiences and the conditions that create them. (If you find yourself saying “oh, that’s Immediacy!” then Stuart Mangrum will personally give you a sticker. Find him on playa and demand your sticker.)

In many ways this approach to philosophy emerges out of the history of the 10 Principles; when Larry was asked to write something that explained what Burning Man was, he didn’t write a political or artistic manifesto, he didn’t explain what the “big idea” was and urge everyone to follow it. Instead, he did two things:

First, he wrote as little as possible and explained as little as possible. His entire explanation for what Burning Man is amounted to less than 600 words.

Second, he made it descriptive rather than proscriptive. Instead of coming up with a conceptual blueprint that he insisted people follow, he observed what our community was already doing when we were successfully “Burning,” and described that.

Burning Man’s approach to philosophy has followed: it does not privilege abstract thought and ideas over the actual experiences of people. Rather, it takes the experiences people have, examines them carefully, and sees what it can learn.

In this sense, Burning Man is an “orthopraxy,” rather than an “orthodoxy”: it considers what people do to be more important than what they think.

Burning Man doesn’t care what your views on environmentalism are — but it does care if you MOOP. Burning Man doesn’t care what the content of your art is, but it does care that you express yourself. Abstract thought and language are not the fundamental units of meaning here: action is. We don’t tell people what “burning the Man” means, but we do burn it together. What it means is up to you, but we do it together.

From that approach, from the 10 Principles and Burning Man’s history and stories and careful attention, a philosophy emerges. One that has significant, relevant, insights on art, human thriving, and the ways we can build better communities. It just doesn’t look like academic philosophy. It can be in dialogue with academic philosophy, but it will have a lot more jokes.

But is it necessary? Does Burning Man have to have a philosophy? Do we need it?

We’ll examine that question in the next post, “Does Your Art Party Need a Philosophy?”

Cover image of “The Only Other Thing Is Nothing” by Midabi, 2022 (Photo by Ranny Víquez)

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TL;DR:

• The speed limit in BRC is 5 mph. For everyone!
• Class 1 and 2 e-bikes are permitted in Black Rock City. Class 3 e-bikes are not allowed in BRC.
• If you are found speeding or riding an e-bike in an unsafe manner, or you leave the scene of an accident you were involved in, your bike (and maybe also you) could be evicted from the event.
• We must all look out for each other, be part of the solution, and support Burners being safe.

Black Rock City is built and inhabited by 80,000 creative and caring participants. As the nonprofit that supports this vibrant community, Burning Man Project aspires to nurture a culture of mutual respect and Civic Responsibility. In 2023, we experienced the worst accidents involving e-bikes to date. One injured participant required more than 20 stitches to their face, another was evacuated to Reno when their bladder was impaled, and multiple Burners were struck and left unconscious. In some cases, the e-bike operator just drove off.

This is entirely unacceptable.

In the run-up to the 2023 event, Burning Man Project discussed a range of ideas on how to end the speeding issue, including the possibility of banning e-bikes altogether. In the end, however, we didn’t want to make new rules, and we sincerely hoped a well-informed community would modify its behavior, as we believe that is always the best way forward. While some community members responded by being more responsible at the event, unfortunately, many did not.

So, in Black Rock City 2024, we are ramping up the efforts to curb reckless biking behaviors.

Class 3 bikes are no longer permitted in Black Rock City, period. If you are found speeding or riding an e-bike unsafely, depending on the severity of the incident or behavior, the consequences may include removal of your e-bike and/or you from BRC.

If you bring an e-bike to Black Rock City, you agree to operate under these parameters:

1. BE RESPONSIBLE: The speed limit in Black Rock City is 5 miles per hour. This is to keep everyone safe.
2. BE SAFE: Operate your e-bike safely, especially in crowded or high-traffic areas. Listen to your neighbors, who might give you feedback if you are going too fast!
3. BE CONSIDERATE: Help injured parties receive proper medical attention after an accident.

(Photo by Mark Mennie)Black Rock citizens and Burners everywhere excel at caring for each other, whether in the rain, dust storms or under any circumstance. Let’s continue to be the best for each other by traveling safely in our beloved city and behaving in ways that do not endanger fellow participants.

And once more, for the folks in the back…

• Do not bring a class 3 e-bike.
• Slow down — 5 mph, please.
• Take care of each other.

Finally, remember that it’s all about the journey and not just the destination. Dismount, explore, and enjoy the wonders of Black Rock City!

Let’s see how 2024 goes. If we are all part of the solution, there will be no need for more drastic action in the future.

Your friendly neighborhood Event Director,
– Louder, Charlie!

(Cover photo by Kate Beale)

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Imagine taking a special lens as you peer around the Black Rock City playa, one that allows you to experience the decades-long journey of every artist and crew that created each mind-bending work of art. You would encounter some astonishing stories and learn that the playa art that leaps and sparkles around you is merely the latest manifestation of circuitous creative paths. Many of the artists you will encounter were Burners first. They became empowered to create art in Black Rock City. As their work grew in scope and scale, they wanted to do more and impact the world. Today, Burner artists’ creations spark awe and gather people in cities and cultural festivals around the world.

Read on to meet three fascinating artists who have lived this journey — two who became artists because of their experiences in Black Rock City, and one who continues to develop and deepen her artistic capabilities through the work she installs on playa. All three are living their lives as working artists, while bringing their work into communities well beyond the desert.

Black Rock City Honoraria grants only partially fund artists’ Black Rock City journeys. Many artists roll out crowdfunding campaigns to cover build and transportation costs. Find a project to support here.

Burning Man Opens Doors that Invite Exploration and Inspire People to Become ArtistsBy design, Black Rock City and Burning Man Regional Events encourage people to explore and create art.

Valerie Mallory, whose dreamy casted sculptures have graced Black Rock City for more than two decades, began her artist journey as a volunteer at the Center Camp cafe. In 1999, for her second year on playa, she brought and painted mannequins to install in the cafe. In 2000, her mannequins were placed on the Center Camp stage. From there, year after year she designed displays for the stage and her partner painted the backdrop.

Since 2014, Valerie has brought a piece to playa every year — a total of eight unique installations. In 2023 “Womantree” was installed in front of the California State Capitol in Sacramento as part of the California 100 Youth Summit.

Valerie learned to cast out of a desire to make hands and feet for her mannequins. She lacked funds for formal art classes; staff at her local sculpture store taught her to cast hands, and later, faces. “One thing led to another, and I started doing more and more castings and adding onto the mannequins more and more. After a while, I jumped in and started casting people.”

“I was very, very deeply involved with the cafe… It was a nice little safe place to be. I could camp with them every year, and I could bring my art. It was just an integral part of my life. Then one year they told me, ‘Your pieces are getting really big, probably too big to be in here.’”

Staff at the cafe encouraged Valerie to install her work on the open playa. Reluctant at first, she took the leap in 2014 and brought “Womantree,” a large scale sculpture made from multiple casted female forms. “That was it. Then I learned that I could learn how to do lighting and learn how to do pieces that would stand up in the desert and learn how to be independent of the cafe and be totally on my own. And that’s how that began.”

“You don’t know what you can do until you’re given a great big desert and be told, ‘Okay, here’s all the space you could possibly want. It’s up to you now to figure it out.’” – Valerie Mallory

“I feel like I’ve been getting a doctorate in art by going to Burning Man… bringing something out,” Valerie observed. “What else will give you that experience? What else will really test you like that? What else will bring you to the very edge of what you can do? Plus, I was fascinated by what I was able to do and how I was able to really challenge myself and see it through… If it hadn’t been for Burning Man, I wouldn’t have ever started casting.”

Valerie is currently preparing “Womantree” to return to Black Rock City 2024 to mark the artwork’s 10th anniversary.

Meet Tahoe Mack, a Las Vegas artist who brought her first piece “The Monumental Mammoth” to Black Rock City when she was 18 years old. To build her piece, Tahoe welded together metal trash found in a local park and fossil field. In 2024 “The Monumental Mammoth” was permanently installed near the park that inspired her work.

Art Shifts Perspectives and Inspires People to Engage with the WorldBuilding Burning Man art is empowering. Burning Man Project is the nonprofit in service to this wildly creative global cultural movement. Since 2014, we’ve given $11 million in Black Rock City Honoraria grants, which help emerging and established artists build and bring their work to the playa.

Art sparks new perspectives, opportunities and relationships. Through their journey to build and bring their work into the world, artists can become teachers and community leaders whose positive impact extends well beyond their creative endeavors — into social and humanitarian projects.

Whether you’ve been to Black Rock City, or are simply an admirer of playa art, you’ve likely seen “ATABEY’s Treasure,” the whimsical fish that rose on playa in 2023. ATABEY was artist NiNo Alicea’s third Black Rock City artwork. Burning since 2011, NiNo brought “Got Framed” to playa 2015 and 2016. Then he began to dream big.

“My experience with ‘Got Framed’ was the first time that I called myself proudly an artist.” – NiNo Alicea

In 2017 he became the first Puerto Rican artist to receive a Black Rock City Honoraria grant, for “MÚCARO,” a giant wooden owl, the mascot of Puerto Rico and a testament to the wisdom teachers. “MÚCARO” was dedicated to my mom as a teacher, but it was also dedicated to education, knowledge and educators everywhere…” NiNo explained.

Immediately following the 2017 Burn, Hurricane Maria devastated Puerto Rico. “My priorities completely flipped and changed. My best friend and I did a drive here in Los Angeles… We got so many donations, we had no idea where to store them, where to put them. We found a Burner who had a space, and that’s where we put all the donations until we organized them and put them in pallets for them to be picked up and brought to Puerto Rico.” NiNo traveled to Puerto Rico to ensure his donations were distributed ethically. “It was intense. I went through the whole part of not having electricity, not having water. I kept seeing the amount of help still needed.”

He wanted to do more. On the flight home he came up with MÚCARO for Puerto Rico, a vision to install MÚCAROs around the island as a tool for environmental education. In 2019, NiNo worked with locals in Loíza, Puerto Rico, to paint “MÚCARO’s Rising,” a vibrant mural of MÚCARO on a basketball court. “We invited the community. They painted with me. It was such a beautiful experience… They kept coming because they were enjoying it so much.”

NiNo recently collaborated with a science museum at another Puerto Rico municipality to build an interactive tree sculpture for children. The project is still under wraps until it opens. In negotiating the contract, NiNo ensured that only Puerto Ricans were hired to work on the project. He wanted to inspire talented local artists to dream bigger, and to get paid for their work. “It was a really gratifying experience… working with super talented artists on the island,” he added.

NiNo and his crew are currently hard at work in his LA studio, building “COQUÍ,” the singing Puerto Rican frog that will rise as his new Black Rock City Honoraria installation. He’s also animating one of the six chambers beneath the 2024 Man Pavilion. Prepare to voyage through the looking glass…

“I think it’s inspiring, being able to create something from nothing, being able to imagine what you think might be impossible, to be possible. And the fact that we continue passing it on. When I bring someone new to have this experience with me and they actually have their own experience, and then they become a vessel for that inspiration to someone else… It gets to the point we’re passing the baton.”

Art Placed Beyond Black Rock City Sparks Connection Around the WorldAs art in Black Rock City grew in scope and complexity, it gained attention. Artists began to install participatory creative experiences and public art beyond our temporary city, to permanent cities around the world. These interactive works of art reach people who may never visit Black Rock City or a Regional Event, sparking moments of awe that open minds to new creative vistas.

Artist Jen Lewin’s trajectory from 1990s Black Rock City to installing large scale public art around the world is one of constant innovation and experimentation. Prior to her first Burn, in 1997, she had already decided to become an artist. When she heard that a friend had received a grant to bring his art to Black Rock City, she began to imagine possibilities. “I started to look at it through a different lens, a lens of ‘how could I bring art there?’” Eight years later, in 2005, she brought her first piece, “THE ARC HARP,” to Black Rock City. “I never stopped. Almost every other year I was coming with a piece of art.”

“Be focused on just the love and the practice that should be part of your everyday experience and break it down so it’s achievable.” – Jen Lewin

Jen was always thinking about how her work could live beyond the desert. “I always saw Burning Man as this really amazing kind of think tank where I could take work and test it. I did always have this goal of wanting it to go out into the public… I wanted a true public art experience in a park where people could discover it and find it, not necessarily travel to Black Rock City. I wanted to bring work into the world.”

From “The Pool” in 2008 to “The Ursas” in 2023, Jen’s vibrant, interactive pieces have shaped the definition of what’s possible for public art. Her pieces illuminate public spaces around the world, inviting people to touch, inhabit and play with them.

It took the art world a while to acknowledge the relevance of work by Lewin and other artists emerging from Black Rock City. “When I first started bringing artwork to Burning Man, I definitely got, ‘Sorry, that’s not art, that’s technology,’ from the art world… Then you started to see all these cities doing light festivals. And Burning Man was really leading the way. Top artists began coming out and doing pieces in big, now very respected light festivals. That flourished. You ended up with a whole community of artists who are doing this…”

Decades after her mind opened to the potential of bringing art to Black Rock City, and after installing her work in cities around the world, Jen still finds inspiration in the vast potential of the playa. “There’s something about the expansiveness of the environment itself. You have this perfect canvas — it’s this flat canvas that speaks to doing giant things… It’s very different from my public art practice where I’m putting these sculptures in cities and [dealing with] the sidewalks and the constraints of the city.”

The adventure continues. Jen’s design was selected to be the 2024 Black Rock City Man Pavilion. “The Other” features eight gracefully curved tentacles that wind as stairways and ramps. The design is inspired by the innately human curiosity about octopus intelligence. “We want to find another conscious being that we can communicate with. We want it so much… What I really love about it is you are on a journey to explore it. There’s no real center. You can’t go to the top and all be together. You can run up one of these pathways and then you can run down and run up another pathway and then run down and run up another pathway. So it’s really about the searching.”

YOU Are Part of this Wildly Creative Global Cultural MovementFeeling inspired? We hope so. However your Burning Man journey began, it is far from over. You are the navigator and captain of your dusty ship. What would you like to bring to the desert, to your community, or to the world? Start where you are. You have time and access to boundless expertise in this ever-inventive community. We are SO curious to see what you create.

Burning Man Project is the nonprofit in service to this global cultural movement, in all its wild manifestations. Your tax-deductible donation will support our year-round work stimulating innovation and creativity, in Black Rock City and beyond.

Cover image of “The Ursas” by Jen Lewin, 2023 (Photo by Stephane Lanoux)

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The Black Rock City (BRC) Census is a volunteer-led collaborative research project that collects demographic data on, and aims to develop a deeper understanding of, the diverse community that inhabits Black Rock City. This is done annually through a random sample on the playa and an online survey after the event. The process allows statistically robust estimates of the population characteristics and analyzes trends in Black Rock City population over time by comparing data across years to provide insights into how the demographics are shifting. Census is passionate about sharing findings with the Burning Man community and general public through detailed annual reports.

“2023 was a funky year that only brought Burners closer together and strengthened us as a community. As we get ready to head back into the dust in 2024, let’s look back at the wealth of valuable data provided by citizens of Black Rock City in their responses to the 2023 online Census survey, to help us gain a better understanding of who was there and how their experience at Burning Man impacted them both on and off playa.” — Maher Abdel-Sattar (aka Random), BRC Census Assistant Manager

The 2023 Census effort involved over 160 volunteers who completed 543 shifts to collect data from randomly selected participants at entry points including the main gate, airport, and Burner Express Buses. This massive volunteer effort enables statistically robust population estimates for BRC each year. Thank you to every single one of our amazing volunteers for helping us make this happen, including our lead statistician Aaron Shev (Murrs)! We also want to thank the 7,712 Burners who completed the Census online survey and gifted us their data in 2023.

2023 Census data report

We previously published some preliminary 2023 statistics highlighting select demographic information that was collected through our random sample on playa. Now, we are very excited to share the comprehensive and more accurate 2023 adjusted final statistics from our online survey, as summarized in our latest data report. Below are some highlights from the 2023 BRC Census Annual Report you may find interesting. Feel free to explore the entire report for additional details and other awesome findings.

Census volunteers in decorated white lab coats atop the Data Beast, 2023 (Photo by Tammie Bissa Kingsley aka Cinnamon)Demographics: Who was at Black Rock City in 2023?The Census data report provides a comprehensive demographic breakdown of BRC’s population. It reveals interesting insights into the age distribution, gender representation, educational background, average income, and geographic origins of BRC citizens. This diversity fosters a rich and inclusive cultural experience that transcends most societal boundaries. There were approximately 77,000 Burners on playa in total in 2023, including 7,712 Burners (about 10%) who completed the Census online survey after the Burn.

Median age: 36 years old

The median age of BRC citizens has been steadily hovering around 35 years of age since we began our trend analysis in 2013. The median age of a BRC citizen in 2023 was 36 years old, compared to a high of 37 years old in 2022 and a low of 33 years old back in 2015.

Current gender: Record percentage of female Burners

For the first time ever, Census data indicate that there was an almost equal proportion of males and females on playa in 2023. Interestingly, our adjusted data suggest that females (49.1%) may have even surpassed the percentage of males (47.9%) on playa in 2023, with the remaining 3% selecting other or no gender identity labels. This is a notable change from previous years where we saw anywhere from 10% to 19% more BRC citizens identifying as male versus female.

Ethnoracial identity: Increased Latino and Asian representation

The number of Burners reporting their ethnoracial background as White (non-hispanic) decreased from 80.5% in 2022 to 78.2% in 2023. The next largest ethnoracial group was Hispanic/Latino, increasing from 9.7% in 2022 to 10.5% in 2023. This was followed by the Asian ethnoracial group, increasing from 7.9% in 2022 to 9.4% in 2023. The remaining groups stayed relatively the same from 2022, with 3.0% Middle Eastern or North African, 2.1% Black (non-Hispanic), 1.2% Native American, and 3.4% other backgrounds in 2023.

Where are Burners from?

About 40% of Burners traveling to BRC are residents of California (36.0%) and Nevada (4.0%). Other states in the U.S. make up 39.8% of the population, with high representation from New York, Colorado, Oregon, and Washington state. Canadians make up 5.6% of the population, and the remaining 14.5% travel to BRC from other countries outside of the U.S. and Canada.

First-timers at BRC: Record high of 43.9% first-year participants (sometimes affectionately referred to as “virgins”)

The proportion of first-year participants reached an all-time high in 2023, where first-time BRC citizens accounted for 43.9% of the total population. This is a significant jump from 28.3% first-year participants in 2022.

Census Lab (bottom left) after the rain, 2023 (Photo by Ashley Strange)Learning and Practicing New SkillsBlack Rock City citizens get to learn and practice a number of new skills during their time on playa ranging from new hobbies to interpersonal skills. Often, Burners are inspired to continue exploring and refining those skills outside of BRC, and that can have a positive impact on their daily lives.

Finding inspiration

Crafting and art creation was the skill that over half (59.4%) of BRC citizens were inspired to continue learning and developing off playa. Emotional intelligence and self-awareness (48.7%) was a close second, followed by self-care strategies (39.2%) and survival skills (38.4%).

Application of new skills

In 2023, 60.2% of BRC citizens utilized their newly learned skills to create things for themselves or their family off playa and 36.8% leveraged those skills to create things at home that they plan to bring to BRC in the future. Also, 32.9% applied those skills to create things for their home communities and 23.3% taught those skills to others in their respective communities.

Impact of new skills

As a result of the joy and/or growth achieved from continuing to learn and practice new skills acquired on playa, 69.9% of BRC citizens felt more fulfilled as individuals in their daily lives. Furthermore, practicing those skills led 36.4% of BRC citizens to develop new and fulfilling relationships in their home communities.

Random sampling shift lead training at Census Lab, 2023 (Photo by Maher Abdel-Sattar, aka Random)Embracing the 10 PrinciplesThe 10 Principles sit at the core of Burning Man culture. The data report sheds light on how participants embrace and embody Radical Inclusion, Radical Self-reliance, Communal Effort, Gifting, and more during the event. It showcases the incredible spirit of collaboration, artistry, and interactivity that pervades Black Rock City.

Importance of the 10 Principles on playa

BRC citizens report annually that the 10 Principles are essential to creating an authentic Burning Man experience. In 2023, 93.5% agreed that the 10 Principles continue to be essential (24.1%) or very essential (69.4%).

Applying the 10 Principles in everyday life

Even in the default world, Burners continue to embrace the 10 Principles in everyday life. Radical self-reliance (54.2%), leave no trace (40.6%), and radical inclusion (38.8%) were the top 3 Principles that Burners reported practicing most commonly outside of BRC in 2023.

Spirit of volunteerism

The Burning Man experience inspires many to volunteer beyond their time at BRC. On average, about half of participants (52.6% in 2023) reported being inspired to volunteer, donate, or get involved in other ways after leaving BRC.

Environmental Sustainability: Leave No Trace!An essential aspect of the Burning Man ethos is the commitment to leaving no trace. In 2019, Burning Man Project made a commitment to be carbon negative by 2030, as described in the Environmental Sustainability Roadmap. To meet this ambitious goal, significant shifts have been made to work towards greater sustainability — both by the nonprofit and by the Burning Man community.

Importance of environmental sustainability efforts by Burning Man Project

The majority of BRC citizens (88.1%) reported sustainability efforts by Burning Man Project to be essential (62.0%) or very important (26.1%) in 2023.

Noticeable 2023 environmental sustainability efforts in BRC

BRC citizens noticed camps increasing their adoption of solar power and battery technologies (42.4%), in addition to other efforts to reduce their environmental impact (24.7%) in 2023. About a quarter of Burners (25.7%) also appreciated that the Man was solar-powered in 2023.

Census volunteers checking in for their shift at Census Lab, 2023 (Photo by Maher Abdel-Sattar, aka Random)Radical Inclusion, Diversity, and Equity (R.I.D.E.)Another important initiative of Burning Man Project is Radical Inclusion, Diversity, and Equity (R.I.D.E.). The cross-departmental Stewardship Group prioritizes, manages, and advocates for R.I.D.E. work across Burning Man Project staff, BRC, and Burner communities beyond the playa.

R.I.D.E. in action at BRC

In 2023, 38.0% of BRC citizens reported noticing more diversity among Burners on playa, 20.4% saw art projects related to diversity and radical inclusion, and 28.4% applauded theme camps for being welcoming and celebrating minorities and under-represented communities.

Personal contributions to creating a more diverse and welcoming BRC

In 2023, 26.8% of BRC citizens were part of camps or art projects that welcomed new members from under-represented communities. Also, 25.4% reported visiting the expanded gayborhoods in the 4:30 and 7:30 sectors. Off playa, 45.9% of Burners stated that they actively support diversity and inclusion in their home communities.

Come to Your Census!We hope you enjoyed learning more about BRC’s evolving population based on data collected by the Black Rock City Census in 2023. If you are interested in volunteering with the Census, please visit census.burningman.org for more information or contact us at census@burningman.org if you have any questions. If you are planning on being a citizen of BRC in 2024, please remember to gift us your data by completing our online survey! The Census online survey will go live Tuesday, September 4, 2024 at census.burningman.org.

Aerial cover photo of Black Rock City, 2023 (Photo by Jamen Percy)

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What does Burning Man have to offer the world?

This has always been a question with good answers that are hard to explain.

Larry once told me that he was constantly asked, in the early days of the Burning Man LLC, why they didn’t found a nonprofit and exclusively fund Burning Man with grant money?

“Grant money?” he said. “We were being referred to as Satanists on cable news. Who was going to give grant money to the naked satanists?”

Burning Man couldn’t just explain what it was — it had to prove itself first. It had to show that it was worthy of support and grant money and being a nonprofit by doing. In 1996 they were just getting started. By the mid-2000s, Black Rock City had become a major center for alternative spirituality and culture; by the early 2010s, Burning Man was becoming part of major discussions on urbanism, culture-jamming, organizational leadership and decentralized planning; new approaches to disaster relief; even education. Burning Man was routinely being studied by academics and significant institutions to learn more about how we did what we did.

The world had unambiguously concluded that Burning Man had something to offer. But what … exactly … it … was … was still never clear. The question “what is Burning Man?” had been definitely answered (at least as much as such an answer was helpful) by the 10 Principles in 2004. But “what does Burning Man have to offer?” never had a 10 Principles moment. Even at the height of Burning Man’s influence, the answer of what it offers was always kind of vague, something that you gesture at with your hands and say, “You know, THAT,” and sound a little frustrated.

So now in 2024 we’re still trying to explain: what does Burning Man (not just “Black Rock City,” but “Burning Man” as a culture) have to offer the world? What’s the point?

There is an answer. But it’s not the simple, “we make widgets” or “we build buildings” or “we solve racism” or “we disprove capitalism” kind of answer that people are looking for. The kind of answer that funders and grant makers are looking for. Burning Man doesn’t work that way. Which — and this is the point — is what makes it so important in the world. The world needs more institutions, more cultures, that don’t work that way.

Let’s talk about this.

And I want to start by asking the question: what if Burning Man is pointless? What if it had no practical impact in the world at all? Because that’s where the difference becomes most apparent.

Why Do We Do What We Do?I’m asking this question seriously, not as a rhetorical device. I mean it. My book on Burning Man philosophy has a chapter called “Burning Man is Pointless.”

So what if it is? What if Burning Man doesn’t achieve or accomplish anything in the world? What does that change for you?

There are a whole lot of things in this world that, if they didn’t achieve something, I would stop doing.

If it turns out that recycling doesn’t help the environment? Screw that, I’m out: the only reason I recycle is to help the environment.

If it turns out that the job that I work for doesn’t actually pay me? Well then, screw that. No paycheck, no work.

If voting didn’t impact any outcomes, either locally or nationally, I wouldn’t do it. In fact, the biggest argument against voting is “it doesn’t change anything.” (I disagree, by the way, but that’s a different discussion). But no one says, “Hey, voting doesn’t change anything but it’s worth doing for its own sake.” That’s not an argument people make. The whole point to voting is that it achieves something in the world. If it didn’t, we wouldn’t.

There are many things in the world like that. We only do them because they get us money, or perks, or impact the world. We do them because they are transactional, and we want what is on the other side of the transaction. But if we could get what we wanted some other way, we would.

But that’s not the way everything works. There’s a whole other kind of activity in the world that works differently … and Burning Man is a premier example.

Because, look, even if Burning Man doesn’t save the planet? I’d still want to do it. Even if it doesn’t bring peace to the nations of the world? I’d still want to do it. It might not solve racism, but I’m still into it. And I’m sure I’d still benefit from doing it, even if it didn’t have a benefit.

Burning Man, in other words (and I don’t just mean “Black Rock City,” I mean “Burning Man” as a culture, and kind of cultural activity) is something I do for its own sake. It is an experience I want to have because I want to have it. Even if it doesn’t “achieve” anything.

There are no conditions attached to that. It’s not a transaction. There’s no “I want to do Burning Man, but only if most participants have a transformative experience.” No “I want to do Burning Man, but only if the people who attend it share my politics.”

Burning Man is something I want to do for the sake of doing it.

End sentence. That’s it.

This is actually reflected in the 10 Principles themselves, all of which Larry thought of as “unconditional goods” — things that we do because we value them for their own sake, not because there is some problem that we expect them to solve.

Consider: if we live in a world where everybody has enough and no one is lacking for material goods … we would still want to give gifts. There’s not a problem “Gifting” is meant to solve, it’s an activity (and a principle) we value for its own sake. You might not need anything, I might not want anything from you, but I will still delight in giving you a gift.

If we lived in a world (as we might well soon) where all the commercial art and writing is done by machines … where human beings simply can’t make any money off of art, and don’t need to make art to watch new TV or look at new paintings … we would still want to engage in acts of Radical Self-expression. The fact that somebody (or something) else can do it doesn’t mean we don’t want to do it ourselves. Radical Self-expression is something we value for its own sake.

Even if we lived in a world where everything could be done for us, at least some of us — and I think at some level most of us — would want some level of Radical Self-reliance. Even if we didn’t have to, we would want (as the principle says) to “discover, exercise, and rely on (our) inner resources.” Indeed, there are some views of human nature that say we can’t be happy unless we’re doing that. I tend to agree.

Even if we lived in a world where everyone had a good place to go, we would still want to welcome the stranger … we would still want to be Radically Inclusive.

Are you seeing the point? The 10 Principles are not things we do because they achieve something, and if that thing is achieved then we will stop doing it. The 10 Principles represent “unconditional goods,” things that we want to do for their own sake, without conditions.

And when you put them together, you get the experience of Burning Man, a culture and set of cultural practices that we engage in for their own sake, because they are worth doing whether the world is a happy place or on fire or fully automated by robot overlords.

The Benefits of Doing What You LoveOne can argue — many people do — that the world has no time for such frivolity! That there are big and important things to do and that if Burning Man doesn’t turn away from this nonsense then it is useless and should be discarded.

And, well, look, I half agree with that. Burning Man, as I’ve said, is pointless. But that’s what makes it so vital. The things that we do for their own sake are arguably the most important things in the world. And in a time where the world is dominated by growth mindsets and Key Performance Indices and every hobby has to be a side-hustle and every moment in life has to be optimized, just doing something for its own sake creates a blessedly different dynamic.

People get something important — I would say crucially important — out of doing things that they love for their own sake. I think it’s a very simple formulation, actually: the more people do what they love, the better they get at loving. And that matters. That matters a lot.

And really, where else in this world are people encouraged to just do what they love? To find their passion in a way that has nothing to do with money or politics and just try it, however silly or eccentric or massive the undertaking? Where else does that happen?

But … and this is the point … you have to give up control. You create an environment, you create opportunities, and then let go of outcomes. You can’t tell people what matters to them. You can’t invite someone to engage in Radical Self-expression and then tell them “when you’re finished, this is what you’re going to express.” You can’t offer someone an experience of Radical Self-reliance and then expect them to slavishly follow your 20-point plan.

Because it is built out of unconditional goods, Burning Man creates an environment that encourages people, sometimes playfully sometimes roughly, to figure out what is important to them and then do it without any expectation of a transactional benefit. And when you give people an environment that is dedicated to intrinsic motivation, you create an entire different set of opportunities. Great things emerge out of this. Burning Man has inspired people to do disaster relief, support refugee centers, create support for the unhoused, build civic spaces, offer civic art, create education programs … so much good has come out of Burning Man!

It just so happens — and what a lesson for the rest of the world this is — that when intrinsically motivated people have a fun and meaningful time doing something that is important to a community, it often ends up going a lot better than if you put efficiency first. That’s a valuable insight — one that constantly inspires people, year after year.

But not because Burning Man told people what they had to do. It never lectured them to do good. It didn’t tell them what was supposed to matter to them. It gave people an opportunity to do things for their own sake. And that helped them discover what they wanted to do. It was about their passions all along.

But it only “works” because it can’t possibly “work.” Burning Man is an engine of possibility because it has no point. It’s what we do for its own sake that matters. Because Burning Man didn’t tell them what to be passionate about, there was plenty of room for their own passions. At which point, once you start doing that, it’s no longer pointless, but “pointful,” supersaturated with meaning and purpose.

The Perils of a Polarized WorldThat’s what Burning Man has to offer the world. Another kind of culture. A whole different approach to what it means to be in the world. One that, frankly, a whole lot of us like better. It’s not perfect, it’s not a utopia, and it doesn’t aspire to be. It aspires to be what it is: something we do for its own sake.

And it just so happens that when people do things for their own sake, a whole lot of incidental benefits tend to occur. But they’re not the point. They’re never the point.

I think the things that we do for their own sake are the most important things in the world. But it’s admittedly hard to put that on a grant application.

And yet this is, I think, the most honest answer to the question of what Burning Man does that is worth supporting. By creating opportunities for people to do what they want to do for its own sake, Burning Man creates possibilities where none existed before. By removing transactions from those possibilities, Burning Man helps us connect, and find our passions, and get better at love.

The challenge Burning Man faces is that, of course, the world as it is can be fairly hostile to real alternatives — or at least it has significant blind spots to them. My recent forays into talking about Burning Man with people who only know it through the media has suggested that those blind spots have gotten thicker and coarser over the last few years. People have gotten aggressively skeptical again that any good can come from being different.

I think what Burning Man offers is harder to see in an increasingly polarized world, because a polarized world is a transactional world. Instead of welcoming a stranger, or a new idea, a polarized world asks “whose side are you on?” while a culture based on unconditional values avoids false dichotomies. Upon encountering something novel, a polarized world tends to react not with curiosity but with a hostile question: “what are you doing for us?” To which a culture based on unconditional values replies “we’re doing what we love.” A polarized world demands that you do what it says is politically necessary. A culture based on unconditional values does not accept those demands. A polarized world demands that its enemies be defeated or destroyed; a culture based on unconditional values tries to give everyone reasons to live.

Polarization isn’t always wrong — sometimes it’s a necessity on some issues. But polarization brings out the worst in us. And we desperately need things that bring out the best in us. Burning Man isn’t guaranteed to bring out the best in any given person … it’s not a one-size-fits-all solution that works for everybody. But it has a remarkable track record, which it achieves precisely because it is a culture where people can listen to the parts of themselves that transactional partisanship demands that they abandon.

Practically speaking, Burning Man has two options. The first is that it can try to adjust what it actually is so that it will be easier to talk about. It can become more transactional so that it becomes more obvious to people who can only think in transactions.

This is incredibly tempting to people trying to write grants and run fundraising, but it always ends badly.

The second option is that it can keep trying to come up with new ways to explain what it does, generally by finding new ways for people to experience it. Proving ourselves through doing, again and again, just like we had to do the first time around. Sometimes this fails. But sometimes it works miracles. Which is the point.

And it’s worth it.

Cover image of “Earth, Mars, Moon” by Luke Jerram, 2023 (Photo by Jane Hu)

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In today’s hyper-connected digital world, the art of convening — bringing people together in person for dialogue and discovery — is vitally important for our well-being and a powerful catalyst for creativity and innovation. It’s why the nonprofit Burning Man Project collaborates year-round with the community to produce convenings, gatherings, and of course immersive events like Black Rock City. It’s why we support the community around the world in creating more than 80 official Regional Events, and why we produce gatherings like the European Leadership Summit which just recently took place in Tallinn, Estonia.

Art and community engagement breakout session at 2024 ELS in Tallinn, Estonia (Photo by $teven Ra$pa)Pille Heido, one of the event’s Tallinn-based organizers, summarized the benefit of connections made at ELS. “It was basically playa magic happening in our very own homes. It was evident when you looked around the room at any given moment how much energy it gave to everyone, and what it actually meant for the local community here,” she said.

So many doors open when people convene in person.

Israeli ELS participant Baroch spoke about being part of a collective with the shared purpose of building a better world. “There have been many things that I take with me from the ELS. First and foremost is a very strong sense of connectedness and being a part of a [community] that is making a big effort to stay with all the challenges and all the devastating things that happen in reality. [We’re] trying to create a better version of reality and a better version of how we live on this planet, how we care for each other and see the best of each other”

Shouting Fire radio host Steve Mann has been to several editions of the ELS, where he records playful conversations with participants. By mingling in person with this globally-dispersed cohort of innovative humans, he learns creative approaches to universal challenges. “Community and leadership skills are something I’ve been building. That’s one of the reasons I wanted to come to the ELS. These are people who lead a crazy bunch of communities all around the world — and how do they do it? They still run into the same conflicts or issues or challenges that you would in any job. Coming here and just listening to the communication and the very openness and the very positive mindset… I feel refreshed and inspired again.”

The Burning Man LIVE podcast episode “Burning in Europe: Stories of Home” features recorded conversations from Burning Man’s 2024 European Leadership Summit, where folks gathered in Estonia to connect, teach, learn and conjure ideas for the future.

At the 2024 ELS, Burners without Borders (the civic action arm of Burning Man Project and a global network of local Chapters that support communities in becoming resilient) revived their popular Civic Ignition Grants, which fund innovative community and civic projects. Grants are pitched, discussed and decided in real time in workshops at Regional convenings, including this year at the European Leadership Summit (ELS) and South Eastern Roundtable (SERT). Other 2024 Civic Ignition Grants will be awarded at the Multi-Regional Summit and Burners of New Zealand and Australia (BONZA).

The impact of these civic projects is far reaching. South Eastern Roundtable participants chose: Neurospicy Creators Space, a sensory-friendly art space designed for the neurodivergent community; and The Intersection, a weekly writing collective that gathers housed and homeless participants.

At the ELS, participants selected “Temple of Re:creation,” from Ukraine, a collaborative land art project that will bring women together to heal from the impacts of war in their country. “Temple of Re:creation” is the brainchild of Anna Kroitor, steward of a rural eco center in central Ukraine, and her friend filmmaker Eva Neidlinger.

Anna explained the purpose of her women-run retreat space. “I want them to have a space where they can just breathe and see some green, take a little time out. The idea is to do an artistic residency run by women for women in times of war. We thought it would be nice to combine it with art and regenerative solutions. ‘Temple of Re:creation’ will be a simple construction, a symbol or sanctuary for the community. We’re super lucky to have support from the Burning Man community,” Anna continued. “It allows us to get the tools and the materials that we need for construction.”

Streetopia in Cape Town, 2023 (Photo by Richard Ahlstrom – StvdioɅ)Gatherings within the global Burning Man community are renowned for their wild creativity and forward-thinking innovation. When ideas spark between two or more people — whether in a conference room, on a dance floor, or atop of a rubber duck art car — they can create ripples that positively impact communities well beyond.

That’s exactly what happens when more than 9,000 humans come together annually to create AfrikaBurn — South Africa’s Regional Burn. Through connections built at AfrikaBurn and within the local South African community, Burners teamed up with Cape Town residents and civic organizations to launch Streetopia, a free one-day arts event.

Lorraine Tanner, AfrikaBurn’s Director of Development, explains: “The streets are turned into a blank canvas where artists, performers, buskers, residents and kids can enjoy the open spaces and do their thing. Keeping it villagey, intimate, spontaneous, open to collaboration, a space for causes… the event’s broad aim is to create a safer street culture.”

Tanner points to the cross-pollination of ideas at AfrikaBurn as being essential for the creativity and problem-solving that made it possible to serve the greater good with Streetopia.

Listen to “Monique Schiess and AfrikaBurn” on the Burning Man LIVE podcast for an enlightening exploration into the world-changing power of play, among other things, in a conversation with AfrikaBurn’s founder and co-producer.

Traveling Hedgehog gathering at the Brandenburg Gate in Berlin, Germany, 2022 (Photo by @hfotos_)From the establishment of South Africa’s Streetopia to the creation and travels of a spiky illuminated Hedgehog in Europe, creativity is bringing people together in unexpected and awe-inspiring ways.

In 2019 Estonia’s Burning Man community came together to imagine and build the country’s very first mutant vehicle. The Traveling Hedgehog (Reisiv Siil) voyaged all the way to Black Rock City, then returned to become an epicenter for regular gatherings in the community — affectionately called Hedgehog Parties.

A great example of convenings building connection, inspiring creativity and civic action, the Hedgehog has also toured Europe, sharing its stage with revelers in Germany, Denmark, Finland and Sweden. In 2024 the city of Tartu, Estonia, was named the European Capital of Culture. To usher in a year of celebrating culture, this historic city hosted a grand opening parade featuring, among other cultural marvels, the Traveling Hedgehog, supported and surrounded by Estonian Burners and the local community.

Effigy burn at Fuego Austral in Buenos Aires, Argentina, 2024 (Photo courtesy of FuegoAustral.org)The importance of coming together goes to the heart of what it means to be human. Burning Man-style gatherings remind us that we are not alone in our struggles or aspirations. Whether they are global summits or local community gatherings that foster neighborhood projects, these events are essential. In the act of coming together, we find the strength to change our world for the better.

“Burning Man teaches us that we are not alone; we are part of a vast, interconnected web of humanity.” – Larry Harvey

We’d love to hear from you! Share your perspective on the transformative power of gathering — drop a comment below.

Burning Man Project is a 501c3 nonprofit and its programming and events are made possible thanks to your support! Make a donation today. We are grateful for your support and to all those who work alongside us to advance a more creative, connected and thriving world.

Cover image of European Leadership Summit participants from all over the world in Tallinn, Estonia, 2024 (Photo by Mark Nixon)

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For as long as I’ve been involved, people have been saying that “the Regionals are the future of Burning Man.” But at first they said it in a distant, hopeful tone, the way they’d say that “someday we’ll end world hunger.”

A decade later, something changed. They were still saying “the Regionals are the future,” but this time they were saying it as words of encouragement. A pat on the head. It meant: “Look at you go! You’re really getting there. This could happen someday!”

Now though, now… I haven’t heard anyone say it in a while. I assume they still do. But I think it’s actually happened. Without fanfare, without ceremony or a big moment of transition, it looks to me like the moment has not only arrived but already occurred. The Regionals have become the future of Burning Man.

What does this mean? Well, first, a few words of caution are in order.

I’m really big on words of caution. I like offering them a lot. Hopefully it’s fun for you, too.

Wait 45 minutes after you eat to go swimming.

Don’t give your passport to a monkey. Even if he’s wearing a hat.

What I’m saying about the Regionals isn’t based on personal observation, I’m afraid. It’s been years — many years — since I’ve been to a Regional. Honestly, I don’t get out of the house much, not since that monkey stole my passport. I’ll be damned if he’s going to find my buried gold.

There are too many regional events to keep track of anyway (especially when we include the unofficial ones that are still culturally consistent), and no way to verify that all of them are the future. We’re talking about approximations here, trend lines.

Certainly the Regionals are, on average, bigger than they were before. And more independent. But it’s more than that: the kind of stories I’m hearing from people who have participated in Regional Events have changed — a lot — over the last few years.

I’ve always heard good things about the Regionals, and had great times at the ones I’ve attended. But the kind of stories I used to hear from Regionals — not all, but most, of the time — were good camping stories. Even excellent camping stories. Often with a good through line of art and whimsy. You could see why people enjoyed it and why they showed up and it certainly represented aspects of Burning Man culture.

But they didn’t tend to hit the peaks of experience, the really extraordinary “how the fuck was that even possible, and my God, I’m glad to live in a world where things like that can happen” quality that the best Burning Man stories out of Black Rock City tend to have. That quality often seemed to be conspicuously absent.

But lately? The last couple of years? The stories I’ve been hearing, from people I know and trust, out of many different Regionals have blown me away. Given me shivers. Made me glad to live in a world where this is happening… and happening everywhere.

Something has changed.

Maybe these kinds of experiences were happening there for years, and I just didn’t hear about it — that’s entirely possible. Maybe it represents a shift in cultural practices, or population, or that it just takes some time for newer events to start to hit a magic tipping point. I don’t know, and I don’t claim to know: your mileage may have varied. In fact, the whole point is that your mileage may vary. Please consult an epistemologically minded mechanic if your “check reality” light comes on.

But whether it’s culture or age or communication, something has changed. The Regionals, it seems to me, have gone from “they will be the future someday” to “they are the future that is happening right now.”

And it’s glorious.

It is also — and I think this is the important point — a different kind of future than we were being led towards when Black Rock City was the Vatican of the Burning Man universe.

(Which, to be clear, I’m saying it’s not anymore, although it’s far from irrelevant. There are plenty of important places in the world that are “not the Vatican.” I bet we can name three. HINT: one of them has waffles.)

A lot of trends impacting Black Rock City have been identified over the years, which do not (so far) apply to the Regionals:

The increasing size of BRC, obviously, which in some ways makes it a different animal. Not only are the Regionals smaller, they have often capped their populations more aggressively.

The increasing cost of going to BRC, from buying a ticket to travel; the Regionals are, by definition, more local (although the number of people who attend events like Love Burn and AfrikaBurn from out of state and out of country is notable).

The Regionals have a shot at not just more diversity but different kinds of diversity, as they can connect directly with the local communities around them — which is, to my mind, the most authentic and organic way of inviting others into Burner culture. Be helpful to your neighbors.

These aspects of Regionals have already been seen and commented upon, but there’s another that I think is just as vital but hasn’t received nearly as much attention:

Over time, “big art” has been emphasized in Black Rock City — the major sculptures, the massive structures, the giant art cars — while the “human-sized art experiences,” the “small art,” the weird and magical moments of human interaction, have been increasingly neglected. They’re present, absolutely, but they get less and less time and attention. It’s been evident for a long time, but just three years ago I wrote:

“Over the years ‘Burning Man’ has become synonymous with giant sculptures and mutant vehicles and massive flame effects … and of course huge DJ stages with laser displays that can knock out satellites … but that’s a dysmorphic image of Burning Man caused by media representation. Those things photograph well, they get sent around the internet in an instant, end up in clickbait sideshows, end up on the covers of newspapers and magazines … they win the attention economy.

Human-sized moments of whimsy and grace and inspiration, on the other hand, really need to be experienced to be understood. They are harder to explain. The experiences people have of them are more conditional — no two people are ever going to do the same thing or have the same experience.

But they have an impact that goes far beyond what’s easily presented on a news feed.

These experiences are not just self-expression, though they are that: they are participatory. There is no art happening if people simply gather around in a circle and stare (which, indeed, did happen). Someone has to step in and actively engage for it to be real. Someone has to take a risk.

So experiences like this don’t get even a fragment of the media representation that Big Art does. Not even in museums. One of the great failures of museum portrayal of Burning Man thus far is that they showcase the visual arts and tend to utterly ignore the experiential.

But experiences like this — weird ideas put together based on what you have lying around, to experience with strangers — are at the origin, and the heart, of Burning Man culture. They are not only representative of what really happens here, they are what differentiates us from ‘festivals’ which think their attendees have transformative experiences simply because they throw lights over a weird sculpture and have a DJ set.

And these are experiences that you can do wherever you are. In Black Rock City, sure, but also literally anywhere else. We do not need to be dependent on any particular location, or conditions, or materials, to create Burning Man experiences.”

As BRC becomes more and more associated with big and in some ways impersonal art, the stories I’m hearing from the Regionals are more and more associated with these magical human experiences. They have big art and impressive structures, sure, but they also seem to be picking up what many of us feared were the increasingly lost arts of small human weirdness and putting them front and center — which serves to re-center them in Burning Man culture as a whole.

This is both a move into the future and an act of faith with the past. In a lengthy examination of Burning Man’s philosophy, I once noted that “the premise of festivals like Woodstock and Coachella is that ‘you had to be there to experience it!’. The premise of Burning Man is: ‘I can do this myself!'”

The Regionals are making that more true than ever. They are the new centers of human centered DIY experiences, and they are doing it locally and closer to year round. Where they take it, I don’t know. Nobody does. We are, more than ever, the decentralized movement that we always aspired to be.

And this is the point: the more “the Regionals become the future of Burning Man,” the less we are going to be able to predict the cultural change that results.

It has been truly inspiring to me to hear these stories, and I can’t wait to see what happens next.

Cover image of AfrikaBurn, 2024 (Photo by Kim van Zyl)

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The beating heart of Black Rock City is about to get pumpin’! This year marks a monumental moment of evolution — we are reimagining and revitalizing the center of the city. Center Camp Plaza will reincarnate into a street fair of delight and curiosity, a celebratory nexus for the Burning Man global cultural movement like we’ve never seen in Black Rock City. It’s going to knock your playa-stained socks off.

An experiment began in 2022 and 2023, and the community was invited to reimagine the space under Center Camp’s Canopy. Yet, these invitations and intentions weren’t enough. It’s time to get innovative and radical. With a healthy dose of Burner creativity and ingenuity, a revolutionary rebirth is imbuing immediacy and instigating interactivity into the city’s center, radiating the potency of Burning Man culture from its core.

The original intent of Center Camp was to bring people together and foster community. We are doubling down on that goal. We are no longer simply relying on selling coffee to do it. The center of our dusty metropolis will be a magnificent expression of the whimsical, wild, and creative Burning Man spirit that brings people together in Black Rock City and around the world.

“Our original motive for creating a café was to attract people to the civic plaza at the center of our city… As I often tell people, over the years we’ve tried to create alternative attractants — something other than a cup of coffee — that might lure folks into this enormous public plaza in the heart of our city.” – Larry Harvey

The city’s heart is where we can experience the bleeding edge of Burning Man culture, pumping nourishment and growth to the farthest extremities — an incubator for future iterations and evolutions. While the Temple and the Man invite a release as they burn, the heart asks us what we wish to keep, cherish, nourish, and bring with us on our quest. The city’s center is so much more than a coffee shop. It will ignite, distill, define, and cultivate the very essence of Black Rock City.

The heart of the city is coming to life.

“Koro Loko” by Emily Nicolosi, 2019 (Photo by julianelsongal)The Cultural Core of Black Rock CityCities around the world utilize their centers as a space to nurture and share their unique cultures expressed through festivals, street fairs, fiestas, and celebrations. Black Rock City is all of these all at once. New Orleans cannot be described without including Mardis Gras, and Carnivale is a mainstay of Rio de Janeiro. What will Black Rock City’s Center Camp Plaza festivities look like? How can the vibrancy of Burning Man be refined into an activated cultural core? How will this reimagined neighborhood become a place to spark, engage, and inspire the city in new ways?

This transformation is a radical renaissance of our city center. The street layout around the city’s heart has been redesigned to make the Center Camp Plaza more approachable as you explore the city. Rod’s Road, though artfully designed, created a navigational barrier to enter the Plaza — but no longer! With this encircling road removed, streets now lead into the center — and offer 4,000 feet of additional frontage to the Center Camp Neighborhood. Camps with distinctive interactivity will be placed around the plaza ring and throughout the zone, creating a bustling downtown vibe.

It’s not only the streets and neighborhood being reimagined — the Canopy is pulsing with a smorgasbord of participatory shenanigans! The Canopy is the perfect meeting point for you and your friends to begin your adventures. Take a tumble down a rabbit hole before venturing out on the town — or perhaps the Center Camp Plaza becomes the evening’s destination, quite unexpectedly. Bring the kids in the morning for spirited games and activities. Become enveloped by the phenomenon of immersive play. Don your best mushroom costume and join the Million Mushroom March after a pep talk by mycelial experts. Come in the evening for ludicrous laughs and mischievous pranks. Shake your booty during one of the special guest performances on the stage and become enchanted by a most curious circus. Wear your formal best to the Cacophony Society Cocktail Party, witness a wedding, crash the reception, and then strut your stuff in the People’s Fashion Show. You may be transformed into a character that motivates you to adopt a new persona for the entire evening. You might even learn a thing or two. Or, add your flavor of shenanigans and mayhem to the mix. There will be more whimsy than you can shake a stick at, and absurdity around every curve.

Picture this: the heart of the city redesigned with streets flowing like arteries into Center Camp Plaza — the ring around it brimming with compelling camps creating a lively interactive downtown. Belly laughs echo from late-night revelries, variety shows, and raucous vaudevillian circus acts under the Canopy. Characters are brought to life through immersive theater, fire performers play with the elements, and aerialists dangle from the beams. Kiddos of all ages are enthralled and engaged in crafternoons, scavenger hunts, and a wide array of curious experiences that satisfy the craving for deeply immersive play. A magical painting of curiouser and curiouser proportions emerges before your eyes. You wander through the Canopy crannies and micro-environments, pop-up experiences, trading posts, and casino games, and find a cozy chill zone to take a load off and meet new friends, all while an orchestra serenades the space. Shticks and heckling, mind-bending art, psychedelic tea parties, and shindigs make up a curious elixir of playa adventures with a distinct flavor of surprise.

Do YOU wish to bring something fantastical to the festivities and be part of this revival? Performers, shtick curators, aerialists, and circus characters wanted! Seeking makers and creators to teach your creative skills at the crafternoons, tea sommeliers for a grand tea party, collectors and hoarders to bring your oddities to the extravaganza, and eccentric decorators to add your flourish to an alcove environment. Do you have a smashing concept and the necessary humans to take over the entire center Canopy for a few hours? Let us know your creative ideas by May 24th, and your abilities to implement them. Share your interest in playing a part!

Center Camp, 1990 (Photo courtesy of Nick Lynch and Julia Wharton)The JourneyLet’s rewind for a moment and pay homage to the history of Center Camp. Back in 1995, Cacophonist and Burning Man instigator Ms P brought a commercial catering coffee urn and placed it on a folding table next to a couple of hay bales under a parachute. Dubbed, Café Temps Perdu, this early Center Camp Café served as a destination for connecting, and grew into a beloved institution.

Center Camp, 1997 (Photo by George Post)Lauded as the “Gateway to Volunteering,” the Center Camp Coffee Shop evolved into a complex operation with more than 1,200 volunteers and a distinct and beloved team culture all its own. As the city grew, so did the café’s environmental impact and operational complexity. Eventually, with hundreds of theme camps offering coffee, the community’s radical self-caffeination began to challenge the cafe’s relevance.

As we emerged from the pandemic we needed a lighter lift to bring back Black Rock City. In some places, the old ways were no longer justifiable, prompting a reevaluation of the space’s role in the city. Is selling coffee the best expression of the Black Rock City culture? Can the essence of Black Rock City percolate from its center in new ways?

(Photo by Gilles Bonugli Kali)Here We Go!Together, we are creating a new chapter in the story of Black Rock City, one invoking creativity, connection, and collective expression — a concentrated curation of the special moments that can only be found in the Burnerverse. Let’s celebrate the small and the strange, the fun and the freaky, the brilliant and the boisterous — a distinct nucleus of community and culture. This year the community will focus on the city’s core — and our hearts are truly in the game.

Do you feel compelled to contribute? Come play! Bring your thing, and get involved in this newness from its inception. Here’s a form to propose your participation.

Cover image of Center Camp in BRC, 2023 (Photo by Jonathan LaLiberty)

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Some of my least favorite experiences as a Burner are when we become victims of our own success.

Often this happens when the “default world” culture takes something that we do, misunderstands it (sometimes accidentally, sometimes willfully), and then tries to sell a nonsense version of it back to us.

In 2016, I wrote about how this had happened with “transformational” as a description of an event. Burning Man was a pioneer, indeed a paradigmatic example, of modern “transformational events.” For a while, that terminology was relatively unique to us, and it described something particular: it described our set of cultural practices and concepts and how we used them. We leaned on the word “transformational” too hard, but it actually did describe something, and usefully distinguished what we did from other things.

But then imitators came along and described their events as “transformational festivals” using the term to refer not to a specific set of practices and ideas but to a vibe. You know … there would be dancing and costumes and positivity and stuff. It wouldn’t be the same thing as what Burning Man was doing, but it would kinda feel like it and look like it from a distance, so why not use the same word to describe it?

It worked, and so the word moved on from festival marketing to marketing departments in general, and suddenly people were describing their products … bottles of wine, somatic workshops, time-share condos, tours of celebrities’ homes … as “transformational.” At which point the word not only meant nothing at all, it made me want to vomit every time it came up.

Worst of all: it no longer usefully described the specific things that we were doing. The word turned into marketing lingo in our mouths, thus communicating the opposite of what we were actually trying to convey. Far from an experience of Immediacy and Radical Self-reliance undertaken outside of commerce (among other things), “transformational” came to mean a curated experience or item that you buy in order to feel a certain way.

Which brings me, in 2024, to the word “gave.” Does anybody else remember that “gave” used to be a word? One that most people used instead of “gifted?”

Because that seems to have changed.

Let’s Visit Historical Linguistics CampNot long ago, saying that you had “gifted” somebody something identified you as a member of a particular set of cultural practices, very much tied to Burning Man (by way of Lewis Hyde). Lately, though, it seems like the words “gave,” and “give” have gifted up the ghost. “Gifted” is everywhere they used to be. And I find myself asking: “wait, did we do that?”

The answer is “not entirely,” but I think mostly. An article in Merriam-Webster notes: “While it’s true that gift has meant “to present someone with a gift” for 400 years, the verb has never been so widely used as it is now.” “Gift-as-a-verb in 1995 was already seeing an increase in use that seems to have begun in earnest around 1960, but that increase became especially dramatic in the second half of the 1990s.”

The learned dictionary cautiously credits Jerry Seinfeld for the change, because of a 1995 “Seinfeld” episode which coined and popularized the term “regifting.” Which … sure … that was a thing. But I can think of something else that was growing exponentially beginning around 1995, which would explode into American counter-culture consciousness with a Wired cover article in 1996 and become a cultural juggernaut over the next 20 years.

Which is to say that likely, yeah, Burning Man’s use of the word “gifting” has been successful enough to be absorbed into common English. Go us?

But … does it mean the same thing?

No, no it does not. I mean, obviously. What happened with “transformational” is now happening with “gifting,” and it’s arguably worse.

A Stealth Homonym Doesn’t Smell as Sweet“Gifted” in common English is increasingly being used as a synonym for “gave,” in a way that flattens all other meanings. I’ve seen it used to describe holiday gift giving (as in “I gifted it to her for Christmas,”), ordinary acts of object transfers (“He asked if he could use my spatula and I gifted it to him,”) and … worst of all … consumer exchanges.

Consider this passage from an excellent essay about the cultural impact of the movie “Oppenheimer” being run on traditional film as part of its release:

“Barbenheimer gave people a reason to go to the movies, gifting them a cinematic experience that had not been embraced since before the pandemic, arguably with Marvel’s ‘Avengers: Endgame’ in 2019.”

Wait, what? No no no no no … the studios didn’t “gift” anyone anything — they created movies that people paid to see. They were good movies, I liked them, this isn’t about the artistic quality of the movies — but the movies weren’t gifts. There was literally not one gift in the whole studio process. This was a strictly commercial transaction.

And there’s nothing wrong with that! I saw Barbenheimer, and I apologize to no one for it! I would like to appear in the sequel as “Burning Man Ken,” even though I’m pretty obviously “philosopher Alan.” But … if there’s one thing that “gifting” doesn’t mean in a Burning Man context, it’s a commercial transaction. The very definition of “gifting” in the 10 Principles is:

“Burning Man is devoted to acts of gift giving. The value of a gift is unconditional. Gifting does not contemplate a return or an exchange for something of equal value.”

Now there’s a lot of room within that for disagreements about best practices, about who’s doing it wrong, about whether the patches at the People’s Front of Judea are better than the stickers at the Judean People’s Front … a thousand arguments can and will bloom. But we’re always talking about something unconditional. We’re always talking about a non-commercial transaction. We’re always talking about something that exists outside of obligation.

So what we have is a word that has been used to describe a specific cultural practice we developed, one that is vitally important to how our culture and community works, now being used in general language to describe the exact opposite.

This… can’t be good. At the very best, it limits our ability to explain our culture to the world. At its worst, it’s replacing our most important cultural practices with a watered down, parody, version of themselves.

But (as with “transformational”) it’s a problem that we see every time we actually do make a breakthrough into the larger culture, and one we haven’t figured out how to address yet.

What They Don’t Know Can Hurt UsThis is hardly the first time that an element of Burning Man culture has been appropriated and made generic in the larger culture. The Burning Man “look” has been used to sell everything from sandwiches to exclusive getaways; the image of something as close to Black Rock City as trademark law will allow is used to sell cars and promote music; people still (unlawfully) put the Burning Man symbol craft projects they sell.

In each case, what Burning Man actually is and means is not only diluted, it’s at risk of being lost.

It happens in a less direct, less obvious, way too. “Radical Self-reliance” gets turned into a consumer ethos of outdoor wear and survival gadgets and glamping equipment. Rather than, as the principle says, encouraging the individual to “discover, exercise, and rely on their inner resources,” in this version of “self-reliance” the individual is encouraged to rely on what they can buy. Not the same.

“Immediacy” is often confused (sometimes even by Burners) with “instant gratification.” Instead of being present in the world as it is, and the experience one is having, one has a desire and then wants to get what one wants “IMMEDIATELY!” And so a principle that is intended to open one up to the present moment becomes a call for faster delivery services. Not the same.

It’s always a problem, but there’s also a pattern. No one ever tries to appropriate Decommodification. They’ll argue over its exact use and meaning, sure … they’ll do that endlessly … but no one ever appropriates it for some other purpose, because … well … it’s incredibly difficult, if not impossible, to use Decommodification to sell stuff.

In virtually every case (I’ll address some exceptions in a later post), Burning Man’s language, principles, and cultural practices are appropriated in the service of commerce. People who are genuinely interested in what we’re doing, what our culture is, are mostly willing to ask the questions and do the work needed to understand it, while people who want to find a way to sell stuff only need the outer shell of what we do, and discard all the parts and practices that make cashing in difficult. Then they tell us “but this is what it REALLY means!”

It’s not a good faith debate when one side is trying to understand what a principle of culture is and the other side is just trying to stick a price tag on it.

We are not budging an inch, but our culture is being counterfeit and sold underneath us. And unless we can explain who we are and why it matters clearly, people believe the knockoff because it’s more familiar and less work.

We Have to Juggle Many Things at Once. We Can Juggle, Right?There’s a natural inclination in the face of this to stick-to-our-guns even harder, to hunker down and repeat our existing explanations and stories even louder. And to some extent this is correct, we can and should do that. The whole point is not to lose what we’ve had: to hold on to what we’ve created in the face of a world that wants to package it and sell it back to us as something less.

But it’s not enough.

Culture, like people, is dynamic. It adjusts, it adapts, it evolves. It changes. The world has changed a lot over the last 5 years — before the pandemic, during the pandemic, after the pandemic. Burning Man is in a new cultural phase, one that makes it harder to develop a shared global vocabulary through discussion. As a result, we must simultaneously celebrate and honor what we’ve created, holding it close, and also find new ways to express it, new frontiers. Some of this will be conversational — talking about who we are and what we do — but even more essential will be demonstrating it. Finding new ways to express Gifting and Decommodification, Radical Self-reliance and Radical Self-expression. Finding new frontiers for Immediacy and Communal Effort.

One of the reasons the Mudpocalypse was actually such an effective cultural moment for us — one of the ways it cut through all the bullshit that the media tries to pin on us — was because people could see us reacting to a crisis in a different way than they’d expect. They wanted stories of people going feral and turning on each other at the first sign of scarcity, or at least a Fyre Festival debacle. What they saw instead, over and over, was people who were well prepared and willing to share with complete strangers; instead of carnage in the mud, they saw people creating art out of the mud. We did things differently, and mattered.

The world has changed. What are we doing to demonstrate that Burning Man culture has more to offer it than its commodified, appropriated, imitation? To some extent one can look to the Regionals, who are doing it by reigniting Burning Man’s emphasis on small-scale, human, experiences. I think that can only help.

Fundamentally, we will take back cultural ownership of our own cultural concepts when we do more with them — when we experiment with new ways to decommodify, to give gifts, to engage in acts of Radical Self-expression, and do so without the self-justifying bullshit of needing to sell something. Burning Man wins not by retreating into its fortress, but by continuing to find new ways to engage the world on our terms, and let anyone play.

Cover image of Organic Fruit and Veggie Camp (Photo by Bill Klemens)

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Inspired by the year’s theme, the Man Pavilion serves as the base upon which the Man will rise, and functions as a playful gathering and happening space for Black Rock citizenry. In recent years we’ve collaborated with artists in the Burning Man community to design Black Rock City’s Man Pavilion.

And the 2024 Man Pavilion is… we’re not going to tell you yet but stay tuned!

This year we had 18 artists submit design concepts — and some submitted more than one — so we ended up with 21 designs to review, discuss, and ultimately select the Man Pavilion for 2024.

This piece will take you on a journey of exploration through all the groovy submissions we received. Then we’ll introduce you to the design that we chose. Are you feeling Curiouser and Curiouser?

Let’s review the rules of the road first — we invite a few artists (this year more than a few) to dream with us about what the Man Pavilion might be. We share and discuss the Man as a destination, a wayfinding landmark, a gathering place, a symbol — both to represent the theme and as a space for the community, including ways to interact. We do not ask artists to give us full renderings; a sketch, or a concept will do, but the more they can tell us about their design, the greater the chance we can build it!

When a decision is made we take it and run with it — animating and collaborating and dreaming away about all the ways Black Rock citizens will inhabit and enjoy the pavilion this year!

We love reviewing these designs and we think you will too! They are the work of the imagination and dedication of 18 wildly inventive artists. We invite you to enjoy their ideas and perhaps look for their contact information at the end of each post to find out more about them and their art!

Away we go! Walker Babington’s “Stack the Deck” and Steve Brummond’s “Unstable” are two submissions that play with the imagery of a ‘house of cards’ and speak to instability as their conceptual premise while also making a nod to playing cards in the tale we all know so well! These designs are thoughtful, fun, and appealing.

NiNo’s “Man Hatter” picks up on the play and wordplay of the storyworld, and also weaves in the playing card motif. With a wink, he suggests you never really know what will emerge from a magician’s hat — much like you never know what you will encounter in Black Rock City.

“Man Hatter” by NinoNiNo paired up with Gio Mantis for this submission and continued down the magical path with this whimsical ode to transformation through mushrooms! Called the “Canopy of Transformation” they play with size and scale and give us this ethereal take on the world through mushrooms… as did Michael Garlington with this fanciful and fantastic garden view of the Man.

“Canopy of Transformation” by NiNo and Gio MantisBy Michael GarlingtonWhile we’re talking ‘shrooms, let’s take a look at what David Normal proposed: geodesic-dome-meets-viewing-platform-meets-projection-surface — all in the shape of… a mushroom!

By David NormalAnd finally, in the category of mushrooms we find ourselves in this incredible world of luminous and lovely fungi with Leeroy New and Jan Leba’s offering called, “Mount Mycelium, Fungi Fort.” In their words, “The design proposal depicts the Man atop a structure that represents the complex and curious world of mycelium networks.”

“Mount Mycelium” by Leeroy New and Jan LebaWe love curiosities. This submission from David Oliver takes us through multiple portals on a journey of wonders and dimensions where you never know what you might find. Choose an opening, find out what’s on the other side!

By David OliverThis brings us to the remarkable talents of Zulu Heru who chose to let the imagination flow into three different paths and provided us with a peek into a Top Secret Man Base of rooms and rooms within rooms — even a bathtub! All is wrapped into a playful game plan for participants.

Zulu Heru followed up this deconstructed streamlined design with a simple pavilion lifting towards the sky and this beautiful nod to the mystery of labyrinths.

This next one is from Tyler FuQua, who uses the labyrinth as a symbol for exploration and curiosity. He offered us this Neil Degrasse Tyson quote for inspiration: “Kids are born curious… You’re plucking leaves off of trees and petals off of flowers, looking inside, and you’re doing things that create disorder in the lives of the adults around you. And so then what do adults do? They say, ‘Don’t pluck the petals off the flowers. I just spent money on that. Don’t play with the egg. It might break. Don’t….’ We spend the first year teaching them to walk and talk and the rest of their lives telling them to shut up and sit down. So you get out of their way. And you know what you do? You put things in their midst that help them explore.”

We can follow this windy road of exploration into a series of spirals, swirling spaces and ethereal, lofty designs from Julia Nelson-Gal’s “Play – Wonder – Awe,” Paige Tashner’s “Feed Curiosity” (a homage to S.T.E.A.M.) and Dana Albany’s two beautiful towers of wonder and worlds to wander through.

Moving even further into the land of the whimsical we are excited to share with you Hind Baghdadi’s deep dive into the inner workings of clocks, the windings and turnings of a labyrinth and play with the idea of “Time: The Illusion,” as she calls her design.

“Time: The Illusion” by Hind BaghdadiAnd now we turn to the great structural visionaries among us: with Michael Christian’s sculptural sensibility and Escheresque take on a puzzle experience as pavilion; Lew Zaumeyer’s vertical take on a labyrinth, which he titles “Gratitude,” each level representing stages of life; and the incredible team of Wes Modes and Lauren Benz, of “Black Rock Station,” who gave us an otherworldly view into an airy courtyard surrounded by small places to gather and be together.

Which brings us to the selected Man Pavilion design for 2024. Jen Lewin gave us an elegant work of art, which she calls “The Other.” She writes: “The Other features eight gracefully curved, canyon-shaped tentacles that wind as stairways and ramps, each leading to an upper and lower vantage point. Moving around the work, participants can gaze outward and inward, viewing The Man, The City, and each other.”

“The Other” by Jen Lewin“The Other” by Jen Lewin“The Other” by Jen Lewin“The Other” by Jen LewinHer design includes benches and chambers to feature other artists’ work, opportunities of light and shadow play, and an extraordinary creation of space within the curvature of the structure. Sweetly evocative of both distance and intimacy, we will be able to look out across the landscape, and nestle within the embrace of the overall structure. We invite you to join us and see how this lovely artwork becomes animated through the creative and logistical magic of our Man Pavilion team!

For information about the above artists please see:

Walker Babington — @SabatomStudios

Steve Brummond — @steven.brummond

NiNo — @leaveittonino | leaveittonino.com

Gio Mantis — @giomantis | giomantis.com

Michael Garlington — michaelgarlington.com

David Normal — crossroadsofcuriosity.org

Leeroy New and Jan Leba — @newleeroy

David Oliver — @davidoliver_ | @bea.con8

Zulu Heru — @zulu.heru | zuluheru.art

Tyler FuQua — @tyfu | tylerfuquacreations.com

Julia Nelson-Gal — julianelsongal.com

Paige Tashner — @lasereyesoflove | @trustcatart | paigetashner.art

Dana Albany — danaalbanyart.com

Hind Baghdadi Lady Gaia Collection — @ladygaiacollection

Michael Christian — @michaelchristianart | michaelchristian.com

Wes Modes and Lauren Benz – modes.io/palace-of-light-and-shadow.com

Jen Lewin — @jenlewinstudio | jenlewinstudio.com

Cover image of selected 2024 Man Pavilion design by Jen Lewin

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Burning Man Arts is thrilled to spark your curiosity about the artworks selected for the Black Rock City 2024 Honoraria Program! This program is just one of the many ways the global nonprofit Burning Man Project amplifies creative expression in BRC and beyond.

This is only the beginning of the magic and wonder that arise from artists uniting their friends, families, and communities to bring their wildest creative dreams to life. So buckle up and join us as we embark on a journey filled with art, innovation, audacious creativity, and the power of human connection!

More Money for Art!The annual budget for the Honoraria Program art grants was last increased — to $1.2M — in 2018. In recent years, the economic climate has posed significant challenges, with artists experiencing rising costs and a decrease in their fundraising capabilities. Thanks to the generosity of numerous donors who have demonstrated their passion for art in Black Rock City, we are thrilled to share that we’ve been able to increase Honoraria funding by an additional $100,000, for an annual total of $1.3M — that is what we like spending money on!

Burning Man Project is the nonprofit in service to the global Burning Man cultural movement. Support our year-round work with a tax-deductible donation.

The Honoraria Program typically funds 40-60% of proposed project budgets. By not fully funding projects, the program stimulates artists’ creative energy while developing their capacity around fundraising, which generates community involvement and momentum. Rather than increasing the number of Honoraria projects with the additional money, we are prioritizing funding projects at a higher percentage of their proposed budget. As a result, we increased award amounts for 26% of the selected projects beyond their requests, focusing on those who requested less than 40% of their budget, whenever feasible.This year, we received 547 Letters of Intent, and invited 375 projects to submit full proposals. We are delighted to announce that 76 projects will receive funding for Black Rock City in 2024, promising another year of memorable art installations.

“A Seat on the Throne” by Chelsea OdufuThe Selection ProcessWhen selecting Honoraria projects, our focus extends beyond individual value judgments in order to prioritize crafting a holistic experience as diverse as the citizens of BRC. Rather than selecting the “best” artworks — which is of course very subjective — we curate a collection that encompasses a broad spectrum of aesthetics, vibes, and experiences.

Our goal is to embrace the rich diversity of our community and the various ways art facilitates participation. We consider families, fire enthusiasts, climbers, those that need to take a pause and have a seat, a melange of global cultures, lovers of stories, treasure hunters, rock ‘n’ rollers, meditators, bicyclists who delight in weaving through art installations, and everyone in between.

“The Reckoning” by Julia JeromeWe aim to ensure the Honoraria collection represents a variety of scale and scope, as well as diverse concepts, ranging from whimsical and playful to thought-provoking. We look for fiery spectacles and dazzling lighting, as well as serene and contemplative oases. We welcome novel interpretations of the annual theme and artworks that transcend thematic boundaries. Throughout the selection process, we prioritize core criteria such as interactivity, visual appeal, impact, and sheer creativity, while offering support to both emerging and experienced artists. Finally, we are committed to celebrating diversity and encouraging environmental sustainability.

As technology evolves, we recognize the growing use of Artificial Intelligence (AI) in image creation and written materials in grant applications. AI is another tool in an artist’s toolkit, and we are mindful to consider things like, “Will it actually look like that?” or “Is this really feasible to construct?” We investigate artists’ past work to help gauge feasibility. And sometimes we take calculated risks, understanding that we are investing in an artist and their community as much as their artwork.

“Fable Bound” by Kyle Stewart and Build to Strike2024 Theme — Curiouser and CuriouserEvery year, the playa’s blank canvas undergoes a remarkable transformation, blossoming into a fantastical wonderland of creativity and imagination. This year’s theme offered artists an extra dose of inspiration, igniting a spark of curiosity and encouraging them to delve into the realm of exploration and wonder.

“The End of Time” by Andrea Greenlees and Andy TibbettsThe open playa will contain an abundance of experiences designed to disorient and dazzle our perceptions. While “Tempus Turibulum, the Time Burner” might keep you punctual with fire poofers, Andrea Greenlees and Andy Tibbetts are hoping to trigger the death of all clocks and declare a forever Teatime with their project, “The End of Time.”

Black Rock City is an ideal place for artists to experiment with scale, offering another way to challenge perception. “Banana for Scale” brings the popular meme to the playa with a 30’ long banana that seems destined to make it into the subreddit /r/BananasForScale. A larger-than-life dryer, “Sock-o-tron 4200” welcomes participants inside to spin the drum like a human hamster wheel, activating an immersive “drying” effect.

“Banana for Scale” by Caroline KammSeveral projects harness the power of collective participation to create topsy-turvy interactions. “Interlace” features three hyperboloids that participants spin to unlock a trippy illusion, while “The (Im)possible Dialogue,” presents a circle of heads that can be rotated to harmonize sound and lighting. “Kaleidoscope Hole” is made of three tall, rotatable rings that form a kaleidoscopic tunnel pointed at the Man; prepare to tumble down a rabbit hole of wonder. Additionally, Rebekah Waites’ “Relevé Ladies” creates the illusion of spinning dresses, which appear to defy gravity.

The curiosity and wonder behind this year’s theme are widespread. You might experience a shocking surprise if you are curious enough to play with “Bad Hatter,” a giant top hat that contains percussive solenoid instruments. Chinese artist Miao He, who brought the pink bunny in 2023, returns with a 26-foot tall mushroom, “Mona Mushroom.” An old favorite that hasn’t been to BRC since 2018 is returning with some upgrades — “Radial Sonic Runway” will make an excellent Wonderland of light in motion.

“Zozobot the Curious Clown” by Walker BabingtonOther Highlights and ThemesAfter a two-year hiatus during the COVID-19 pandemic, 2022 and 2023 were a time to collectively process the emotions arising from global uncertainty, both within and beyond Black Rock City. And like a pendulum, sentiments have shifted; we found a sense of lightheartedness in many of the art concepts this year. While the world certainly isn’t all unicorns and rainbows right now, the open playa may evoke a playful, whimsical vibe in 2024. We are so ready for some fun, and it appears many artists are too.

The projects this year include not one, not two, but THREE projects featuring unicorns! “Dream Slide” invites participants to slide down a unicorn’s mane, “Monoceros” delves into unicorn lore aboard a gilded boat with a unicorn at the prow. “The Purple Unicorn” is a fiberglass sculpture paying homage to American hot rod culture with a dazzling custom paint finish. And “Polychroma” features a shimmering rainbow, representing a multicolored approach to beauty, diversity, strength, justice, and ecological health.

“Sky Gazing” by Patrick Shearn and Poetic KineticsSpeaking of rainbows, there are a number of projects that embrace a vibrancy of color to catch your eye. “Promise of the Century” invites interaction with prismatic elements to create rainbow light. Patrick Shearn’s “Sky Gazing” will beckon you to look up at a canopy of colorful fabric ribbons spanning 400 feet and hovering 60 feet in the air. And we are very excited about “The Mothership Connection” by Zak Ové, which blends Pacific Northwest totem making, African and Caribbean cultural traditions, and Afrofuturism. This project comes with support from Project Aikido, an organization with the goal of bringing African art and music to Burning Man.

“The Mothership Connection” by Zak Ové and Project AikidoA maritime theme sets sail with boats, coral, a sea serpent, and even a pile of treasures, which will make an excellent backdrop for a flash mob of pirates or a chorus of sea shanties reveling on the ancient Lake Lahontan. Notably, “Naga and the Captainness” is led by a team of women artists who are impressively experienced builders. They are creating a sea serpent and shipwreck scene with an abundance of delightful elements to explore.

“Naga and the Captainess” by Cjay Roughgarden, Stephanie Shipman, Jackie Scott, and Crew, supported by Five Ton CraneBurning Man is known for fire art, and 2024 will be no exception. 17 Honoraria projects are planning to play with fire and flame effects. The Iron Monkeys are bringing another stunning project, “Glimmer,” a grand crown made of steel vines, vibrant resin flowers, and colorful gems that will come to life at night with flame effects. Our tallest Honoraria project, “Coney McConeface: The Life and Death of a Traffic Cone” elevates a basic traffic cone to a 60-foot-tall towering shrine of safety that will go up in flames. “Goa Gil Farewell Darshan” celebrates Black Rock City’s electronic music origins by paying tribute to Goa Gil, one of the founders of the Goa trance and psytrance movement. Goa Gil, who passed away last October, DJed at Burning Man’s first rave-style sound camp in 1992.

“Coney McConeface: The Life and Death of a Traffic Cone” by Chris (aka Kiwi) Hankins and Conecophany CollectiveTwo additional “fire” projects are exploring a more sustainable way to burn with artificial fire. “Camp-Fire” will use programmable LEDs and sensors to mimic one of the first places where people would gather and connect — around a fire. “Styx and Stones” is an immersive installation of “fire”: a 90’ long realistic river of flickering flames made from billowing hand-cut silks, with a glowing footbridge that beckons the brave to traverse its fiery embers. Now that we are coming up on five years since publishing our 2030 Environmental Sustainability Roadmap, we are pleased to report that 41% of the Honoraria projects demonstrated a significant effort towards sustainability in their proposals, via innovative solutions to power, materials, and transport, or the artwork’s message. That is up by more than 17% over last year!

“Styx and Stones” by Cody SteeleIn addition to 18 states in the US, including the unincorporated territory Puerto Rico, we’re pleased to include 12 international Honoraria projects this year. There are two from the United Kingdom and one each from Belgium, China, Colombia, Estonia, France, Indonesia, Mexico, the Netherlands, New Zealand, and Sweden. Some of the 2024 Honoraria artists have just started making art recently, while others have been contributing to the art at Burning Man for over 25 years. Four of this year’s Honoraria recipients will be coming to Black Rock City for the first time!

There’s so much to be excited about, and we can’t wait to share it all with you.

How You Can Get InvolvedIt’s important to note that the vast majority of the 400+ art installations in Black Rock City receive no financial support from Burning Man Project. Our commitment to supporting ALL artists runs deep, and we recognize that fostering a vibrant creative community goes beyond financial assistance. This includes offering access to heavy equipment, conducting engineering reviews, facilitating communications outreach, and providing partnerships with our team throughout the artistic journey. By leveraging our resources and expertise, we cultivate an environment where artists can thrive and bring their visions to life, enriching the collective experience in our city.

“Camp-Fire” by Wilhelmus VlugCheck out the following list of 2024 BRC Honoraria projects, and if you have a vision that’s missing from the list, you are warmly invited to make it happen. Do you have skills to contribute and want to help an existing art project? Then please check out our collaboration tool Spark.

Without further ado, we’d like to introduce this year’s Honoraria recipients.
Drum roll, please…

The 2024 Black Rock City Honoraria RecipientsA Capsule of Curiosity — Andi Morency and The Gryphonart Collective – Honors Academy of Literature Student Artist Group — Reno, NV

A Moment in an Aeon — Iyvone Khoo and Miguel Guzman — Joshua Tree, CA

A Seat on the Throne — Chelsea Odufu — Newark, NJ

Always Another Sunrise — Chelsey Hathman — Oakland, CA

Anti-Gravitational Chamber — Intergalactic Confederation — Grass Valley, CA

Apex of Azure — Anna Gribovsky — San Francisco, CA

Bad Hatter — Neil Mendoza and Winslow Porter and Birmingham!! — Albuquerque, NM; New York, NY

Banana for Scale — Caroline Kamm — Brussels, Belgium

¡¡¡¡Big Spinning Wheels!!!! — Josh Cohen and PDA — Roxbury, NY

Black Rock City Supper Club — Carlyn Perona King — Reno, NV

Camp-Fire — Wilhelmus Vlug — Volendam, The Netherlands

Carried by the Wind — Cameron Anne Mason and Dusty Nation — Seattle, WA

Celestial Syzygy Garden — Shane Robinson and TRM Artistic Metal Creations — Dolan Springs, AZ

Coney McConeface: The Life and Death of a Traffic Cone — Chris Hankins and Conecophany Collective — Dargaville, New Zealand

COQUÍ — NiNo Alicea and The Parliament Art Crew — Los Angeles, CA; Trujillo Alto, Puerto Rico

DANCING BALLOON ROBOT — Sepehr Ghassemi and SEP GHAS — Los Angeles, CA; New York, NY; Seattle, WA; Tehran, Iran

Desert Pop — Lance Dehne — Reno, NV

Dream Slide — William Nemitoff and Curious Form — New Orleans, LA

Equinox of Curiosity — Candice Stewart and Cozy Torpedo — Asheville, NC

Fable Bound — Kyle Stewart and Build to Strike — Denver, CO

Gaia Weeps — Michael Malecki and Dmitriy Yastrebov — Grass Valley, CA; Bowling Green, KY

Glimmer — Tabasco Mills and Iron Monkeys — Seattle, WA

Goa Gil Farewell Darshan — Gaby Tello and Friends of Goa Gil — Oakland, CA

Habitat — Mark Rivera and Kidnetick — Santurce, Puerto Rico

H E A R T H — Mckenzie Genin and The Green Bucket Lab — Woodside, CA

Heartless Dino — Arturo Gonzalez and Arte Conciencia — Saltillo, Mexico

Interlace — Josh Zubkoff & Srikanth Guttikonda with Looking Up Arts — San Francisco, CA

Kaleidoscope Hole — Michaela Hares — Eugene, OR

Light Curve — Sam Cooler with Art for Open Spaces — San Francisco, CA

Live Dangerously, Carefully — Jamie Joyce — Berkeley, CA; Houston, TX

Lost in Thought — Matthew Schultz — Reno, NV

Mare — Francesco Campanella and OTG — Los Angeles, CA; Chicago, IL

Mariposa — Christopher Schardt — Oakland, CA

Mona Mushroom — Miao He and Promoting Art (PART) center — Hangzhou, China

Monoceros — Harley Bergsma — Truth or Consequences, NM

Naga and the Captainess — Cjay Roughgarden, Stephanie Shipman, Jackie Scott, and Crew, supported by Five Ton Crane — Oakland, CA

Nebula Shroom Grove — Silvia Rueda and Understory — Bogotá, Colombia; London, United Kingdom

Ogoh Ogoh The Karmic Questioner — I Wayan Sunarinta and The Karma Collective — Bali, Indonesia

Organic Study No. 4 — Luis Varela-Rico — Las Vegas, NV

P.O.D.S. (Plants of Dimensional Spatiality) — Tyler Fuqua and Tyler FuQua Creations — Eagle Creek, OR

Penumbra — ArtBuilds Collective — San Diego, CA

Perpetual Motion — David Boyer — Reno, NV

Pipedream — Scott Ashkenaz (Smash) & the Swingers — San Francisco, CA

Polychroma — Emily Nicolosi and In Theory Art Collective — Huntsville, UT

Promise of the Century — Alyssa Oliveira and Alpine Artists Collective — Olympic Valley, CA

Radial Sonic Runway — Robert Jensen and The Sonic Runway Crew — Berkeley, CA

Reclamation of a Stolen Heart — Nathaniel Holben and Strength in Numbers Collective — Martinez, CA

ReHatchosaurus Recyclosaurus III (aka R3) — Lynda Traves and Reno Core Project — Reno, NV

Release — Dana Albany — San Francisco, CA

Relevé Ladies — Rebekah Waites — Los Angeles, CA

Rhinoceros — Barry Crawford — Silver Springs, NV

Rushmore — Mr and Mrs Ferguson — Alameda, CA

Scared Sacred — Beau Blanche — Los Angeles, CA

Shell — Colin Bowring and Rainbow Geometric — Oakland, CA

Sky Gazing — Patrick Shearn and Poetic Kinetics — Colorado Springs, CO

SLOW — Eva Reiska, Layna Joy Rivas and Collaboration between Circular Design MA students of Estonian Academy of Arts (Estonia), Ravens Landing (USA) and V2GI (Estonia) — Tallinn, Estonia; Clearlake Oaks, CA

Sock-o-tron 4200 — Socks Stray and Sockdrawer — San Francisco, CA

Styx and Stones — Cody Steele — Philadelphia, PA

Tall Tails — Clinton Lesh — Bozeman, MT

Tempus Turibulum, the time burner — Alexander Rose and Tempus Turibulum — Sausalito, CA

The (Im)possible Dialogue — Jean Collin-Satre and FAFA — Poissy, France

The (Middle Path) Bridge Between Heaven and Earth — See See Kwan — El Cerrito, CA

The (re)Salvaged Spoon — Taylor Simpson and The Sunrise Art Collective — Seattle, WA

The Basic Bench — Daniel L. Paster and DPDB LLC — Boulder, CO; San Diego, CA

The End of Time — Andrea Greenlees and Andy Tibbetts — London, United Kingdom; Reno, NV

The Mothership Connection — Zak Ové and Project Aikido — Las Palmas, Spain; London, United Kingdom

The Portal: An Inquiry into the Liminal — Rahel Campbell and Diaspora Collective — Los Angeles, CA

The Purple Unicorn — Alessandro Thompson and Barnacle Bros. — Oakland, CA

The Reckoning — Julia Jerome — Oakland, CA

The Silence of TENGRI — Turburam Sandagdorj and Wild Horses Collective — Reno, NV

The Solar Library Phase 3, The Solaria — Jared Ficklin and The Other Singularity — Austin, TX

The Teetering Trail of Tooter — Robert Cox — Kalama, WA

Tree Circle — Eira Mooney and Alquem — Växjö, Sweden; Bogotá, Colombia; Ibiza, Spain

Typha — Taylor Dean Harrison — Penngrove, CA

Womantree — Valerie Elizabeth Mallory — Oakland, CA

Zozobot the Curious Clowndroid — Walker Babington — New Orleans, LA

Full project descriptions with images and links will be available later in the spring.

The BRC Honoraria Program relies on the generosity of our community. You can help support this program and an array of on- and off-playa artist services by making a gift here.

We’re so grateful to all the artists who will be sharing their creativity in Black Rock City in 2024, and we can’t wait to explore this outpouring of creativity together!

Cover image: “Equinox of Curiosity” by Candice Stewart and Cozy Torpedo

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This is the second post about the 25 to Thrive project to consider the future of the Regional Network. We want to hear more from people who have not yet participated in this project or connected deeply with the Regional Network. Complete this survey to share your input and participate in the online forums on May 11, 2024.

The Burning Man Regional Network is a complex ecosystem of interconnected people, communities, and events that bring Burning Man culture to daily life year-round. The Regional Network program includes more than 235 volunteer “Regional Contacts” in 125 communities and 34 countries on four continents. Regional Event organizers produce over 100 locally organized official Regional Events annually.

Regional Contacts connect members of the community and welcome people who wish to learn more about the principles and culture. As a whole, the network connects people through information sharing, locally organized events, and a variety of creative and community building endeavors.

Since its founding 25 years ago, the Burning Man Regional Network has grown from three annual events in Central Texas, Northern California, and Canada to a sprawling global nexus. The Network includes many who have never been to Black Rock City but identify with the culture and its local manifestations. As mentioned in our previous Journal post, the Burning Man Regional Network team is taking this 25th anniversary as an opportunity to celebrate and consider how to build an even more badass, creative and resilient network!

Burning Man Project is collaborating with Regional communities to update and design the global network with an eye toward the next 25 years — and beyond. The 25 to Thrive project aims to clarify the purpose and vision for the Regional Network and identify focus areas to build upon strengths, address challenges, and imbue the network with a renewed sense of limitless possibility.

25 to Thrive project team members, Karim Asry (Spain), Wabi Sabi aka Marisol del Valle (New York City), and Storm aka Or Granot (Israel / Colombia) during a creative prototyping session at Burning Man Project headquarters (Photo by Steven Raspa)Project by and for Network ParticipantsFor the exploratory phase of this project, 18 project team members and seven project advisors from 12 countries came together to reflect on the network. This group included network stakeholders and those with experience participating in other networks. 25 to Thrive is using a human-centered design approach, which begins with listening to folks and reviewing years of data gathered from Regional Contacts, official Regional Event organizers and in-depth interviews.

When asked about a desired future state, both Regional Contacts (RCs) and official Regional Event Producers cited: more resources and infrastructure, more community connectivity, and more geographic diversity or growth as key characteristics of the future network. RCs stated greater diversity and inclusiveness as part of their vision. Both groups desired more cultural growth, more art, more civic involvement in the world, and greater sustainability — both environmental and economic. We also discussed in depth what areas of the network might benefit from decentralization, and others from centralization. Not surprisingly, there were differences of opinion, but a lot of agreement about the Regional Network’s importance.

Crème Brûlée 2023 participants in France. (Photo by Hervé Photograff)We’d love to know what you think. We are especially interested in hearing from those who do not feel connected with the network currently, and young members of our community who represent the future. What would your dream network be and be doing? Complete this survey to share your input.

Right now, the Burning Man Regional Network is mostly geographically based, event-focused, and relies heavily on volunteer Regional Contacts and official Regional Event organizers to help connect the community year-round. They, along with a small team at Burning Man Project, do their best to share best practices and helpful information, create opportunities for more people to connect to their authentic selves, protect the culture from being commodified, and spotlight interesting ways the culture shows up in the world.

What are we not doing that we might consider, and how might we connect people year-round in ways that help the culture fully flourish — and do so sustainably? If this interests you, then read on.

Moving Ahead with Three Areas of FocusThe 25 To Thrive project team helped identify three broad focus areas: “Network Structure and Collaboration,” “Community Building and Support,” and “Communications and Technology.” The first will consider if there are better, more collaborative organizational structures the network might take. The second will focus on the knowledge, skills, and tools needed to nurture the community. The third will explore communication and technology in a connective way that remains rooted in authentic human relationships.

We have identified subtopics under each focus area. Under the first focus area are two sub-topics: “Network Structure and Decision Making” and “Funding and Resources.” Under the second focus area, the two subtopics are “Training Resources” and “Participant Engagement through Training, Gatherings, and Programs.”

How You Can HelpWe want to hear more from people who can offer new perspectives and have not yet participated in this project or connected deeply with the Regional Network (e.g. awesome humans without an RC or Regional Event organizer role). We particularly want to hear from newer community members, those who are under 30 years of age, artists/year-round theme camp organizers, and those residing in Africa. Email 25tothrive@burningman.org. You can also:

• Participate in the two online forums about this project on May 11, 2024: 10am PT / 12pm CT / 1pm ET and 5pm PT / 7pm CT / 8pm ET
• Complete this survey to share your input, especially if you identify as being part of any group or demographic mentioned above
• Share this post

Note of ThanksThe first phase of this project was a collaboration of network members and future network members from across the world. We are grateful to the many contributions of dedicated project team members Andy Justice, Charlotte de Casabianca, Zeitgeist / Corprew Reed, Erica Fuck Yeah / Erica Blair, Fran Xavier, Jess Hobbs, Joerg Pfutzner, Karim Asry, Marty Bortz, Martin Marquez, Mathias Gullbrandson, Nozomu Shoji, Patty Simonton, Peter Durand, Sandor / Andrew Brown, Storm / Or Granot, Wabi Sabi / Marisol del Valle and Warren Lee. Thank you to project advisors Athena Demos, Christopher Breedlove, Emma Weisman, Heather White, Kay Morrison, Luis Gallardo, Marian Goodell, Monique Schiess, Sabrina Merlo, and Stuart Mangrum for their guidance.

Cover image of Regional Contacts, instigators, and event organizers of Regional Network events and projects at the Regional Network 25th Birthday Celebration at Nordic Paradise in Black Rock City (Photo by Juan P. Zapata)

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We display them proudly, like badges of playa honor — slapping them on dusty kanteens & sunworn bumpers … emblems of a Burn well prepped & memories earned, of a community gloriously grounded in Gifting.

Each year, we invite YOU, the citizens of Black Rock City, to design stickers for what will become our Gate (welcome) sticker — handed out by Greeters at the entrance of the city and accompanied by the WhatWhereWhen booklet — along with a handful of other selected sticker designs which we print like bunnies for rabid Gifting throughout the week.

If you’ve ever stepped foot on the hallowed dusty ground of Black Rock City, you’ve undoubtedly departed with (at least) a favorite sticker … or 20. You love to collect them, we love to print them — it’s a match made in playa heaven. From the absurdly abstract to the maniacally mundane and curiously crusty — there’s a Burning Man sticker for everyone, and we want to see YOURS!

Two examples of participant sticker designs held by Jamen Percy in BRC, 2023 (Photo by Jamen Percy)Now it’s time to read all the ins & outs (listed below) about how to submit your 2024 Black Rock City sticker design(s) for consideration. Most importantly, let your imagination run wild — or, in this case, run “Curiouser & Curiouser” — we can’t wait to see what you come up with! Oh, and please (PLEASE) read the submission requirements carefully, it’ll save us both a lot of unnecessary time and headaches.

YOUR 2024 STICKER SUBMISSION GUIDELINES1. SIZE — Your sticker design(s) must fit within one of the following die sizes:
• 3” diameter circle
• 3″x3″ square with a 0.062” corner radius
• 2.5″x6” with a 0.125” corner radius 2. WORDS — Please try to include either “Burning Man” or “Black Rock City” along with the year “2024” into your design. 3. COLORS — If using 1–3 colors, set up the file to print as PMS; If using 4 or more colors, set up the file to print as CMYK. 4. FONTS — you must OUTLINE all fonts (meaning all text must be vector shapes). 5. GATE STICKER — Remember that ROUND stickers are given priority for scoring the coveted “Gate sticker” spot, gifted to all BRC citizens. 6. THEME — Since preference is often given to designs incorporating the theme, feel free to get more intimately acquainted with this year’s theme “Curiouser & Curiouser” for additional design inspo. 7. SUBMISSIONS — Please email the original Adobe Illustrator (ai.) file of your sticker design(s) to Stickers@BurningMan.org with your FIRST and LAST NAME along with the phrase “2024 Sticker Submission” in the subject header. (Note: just because you can send a high-resolution PDF, doesn’t mean you should. The original ai. file is always preferred.) 8. DEADLINE — You must submit your design(s) by Friday, May 24, 2024 (no exceptions).

Pro Tip #1: Check yo’ specs. Then, go back and carefully re-check ‘em (above) again!

Pro Tip #2: You snooze, you lose — don’t miss the May 24th deadline for consideration of your badass design(s).

We may be a decommodified city where cash is out, but stickers are always in. Because you can take the Burning Man out of stickers, but you can’t take the stickers out of Burning Man!

So get busy designing, and may the dust bunnies be ever in your favor. Selected sticker designs will be contacted via email. Good luck — may your designs take you to Curiouser & Curiouser places.

Cover image: Sticker designers unite in Black Rock City, 2023 (Photo by Jamen Percy)

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Placement’s 2024 Statement of Intent (SOI) closed in January with nearly 1,300 submissions from theme camps that wish to be placed in Black Rock City (BRC) this year. That’s 100 more than in 2023, including 152 new theme camps. This shows that our community is alive and strong and we’re going to have another great year full of the interactivity BRC is celebrated for. We’re excited to see what the community is cooking up!

As we begin planning for the year, we are also looking to the future to understand how Placement should manage continued growth in the number and size of theme camps in BRC. In 2022 and 2023, we placed approximately 90% of BRC. At this percentage, we are truly hitting the maximum number of camps that can receive placement, while still preserving access to tickets and space for unregistered groups and individuals, who are also critical to keeping Burning Man’s culture strong.

Here is a snapshot of the placed camp areas (highlighted in gray) from 2013 compared to 2023:

In “A Turning Point for Placement,” published in 2019, we said, ”For the first time, there’s not enough room for everyone wishing to be placed.” Back then, we placed about 78% of BRC, leaving only 22% for open camping. We chose to continue to place all camps that met placement criteria that year — with the understanding that the system will need an overhaul to maintain open camping as a viable option in the future. We recognized the importance of stability and predictability for the community immediately following the COVID-19 pandemic. Now that we’re fully back in the saddle, we must address this head on.

Curious to learn more? On Saturday, March 16, join Burning Man Project and BRC camp leadership online at the 2024 Camp Symposium for a full day of learnings and conversations about being a camp in BRC. And hear Level’s interview, Urban Planning for a Desert Dreamscape on Burning Man Live for a peep behind the curtain at BRC’s annual planning process.

Ticket Supply and Demand Stewards Sale allocations for 2024 were announced to theme camps last week. While we did our best to meet the requests, we were only able to meet 76% of the total requests and do not have additional Stewards tickets to cover them all. Among returning theme camps in 2024, 35% requested an increase to their previous allocation, while only 5% have requested decreases. This poses a growing challenge to meeting demand with a limited supply, and we’re near a breaking point.

While we support the limitless passion and creativity produced by theme camps, we face real limits for tickets and space. Welcoming more groups into the Stewards Sale each year means a correspondingly smaller slice for the general public (Main Sale) and other groups such as artists and mutant vehicles. Burning Man Project is committed to keeping the event accessible to new groups of Burners to keep the culture thriving. After all, we all were once new, no matter how long we’ve dedicated ourselves to the Burn.

The Stewards Sale began in 2013 (formerly called Directed Group Sale). Over the last decade, the allotment for theme camps that receive directed tickets has grown every year. In 2013, ~16% of all tickets to BRC were directed to theme camps; in 2023, that grew to ~40% (a 250% increase over the decade). The following graphs show how much things have grown over the last decade, and demonstrate why continued growth in the size of and number of placed theme camps is not sustainable.

Total # of placed camps by type: Estimated Self-Reported Population within All Placed Camps:Total # of camps over 100 people:Total # of new theme camps vs. theme camps taking the year off:As interest in the Burning Man event in BRC continues to grow, more camps continue to seek placement as a way to offer their gifts of interactivity, and also to secure tickets. At the same time, camps are not taking years off at the same rate to offset the growth in new camps.

Black Rock City, 2014 (Photo by Chayna Girling)Meeting Our Cultural VisionIn addition to increasing demand for space for theme camps, we’ve also been working since 2020 to roll out changes to BRC’s Placement process to help our community move towards the Cultural Vision of Resident Black Rock City. Check out the changes so far outlined on this webpage.

Burning Man Project is now considering tough questions:

• Should we become more selective about the theme camps that are placed?
• How do we do so without demanding more resources, time, and financial commitment from theme camps?
• What is a reasonable amount of growth for any group or camp that contributes to BRC?
• Can theme camps operate with fewer Stewards Sale tickets offered each year?
• Is there a limit we should apply to the physical size of camps, or to the number of tickets offered to them?
• Where do we apply limits so that they impact everyone fairly?
• How do we maintain space for new Burners, new theme camps, and participants in open camping?
• How can we get the community involved in finding answers to the hard questions?

Scarcity is real. In our daily lives, we’re increasingly confronted with limits to the natural ecosystem we all inhabit. We also confront it in our temporary home in BRC. As we rethink how we can overhaul the system to address our limits, we want changes to be productive and beneficial to the culture of BRC for years to come.

Here is a summary of changes you can expect this year to further our cultural vision as well as address how we manage supply and demand.

• Theme camps are encouraged to take 2024 off. All theme camps in good standing that elect to take 2024 off will be guaranteed ticket allocations in 2025 or 2026.

Taking the year off comes with benefits, including time to rejuvenate and lighten the stress that comes with planning for the Burn. It also allows you to focus on other ways to bring Burning Man and your theme camp to the world, including visiting one of the many Official Regional Events around the world. This offer is for returning theme camps in good standing that have received at least three years of placement in BRC and who plan to return as the same camp (name, format, people). We want to support the rest and return of our most seasoned theme camps.

This offer comes with some qualifiers about your allotment for good standing and availability for placement. Contact us for more information.

If you’ve already submitted an SOI for 2024 with the intent of coming to BRC, and want to take 2024 off knowing this, please email placement@burningman.org with the name of your camp and “2024 Off” in the subject line so we can update our records.

• Villages will be considered stand-alone theme camps.

We are removing the “village” category as a camp type. This shift will help us build direct relationships with smaller camps within villages, and enable us to hold them to the same expectations as other placed theme camps. Resources such as Stewards Sale tickets and Work Access Passes will flow directly to camps rather than through a village mayor. This change also allows for departments such as Rangers, Emergency Services, PETROL, and Outside Services vendors to locate camps.

As we announced previously, Humans Uniting for Better Sustainability or HUBS are designed for camps to create communities of shared resources. Some individual camps in former villages may want to apply to be part of a HUB. HUBS are not automatically accepted. If you’d like to learn more about how this change will be implemented over the next year, please review a list of frequently asked questions here.

• We’re establishing a new camp category: Civic Support Camp.

While most camps in BRC are theme camps that offer fun interactivity, some also offer critical services that we want to promote. We are creating the “Civic Support Camp” category to recognize a growing need for groups to receive placement to support our community and city services beyond simply fun activities typically associated with theme camps. If you’d like to be considered a Civic Support Camp, you will need to be sponsored by a BRC department, which will support coordination of your civic contributions. This is a trial concept we will review in two years.

• Ending convenience camping continues to be a priority.

Our website currently holds important information about what we’re doing to curb the various threats we see caused by the commodification of BRC including “Decommodification, Gifting, Participation and PAYticipation.”

Following the 2023 event, Placement has notified 12 camps that they are not in Good Standing due to convenience camping related issues. In the coming year, we will continue to provide guidelines around what’s okay and not okay in support of Burning Man’s Decommodification principle, and ensure that we are fairly assessing the issue.

Camps that are found at any point during the year to be acting as convenience camps will go through progressive steps and consequences including:

• Warnings (if remediation seems possible)
• Recommending or requiring coaching/training/acculturation with the Camp Support team’s Camp Advisory and Mentorship Program
• Limiting/denying eligibility to Stewards Sale, reserved placement, PETROL Fuel Program, Outside Services program and their authorized vendors (such as trucking and power), or other support services
• Disinviting from future Placement, Art Honoraria, DMV License Invitation for 1-3 years or permanently
• Publicizing names of bad actors to the community

As always, camps will be able to appeal decisions made. The Placement team genuinely welcomes dialogue to align the community and the culture.

Open camping in BRC, 2023 (Photo by Susan Becker)Moving Forward and Making Space within LimitsWe are asking every theme camp to evaluate their desires for growth now, and to consider taking time off in the next few years, or even alternating years of being larger or smaller. Taking time off helps create more space and tickets for others. While we could come up with new policies to address this, we’d prefer each theme camp determine how to do their part.

There is no penalty for taking a year or two off, and we hope this year’s promise to hold a specific amount of tickets and space is a helpful incentive. Many theme camps believe that they must return each year to qualify for placement the following year, which is not true. Theme camps in good standing still have access to tickets and space upon their return. Theme camps have also shrunk one year and grown back in others without penalty.

We also hope BRC’s largest camps work on downsizing to help ease demand. Larger camps are often laden with logistical complexity, struggle with accountability across campers, require larger budgets that can bump up against our Decommodification principle, and are more prone to not being self-reliant. Smaller camps bring some of the most wonderful bespoke experiences, and operate with more accountability and ease — something we wish to steer more camps towards in the community.

Throughout the event’s history, we have always adapted to changing dynamics, forces and interests. We are at another point of iteration and we need to do it carefully. With our future presenting more questions than answers, one thing is certain: the BRC community solves problems head-on! Co-creating and adapting is what we do. We do it in dust storms and in rain storms, and we know we’ll be able to come out of this even better equipped to help our culture flourish and evolve.

We know you have a lot to say on this topic and we are listening! We will be reading and responding to the comments on this Journal post. We want your participation in this process! Be sure to register for the 2024 Camp Symposium, which will take place Saturday, March 16 at 10am PT / 1pm ET / 7pm CET. We’ll also be hosting in-person opportunities to discuss these topics in BRC 2024. For details as they arise, stay plugged in by subscribing to the Placement Newsletter.

Cover image of Black Rock City (Photo by Scott London)

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As the mud dried last September, artists were already dreaming and planning for the next iteration of Black Rock City. Now, as we welcome the new year, we’re thrilled to announce the awe-inspiring 2024 Temple: the Temple of Together by Caroline Ghosn!

The DesignThe design of the Temple of Together beautifully portrays the light that emerges when we come together with all parts of ourselves and with the oneness we share with all living beings.

The dominant motif in the design is the representation of two hands coming together in prayer, with the flow of the building’s energy coming together and then emerging upwards. Joining two hands is a common gesture in nearly all spiritual traditions, symbolizing unity, humility, and respect. This is depicted literally by the two hands that create the archway at the 6:00 entrance. It is also represented more abstractly in the neo-Gothic pointed arches repeated throughout the design, which are also reminiscent of the layered, geometric shapes and symmetry of the Art Deco style from a century ago.

In this time of global challenge and conflict, we are invited to find strength in unity, and to be seen, loved, and inspired.

Close-up of 3:00 entrance of the Temple of Together by Caroline Ghosn, 2024 (Design rendering by Maissa Sader)The structure, including the fenced courtyard, will span 94 feet in diameter and rise 70 feet above the playa surface.

The cladding is based on reeded weaving techniques, present in multiple cultures but specifically referencing the wooden Khaizaran chair that Caroline remembers sitting on as a young child, aspiring to be an artist. This weaving technique allows for the use of sustainable and repurposed materials and invites participation from volunteers of any skill level — one of many opportunities for volunteers without construction experience to contribute creatively.

The various design elements that support the concept of coming together contribute to the flow of energy forming at the center of the design. The light that emerges from unity comes to life via the altar, spire, and the rising lanterns, directing that energy up and out as a shared journey.

The renderings for the Temple of Together evoke a sense of familiarity thanks to a design that pays homage to Temples from the past. It comes as no surprise that Caroline’s first Burning Man experience in 2014 had a lasting impact, as she found solace and acceptance for her grief when she visited the Temple of Grace by David Best, the original Temple artist. She honors her “gateway” Temple with the skirted bell shape and intricate, repeating shapes that inspire and delight the eye.

The 2017 Temple lead artists, Marisha Farnsworth and Steven Brummond, have shared their expertise around using sustainable materials to support Caroline’s goal of achieving a carbon-negative Temple. Finally, she honors and builds upon Ela Madej and Reed Finlay’s focus on intimacy and inclusivity in last year’s Temple of the Heart. As a result, her design incorporates multiple private alcoves and intentional seating to enhance the Temple experience for participants. Additionally, the Together team is planning projects for every skill level. Volunteers are invited to co-create wish lanterns, prayer pillows, and the reeded cladding.

If you are as excited as we are for this Temple, go experience this short video, which walks you through a 3D model. This will give you a taste of what it may feel like when we experience it for ourselves!

Aerial view of the Temple of Together by Caroline Ghosn (Design rendering by Maissa Sader)The Lead ArtistTemple of Together’s lead artist, Caroline Ghosn (whose playa name is “Glitter Kitty,” from Camp Mystic), describes herself as a creatrix and community builder who cares about radical, aligned self-expression. She has led large-scale community activations, founded a visionary multimedia theater and film company focused on supporting the regenerative feminine principle through disruptive narrative, and has served as an environmental consultant, giving her the skill set to meet her sustainability goals with this project.

Her first Burn was in 2014, and she has returned every year since. She has lived in six countries and speaks four languages, and currently splits her time between the Bay Area and New York City.

Caroline was inspired to design the Temple after overcoming her own decades-long battle with multi-generational trauma and illness. She has experience with building purpose-driven communities at scale, and invites participants in her art to explore their own internal topography, particularly their uncharted darkness. In 2022, she was the lead artist for “Disturb My Slumber,” her first large-scale Burning Man art project, which was also one of the burns that year. The project invited participants to reflect on what they confronted through the pandemic and “what treasure they unburied in the dark.”

Caroline says, “Some of my life experiences were so deeply painful and challenging that I broke apart and put myself back together again with as much love as I could muster. That heartbreak is now inextricably linked with my creativity and my creations, and my deep passion for exploring unifying themes of our human condition, such as grief and self-reckoning (and the remembering that it takes to heal).”

The Selection ProcessSelecting the Temple for Black Rock City is a unique challenge!

We look for a design that is novel, yet still fits within the Burning Man Temple tradition of being a treasured sanctuary for all. The design needs to have a strong visual impact while also serving as a space to encapsulate the full range of our community’s experience and offerings. Along with selecting a strong concept and design, we are equally interested in the lead artist and crew. The Temple is the heart of our city, and it requires a thoughtful leader with strong moral character.

There are both conceptual and practical considerations in selecting the Temple. Does the design stand out as a beautiful artwork without distracting from participants’ personal experiences? Is the build plan feasible? Can it be assembled in the two-and-a-half weeks on playa before the gates open for the event? Will it burn beautifully and safely? Have the applicants considered sustainability in their design and execution? Does the team have the Leave No Trace experience for such a large project and burn?

The lead artist is central in the decision-making process; we need to be sure to select someone who is motivated by the right reasons. They need leadership experience and the ability to inspire many volunteers to execute the project. The lead artist needs to be skilled at facing adversity and pushing through to completion no matter what.

We received some incredible proposals this year, and we’re delighted with our selection of the Temple of Together! The concept of coming together resonated with us more than ever in these times of division and conflict. We also were moved by how Caroline began the design process by thinking about the experience for participants, being thoughtful about how it would feel to be inside the space — and evolved the design from there.

Caroline will be the first BIPOC, female Temple lead artist, contributing to our larger goal to become more radically inclusive and diverse. Those who have worked with Caroline before praise her ability to build diverse and inclusive teams, which is a crucial aspect of what makes a strong Temple crew.

Another benefit is that Caroline has already secured a team of highly skilled builders with extensive experience in building previous Temples. We’ll see some familiar faces for key roles, including TreeJay and Nonstop Symon from the Temple Builders Guild, Sparkle Pony Paul, and several leaders from 2023’s Temple of the Heart. Additionally, she has two new leads who are founders of a carbon transformation company to help her achieve her sustainability goals.

Caroline’s goal to be the most environmentally sustainable Temple ever was another key consideration as we monitor our progress in meeting our own sustainability goal to be carbon negative by 2030. Rather than being an afterthought, she incorporated sustainability into the design and the scale, and she’s tapping into the community to make this goal a reality.

We hope you are as inspired as we are by our 2024 Temple!

Aerial view of the main entrance at dusk for the Temple of Together by Caroline Ghosn (Design rendering by Maissa Sader)How You Can Get InvolvedBuilding the Black Rock City Temple takes a vast community of people who are dedicated to creating a space for thousands of participants to have meaningful experiences. While some team leads are already in place, the Temple of Together crew will be looking to fill many more roles in the coming months.

Are you curious about joining the Temple crew? Caroline welcomes all, from experienced builders to those who have never picked up a screwdriver and are eager to learn. If you would like to help, please fill out this form. The Temple of Together will integrate various forms of artisanry and craftsmanship, from woodworking to sewing, working with paper mache, visual storytelling, lighting, and the creation of healing sound. In addition, every Temple crew is in need of project management, administrative support, social media, fundraising, event planning, and other contributions. If any of these areas particularly resonate with you and your experience, we hope that you will join them! There are volunteer roles needed for both remote and in-person contributions in the Bay Area.

The Temple grant only covers a portion of the total expenses. The Temple belongs to all of us, and it takes many donations, large or small, to help it become a reality. You are invited to donate early for a special thank you through the Temple of Together website, or look for the Kickstarter campaign scheduled to launch in February.

The Temple of Together team is committed to sharing this journey with our global community. To that end, in honor of 24 years of Temples at Burning Man, the team will be hosting Together Town Halls on the 24th of each month (schedule and details here) — join us for the first one on January 24th at 12pm PT / 3pm ET / 9pm CET.

Cover image ft. nighttime rendering of the Temple of Together by Caroline Ghosn (Design rendering by Maissa Sader)

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TL;DR

Black Rock citizens — participants as well as members of the Playa Restoration crew — faced new Leave No Trace (LNT) challenges caused by embedded Matter Out of Place (MOOP) and miles of hardened mud ruts following the exceptional weather in 2023. And we did it! Although close, Black Rock City passed the Bureau of Land Management (BLM) Post-Event Site Inspection AND reduced the total MOOP average by 25% compared to 2022. Eleven out of the 120 BLM test points exceeded the 1 sq.ft./acre average — all in the City Grid. This year we saw another rise in the lag bolt/tent stake/rebar category, making it once again the #1 Worst MOOP. Resto also documented a significant increase in wood, cardboard, and plastic MOOP due to complications associated with traversing the mud. The success of LNT depends on the community! Resto exists to work with you, NOT to do it for you!

One of the 10 Principles of Burning Man, Leaving No Trace states:
“The Burning Man community respects the environment. We are committed to leaving no physical trace of our activities wherever we gather. We clean up after ourselves and endeavor, whenever possible, to leave such places in a better state than when we found them.”

Resto Special Forces Crew scouring Gate Road for MOOP (Photo by DA)A Wet and Wild Come-from-behind VictoryAfter a wet and wild Burning Man event, Black Rock City citizens put in a solid leave no trace effort under extraordinary conditions. Then the Playa Restoration All-star Team followed up these efforts with a tremendous amount of heart. The result? We did better than just ‘barely passing the BLM Post-Event Inspection’, as had been reported. Facing unprecedented challenges in the dried-up mud, our communal effort brought the total average amount of MOOP down 25% compared to 2022, as reported by the BLM.

Black Rock City’s average debris area for 2023 is under 0.4 sq.ft./acre — less than it was back in 2011 when our population was only 53,963! Way to go, Black Rock City!

However, 11 test points out of 120 did exceed the one square foot per acre standard, bringing us to the 10% allowable amount implemented by the BLM in 2019.

That isn’t to say that this victory was easy. Hell no. Participants were advised against driving in the mud because vehicles can get stuck. But also, driving in playa mud creates deep ruts that later dry and harden like concrete. Remediating the ruts and their effects on MOOP was one of the most complex Leave No Trace challenges we’ve ever faced.

Burning Man 2023, Before the StormRemember the event before the storm hit? We experienced no wind, no punishing dust storms, and no MOOP blowing out to the perimeter/trash fence. Burning Man 2023 was beautiful and on track to be one of the cleanest ever.

You know what happened next. It poured. Some people grabbed what they could and struggled against the mud to get off the playa. Some made it off. Others got stuck. Many left the detritus of their escape attempts — wood, cardboard, carpet — behind in the mud, which then dried.

But that was the exception. Most of you stayed, had your Burn, let the mud dry, cleaned up your camps and projects, and drove off the playa.

Given these challenges, yet knowing that the Black Rock City community is generally good at cleaning up, and knowing that the event was clean before the storm, Resto had a fighting chance at following up the community’s heroic efforts against the unknown terrain of hardened mud ruts and potential MOOP, big and small.

Resto Trash Train Takes a First Pass to Pick up Big MOOPResto Trash Train Crew after a couple weeks of dealing with big MOOP (Photo by DA)Despite what things may have looked like during Exodus, most items that initially appeared to be abandoned — infrastructure, trash, and vehicles — were picked up by the owners. As the last participants left the playa, we received encouraging intel from the Resto Trash Train Coordinator, Lexington: the number of large abandoned items was not as high as feared — only about 4½ 40-yard dumpsters — close to the same volume as in 2022, and similar to previous years. For a peak population of 74,126 this was not bad. This was the first sign of hopeful news.

Resto Highway Cleanup Tackles Road DebrisHighway Cleanup Manager, Barbarella sits atop her vehicle with the team of the day, after emptying out the road debris (Photo by DA)Meanwhile, Highway Cleanup was on the road, documenting and picking up road debris that typically flies off of vehicles during Exodus. Again, hopeful news was reported, this time from Highway Cleanup Manager, Barbarella. The highways were looking even better than in previous years.

Playa Restoration All-Star Team Assembles for MOOP SweepsWith good news from the pre-Resto operations, we would soon reach the moment of truth with the Playa Restoration All-Star Team assembling to follow up Black Rock citizens’ Leave No Trace effort.

The Resto MOOP Sweeps Teams faces rolling whiteouts (Photo by DA)The 150-person Resto team represented not only the best of the Black Rock City Department of Public Works (DPW), but also stellar participants from many departments, theme camps, art projects, Regional Events, and the worldwide community. We needed all the good help that we could sustain to MOOP sweep the more than 3,600 acres, or approximately 157 million square feet, of BRC.

As soon as Resto hit the playa, it was clear that some camps were immaculate, while others struggled to clean up. Sometimes those camps were right next to each other. The areas that were clean were fairly clean, but the areas that were MOOPy were very MOOPy. The time-consuming challenge of 2023 would involve prying embedded MOOP from the playa surface and navigating the irregular terrain.

Based on Resto’s data, the volume of MOOP in all debris categories — such as lag bolts/stakes/rebar, plastic debris, cardboard debris and wood debris — went up. Resto hustled to scour BRC multiple times, ultimately picking up the most MOOP ever and filling the dumpster to the limit.

Operation Playa Zamboni vs. the Mud Ruts While peeling up embedded MOOP from the playa surface was challenging, there was a new complication: the miles of dried mud ruts funneling through the city streets, down through Gate Road, out to the 8 Mile and 12 Mile exits, and everywhere in between. In accordance with our Leaving No Trace principle, we made it our highest priority to flatten the playa back to its natural state.

“Operation Playa Zamboni” was born. Using a box grader, a compression roller and water truck, we leveled the surface, compressed the soil until it was hard-packed, and then reset it with water. Resto MOOP sweeps were already moving through BRC; we therefore needed careful coordination: MOOP sweeps first, then Operation Playa Zamboni, and then a second MOOP sweep. Amazingly, it went like clockwork and none too soon. The inspection was coming up quickly.

BLM Post-Event Site InspectionOn Wednesday, October 11 the BLM returned to the playa to supervise the Post-Event Site Inspection. All of our efforts — every Burner who followed up their commitment to Leaving No Trace by carefully MOOP sweeping the playa, paired with the dedicated work of the Playa Restoration crew — led up to the big game — and it was another close one. Even closer than 2022. Yes, we passed.

The standard:

1. The BLM’s allowable MOOP standard is 1 square foot per acre on average.
2. However, as of 2019 BLM’s Environmental Impact Statement, Black Rock City must not fail 10% or more of the 120 Test Points. Out of the 120 Test Points, if 12 or more exceed the .002% standard, we fail the whole Inspection.

Out of the 120 BLM test points, we exceeded the allowable standard on 11 test points. All of the 11 failing test points were in the City Grid — Esplanade to K Street, 2:00 to 10:00 — none of them were on the open playa or other locations outside the City Grid.

Read the full BLM report here.

Example of a test circle from the BLM Post-Event Inspection (Photo by DA)In the above graph, you will see the debris average by category: City Grid (2-10 Esplanade to K), Open Playa (2-10 Esplanade to fenceline) Walk-In Camping (2-5 K Street to fenceline), and Other (5-10 K Street to fenceline). In 2023, every category improved.

Of all four categories, the City Grid — where everybody camps — has consistently revealed the most MOOP. Additionally, it is the only category to exceed the 1 sq.ft./acre average. With 90% of the City Grid occupied by placed camps, it is critical for placed camps to uphold the LNT principle with their communities and improve their cleanup performance.

Also within the City Grid, the open camping areas (non-placed camps) have unfortunately shown a growing MOOP trend, especially on the back blocks. In 2023 there was an entirely red block on the MOOP Map between 8 and 8:15 on K street that required multiple sweeps. In 2022, there was an entirely red block between 8:15 and 8:30 on K street. Is there a coincidence in the nearby locations or is there a consistent trend with lack of accountability? While it is great that there are open camping blocks dedicated to participants who are not necessarily affiliated with theme camps, some of these areas are occupied by big camps and have also become some of the MOOPiest. Without immediate improvement, there will be a need for a process to hold open camping areas accountable.

MOOP Map 2023 (Click on the image to zoom in / view the 2023 MOOP Map in more detail.)In 2022, we introduced an alternate, “Clear Version” of the MOOP Map where the historical standard color of green was replaced by the color white (clear) to keep the focus on the severity and locations of MOOP. Moving forward, this will now be the official standard of the MOOP Map.

Looking at the 2023 MOOP Map, you can see that the majority of Black Rock City was clear (formerly green). Great job! However the red areas were especially hard hit and time consuming. We will need to see significant improvement in 2024.

MOOP Trends in 2023(Photo by DA)Lag Bolts/Tent Stakes/Rebar Were the #1 MOOP (Again), and Even Worse Than Last YearThe #1 Worst MOOP: Lag bolts/rebar/tent stakes rose from 1,023 to 1,547. Essentially spikes left in the ground, this is the most dangerous MOOP issue on the playa and you need to get a handle on it.

• If you installed lag bolts with your impact driver, then you need to remove it the same way.
• If you don’t have an impact driver, you can use a handy pair of vise-grips or multi-tool to simply twist any type of spike out of the ground.
• If you tie markers to your lag bolts before you put them in the ground, they won’t get lost under dust/mud and you can remove them when it’s time to go.

ALL SPIKES PUT IN THE GROUND MUST BE ACCOUNTED FOR AND REMOVED BY THE PARTICIPANT, CAMP, OR PROJECT THAT PLACED THEM.

Click to open BRC 2023 GPS marked locations of tent stake/rebar, cement stakes, and lag bolts. (Note: The GPS waypoints appear bigger than the stakes and are not to scale.)Assorted Matter Out of PlaceThere were approximately a thousand instances of recorded Assorted Matter Out of Place. This is the button that we press on our GPS app when the types of MOOP are so overwhelmingly varied that it’s impossible to discern one from another. Need a refresher on how to MOOP sweep your camp? Watch this.

Cardboard MOOPCardboard debris (Photo by DA)Most of the items that failed us on the inspection were cardboard — the cardboard that you put on the ground to walk or drive on, smushed into the ground and left there to harden with the playa. By the time Resto got to it, it was difficult to find, camouflaged by mud, and shaped like playa cracks. We had to use knives to scrape it off the surface. With about 1,000 recorded instances, the cumulative square footage of cardboard had one of the biggest MOOP impacts of 2023.

Plastic Debris There was a big bump in plastic debris — up from 308 recorded instances to 1,020. Notable were the fashionable plastic trash bags over boots to keep the mud from sticking: a decent solution, except when they break apart and embed into the playa, and get left behind by their wearer.

Wood Debris(Photo by DA)Up from 400 to 870 recorded instances, wood debris, the former #1 worst MOOP, more than doubled in 2023. Like cardboard, wood was used to create platforms over the mud, or placed under tires to gain traction. Again, the wood was then left behind in the mud. Pick it up.

Burn ScarsPreviously not a problem, burn scars spiked from 10 to 146. By the looks of it, some of you, during or after the rains, lit fires directly on the ground at your camp. This is prohibited and subject to fine by the BLM.

Carpet/Rug/Textile/Fiber Debris Carpets take up a lot of area, and with 187 recorded instances in 2023, up from only twenty in 2022, this MOOP is on the rise. So, why this year? The rain? Was your rug wet? Whatever the reason, you need to pack it out.

Leaving No Trace Is Always a Come-from-behind Victory (But It Shouldn’t Be)(Photo by DA)With more than 70,000 participants, the success of the Leaving No Trace principle has always depended squarely on our community. Yes, the Burning Man Black Rock City community remains undefeated since the inception of the BLM Post-Event Site Inspection, but there has never been an inspection that would have passed without the follow-up cleanup effort of the people of Resto.

If you’re reading this article, chances are you and your crew have a steadfast commitment to Leaving No Trace in BRC. Nonetheless, we all can do better next time, rain or shine. On behalf of my team that stayed behind in the mud for over a month and pulled 1,500 tire-popping lag bolts/stakes/rebar and scraped up embedded cardboard and plastic, and scooped up burn scars — the ultimate responsibility of Leaving No Trace remains with all of you.

In the coming months, Placement and Resto will be engaging in conversations with the most challenged camps about their LNT plans. We’ll be assessing their MOOP sweep operations, mandating that participants MOOP test their theme camps before departure, and insisting that all lag bolts/stakes/rebar are all accounted for and removed from the playa without a trace. We’re curiouser and curiouser to hear how you plan on Leaving No Trace in 2024, and we know there will be an overall improvement.

Playa Restoration 2023 Facts* Black Rock City extends over more than 3,600 acres. * The peak population of Black Rock City in 2023 was 74,126. * 1 square foot per acre is the allowable standard of MOOP. * The 1 square foot per acre allowable standard of MOOP translated into percentages means that we must be under .002% in order to pass a test area. Any amount over .002% is a fail. * 11 is the number of one-square-foot-per-acre test areas that BRC cannot exceed failing. * 11 is the number of one-square-foot-per-acre test areas that BRC failed in 2023. * 109 is the number of one-square-foot-per-acre test areas that we passed in 2023.

Cover image features the 2023 MOOP Map and Playa Restoration logo

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The nonprofit Burning Man Project collaborates with the community to build Black Rock City, and works year-round to nurture the global Burning Man movement. We can’t do any of this without YOU. Please consider making a tax-deductible donation in support of our work building a more creative, connected, and resilient world.

Whether in Black Rock City or at home, implementing sustainable practices to reduce our environmental impact will require participation from every one of us — collectively summoning our curiosity, creativity and hands-on dedication to change the way humanity lives on this planet.

Black Rock citizens and the global Burning Man community are already voices of inspiration and agents of change as we learn together and adapt as we go along. In Black Rock City in 2023, we saw incredible progress towards sustainability:

• 868 camps (69%) sorted waste into compost
• 539 camps (43%) used renewable power
• 25 art projects switched to solar supported by Renewables for Artists Team (RAT)

And this is just the beginning. The ephemeral communities we create together offer up endless opportunities to experiment and learn, resulting in solutions that travel far beyond our community projects.

Our ambitious 2030 sustainability goals to Handle Waste Ecologically, Be Regenerative and Be Carbon Negative become attainable when Burners collectively take on smaller parts of the big picture. Read on to learn about three multi-year sustainability projects that are having a powerful impact in Black Rock City and beyond.

Kat Nadel: Implementing City-wide Composting in Black Rock CityKat Nadel atop a mountain of compost (Photo courtesy of IDEATE)Have you collected and dried out your camp’s food waste, gathered it up into plastic pails and dragged or ridden it over to IDEATE? It’s more than a drop-off site, it’s an educational moment. While you’re there, volunteers will ask you to sort through your waste to remove odds and ends such as fruit labels and elastics, and they may teach you other inspiring nuggets of wisdom, too. It feels good, doesn’t it? Knowing you made an extra effort to recoup your compost and bring it somewhere it will be appreciated? Also, bringing your compost to IDEATE saves you from hauling stinky bags of trash back home with you.

IDEATE’s Compost Program was the brainchild of Kat Nadel, and she has led the project since its inception. In 2014 IDEATE was already composting its own food waste. She had the audacity to ask: “What if we were to collect other people’s compost?”

“I remember saying that out loud, and then getting called into a room with six men all who said, ‘Kat, are you crazy? Here are all the reasons why it’s not going to work…’ I took it as an opportunity to hear their concerns as feedback and as leverage on the important things to pay attention to in order to make it work.”

“Our first year was an incredible success. We had a ton of participation, and we just learned a lot. So that was 2015, and we’ve been going ever since.”

“This year we collected about 5,000 gallons, so that’s roughly 25 cubic yards of compost. 400 camps were registered. That ended up being about 16,000 people.”

“One of the main goals is education on not just how you can reduce food waste on playa, but how you can also do that in your own cities. It’s been such a great opportunity for me to teach people how to compost in cities that don’t have municipal composting. When people come to sift through and drop off their compost, we have these conversations… People are so gung-ho about it. It has been really inspiring.”

And where does all that compost go? IDEATE rents dumpsters, and hauls it to a local composting facility. “We have been working with a father-son business in Carson City. Nevada doesn’t have municipal composting, so they’re the only composting business being run in Nevada right now. We pay them to take our compost and process it, and then they can in turn sell that to the public.”

“There’s an opportunity here with the Burning Man event to utilize it as a platform for people to learn about sustainability and what that looks like both at the event and outside of it.” – Kat Nadel, IDEATE Compost Program lead

What does the future of the IDEATE Compost Program look like?

In order for the program to grow and meet its awesome potential, Kat needs some extra hands to help with communications in 2024. What’s more, she’d love it if a couple of like-minded camps in the 3:00, 6:00 and 9:00 sectors offered to be compost collection points. If this sounds like your kind of thing, email Kat at compost@ideate.org.

Liz Creme: Organizing a Quarterly Beach Clean-up, Burner StyleLiz Creme at her BWB Chapter’s adopted beach (Photo courtesy of BWB Corpus Christi)Liz Creme is co-founder of Burners Without Borders (BWB) in Corpus Christi, Texas, and lead instigator for the Burner Beach Project — a quarterly beach cleanup and community campout. Since 2015, Liz and her community have been stewards of a 6.7 mile stretch of beach, which they adopted through the General Land Office. Four times every year the community gathers on their adopted beach, camps and celebrates as only Burners can, then gets up the next morning and cleans up the beach.

“The agreement with the General Land Office is three cleanups a year, but we do four,” Liz explained. “The one in the summer, which we call Beachside, is our largest. That’s the one when we will have anywhere from 150 to 200 people come down from all over. We camp out for the weekend. Sometimes we have an effigy, sometimes not. We do the cleanup on Saturday morning and then have our burn event on Saturday night.”

Over the years, the Burner Beach Project has become a magnet for the Corpus Christi community, which doesn’t have access to many community spaces and events. “We don’t have as much going on down here, so we’re like, ‘All right, weirdos, if you want to get weird on the beach, come pick up some trash first and then we can do that.’ I think it has reminded folks that there’s more to this community than just a party in the desert or party in the woods or a party on the beach.

“I’m proud of building the community. I’m proud that the people that I like to hang out with do that kind of stuff too. I like that I’ve cultivated this world for myself, by doing good and hanging out with people who like to do good stuff.”

The Off Fossil Fuels Team: Tackling Emissions in Black Rock CityGeorge B. Reed III and Matthew Deluge participate in a Renewables for Artists Team (RAT) sustainability talk at the Man. (Photo by Scott Williams)It was a pivotal year for our sustainability efforts, showcasing exciting results emerging from two years of heroic work by Black Rock City staff and the community to meet the goals laid out by Burning Man’s 2030 Sustainability Roadmap.

George B. Reed III, Matthew Deluge and the dedicated Off Fossil Fuels (OFF) team have been busy testing renewable fuels and implementing solar technology to transition Black Rock City and our Northern Nevada properties off fossil fuels. Here are just a few of many projects that came to life in Black Rock City 2023 as a result of their work:

• We reduced our power-related fossil fuel use by ~25% through improved grid design and the introduction of battery-coupled generators.
• We deployed and tested a variety of mobile solar prototypes, powering the Man Pavillion, the Temple, Center Camp, Gate, Department of Mutant Vehicles and Ranger Outpost Zero, along with 19 art installations.
• We began the testing of renewable fuels and electric vehicles for our infrastructure and fleet needs.
• We assembled a full-time team of industry leaders, including a data scientist to support implementation of sustainability initiatives and report on our emissions.

While solar is foundational to their current work, Matthew recognizes that community outreach and education is critical. “Now solar is kind of the footnote to all these other things we’re doing to try and track and comprehend, such as mitigating our consumption or transferring it into some other type of energy, for example, composting. We’ll see more solar going forward. But really, the main thing I think that we’re going to focus on is outreach.”

George believes in our community’s capacity to innovate and inspire hope in the face of the seemingly insurmountable challenge of climate change. “Burners are experts in looking at big problems, identifying the thousands of little challenges that emerge, and solving them together in one of the most unique environments on earth — together in this dusty incubator we call Black Rock City. If all Burners bring this ethos back out into the world — that will ultimately be where the real impact happens. And we can have some fun while we are at it.”

For an in-depth conversation about Burning Man’s ongoing work to get Off Fossil Fuels, listen to George Reed: Invisible MOOP and the Net-Zero on the Burning Man LIVE podcast.

This work is well underway, and gaining momentum. To learn more, watch our Year Four Sustainability Update, and learn about the amazing work by groups such as the Alternative Energy Zone and Black Rock Labs.

YOU Can Do It TooWhere can YOU start?

• Appoint a sustainability lead for your camp, mutant vehicle or art project.
• Participate in the Renewables for Artists Team (RAT) and Green Theme Camp Community.
• Follow courses in Burning Man Hive on implementing sustainable systems.
• And as the year gains momentum, register your camp for Burner Leadership, Achieving Sustainable Theme Camps (BLAST) and IDEATE’s organic waste collection.
• If you are taking on a cool sustainability project or community initiative, please fill out our 2024 BRC Sustainability Contributors application and let us know about it!

Whether it’s composting a city’s food waste, cleaning up a local beach, or taking Black Rock City Off Fossil Fuels, each story highlights a Burner with vision who brought people together to accomplish some pretty amazing sustainability goals. What’s YOUR vision? Whether in Black Rock City, your Regional Event or community, or in your neighborhood, you have endless potential to start small and organize your community to bring about big change.

Cover image of “Elder Mother” by Charles Gadeken, 2023 (Photo by Jamen Percy)

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The nonprofit Burning Man Project collaborates with the community to build Black Rock City, and works year-round to nurture the global Burning Man movement. We can’t do any of this without YOU. Please consider making a tax-deductible donation in support of our work building a more creative, connected, and resilient world.

Every year, hundreds of applications are submitted for Honoraria art grants. These partial-funding grants enable artists from around the world to bring their artwork of all shapes and sizes to the annual Burning Man event in Black Rock City. In 2023, 75 art projects were selected as Honoraria, supported by more than $1M in grants from Burning Man Project.

It’s not uncommon for some of these art installations to make their way from the dusty desert of Northern Nevada to locations worldwide. The impact Burning Man art is having on communities has never been more apparent — the creativity, passion, and intent behind this variety of diverse, sustainable, and powerful art might otherwise never be experienced by the communities where these remarkable installations land.

While Black Rock City is an ephemeral place in the desert that only lasts one short week, its impact extends year-round, same as the art which graces its stark desert landscape. The financial support for Honoraria from our global community helps keep this fire burning brightly.

We recently sat down with a handful of 2023 Honoraria artists to discuss their art, its impact, and the importance of bringing art out of the dust for people around the globe to engage with, beyond Black Rock City.

Leyla (Ley) Brashka: “Quetzalcóatl Reborn”Leyla is a first-time Black Rock City artist from southern Mexico. She created “Quetzalcóatl Reborn” with co-lead Lisa Regan, a sculptor from Tulsa, Oklahoma. Lisa spends half of each year in Mexico, which is where she and Ley first met. Working in tandem, with the support of Crescent Art Collective, Ley designed the Quetzalcóatl and Lisa did the metalwork. Currently, “Quetzalcóatl Reborn” is installed on the Cerro de las Noas hill, in the Mexican city of Torreón, Coahuila, for the community to engage with.

Ley: It took a lot of people to make this piece happen. Lisa’s son, Christopher Regan, also played a very important role — he was the build lead. We worked alongside a lot of amazing volunteers — Mexicans helped create the stained glass and the drums; Americans helped build the piece with us. After Burning Man, I wanted Queztalcóatl to continue going to other places in order to share and preserve this piece’s important pre-hispanic legacy, beyond BRC.

The Quetzalcóatl is considered the most important Mesoamerican god, the one who created [hu]mankind and gave them corn. He is representative of the wide, rich history Mexican culture has. The piece was created to preserve this legacy. It is made from large sheets of metal, standing 28’ wide and 10’ high, and stained glass on the feathers and the scales, with Hispanic symbols of Mexican ancestors.

Just last month, a Día de los Muertos ceremony was held with “Quetzalcóatl Reborn” as the meaningful backdrop to this culturally important day. For me, it’s very, very important to share it and to continue taking this piece to other places.

You can learn more about the project here.

TOP LEFT: Día de los Muertos celebration in Mexico City aside “Quetzalcóatl Reborn”, 2023 (Photo courtesy of Leyla Brashka); TOP RIGHT: “Quetzalcóatl Reborn” by Crescent Art Collective in Black Rock City, Lisa Regan & Ley Brashka, 2023 (Photo by Andy Cagle); BOTTOM: “Quetzalcóatl Reborn” by Crescent Art Collective installed in Torreón, Mexico, 2023 (Photo courtesy of the artist)Jen Lewin: “The Ursas”Jen has been coming to Burning Man since 1998. This is her 14th time bringing an installation to Black Rock City. She has created such memorable pieces as “The Last Ocean” (2022), “Aqueous” (2017), “The Pool” (2008 & 2009), and “Arch Harps” (2005 & 2006). To date, more than 70 of her artworks have been placed in locations all around the world. “Ursa Major” is currently installed in Brooklyn, New York, and plans are being finalized for her to be joined by “Ursa Minor” in early Spring 2024.

Jen: My plan is always for the art to travel beyond Black Rock City — the intention is for it to go out into public spaces, making it more accessible, into communities that wouldn’t be able to have the opportunity necessarily to come to Burning Man or experience the art otherwise. So I don’t think it’s important to take artwork outside of BRC, I think that it’s really important. I think it’s transformative to people’s perception of art, and I just think it’s a really special thing to do. Especially as an artist, it brings a lot of connective joy.

Together, “The Ursas” — ”Ursa Major” and “Ursa Minor” — were made out of reclaimed ocean plastic trash, to stand as beacons of unity and compassion. “Ursa Minor” gazes skyward, embodying a hopeful spirit, while “Ursa Major” serves as both a sanctuary and a memorial, paying homage to the irreplaceable species we have lost.

You can learn more about the project here.

LEFT: “The Ursas” by Jen Lewin Studio in Black Rock City, 2023 (Photo by Mattias Löw); RIGHT: “Ursa Minor” in Mississauga, Canada, 2022 (Photo courtesy of the artist)Mark Rivera: “Jíbaro Soy”Mark (aka Kidnetick) is an artist out of Santurce, Puerto Rico, with a passion for experiential street art. This was his first piece created for Burning Man, though his art lives in dozens of locations worldwide. Earlier this year, Mark was displaced from his home in Puerto Rico, and was literally homeless when he got the Honoraria grant and decided to come to California to build a sculpture for BRC 2023. “Jíbaro Soy” is scheduled to be permanently installed in the Neon Line District on 4th Street in Reno, Nevada, by summer 2024.

Mark: After going to my first Burning Man, I got into the Honorarium grant program, started doing research, and knew I wanted to participate. I just wanted to fucking create a sculpture that would show the world who I am, where I come from, and also talk a little bit about Puerto Rico — so that maybe I can express to other people around the world what our culture is about. That’s part of why I decided to do a Jíbaro, someone who in my culture is very proud of who he is; it doesn’t matter who you are, where you come from — we all demand respect and equality.

I think that if it wasn’t for Burning Man, probably, I would’ve never done this. Burning Man is what inspired me, and then it just escalated to what happened, and I feel super blessed.

You can learn more about the project here.

LEFT: Artist Mark Rivera in front of “Jíbaro Soy” and The Man, 2023 (Photo courtesy of the artist); RIGHT: “Jíbaro Soy” by Mark Rivera, 2023 (Photo by Mark Fromson)Cody Smith & Srikanth (Sri) Guttikonda: “Over Ruled”Artists Cody and Sri are a part of Looking Up Arts collective in San Francisco, California. They helped create “Over Ruled,” a large-scale art installation which spells out “NO DANCING” that made its way to Black Rock City in 2023. “Over Ruled” is currently installed and open to the public in Golden Gate Park in partnership with the San Francisco public art nonprofit Illuminate. After this year, the team has open-ended plans for the piece to travel and be experienced elsewhere by even more communities.

Sri: I was introduced to Burning Man thanks to my friends, and I discovered the type of art that happens at Burning Man, for the first time. I didn’t know much about it until I was there, and it changed my view about art and planted the seed to think about making art like the art that goes to Burning Man. A few years later, I took a deep dive into making that my full-time thing — not only art for Burning Man, but art outside of Burning Man.

Cody: Even in San Francisco, which is home to Burning Man’s headquarters, there are a lot of people that don’t really know much about Burning Man or understand it. So even the people that do know this is Burning Man art don’t necessarily know what that means.

“Over Ruled” features stories of imprisonment, termination, expulsion, and banishment, and the consequences that accrue disproportionately to people of color, reinforcing equity gaps. This is embedded within a piece which seems lighthearted at a distance, specifically to surprise participants when they approach.

Sri: While each location has its unique challenges, installing it both at Burning Man and in Golden Gate Park, I personally enjoyed getting to experience and realize how the context is different for each, how the piece could be read differently based on what’s surrounding it. The playa is vast and stark, while the city park is surrounded by trees, changing the scale and experience dramatically… As an artist, it makes me think more about the relationship between concept and where our art is getting placed. We now, actually, have a collection of sculptures that are, more or less, ready to be installed elsewhere or tour, or — if the opportunity is right — be permanently installed.

You can learn more about the project here.

LEFT: “Over Ruled” by Cody Smith & Looking Up Arts in BRC, 2023 (Photo by Duncan Rawlinson); RIGHT: “Over Ruled” by Cody Smith & Looking Up Arts being installed in San Francisco’s Golden Gate Park, 2023 (Photo by Cody Smith)

Artists from all over the world have already submitted their Letters of Intent (LOI) for the 2024 Honoraria program. We’re Curiouser & Curiouser to see what they’ve dreamed up; and we couldn’t do any of this — bringing art to dusty Black Rock City and to cities around the world — without your financial support. Thank you.

Want to learn more about Burning Man art out in the world? Listen to the latest Burning Man LIVE podcast episode featuring long-time Burning Man artist Dana Albany.

Cover image of “Over Ruled” by Cody Smith & Looking Up Arts in San Francisco’s Golden Gate Park, 2023 (Photo by Benjamin Fanjoy for The Standard)

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GERLACH, Nevada — Burning Man is proud to share that it successfully passed the Bureau of Land Management (BLM)-administered 2023 post-event environmental inspection. This means that the federal government determined that the event site in the Black Rock Desert has been left in a clean, nearly pristine condition and that Burning Man is in compliance with its permit.

This positive result represents the tremendous Communal Effort, leave no trace ethos, and work of more than 70,000 Black Rock City participants.

“We want to thank everyone in Black Rock City who helped keep the playa beautiful and our spirits high as we navigated this year’s unusual weather conditions together,” Burning Man Project CEO Marian Goodell said. “Despite the challenges the weather threw at all of us, and as we see in the way the Burning Man community activates year-round and around the globe, the best of the Burning Man community shined through at this year’s event. Participants rose to the challenge and came together with innovative solutions to problems and incredible expressions of generosity.”

During the six weeks after the Burning Man event officially ended, and as they do every year, crews were still on site doing the final cleanup push leading to the BLM inspection. These teams picked up all kinds of Matter Out of Place (or MOOP): small debris, wood chips, tent stakes, and other items accidentally left behind from the 2023 event.

In mid-October, the BLM inspected 126 randomly selected test areas. These sites are examined through a rigorous standard: A test site fails if it contains more than one square foot per acre of MOOP, and Burning Man is permitted to fail no more than 10 percent of the 126 test points. These are far and away the strictest Leave No Trace standards of any special event on BLM-managed lands, possibly on any public lands in the U.S., but Burning Man has a stellar record with post-event inspections — we have passed every single one since the inspection format began in 1999, and 2023 was no different.

Burning Man continues to serve as an example to the world for stewardship of public lands. The community and the nonprofit organization truly strive to leave a positive trace, and 2023 was one for the record books. This achievement is truly astonishing.

Andy Boerigter, the BLM’s Black Rock Field Office Burning Man Project Manager, commented on the outcome: “It was another challenging year of clean up due to heavy rains and movement on the wet playa. The Playa Restoration Team put in long hours to restore the playa nearly to its original condition. While there are still some rough patches out there, the winter weather should mitigate those issues, and come spring the playa should be in nearly the same condition it usually is. The restoration personnel did a good job putting in the work and receiving passing results.”

For an on-the-ground account of conditions in Black Rock City 2023 and the inspiring community resilience and togetherness thousands experienced, read “The Disaster That Wasn’t” by Stuart Mangrum, Director of Burning Man Project’s Philosophical Center.

The full BLM inspection report is attached. More details and the annual MOOP Map will be shared with the community later in December.

Cover image of BLM post-event inspection, 2023 (Photo by Chris ‘Taz’ Petrell)

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“I really feel that we go to Burning Man to prepare for the world. That’s our one week where we get to build our resilience, build our capacity — emotional, spiritual, physical — to go back and serve in the world and give back.”
– Yasmine Elbaggari

Just like that, another annual cycle of Black Rock City has come to a close. For those who thought BRC ended when you got home in early September with your muddy boots and dusty bins, know that there were still hundreds of dedicated humans on playa until mid October. Most are members of the Playa Restoration team, tasked with cleaning up every last zip tie and smoothing out wheel ruts so the Black Rock Desert can rest and recover from its busy season.

Playa Restoration underway, 2023 (Photo by DA)But long after the last crews leave the playa, that ethos forged through hard work and Communal Effort persists among Burning Man participants around the world. What Burners build and learn together comes home with us into our lives and communities, and touches the world around us through humanitarian programs such as Burners Without Borders (BWB).

We caught up with some Burners involved in relief work to hear how they bring the skills and perspectives acquired in Black Rock City to the work they do together year-round. What happens out there on the playa that creates shared purpose and a desire to take Communal Effort out into the world?

The nonprofit Burning Man Project collaborates with the community to build Black Rock City, and works year-round to nurture the global Burning Man movement. We can’t do any of this without YOU. Please consider making a tax-deductible donation in support of our work building a more creative, connected and resilient world.

Fresh back from “resto” season, DA is philosophical about his role as Black Rock City’s Playa Restoration Manager. While he’s immensely proud of the 150-person crew who dedicate weeks of their lives to the community, he is quick to admit that playa resto would be impossible without the commitment of BRC citizens to the 10 Principles — particularly Radical Self-reliance, Participation, Communal Effort and Leaving No Trace. “We are nowhere without the effort of the community; nowhere,” he observes. “Leaving No Trace wouldn’t be possible without them. They do a tremendous job.”

“That said,” he continues, “we’ve never had a year where we didn’t need Playa Restoration.” After all the city infrastructure is packed up and put away, it still takes thousands of people-hours to leave the playa squeaky clean and ready for the Bureau of Land Management inspection. Read “Notes from a (Mostly) Empty Playa” for a play-by-play of the 2023 Bureau of Land Management inspection process.

What does it take to rally all those humans to collectively de-MOOP 3,879 acres of desert in the dust, rain and heat? It takes a shared sense of purpose and collective responsibility. “Playa Restoration is the all-star team of Burning Man. We have so many different departments, projects, and camps represented. There’s something beautifully simple about channeling that focus into the single goal of leaving “no trace”.

It doesn’t stop there. Playa Resto staff brings it home — the relationships, camaraderie, shared purpose, and hard-won LNT know-how. “I’m bringing people on so they can bring this back to their projects,” DA continued. “I’ve let the people on my staff know, if you’re part of an art project, another department, a Regional, now you’ve got all the skills you need to lead your Leave No Trace effort. Now you understand, and you can apply this in your backyard.” Curious about the mysteries of DA and Playa Resto? Listen to “Dark Angel of Black Rock & Restoration Destiny” on the Burning Man LIVE podcast.

DA in BRC 2023 (Photo courtesy of DA)From the DPW to Maui Fire ReliefIt comes as no surprise that Burners who work together in Black Rock City and at Regional Events around the world find it hard to stop once the dust has settled. That shared sense of purpose and responsibility is powerful when it comes home with us, and even more so when applied in service to communities that need our help.

Trey Callender found his way to community organizing through working on large camp infrastructure for the camps Entheon and Fractal Nation. He spent several years working for the Gate crew, and eventually joined the Department of Public Works (DPW) staff. “Over the years, I found my way into the staff departments and fell in love with the people I was working with.”

As Regional Contact for the island of Maui, Hawaii, Trey puts his Burner knowledge to work in service to his community. “Taking the skills that I’ve learned from Burning Man, finding patience in the process of Communal Effort, I rely on my community. I believe that our collaboration is the foundation for our success.”

After devastating fires swept across Maui in August 2023, Burners in Hawaii and elsewhere mobilized. BWB co-founder Carmen Mauk, who lives on Maui, became a trusted hub for receiving and distributing donations to those affected by the fires. She took in $15,000 in donations, converted them to gift cards, and gave them to fire victims who needed supplies.

Trey stepped in to help his community organize relief efforts for people displaced by the fires. The big project he’s involved with — helping to set up containers as temporary housing — will take some time to implement. “We’ve been talking with BWB and trying to get some Burners who want to come out here and have shown interest in helping us rebuild. We just need to find the right project to include them in.” In the meantime, he’s working behind the scenes with Maui Rapid Response to build connections and pool resources between community groups.

Trey, right, and Maui leadership speak about Maui fire relief at BWB Camp, 2023 (Photo courtesy of Trey Callender)Trey is proud of the many Burners who have rolled up their sleeves to help those affected by the fires. Maui Burners are involved in an effort to help displaced families write down their stories and fill out paperwork that will help them move to more permanent housing. “It’s amazing to watch this network of people that I’ve known and loved over the years step into these roles during this hardship and become leaders in this community.”

And when the time is right, Trey has DPW friends ready and waiting to come to Maui to work on bigger relief projects. “That’s the big thing about Communal Effort… those friends I’ve worked with out in the desert, we’re sweating and we’re making things, and that connection bonds us and they say, ‘Hey, I’ve always wanted to come out to Maui and visit with you, but now is the opportune time because I can actually do something as well.’ That’s a lot of what drives me to keep coming back.”

A Two-day Pivot — From BRC to Helping Earthquake Victims in MoroccoSometimes our Burner know-how comes in handy close to home. Other times, we get to apply our logistical and interpersonal learnings in response to faraway humanitarian crises.

Yasmine Elbaggari had a circuitous route to Burning Man. At 17, she moved from Morocco to Kansas as part of a program to break down cultural misconceptions. She eventually traveled to all 50 states, meeting with everyday Americans at every stop. Along her journey Yasmine came across Burners… and became one herself.

2023 marked Yasmine’s eighth BRC Burn — and her second year camping with BWB. “I go back every year to remind myself that this world of peace and connection and empathy and understanding is possible.” Her experiences led her to launch Voyaj, a global platform that connects like-hearted people through unique cultural experiences.

Fresh out of Black Rock City 2023, Yasmine received a call from her friend and fellow Burner Sam Bloch, who serves as Director Of Emergency Response for World Central Kitchen. A 6.8 magnitude earthquake had just destroyed hundreds of villages and displaced 300,000 people in Morocco. Could she jump on a plane and help deliver meals and ensure injured villagers were safely evacuated?

Yasmine delivering supplies in Morocco (Photo courtesy of Yasmine Elbaggari)Yasmine didn’t hesitate to say yes. “If we don’t go do this kind of work, then what is the point? I really feel that we go to Burning Man to prepare for the world. That’s our one week where we get to build our resilience, build our capacity — emotional, spiritual, physical — to go back and serve in the world and be able to give back.”

Yasmine was in Morocco two days after leaving Black Rock City. She found herself in the remote Atlas Mountains, where villages had been leveled by the earthquake. “We were on the helicopter team… two helicopters going in because all the roads were completely destroyed… We ended up delivering over two million hot meals that month.”

Here, we’ve shared a few of the thousands of stories of Burning Man community members who have found their calling through learning skills and building community in Burning Man events around the world. We can’t even begin to quantify the accumulated impact that the Burning Man movement is having on the world today.

“It’s training the community in the field,” DA observed. “That perspective is one you can only get from doing it, and you understand what the impact is on a big level… and realize the work that you’re doing is magnificent and Herculean.”

Cover image of Resto MOOP sweeps, 2019 (Photo by Steve Tietze)

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Since 2002, the Black Rock City (BRC) Census has collected valuable data from Burners that allow us to better understand the makeup of our population on playa. It also lets us track changes in our demographics, expenditures, behaviors, and attitudes from year to year. In 2023, more than 160 hard-working and dedicated volunteers completed more than 543 shifts to support the Census team in collecting data from randomly-selected participants entering the event through Gate Road, the Burner Express buses, and the Black Rock City airport.

Data from the random sample are manually entered by our volunteers on playa, and are used to statistically adjust the results of the post-event BRC Census online survey to represent the population of BRC citizens more accurately. If you attended Burning Man in 2023 and were one of the 7,712 Burners who completed the 2023 BRC Census online survey, thank you for gifting us your data!

2023 Preliminary ResultsOur random sample comprises responses from Burners who consented to completing a short eight-question Census survey form with demographic questions collected on playa. Results from this random sample are considered preliminary, and will be validated by the results of the 2023 online survey in a full data report that will be updated in 2024.

As shown in our data dissemination sheet above, the preliminary random sample results indicate the following:

• There were approximately 12% more males (55%) than females (43%) on playa this year. 2% of respondents indicated they identified as “fluid/both/no gender.”
• Virgins (participants who had never been to Black Rock City before) were estimated to represent 40% of the random sample population (this percentage may be overstated and is subject to change upon data validation), while 19% had attended only one past Burn, 20% had attended two to four past Burns, and the rest (21%) had attended five or more Burns (not including Regional Events).
• Only 12% of the random sample population were 29 years or younger, the most common (45%) age range was 30-39, a quarter (25%) were within the 40-49 age group, about 11% were within the 50-59 age group, and the rest (7%) were 60 years or older.
• Approximately 83% of randomly sampled BRC citizens reside in the US, including a large majority from California (43%), about 5% from Nevada, and 34% from other states. International Burners visited BRC from Canada (3%) and other countries (14%).
• From a racial and ethnic diversity standpoint, the preliminary data showed a breakdown of 66% White, 10% Hispanic, 7% Asian, 2% Black, and 10% representing other races or ethnicities. The complete data, including follow-up questions about whether Burners identify as people of color, will be available in the full population analysis in 2024.

Compared to last year (2022), it would seem that 2023 participants had similar gender and age distributions, as well as a comparable distribution in place of residence outside of Black Rock City. These observations will be validated upon full analysis of the 2023 Black Rock City Census online survey results.

Census volunteers collecting data from randomly selected vehicles on Gate Road, 2023 (Photo by Ashley Strange)We hope you enjoyed this preliminary sneak peek of our 2023 Census data, and keep an eye out for our full data report that will be updated in 2024! If you’re curious about previous years’ population analyses, head over to the Census Archive page for more.

Cover image of Census team vehicles in front of the Temple, 2023 (Photo by Ashley Strange)

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The nonprofit Burning Man Project collaborates with the community to build Black Rock City, and works year-round to nurture the global Burning Man movement. We can’t do any of this without YOU. Please consider making a tax-deductible donation in support of our work building a more creative, connected and resilient world.

Burners are resourceful. And playful. Wherever we hail from — next door, or across oceans and continents — we gather with those who appreciate a creative, roll-up-your-sleeves approach to sticky challenges. Whatever we experience in Black Rock City travels with us, to communities as far flung as Helsinki, Buenos Aires and Bogotá, Colombia. Back home, we take what we learn, then apply it to our lives and communities everywhere in the world.

This year — 2023 with the full moon, the rainbows, and the mud — brought its share of whimsical adventures. We checked in with community leaders from around the world to hear about their experiences at this year’s Burn, and about some of the ways they’re bringing the Burning Man ethos back home — gathering people, creating projects that help communities flourish, and nurturing Burning Man culture in their local communities.

Camp Coffee expresses its international spirit, 2022 (Photo by Debbie Wolff)Charlotte de Casabianca is part of OFOSHO, a Black Rock City camp increasingly made up of Colombian Burners. “We don’t really know how it happened, but it’s funny because every year there are more Colombians who bring friends and we’re slowly taking over the demographics here.”

Originally from France, Charlotte now calls Colombia home. A longing for her OFOSHO community inspired her to produce a microburn, “Our American friends are intrigued by Colombia and want to discover the country. So as soon as we could, which was 2021, we organized a microburn on the coast of Colombia… That was a real pleasure to come up with creative programs trying to stay as true to the essence of the burn.”

TropicOfosho microburn in Colombia (Photo courtesy of Charlotte de Casabianca)Beyond organizing a bi-cultural microburn, Charlotte is bringing learnings from OFOSHO into her local community. “Our camp is very focused on how to split tasks and contribute equally, taking into account everybody’s skills and talents. I became interested in ways to apply this concept,” she explained. “I started to look for opportunities to continue to be active as a Burner, but from Colombia. And that’s how I discovered the existence of the Regional Network and Burners Without Borders (BWB).“

Anssi Laurila travels to Black Rock City from Finland; as a Regional Contact he collaborates with Scandinavian Burners to organize locally and plan events — including international gatherings such as the European Leadership Summit. Finnish Burners have brought ambitious art projects, and even a sauna, to Black Rock City — expressing and adapting their culture in a faraway dusty metropolis. Anssi and his community then apply the Burner ethos back home. They’ve collaborated with faculty and grantors at Finland’s Aalto University to develop creative community-building projects — for example, the Burning Stories project, led by Dr. Jukka-Pekka Heikkilä.

“Munanen, Cosmic Egg” by Finnish Burners, 2017 (Photo by George Post)In Black Rock City, Anssi camps with the Black Rock Sauna Society, one of several international camps that make up the Global Village. And yes, that means you can experience a Finnish sauna in the midst of the desert. Like many international participants, Anssi relies on the Burner Express Bus to get to and from BRC. He was scheduled to leave on September 1st. When the rain hit, he and a bus full of new friends was stranded at Gate for 17 hours. Eventually, they formed small groups, walked to the road, and caught rides to Gerlach or Reno.

The view from Anssi’s Burner Express Bus, 2023 (Photo by Anssi Laurila)Meanwhile, Anssi’s campmates back at Black Rock Sauna Society kept the sauna up and running to help Burners shake off the mud. “Our sauna was popular, but it was nowhere near as popular as when it started to rain. Then people were lining up down the road to get a little bit of warmth and dry out,” one of the camp leads, Sebastian Nemeth recalled. He observed that the camp’s demeanor went through several phases — from shock, to pragmatism, to play, over the course of that muddy weekend.

Ignacio Roizman is a key member of Gauchos del Fuego, a Black Rock City camp created by members of Argentina’s Regional community. Ignacio is one of Argentina’s Regional Contacts, and on the board for Fuego Austral, the country’s 1,000-person Regional Event.

When the rain hit Black Rock City in 2023, Ignacio and friends tapped into inner resources acquired back home. “It was funny because we had a very big flood in Fuego Austral in 2017. People woke up in tents floating on their inflatable mattresses. The water reached literally up to our knees. So we were kidding with the neighboring camps that this was kind of an internship for us because we’d already been through something very similar.”

Fuego Austral flood, 2017 (Photo courtesy of the Fuego Austral community)Gauchos del Fuego campers in BRC, 2023 (Photo courtesy of Gauchos del Fuego)“We found that the camp was a way to recruit people to kickstart the culture here in Argentina. And we actually have that cross-pollination from people who come to Fuego Austral first and then go to Burning Man and people who come to Burning Man and then become part of Fuego Austral,” Ignacio explained. Their community also operates La Sede de Fuego Austral, a Burner makerspace in Buenos Aires.

Bringing the 10 Principles to life in Argentina has been life-changing for Ignacio and his community. Through creating connections and safe opportunities to explore, Argentina’s Burners come together despite differences. “When you do that, people start to break barriers of prejudice or limitations. They have to interact with people who are probably from completely different backgrounds or completely different ideologies.”

When Colombian Burners return inspired by their experiences in Black Rock City, Charlotte helps them keep the spark alive through civic involvement. Working with BWB and Colombia-based NGOs, Charlotte runs three local nonprofit projects: Ikigai Explorers mentors teenagers; Bee Safe partners with rural schools to increase the population of an endangered native bee species; and The Germinator is building a greenhouse to cultivate native plants that will restore a natural ecosystem.

BWB Colombia: Bee Safe installing bee hives in rural schools (Photo courtesy of Charlotte de Casabianca)Charlotte’s experiences in Black Rock City instilled a sense of mastery and a desire to be of service. “Black Rock City was an eye-opener of the need to serve, to feel, to feel happier and be a full-fledged member of a community… And at the same time, just firing up creativity. It’s not just about executing a task, it’s also as you go along, just doing it in such a way that you feel like the creator, the artisan of the work. So I think this is my deepest lesson, joy through service is the origin of everything.”

Curious to learn more about Burning Man around the world? * Listen to Roxane Jessi: Once Upon a Time in the Dust for an audio travelog that takes you to seven Regional Events on six continents. * Or tune into Monique Schiess and AfrikaBurn to hear from a founder and co-producer of AfrikaBurn, one of the world’s largest Regional Events.

Cover image: serving ramen at OFOSHO in Black Rock City, 2018 (Photo by Henry Wu)

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Senior Burning Man Project Advisor Megan Miller sat down with sculptor Kate Raudenbush, who has been creating art for Black Rock City since 2004. The two discussed Kate’s newest piece, Incanto, five intricately designed, allegorical sculptures accompanied by poetry by Sha Michele. You can find Incanto at the Lewis Ginter Botanical Garden in Richmond, Virginia, through this Sunday, October 29th.

(Picture above: Sha Michele (left), Kate Raudenbush (right))

Tell us about Incanto and how it came to be.

The curator of the Lewis Ginter Botanical Garden (LGBG) reached out to me in 2019 and said, “I’ve been following your work at Burning Man and beyond for years. I love it and I think you could make some really meaningful artwork in the garden. What do you think?” It was a dream commission. Then the pandemic hit, the show was delayed to 2023, and I had lots of time to re-conceptualize my intentions for the show.

Breaking Point sculpture of “Incanto” by Kate Raudenbush (Photo courtesy of the artist)How did that extended reflection period shape the piece?

During the pandemic we all experienced how nature was seen as a healing force. Outside was the safe space that everyone tuned into. I asked myself: How do I meet the healing energy of the garden with a sculptural presence? My answer was to resonate with the healing environment and design a show with emotional depth.

Each sculpture of Incanto emerges out of the garden landscape in dialogue with a poem. The five artworks evolved from existential themes I felt during the pandemic:

• Witnessing humanity’s imbalance with nature;
• Finding healing through connection with others;
• Experiencing how struggle shapes and evolves our identity;
• Discovering a grounding connection to spirit; and
• Appreciating the present moment on our journey of life.

Thematically each of the sculptures contains a portal, a powerful symbol of transformation. Most of them are allegorical spaces that open up to visitor participation. The word “incanto” informs the word “incantation,” which is like a magic spell, or a calling in of energy, or intention. And then “canto” is a section of an epic poem. So Incanto is an intentional journey through a sculptural epic poem.

Source Code sculpture of “Incanto” by Kate Raudenbush (Photo courtesy of the artist)Can you describe the gardens so we can imagine the landscape?

It’s a classic botanical garden. There’s a Victorian style conservatory of glass measuring 11,000 square feet, 63’ tall. The rest of the grounds include a sunken garden with a fountain, an amazing formal rose garden, a healing plants garden, a conifer garden, a lake, hidden paths, and a Japanese garden. It’s 50 acres now and they’ll begin a 100-acre expansion next year. I was so grateful to have the opportunity to make art for this vast, verdant, utopian Eden.

Working with the garden staff has been a dream because they were in alignment with my intentions to create a show about self-reflection and healing. They were also very enthusiastic about my desire to expand Incanto and create thematic events. I wanted to include and activate the Richmond creative community, so we created an alliance with one of Richmond’s most groundbreaking galleries, “Gallery 5” (they are no strangers to Burning Man!). They produced G5 community events at LGBG every month. They engaged fire spinners, and DJs from the Party Liberation Foundation along with Richmond-based musicians, poets, yoga teachers, meditation instructors and sound healers.

What does this exhibition mean in terms of your path as an artist?

The exhibition showed me that I want to make more art for botanical gardens. I really enjoyed working with the LGBG Horticulture team to integrate the art into the landscape. In terms of materials, I made a departure; I created the whole show in mixed metals: Corten steel, hammered stainless steel, brass, bronze, aluminum. The colors were all natural patinas, with almost no painted or powder-coated metal. I also included an etched glass altar, reclaimed NYC water tower redwood bench, and 3D-printed resin spear tips.

This time I embraced allowing myself to express deeper emotions within the intentions of my artworks. It was a profound experience to make portals to honor my own healing and share it with others. I want to do more of that.

Seed of Self sculpture of “Incanto” by Kate Raudenbush (Photo courtesy of the artist)Tell me about your collaboration with Sha Michele and how that relationship came into being.

I met Sha at Burning Man in 2000. We worked on my very first sculpture called Observer / Observed in 2004, and later, Star Seed in 2012. But we really came together during the pandemic because we were neighbors and we were talking about life and synthesizing what we were going through. I was trying to form Incanto and I was having deep conversations about the symbolic function of the artworks, with her as a sounding board. She resonated with the ideas very clearly. I realized Incanto could become a dialogue of two art forms: sculpture and poetry. I pitched that idea to the Garden, and they loved it. Once I had a very clear idea of what the sculptures were, Sha would write a poem in resonance with it.

Can you talk about the role art can play in creating a better world?

The philosopher and renowned psychonaut Terrence McKenna said, “Art redeems the idea that man is good.” How can art be used to evolve our consciousness? How can an artwork serve as a healing force? When I make my art, I am in service to that idea.

For the longest time, I have been obsessed with portals and thresholds and sacred spaces. I’ve noticed over time that almost every large artwork I have made is a container of some sort, a refuge. My Incanto sculpture Breaking Point is a threshold of illuminated arrows in the shape of a human silhouette, to remind us of our courage. It presents a dare to evolve our identities through the catalyst of struggle. Source Code points to the precarious way human progress has taken for granted our Earth’s natural resources. Seed of Self is a meditation refuge.

Society needs dreamers and creators, those who can both make art as a cautionary tale, and envision a way forward, to inspire us to create a new way of human being. I think artists play a critical role as mirrors to society, healers, instigators, rebels, social alchemists, and yes, even as prophets – showing us how our society is devolving… or how it could metamorphose. Look, this is where we’re at right now: evolve, or perish. If no one creates a tangible vision for a better world, it’s harder to evolve towards that goal.

When did you first go to Burning Man and when did you start creating art for the event?

I first attended Burning Man in 1999 on a whim, with almost no planning. It utterly blew my mind open with its unbridled creativity. I was a photographer in New York, so my instinct was to try to document what I experienced, but trying to capture it drove me mad. You’re supposed to experience it. To feel it. You’re not the observer, you’re the participant. This is at the core of the phrase “No Spectators,” and the principle of Immediacy: You are living life fully in the Now. Put the damn camera down!!

So at Burning Man, instead of documenting my experience, I realized I wanted to create an experience. That’s what led to my first sculpture, Observer / Observed in 2004. There’s something really extraordinary about being a ship on that sea of creativity, and building a vessel to hold other people’s joyful experiences.

Resonant Passage sculpture of “Incanto” by Kate Raudenbush (Photo courtesy of the artist)In the 20 years since you started creating art for Burning Man, you have built and shared works across the world. What have you learned about yourself along the way?

I’ve learned that I’m very mission-driven in terms of why I make my artwork; I have to have a purpose and a theme, as if the sculpture itself were a thought-form, or incantation. I feel like Larry [Harvey] instilled that in me. He was that Muse of Fire.

I’ve learned that having the right people by my side as a team is the most joyous part of making the artwork. I’ve learned that my style could translate to both wall sculpture and stages for music festivals. I’ve learned that there are endless things to learn, and as I keep seeking and experimenting and remaining open to new ideas and collaborators, I will keep evolving. I have learned that creativity loves courage.

“Star Seed” by Kate Raudenbush (Photo by Scott London)What are you working on next?

I am planning to tour Incanto to other gardens, and continue making privately and publicly commissioned sculptures. Currently, I’m installing Star Seed (originally created for Burning Man in 2012) at this great place called Akera in the Catskills Mountains in New York. It’s a brand new creative retreat center and event space. I’m so psyched to share this 42’-tall sculpture again! I also have a brand new, privately commissioned sculpture that I have kept secret for years that will be finally installed this fall in Long Island, New York.

What do people need to know about experiencing Incanto?

This is the last weekend to see Incanto at the Lewis Ginter Botanical Garden. I highly recommend seeing it just before and after sunset during the extended evening viewing hours (5-9pm). There’s going to be a big harvest festival on Saturday, October 28th! I will be there with my whole crew at our closing reception. We hope to see you there!

Cover image of Ancestors Night sculpture of “Incanto” by Kate Raudenbush, 2023 (Photo courtesy of the artist)

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“In order to attain the impossible, one must attempt the absurd.” – Miguel de Cervantes

The 2024 Burning Man theme celebrates puzzles without answers, embraces the irrational and the absurd, and invites the unknown over for tea. Because it’s in those timeless moments of not knowing, when we’re consumed entirely by curiosity, that we experience our most profound learning, growth, and creativity. All great journeys of discovery begin with a question; without that spark of curiosity no movement is possible. Staring into the void of unreason, we experience the wonderfulness of wonder, and the staggering awesomeness of awe. Which leads inexorably to the asking of better questions. Which is, after all, what makes us better than the robots.

The magic of wonder is its power to startle us out of sleep-mode and back into the immediacy of being. Studies say that the average human on an average day is running on autopilot about half the time while they think about something else (possibly cat videos). Even on our best days it’s easy to just believe what we think we believe and stay inside the painted lines. The education system fills us up with all the answers to all the questions on the standardized exams, and we steadily lose the ability to imagine anything that’s not on the test. Sometimes we need to fall down a rabbit hole or step through a drawing-room mirror to encounter the freakiness that was right there all along, just a tornado-ride away in Oz or three wishes over in Faerie. Just past the torii gate on the spirit side, or a short rocket ride over to Antichthon, the Counter-Earth on the far side of the sun where everything is its opposite and nothing is impossible.

“If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t. And contrary wise, what is, it wouldn’t be. And what it wouldn’t be, it would. You see?” – The Mad Hatter

We take our title, of course, from Lewis Carroll’s Alice, who keeps her wits about her with remarkable aplomb as she explores a topsy-turvy world immune to the laws of common sense. Not just another folkloric fantasy realm of magicians and dragons, or a video game with the magic of extra lives, but something profoundly weird, a place where time comes unhinged and causality spins around in circles until it gets dizzy and falls giggling to the ground. A place, one might argue, more like our own Black Rock City than any fairy tale.

One of the beautiful things about Burning Man is that you can so easily find yourself in situations where you have zero clues as to what is going on. Or who that person is doing that thing, or why. And it’s okay. In fact it’s a kind of magic. As much as we value preparedness, and plan out our chaos with an ironic degree of precision, it is these moments of random WTF that bring the serious joy, and keep us coming back for more.

Curiosity and wonder are more than just exhilarating feelings, they are pathways to neuroplasticity, the ability of the brain to change itself through growth and reorganization. Children are notably good at this, for instance in their capacity to learn a language, and for many years it was thought that the ability to remap one’s brain was lost in adulthood as the once-pliable organ of thought hardened into rigid neural pathways. Today, of course, science sees that as nonsense, and recognizes that practices like art therapy can help people rewire the way they think. Likewise, the therapeutic use of neuroplastogens like ketamine and MDMA is showing promise in helping people recode their brains around deep-seated pathologies like PTSD.

We don’t yet have any clinical research on the Burning Man experience as a neuroplastogen, so I’m not going to make any claims here. But when people talk about having a transformative experience in the desert, what exactly is going on in their brains? Something is clearly happening when studies show Burning Man participants experiencing lasting changes like heightened feelings of connectedness and increased prosocial behaviors like generosity and kindness. Interestingly, research into the nature of awe shows that it can not only trigger the same sort of behavioral and perceptual changes, but also alter our sense of time, immersing us in the present moment. And immediacy is, as we know, pretty awesome in its own right.

“The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. He who can no longer stand rapt in awe, is as good as dead: his eyes are closed.” – Albert Einstein

Thanks to innumerable film adaptations (including this nightmarish 1933 version), along with TV shows, stage plays, theme park rides, and even an opera, the whimsical characters of Wonderland have become pop culture archetypes. Not to go down a rabbit hole here, but these stories have become idiomatic. Yet while the surface of planet Wonderland may have been strip-mined for media products, there remains a rich vein of myth beneath the cartoons — a hero’s journey through the underworld, in which our protagonist must lose her mind to find it. That, rather than artful illustration, may be the real reason why Alice and her adventures have had such a lasting impact on the collective consciousness. A courageous child, cast adrift in a strange world where nothing makes sense, uses her curiosity and pluck to unlock the puzzle of her own existence. Whether the setting is Wonderland or Oz or the Upside-Down, whether you’re adrift on a river of fudge in the Chocolate Factory or lost in a subterranean tunnel with the Goonies, it’s that journey to understanding that is the timeless heart of the story.

“If I had influence with the good fairy… I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life.” – Rachel Carson

You’ve probably figured out by now that this year’s theme is more than an invitation to put on a caterpillar onesie and puff on a hookah (apologies to Hookah Camp). Instead, it’s my hope that we will be inspired to create art and experiences for each other that are genuinely curious, drawn from our personal wells of weirdness and informed by all the fantasy realms we’ve ever imagined. And that we will in turn be curious — about the world and each other — and go into each encounter with an open mind and a childlike sense of wonder.

Let’s amaze and delight each other, and open ourselves up to new ways of seeing and being.

• Black Rock City will rise from the dust August 25th to September 2nd, 2024. Your best bet for timely and reliable ticketing information is to subscribe to The Jackrabbit Speaks newsletter.
• To learn more about bringing artwork to Black Rock City, see our playa art guidelines.
• If your vision involves fire art on the open playa, please read our fire art guidelines.
• To apply for a grant to fund the creation of artwork for Burning Man 2024, visit the Black Rock City Honoraria page.

(Cover image design by Tanner Boeger, incorporating photography by Henry Wu and Scott London)

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“What is this? Is it a baby wipe? No wait, I think it’s a sock.”

We’re clustered around the tailgate of a government pickup truck, holding up zipped and labeled plastic bags of detritus. Most are looking pretty empty; others less so. And then there’s this little white ankle sock, crusted in dried mud — and with enough surface area to signal instant failure for one of the 126 randomly selected testing areas. Ten more like that and we’d be up to the 10% threshold set by our agreement with the Bureau of Land Management (BLM). Eleven more and the whole inspection would go down as a failure.

ChAos at the BLM inspection, October 2023 (Photo by Stuart Mangrum)“It’s always nerve-wracking when we do the inspection,” says ChAos, head of Burning Man’s Department of Public Works (DPW). Because we know there’s going to be stuff that we find out here — we just don’t know what it’s going to look like. But it’s always worked out in the past, so we have to go into this believing that it’s going to work again.”

DA, who heads up the DPW’s Playa Restoration team, agrees. “People were projecting that it’s worse than it is, but I’m feeling pretty good about it. And that belief is based on 25 years on this crew, watching this community and the way it behaves and leaves no trace. So that confidence isn’t just made up.”

The post-event Black Rock Desert, October 2023 (Photo by Stuart Mangrum)Just about every aspect of the Black Rock City experience is subject to the whims of nature, and the annual process of cleaning up after ourselves is no exception. Some years, the weather is glorious and it’s no big deal to leave no trace. Others, like last year, are complicated by dust storms, which can alternately hide and reveal stray bits of matter out of place (MOOP), and extreme heat, which makes it harder for us humans to do our part in picking it up. This year the X factor was rain, and the mud flats it created on our temporarily not-so-dry lakebed.

I came out to see the inspection process first-hand, and until that sock got peeled up and dropped in a sample bag, I saw a whole lot of nothing. The good kind of left-no-trace nothing, starting on the drive up Highway 447 from Wadsworth, which was as clean as I’ve ever seen it on both shoulders, and out onto the Black Rock Desert, which, other than a few rough surface areas, was its usual blank canvas. The roughly 10,000 acres formerly known as Black Rock City looked at first glance very much like the rest of the desert around it.

Drone image of the BLM inspection, October 2023 (Photo by Taz)A month earlier, on my way out of BRC after the event, I had seen quite a few vehicles stuck in the mud, and passed some camps that looked hastily abandoned. And of course this angle was played up pretty sensationally in social media. So I asked DA what the Resto team had encountered. This is what he had to say:

“Generally with what we call abandoned items, it usually fills up four dumpsters. Four or five. For 75,000 people – if you think about it, per person, that’s next to nothing. This year we had six, which is still nothing really when you think about it. There was a slight uptick, but right around the average. So people either came back for their stuff, or somebody else took it home for them. It was all taken care of.”

The more lasting consequences of people leaving early had to do with their vehicles carving ruts into the playa surface, which later dried rock-hard and often filled with buried MOOP. Towels, bathrobes, car floor mats — everything people had stuck under their wheels to try to get traction — all spun down into the mud and left behind.

Walking the line at the BLM inspection, October 2023 (Photo by Stuart Mangrum)“You could really tell where people left it clean and where people were struggling,” DA adds. “You could look at a site and say either ‘these people panicked’ or ‘these people hung out for 48 hours and drove themselves off the playa.’ But where people panicked or had a hard time or were struggling, they left a lot of ruts.”

Smoothing out those ruts turned out to be a complicated process involving what the crew calls “the playa Zamboni,” actually three heavy vehicles in convoy — a box grader, a roller and a water truck — followed by a MOOP team to pick up anything churned up to the surface.

“We did the equivalent of about 300 miles of grading out here,” ChAos explains, “to smooth out the ruts and the chunked-up areas. All we’re really trying to do is just put the material back where it belongs so the weather can have a chance to do its job smoothing out the playa as it’s done for thousands of years.”

So what about that sock? Turns out there were quite a few of them sucked off people’s feet by the mud, along with plastic bags and bits of tape, and at least one pair of boots, sans feet. But all generally easy to spot and remove. I was surprised to learn that the biggest MOOP culprit this year was cardboard. Folks would put it down to be able to walk in their camps, then put down more when it got soaked, and it all got squashed down into the mud. “By the time we got to it, it was like cement,” DA says. “And even if you pulled it up it would come apart and leave layers of paper stuck in the playa.”

Scanning for MOOP during the BLM inspection, October 2023 (Photo by Stuart Mangrum)Whatever the results of this year’s inspection (and we may not know for another few weeks), the big takeaway for me is how good our community actually did at Leaving No Trace in a very challenging year. The Resto team’s efforts are heroic, but there’s no way on Earth that 100 people could clean up a city of 75,000 if the citizens didn’t do the lion’s share of the work before they started. Whatever the elements may throw our way, we clean up after ourselves, no matter how hard it is or how long it takes, because that’s who we are: a community and an organization committed to values of Self-reliance, Communal Effort, and Leaving No Trace.

And mud boots. Next year, I’m bringing a pair. Just in case.

Cover image of BLM Inspection, October 2023 (Photo by Stuart Mangrum)

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When Burning Man Project is offered the opportunity to work with partners in ways that bring our culture out into the world, we take into consideration several factors. Simply placing an object in space does not constitute a sharing of culture. But when there is an opportunity to learn, to grow, to share, and to engage with a community in such a way that there is participation and engagement, then we pay attention.

When we were approached by Google to work with them to animate the plaza at their newly envisioned Google Visitor Experience, we were excited to say yes because of the commitment between Google and the City of Mountain View to create a place for people to inhabit, to linger, and to connect. It was with this vision that we proceeded to engage across the community with coffee talk sessions, design thinking workshops, and explorations in symbol and archetype. (And despite the popularity of that 2019 April Fool’s Day article, NO, Google did not buy Burning Man.)

During this process, 30 volunteers from the Burning Man community helped the artists prepare their final presentations; community support extended well beyond the Google project. See all finalist submissions for the anchor artwork.

We are proud to share what has happened since we began in 2018, and now culminates in the opening of the art plaza — with installations by six artists who developed their creations in response to the design elements we discovered were meaningful to the community. This included qualities such as verticality for wayfinding, out-of-the-way places to be in public but not in a crowd, ways to touch and play, and elements that were inspiring. The end result reflects our collaborative process with the community; in this way we are living our commitment to bringing a culture of interactivity and innovation out into the world.

In addition to placing six pieces in the plaza outside Google’s stunning new Gradient Canopy building (previously known as Charleston East), we worked with nine artists, six of whom are Burners, to install their work in the courtyards and interiors of three Google buildings.

Introducing the Art and Artists

The six pieces installed at the Google Visitor Experience were facilitated by Burning Man Project in collaboration with Google and the local Mountain View community. Together, the organizations listened to the community’s stories of childhood adventure and curiosity, and heard a desire for playful, interactive experiences.

The result: six whimsical and thoughtful artworks that engage visitors physically and intellectually.

Kim Cook, Director of Creative Initiatives at Burning Man Project, spoke about the plaza’s value to the surrounding Mountain View community, “We are always inspired by the opportunity to explore how we can alter individual experience by inviting people to explore, touch, and interact with art. With this plaza we hope that people will find a sense of place that is their own and reflects the larger intent to welcome people to stay, to linger, to be with each other while experiencing the art and larger environment that was so thoughtfully designed for public participation.”

Two of the artists have built work in Black Rock City before. Mr & Mrs Ferguson installed one of their whimsical penny bears, “Curious” at the Google art park. If you were in Black Rock City 2023, you may recall their Lincoln Bear, or maybe you’ve experienced their popular pieces from previous years. And Zachary Coffin installed his kinetic “Rockspinner,” which miraculously enables even the smallest child to spin a multi-ton boulder. Many Burners have climbed and swung from Zach’s monumental concrete blocks and boulders in Black Rock City.

But really, any of the work in Google’s new art park would fit in seamlessly at a Burning Man community event or space. Here are the other four pieces that can be explored at the Google Visitor Experience:

Architecture and computation studio THEVERYMANY created “The Orb”, an ultra-thin, self-supporting aluminum sculpture made up of 6,441 individual flat pieces and 217,847 rivets, assembled by hand, piece by piece, from the ground up.

Michael Szivos leads SOFTlab, a design studio based in New York City. Their piece, “Halo,” takes its formal inspiration from the pavilions typically found in Romantic English Gardens. While the exterior is clad with vertical aluminum tubes, the interior is formed by a crystalline structure clad in dichroic acrylic. The stark difference between the simple exterior and faceted interior gives the impression that visitors have entered a geode.

“Halo” by Michael Szivos and SOFTlab“Quantum Meditation II” by artist and quantum physicist Julian Voss-Andreae is constructed from “wave fronts” — parallel slabs of stainless steel. Experience how an apparently solid figure virtually disappears when you cross the line of her gaze.

Nancy Hou and Josh de Sousa form the two-person design practice Hou de Sousa. Their piece, “Go,” is modeled on the world’s oldest board game of the same name, which originated in China some 4,000 years ago. Flip the black and white discs to make patterns, or to ponder one of nearly 600 questions (just 0.000016% of the 3.5 billion asked on Google each day!).

We caught up with Lisa Ferguson, member of the two-person Mr and Mrs Ferguson art team about their piece, “Curious”.

“Curious” by Mr and Mrs Ferguson“It’s a friendly piece, the curiosity. Our work is a little different than some other Burning Man projects, so we just thought, ‘Let’s do what we’re best at to see if they like this sort of thing.’ And gladly enough they did. ‘Curious’ is probably two and a half times larger than a live California Grizzly Bear. He is sitting on his heels and staring down at the participants. Of course, the participant is curious about why this bear is made of pennies. Maybe also the bear is itself looking down on the participant as a curiosity as well.”

“Go” by Nancy Hou and Josh de SousaNancy Hou and Josh de Sousa elaborated on the relationship between the discs and the questions written on them: “We wanted it to be intrinsically tied into Google’s foundations and the basis of their organization,” explained Josh. “We wanted the piece to be something that changed over time, but also drew people in and was a conversation starter and something that allowed them to encounter questions or lead them on a journey they hadn’t expected before they got there.”

Josh mused on the curation of the art park, and how the various pieces speak to one another: “I think the curation of them was really nice. There are multiple threads that run through them, connect them to each other even though they’re super different… They’re all unique, but you can find these threads and it feels cool to be one of those touchstones.”

In closing, we wish to take a minute to express our fond remembrance and gratitude to Affinity Mingle, an extraordinary volunteer who gave her heart and untold hours to support this project.

Cover image of artists Mr & Mrs Ferguson with “Curious,” at the Google Visitor Experience

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To listen to the media (or your cousin Fred, who called to ask if you were still alive), Burning Man’s “Animalia” theme might as well have been “Lord of the Flies.” It was definitely a moment, and more eyeballs were on us for a few days than we’ve seen in a long while. Until, of course, nothing bad happened, and the mud dried, and we burned the Man.

The sensationalized coverage that inundated the social feeds failed to capture the magic that convenes, fuels and inspires the Burning Man community — on the playa and out in the world. And they totally missed it when it comes to explaining what Burning Man really is: a global nonprofit supported by a network of humans inspired by the 10 Principles, and united in the pursuit of a more creative and connected life.

Still, it’s nice to be noticed, so I’m going to take the win here and celebrate our moment: everything that didn’t happen, and all the things that did. Because, make no mistake, this was a point in our history that affirmed who we are, as a community and as a nonprofit. A group of people defined not by rain and mud but by generosity, civic responsibility, and communal effort. Because the truth is, and you know this if you were there, that we crushed it.

Trash bag waders and duct tape suspenders for the win! (Photo by Melissa Barron)For more than 35 years the Burning Man community has been producing outdoor events under the open skies in all kinds of climates around the world — over 100 of them annually at last count. Being out in the great outdoors in random weather is baked into the Burning Man genome. Sure, you can Burn on an urban beach or in a sylvan glen, but there’s something special about sharing a weather event and living to tell the tale. It’s a feature, not a bug.

“All real communities grow out of a shared confrontation with survival.”
–Larry Harvey

As for the Burning Man Project staff, you know we train for this sort of thing, right? In order to get our permits for the event, we’ve had to write a bookcase full of contingency plans, and we play them out alongside our government agency partners every year in what are called tabletop exercises. And sometimes, like this year, in real life. Which in the case of a rain event like this one, consists mostly of staying cool, making sure everyone has all the things, and waiting for the mud to dry. Not to brag, but we are actually so good at this now that government agencies and NGOs have studied our methods. And it’s not just the staff, it’s all about amazing participants who consistently embody our 10 Principles by staying prepared and taking care of each other when things get weird. After Hurricane Katrina ravaged the Gulf Coast in 2005, a group of Burners drove straight from the Nevada desert to Mississippi to help out. That’s the origin story of Burning Man Project’s Burners Without Borders program, and we’re still hard at it doing community resilience work around the world.

All hands on deck at Shitty Glitter Camp, 2023 (Photo by Patrick Armitage)At a certain level the 10 Principles can’t really be taught, they can only be learned. When it comes to either personal growth or positive social change, nothing is ever going to change unless you do. No assemblage of words and pictures, however lyrical and persuasive, are going to trigger that kind of transformation. You can’t read about it, or watch a video; you have to live it.

Take Radical Self-reliance, for instance. There’s a big difference between reading in the Survival Guide that you should bring extra trash bags and duct tape, and actually getting to use them to make a pair of stylish mud boots. Or taking the full recommended amount of water with you even though it seems like way too much, and then being able to gift a jug or two to your neighbor on day six of what he thought was going to be a four-day trip.

“When the going gets weird, the weird turn pro.”
–Hunter S. Thompson

At this year’s event, it’s safe to say that a lot of this sort of experiential learning took place. What we’re hearing is that people loved it. That it was the best year ever because of the deep and profound relationships they created or strengthened with their neighbors in Black Rock City. Because any year you go home with more friends than you came with is a win for everyone.

That’s what turned our quirky little desert camping trip into a cultural movement in the first place, and what keeps us moving forward. Twenty-five years of Burning Man Regional Events around the world don’t exist because we franchised the Burn, but because people teamed up with their friends to make more Burning Man happen in more places more of the year. To make more art, and create more opportunities for more people to step out of their comfort zones and realize their potential as humans. To keep growing the community and our global mission, to extend the culture, friend by friend by friend.

So as we chisel the last bits of dried mud from our boot-bottoms let’s keep telling cousin Fred that we really truly are ok, and maybe even better! It’s up to all of us to spread our stories of resilience and thriving out into the world — whether you were at the burn this year or not. Our moments of cultural connection, wherever we are in the world, define who we are as a community, and bond us to each other in enduring ways. Let’s go out and make more Burning Man happen, everywhere and all the time.

Because this is what we do.

“Touch the Sky” by Martin Taylor and Chromaforms, 2023 (Photo by Vanessa Franking)

Cover image of a double rainbow over Black Rock City, 2023 (Photo by Dr. Tre DPW)

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It certainly was an unusual year out in the Black Rock Desert, but every year of building, experiencing, then tearing down Black Rock City has been unusual in one way or another. This year, there was a significant early rain storm associated with Hurricane Hilary that, after the waters receded, left the playa hard-packed. This was followed by several bright, temperate, wild and wonderful days during which the city thrived in all the ways we see each year — the art was magnificent, mutant vehicles were roaming, theme camp offerings were in full swing, and the energy was high.

And then the rain came again, which needs no introduction.

Thanks in large part to Burning Man participants staunchly embracing a Leave No Trace principle, removing matter out of place together, this year’s playa restoration benefited from that shared commitment on full display.

We figured we’d chat with the people who are on the ground in the Black Rock Desert right now — Department of Public Works (DPW) and Playa Restoration (Resto) staff — for an update on the playa, just a few weeks out from our annual inspection.

“De-fence day” — volunteers rolling up the perimeter fence (Photo by DA)So how did the citizens of Black Rock City leave the playa in 2023? It turns out that, to quote Chris ‘Chaos’ Neary, Associate Director of the DPW, which packs up city infrastructure, removes any large abandoned items, and takes down the perimeter fence, “The participants did an amazing job… that’s why it’s so frustrating for me to hear all this conjecture in the media… It’s really not like that at all. It’s phenomenal out there.”

Site of Center Camp, September 15, 2023 (Photo by DA)Do tell.

Post event, DPW and Resto teams found themselves on a perfectly hard-packed playa beneath clear, dust-free skies. Chaos continued: “At no point during the event cycle did we have any significant amounts of blowing dust. So what we have is a very flat, mostly hard playa surface in all the open areas, which means that there’s very little MOOP out there, and the MOOP that is there is going to be really easy to find. From a line sweeping perspective, it’s a huge, huge advantage. But we will definitely have time to do the city grid with two complete passes and then do focused effort on the hotter areas that we determine through those two passes of the city grid.”

While a small minority of participants (from around 180 camps) felt compelled to leave while the playa was still wet for various reasons, the majority stayed until the playa dried out, AND did an exceptional job MOOPing before they left. Black Rock City’s Playa Restoration Manager, Dominic ‘DA’ Tinio, who leads the Restoration (Resto) Team that sweeps behind the DPW to pick up every last woodchip, zip tie and widget, chimed in, “I think the participants worked smarter, not harder, after all of us getting our asses kicked last year in the dust storm and the heat, and I really think that people were bringing their best to this year. I think people were keeping it clean right up until the point where it rained. So if it’s clean when it rains, we’re still pretty good. If it’s MOOPy and it rains, that’s when we’re in trouble. I feel like it was a great year all around. This rain thing is just what it was, and most people sat out the rain and they just waited for it to dry and then they just packed up their stuff and they drove off the playa.”

Site of the Temple of the Heart, September 15, 2023 (Photo by DA)Those abandoned vehicles and couches? We hate to see anything left behind, but it’s important to note that there were no more this year than in previous years. “Every year we have to do what we call large abandoned item removal,” Chaos said. It’s a process by which we sweep the city and gather up all the loose objects. This year was a very average year as far as items left behind by camps. We actually had significantly fewer camps that really abandoned a lot of their stuff. In a lot of years we have 10 or 12 problem camps. This year it was only two or three places where a camp clearly just abandoned a bunch of stuff.”

“We have sometimes vehicles that were misplaced, sometimes someone was medevaced or something along those lines, and their car’s still out there. Sometimes a rental vehicle gets abandoned or a trailer, two people don’t agree on who’s picking it up and then nobody picks it up. This year, we probably had about 20 or so vehicles left behind like that… We have been able to successfully get all of those vehicles handled by the owners or the companies that were serving those owners. So there are no remaining unknown vehicles left out there.”

8 Mile playa entrance that leads to what was Gate Road, September 15, 2023 (Photo by DA)Many people have expressed heartfelt concern for the condition of our bumpy playa. Thank you! We love the playa and are moved that you care deeply about its ruts and bumps. It turns out a rough playa like the one we have this year is easier to remediate than last year’s dunes. Chaos explained, “The ruts and holes caused by vehicles is a real issue but one that can be mitigated fairly easily by dragging and watering. This process breaks down bumps and high spots, and then fills in the depressions. We have a lot of experience with this and are conducting these operations currently.”

In addition to our operational methods, Mother Nature plays a big role. Chaos reminds us: “Our experience tells us that if there is a lot of rainwater and we get a lake on the playa this winter, there will be almost no evidence of the 2023 event. Even without the lake, the annual snow and rain will erase the majority of the bumpiness.”

What is the prognosis as we roll into the month-long 2023 Playa Restoration season? Chaos continued: “I’m optimistic that we’re going to have a good Resto season with favorable weather conditions and no blowing dust. And that will result in a clean playa and hopefully a good result on our [Bureau of Land Management] inspection.”

Our partners at BLM shared:

“Burning Man is in the process of playa restoration,” said BLM Black Rock Field Office Assistant Field Manager, Andy Boerigter, on Friday, September 15. “Yesterday, I had a conversation on the playa with Chaos, and it appears the Playa Restoration team is working hard, and on schedule with the clean-up. The Black Rock Field Office staff will continue to monitor the event site until the post-event inspection in a few weeks.”

Point 3 in deep playa, September 15, 2023 (Photo by DA)DA expressed his gratitude to Black Rock City participants for the current, encouraging state of the playa: “This community is awesome. They leave no trace so well. I wouldn’t be doing this if I didn’t believe. And I believe with my own eyes… I’ve been here for a long time. Nobody has stared at the ground watching the community MOOP or the Black Rock Desert conditions longer than I have, and I’m just like, ‘Watch us. We’re going to leave no trace, bitches.’”

For a little more behind-the-scenes action with Chaos, check out this clip of an interview with Profiles in Dust videographer Terry Pratt:

Header image: Site of the Man Base, September 15, 2023 (Photo by DA)

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Black Rock City, including the remnants one might expect to see after a torrential storm in a temporary city of 74,000, is disappearing, as it does every year, from Nevada’s Black Rock Desert.

Burning Man participants staunchly embrace a Leave No Trace principle, removing matter out of place together, and this year that shared commitment is on full display. A prime example is the camps who have returned to retrieve the remainder of their belongings and lend a hand.

“We went home to Inverness, California, on Sunday and came back yesterday with a trailer, rake, and metal detector,” said Jim Pettigrew of the Black Rock Yacht Club, a camp that teaches people how to landsail. “Leaving no trace is a big deal, especially this year with damp carpets and damaged tents. We needed the additional time to regroup, and we wanted to be able to help others with the right gear and an extra set of hands. We’re happy to help — this was our favorite burn.”

Zero stuck or abandoned vehicles remain on site or on the exit road, as people have returned with friends and tow trucks to retrieve them.

Black Rock City is unique for its lack of trash cans, with campers instead implementing their own systems for minimizing and removing waste. The organization’s volunteers interacted with camps over the course of two weeks, answering questions and showing participants how to resolve problems themselves related to fuel storage, leaks, spills, and trash management. In this collaborative way, each camp, and the community as a whole, can leave the space as clean as we found it. Burning Man Operations will remain onsite until early October.

“Burning Man is adhering to the terms of their Special Recreation Permit, even under these unusual conditions,” said BLM Nevada Director of Communications, Chris Bush. “They always do an outstanding job. We haven’t seen anything out of the ordinary and will continue monitoring the event site until the inspection occurs in three weeks.”

Hesteah Mann picking up MOOP in the mud at the Black Rock Tea Company, 2023 (Photo by Dave Atkin)Not only does Burning Man remediate environmental issues in Black Rock City, we also clear local highways of litter and anything that has fallen from departing vehicles. Each year — and 2023 is no exception — the Highway Cleanup Crew records conditions along state routes 446 and 447, as well as county road 34, pre-event. When the event is over, they remove debris and meticulously record locations where debris was found. We leave these roads in better condition than we found them by also removing trash unrelated to the event.

“The Burning Man organization is a strong partner in ensuring the safety and cleanliness of State Routes 447 and 446 during and after the event,” reports Nevada Department of Transportation Interim District Engineer Bhupinder Sandhu. “At NDOT, our mission is the safety and mobility of everyone on Nevada highways. We appreciate the collaboration with event leadership to establish protocols to clear the road of debris and wrecked or abandoned vehicles in a safe and expeditious manner.”

Campmates commencing to MOOP in the sunshine of BRC, 2023 (Photo by Terry Pratt)In 2007, Burning Man created the Leave Nevada Beautiful campaign to encourage all participants to take their trash, recycling, and RV waste to proper disposal facilities. Participation in that campaign includes the Pyramid Lake Paiute Tribe, who set up permitted trash collection points at approved locations on reservation land along Hwy 447, charging a fee and supporting the local economy. Recent photos published by various organizations do not accurately portray the conditions of the site nor the cleanup process.

2023 was an exceptional year for precipitation that created unique conditions and challenges for campers and travelers, as well as for the dusty alkaline surface of the playa. The Burning Man community respects the opportunity to use public lands and has come together in extraordinary ways.

Our deepest appreciation goes out to the extended Burning Man community and the many officials and agencies who stood by our side during the recent storms. The many years of cooperation — and your faith in us — are part of what made this year successful.

Cover image of The Man after the rain, 2023 (Photo by Scott London)

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Around midnight on August 20, the Hurricane Hilary-inspired rains came. By morning the water was ankle deep in Center Camp. The wind blew ripples across the ponds and the sun did not shine for 36 hours. The roads were closed and the early arrival inhabitants huddled in their surviving dwellings.  Next came the sucking sounds; […]

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I didn’t expect my entrance to Black Rock City to turn into a waiting game, spent next to a garish plastic elephant in a Reno casino hotel in the middle of a military convention. As I was preparing to arrive in Black Rock City Monday of Build Week, it seemed someone had changed the Burning […]

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It all began as a wish, while gazing upon the magical playa sunrise — a desire to curate an experience and create a space for shading and gathering. As I wandered through Waking Dreams last year, I found myself captivated by the majestic structural artworks of Burning Man, especially those involving textiles, such as inflatables […]

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The Burning Man Regional Network is in its 25th year and there’s a lot to celebrate! What began as an “experiment in temporary community” has become a complex ecosystem of interconnecting people, communities and events that happen year-round. What should the next 25 years look like? What would it take for all of our communities […]

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“It would not be a stretch to say the first Burning Man was a cacophony cocktail party featuring the burning of a wooden effigy.” – Trippingly.net That’s right, we are resurrecting one of the traditional events that was popular in the 90s as a way to get some super crusty aging hipster Burners together and […]

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As you finish checking all the things off of your packing list and you turn that final corner toward Black Rock City 2023, take a moment to ask yourself: Are you really coming to Burning Man to live stream and post yourself all over the internet? We’ve all seen the endless deluge of photos and […]

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This year, with the creation of an extraordinary hive at the center of our desert city, our place of gathering and ceremony around the central icon — the Man — we called in a group of artists to animate the space and create a special experience. The idea was to think about all the buzzing […]

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As Black Rock City 2023 approaches, we’d like to take a moment to focus on a topic that’s critically important to the preservation of our shared principles of Radical Self-reliance and Decommodification. Please remember — convenience camping (formerly described as turnkey or plug-and-play camping) is not permitted in BRC, and runs totally counter to the […]

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To participate in an Art Discovery experience, please stop by the ARTery at 6:30 and Esplanade, or keep reading to learn about Art Discovery Tours on foot, by bike, ASL and more. The ARTery’s hours are 9 am to 6 pm every day, and we would love to see you! For more information, please visit […]

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“As we get ready to head back into the dust for Black Rock City 2023, let’s pause to reflect on what — and more importantly, who — was Black Rock City 2022. Behind our vibrant dust-covered community lies a wealth of valuable data that provides insight into its participants, their experiences, and the ethos of […]

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“It never ceases to astound me how fast just a blank lake bed becomes a city or becomes our home — a familiar place that we all know and love so well.” -Tony “Coyote” Perez Long before our ephemeral city takes shape, crews walk the barren playa, surveying the land — from Man Base, to […]

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We’re thrilled to share the latest project from the International Wood Culture Society! “Tales of Dreamers” is all about sustainability initiatives in Black Rock City – both from Burning Man Project and from a variety of Black Rock City theme camps, artists, and more. It tells the story of how sustainability projects are coming to […]

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At one point in time in Black Rock City, there was a loud and quiet side of the city. Today, sound is everywhere and speaker technology has evolved since we developed our original sound policy. We have therefore updated it in 2023. We know it’s late in the season, so we’re announcing this to pilot […]

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TLDR: MOOP (Matter Out of Place) Sweeps are your friend! Don’t put off the MOOP sweeps at your camp until after the event. By then it will already be buried.  MOOP sweep your area when you first arrive on playa. MOOP every morning for 15 minutes with 15 people (or if your camp is small, […]

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When we talk about Burning Man fashion, we need to go back a three decades… waaaay before the explosion of scantily clad Instagram models on playa. We’re going back to the early 1990s to tap into the source of Burner style (which is still very much alive). Think found and repurposed objects blended with thrift […]

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“There’s a lot of intention and love that gets driven to that first point of the city.” -DA of Black Rock It’s no small feat, building a city. The people who come together to begin surveying and raising Black Rock City know intimately the joy, the gravity and significance of what we create together. Yesterday, […]

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A mountain biking friend and I started our no-nonsense playa bike repair in 2009. We figured we’d help Burners out by repairing a few flat tires. Little did we know that it would be so popular! After five or so years of camping solo, we formed Camp Brewhaha. We’re a no bullshit, fiercely independent cast […]

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Do you know about Burning Man Hive? It’s a veritable hub of activity, where Burners come together online to connect, share information, and learn from one another. Anyone can participate in Hive; just log in using your Burner Profile. In March 2023, Hive achieved a huge milestone when the network reached, and quickly surpassed, 10,000 […]

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Nothing invites children to the moment more than a swing set, and it’s from this that artist Sharón Chandally Pedrini felt the impulse to build an adult-sized reminder to lean into our inner sense of play. She envisioned a Möbius strip, a single unified structure that is part swing, part upside-down see-saw that can only […]

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The countdown to Black Rock City is on, and you’re most likely dusting off your gear for another year out there. We are too! For lots of teams, 2023 playa prep started in the moments after the Temple Burn last year (and in many ways, long before that). Black Rock City is, after all, a […]

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What is Exodus anyway? Exodus: An ominous word that conjures ancient stories of humans suffering a plodding, treacherous journey through the desert. As it relates to the process of getting nearly 80,000 humans out of Black Rock City in a steady flow of 33,000+ vehicles after the event, that is still pretty much true, though […]

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A DJ, event producer, community builder, and long-time Burner, Jay Austin Gregory has been bringing theme camps, musical experiences, pancakes, and an airship to Black Rock City since 2000. Cptn Jay’s deeply invested in Burning Man’s dance music culture, and we talked about how it has changed over the years, what makes the event such […]

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The recent criticism of e-bikes at Burning Man has been incredibly pointed, and at times emotional. Despite many members of the community urging us to do so, we don’t want to ban e-bikes in Black Rock City — not just because outright bans feel draconian (not to mention the logistics of enforcement), but because we […]

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The Pyramid Lake Paiute Tribe has been residents and stewards of the land in and around the Black Rock Desert for millennia. Their ancestral homeland is the same area that nearly 80,000 of us travel through in August and September on our way to and from Black Rock City.  We reached out to the new […]

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It’s not glamorous. It may be wild, boundary-pushing, awe-inspiring… sure. But living for eight days in the Black Rock Desert is also humbling. Done well, the work you experience there will push you into new and unexpected discomfort zones. We can’t save you from existential, life-changing struggles (nor would we want to). But we can […]

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While Rangers ensured in ’98 that only “art cars” drove on the open playa, 1999 was the first year of the formal DMV. The current Mutant Vehicle classification was specifically created by the DMV for use in Black Rock City, since the term “art car” was too broad a definition. Due to the limited number […]

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Black Rock City 2023 is just around the corner and we know you’re all rolling up your sleeves and dusting off those burn bins. Need a little preparation motivation? Every day this week (July 17-22) we’re serving up a series of fresh content to guide your journey to BRC 2023. Watch the Burning Man Journal […]

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ABOUT THE MUTANT VEHICLE…s If you’ve participated in Black Rock City in the last two decades, there’s a good chance you’ve stumbled across (at least) one of Kyrsten and Jon’s mutant vehicle creations out on playa. They’ve ranged from small to large. Contrary to others who have made multiple mutant vehicles, Kyrsten and Jon are […]

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Some of you may be familiar with one of Burning Man’s origin stories, about a party house in the Bay Area known only by its address — 1907 Golden Gate. Gatherings in its redwood salon during the late 1980s and early 1990s brought together members of the Cacophony Society, as well as some people who […]

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Burning Man. A surreal place that brings up images of desert landscapes, towering art, and unlimited play. When we strip all that away, it is a year-round community of people that now expands across 34 countries.  Amongst the people Burning Man culture touches are the ones who are called to give back to their community […]

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To misquote a great film noir: “There are 80,000 stories in the dusty city.” And that’s just the beginning. Beyond Black Rock City, around the world the Burning Man community is endlessly industrious and curious, creative and irreverent. How can we ever begin to document it all?  We can’t. But as the Burnerverse iterates through […]

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Wherever you are today at 57 minutes after this hour, welcome the solstice. This celestial moment marks the day we honor Burning Man’s inception 37 years ago — the first time Larry Harvey, Jerry James, their kids, and friends built and burned a wooden Man on Baker Beach.  Burning a human effigy, and celebrating the […]

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Do you gift snow cones? Host show tune singalongs? Love to tango? Lead random parades to nowhere? Whatever you love to create, YOU are invited to bring it to Center Camp — an acre of beautifully designed, communal shaded space in the beating heart of Black Rock City.  Center Camp is holding space for spontaneous […]

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In 2022 a unique project led by the team at the stately and oh-so-British Chatsworth House brought 12 monumental works of Burning Man art to the sedate, lulling landscape of Derbyshire. From April to October 2022, Radical Horizons: The Art of Burning Man at Chatsworth transformed Chatsworth’s 1,000-acre park into a surreal, all-ages fairytale playground […]

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“OVER RULED,” a large-scale art installation led by artist Cody Smith is coming to Burning Man 2023 from San Francisco’s Looking Up Arts collective, asks us to explore a few questions: What’s the worst mistake you’ve ever made? What would your life be like if you had to be forever defined by it? Everyone makes […]

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In August 2021, we published our Radical Inclusion, Diversity, & Equity Anti-Racism Pledge. We set some short and long-term objectives, and asked: What would it look like for Black Rock City and all of our global communities to be more radically inclusive and diverse?  A year and a half later, so much has happened — […]

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In our second post of this series about Mutant Vehicles (MVs), Jennifer Cull shares the power of passion and determination at any age. Without the help of a single volunteer, this septuagenarian is single-handedly creating her first-ever MV to bring to Black Rock City this year!

MEET THE ARTISTJennifer Cull first attended Burning Man in 2016. After holding art shows annually on Labor Day, the weekend the Black Rock City (BRC) event culminates, she was now semi-retired and longing to go to BRC. So when she received a free ticket from her friend George Post, Jennifer jumped at the opportunity to make her long-awaited inaugural trek to the Black Rock Desert.

Jennifer: It just blew my mind because, as a lifetime artist, I am very solitary. And when I do get around people, sometimes I freak out because they’re so cruel. But I didn’t find that at Burning Man. It was just like I’d come Home. I’d never felt like that. I felt safe. I felt among my kind, so to speak.

THE INSPIRATIONInspired by the strong sense of community and Radical Inclusion she experienced at her first Burn, Jennifer got the idea for her first mutant vehicle in 2019.

Jennifer: I’m a sculptor — I actually sculpt stone – but I decided to go and take some welding lessons from another Burner, and I decided to make this thing. At first it was going to be an armadillo, but then I saw an armadillo that had been done very well in the past already. So it’s a metal pangolin instead.

My friends who work for the DMV (Department of Motor Vehicles) also got me into volunteering there. I love doing that so much — looking at all those cars all the time — it’s just amazing. So I work really hard and get a free ticket, but it’s not for the free ticket — it’s because I want to be there and see everything and do everything.

My connection with the DMV plus my sculpting background lent itself to making this project. I know what it takes and I know what they look for in a mutant vehicle. I also know the pitfalls. So I submitted my vehicle last year (in 2022) but couldn’t get any help from volunteers to move the project forward. Then I decided this year, I’m just going to do it myself!

ABOUT THE MUTANT VEHICLEName: “Magnolia Thunderpussy”

Year: 2023 will be its debut appearance at Black Rock City

THE MATERIALS & PROCESSThere’s big art; there’s little art; but I think the art that moves (mutant vehicles) is the kind that inspires me most and takes a heck of a lot of work to get out there and run in the dust of Black Rock City.

Jennifer: All the metal is salvaged sheet metal — swimming pool lining, actually. On a daily basis, I have to cut metal to make the 600 scales for the pangolin’s body. It’s slow work; I’m doing it by hand with a metal snipper. Each scale ranges in size from about 12” down to itty bitty ones for the legs and the face. It’s a lot of prep work: getting the roll of steel, cutting 12” lines, then cutting those down, drawing each scale on with a template, then cutting each one out by hand.

I live in Penn Valley, California, so all the rain is making me crazy because I work outside. Every time it rains I bring the scales in and wash ’em in the sink. That’s the only thing I can do when the weather’s bad. I have to clean ’em up and get all the edges smooth, so nobody gets cut, then paint them. I’ve just recently started to paint all of the scales.

I am doing it alone. Since we live off my husband’s VA Disability (he is 100% disabled), rather than continuing to ask for volunteers or support, I just decided to work on it constantly by myself. That’s how I’ve done all my art for the last 50 years. It’s big, but I’m determined!

TIPS FOR FIRST-TIMERSAs a first-time mutant vehicle creator herself, Jennifer shared some thoughts on how she has been able to successfully build and (hopes to) bring her inaugural creation to Burning Man.

Jennifer: Just hop on the phone. I’ve got phone conversations going with several experienced mutant vehicle owners. While it’s not physical help, they each have had great advice for me.

If you’re located anywhere near the Penn Valley area and wish to help Jennifer finish her first mutant vehicle, please reach out to her directly via email.

Jennifer: I’m on my own to build this, monetarily and physically, and that’s why it’s taken so long. But I think it’s helping to keep me young. Age is nothing but a number. In fact, only young people seem to go to Burning Man — either young at heart or young in age. So stay young, however you can!

OUT IN THE DUSTYou can most likely find Jennifer and the “Magnolia Thunderpussy” at The Pit on playa. Otherwise, she and her mobile metallic masterpiece will be roaming the streets and open playa in all their ANIMALIA glory.

To learn more about Mutant Vehicles and Burning Man,please visit the DMV webpage.

Cover image of Jennifer Cull in the process of cutting out over 600 metal scales for her pangolin mutant vehicle “Magnolia Thunderpussy,” 2023 (Photo courtesy of the artist)

(All photos courtesy of Jennifer Cull)

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What does it take to create wonder from the tragedy of waste plastic pollution? Richard Wilks and the Liquid Forest community are busy crafting magical sea creatures through a custom process that melts waste plastic into awe-inspiring playa sea beings. Their story brings together so many things we love — a community of makers collaborating around a shared project to create beauty from the waste stream while sharing techniques for transforming plastic trash into objects that can be beautiful and useful.

The environmental crisis humanity has created is overwhelming. Massive plastic polluters only care about profits not people. Scientists have drilled down and are exposing the ticking time bombs of micro and nano plastics in our oceans, air, mountaintops and within our bodies. I felt compelled to act!

Around the same time, Burning Man Project announced its goal to be carbon neutral by 2030. Inspired, I decided to pivot my art practice and start creating large sculptures made almost entirely from waste plastic!

In the Beginning: “Liquid Forest: The Source”“The Source” was created in 2019 and was the first phase of an evolving project. This highly interactive sculpture is the “source” for a much larger, mystical and surreal “liquid forest” composed of many whimsical, jellyfish-inspired creatures.

I debuted “Liquid Forest: The Source” at Black Rock City 2019; this gave me the opportunity to learn how it would perform in a highly inhospitable environment — and with spirited human participation!

This “source” jellie sculpture is made almost entirely from recycled plastic that I, along with a team of passionate volunteers, sourced, shredded, melted and re-formed into curved tentacle strands. I’ll share more about our recycling process below.

“Liquid Forest 2023” by Richard Wilks (Rendering courtesy of Richard Wilks)Onward to “Liquid Forest 2023”“Liquid Forest 2023” includes three whimsical, jellyfish-inspired creatures standing between 12’-15’ by 15’ in diameter. Each one is a free-standing, hands-on spinning sculptural experience.

During the day, citizens will dance, whirl and flow through the family of jellies as lacy, sunlit shadows wash over them. They can also make use of my free app ‘ilumiscope’ to view the hidden phénakistiscope artwork. A phénakistiscope is one of the earliest animation devices; it utilizes a spinning disk to animate a series of pictures into a single moving image.

At night, the radically illuminated jellies will pulse and morph to create an artful ‘bio-luminescent’ playground! Each sculpture contains more than 10,000 LEDs concealed in the recycled plastic rods. Exposed strobe lights activate the phénakistiscope art disks when the jellies spin!

Each sculpture will have a unique light show and will sync up with the others to create a totally immersive environment.

From plastic waste to custom rods (Photo courtesy of Richard Wilks)We Never “Waste” an Opportunity to Share Our Mission“Liquid Forest 2023” will be made from more than a half ton of waste plastic that will be kept out of our landfills and oceans. In addition, we will rely on the sun for our power and we have invested in a solar powered system. I’m also sharing my knowledge and educating artists and school groups so they will become ambassadors for their communities and share the skills and knowledge they learned on this Burning Man project.

The TeamOur team is a mixture of a core group of passionate, skilled crafts-people and a fluid, changing crew of recycled plastic-curious volunteers.

The CommunityOur community engagement takes many different forms.

We host a monthly meet-up of like-minded, passionate people where we discuss plastic pollution issues, get hands-on with the machines, explore community sustainability goals and have project presentations. We create workshops that inspire schools to engage in plastic recycle activism and offer mentoring to those institutions creating their own in-house recycling programs. We attend and present at various grassroots events and festivals.

We also offer in-studio machine time and guidance to artists who are exploring recycled plastic in their art.

Process: From Waste Plastic to Giant Bioluminescent CreaturesOur process began by building the two machines shown above: the Shredder and Extruder. The open source plans can be found online through a global grassroots community called Precious Plastic. I modified the machines to give me more power to produce the eight-foot solid, smooth, round rods needed for this art piece.

(Photos courtesy of Richard Wilks)First (#1), we source the waste plastic from our community and post-industrial sources. Second (#2), we sort and shred the plastic into small “flakes.” Third (#3), we make molds from eight-foot steel tube and weld flanges onto them so that we can mount them to the extruder. The extruder is like a giant hot glue gun, melting the plastic and building pressure to force it into the long tube. Finally (#4), after a few months of experimentation with several plastic types, we are able to produce our finished rod collection! Each jellie sculpture has 60 rods, and each rod is embedded with LED lights.

My hope is once people experience “Liquid Forest 2023” and learn about its creation story, they will feel empowered to help tackle the plastic pollution problem, feel more connected to all living things, and be more conscious of how their daily choices profoundly affect their personal health and the health of our home… Planet Earth!

Please take a look at our short fundraising video to learn more about our mission and consider donating to Liquid Forest! We would be thrilled if you would also share the link with your friends and community!

Cover image of “Liquid Forest: The Source” at Venice Afterburn by Richard Wilks, 2019 (Photo by Curious Josh)

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AfrikaBurn. A world that is dusty, rocky and raw, deep in the Tankwa desert. During the week, the otherwise tranquil earth rumbles with sound and a stampede of feet that dance with abandon. Stages pump out music that takes hold of the senses from every corner of the playa, as thousands throw shapes against the Tankwa night.

Letting loose through a potent mix of partying, bright lights and sound systems provides an outlet for many, especially in a challenging social context like South Africa. But it is too easy to get lost to the deafening decibels. I want to turn down the volume and peer behind the dusty wall of sound, shedding light on the experience that may be overlooked.

I invite you to break away from the madding crowd and join me on an exploration of art and local culture. Connecting to a community that stands for change, for burning down the old and bringing in the new. I want to amplify these voices — lest they be drowned out.

“Tiny Tankwa Tim,” by Pedals for Peace and Roger Titley, 2023 (Photo by Christo Giliomee)By the time AfrikaBurn starts, summer has scorched the earth dry, dotted with dehydrated shrubs. On this desert canvas, weeks before the gates officially open, teams arrive to set up the city, building art that will become our landmarks. 8,000 people gather for the event, a population that is primarily white South African with a sizable foreign contingent.

Fresh from the tire-shredding road I crash land in this parallel universe with my travel companions. Finding our bearings in this new world, dazed and confused, we seek out our first taste of dust. Reality fades from view as orderly buildings are replaced by a dizzying skyline, a giant heart, a rocket, a galactic entryway. Cars have morphed into bunny-eared mobile art or flying carpets, their alien drivers heckling passers-by as they carve up the rocky terrain. As AfrikaBurn’s 2023 theme promised, we are well and truly in Space.

The Clan effigy by Sean Marais, 2023 (Photo by Christo Giliomee)But amongst this otherworldly scene, there is still art from this mortal plane, harmoniously adapting to the environment. We pass “Swallow,” by Luan Nel, a piece that flutters in the wind mimicking birdwings, and walk under “Diahelong,” by Neo Monapule, a delicate archway made of lattice wood.

Crouched low amongst the fray is a traditional Khoikhoi ‘Matjieshuis’ hut by Toroga Denver and the Matjieshuis crew. It is covered with reed mats, rounded and smooth. Entering it is like being transported back in time. Within its cool shade are two members of the Khoi clan in traditional clothing. The chaotic world outside melts away as we sit cross-legged listening to the custodians of this land. The Khoikhoi and the San are deeply connected to nature, moving with its cycles for millennia.

Days later, I would be invited to take part in a traditional Khoi healing ceremony. Words fall short to describe the experience. Our spirits are all a little bit broken, like the cycles that once connected us to the earth and each other. But when someone holds you with the intention to heal, a higher force takes over. Within the dusty tent, permeated by the fragrant smoke of plants and held by dark healing hands, I closed my eyes and let the tears stream down my face.

“The Temple of Transcendence” by Carmel Ives, 2023 (Photo by Christo Giliomee)That night, I encounter magic that can only be found in spaces where human creativity has been set free. The Temple holds spiritual weight in Regional Events around the world. Its outer structure is framed by human silhouettes with outstretched arms that gorgeously curve into a heart shape when joined together. Intricate etchings of the moon and astrological signs circle its ceiling — an ode to the immense star-filled sky overhead. “The Temple of Transcendence,” was built in memory of loved ones who had taken their own lives, as explained to me by its artist Carmel Ives. Just like its silhouettes only become whole when locking arms, so we need to hold each other to keep each other from falling.

Outside, we follow soft lighting to the playa’s outer edges. There is not a soul out here. We pass a treasure chest saying “open me” containing candles. We then make our way to the breathtaking “Moonrise” by Inga Viugovaan, an optical illusion of the eight phases of the Moon. We crouch down placing our candles beneath the totem-like moons, bowing low to the cycles that govern our world. Further ahead is “Red,” by Nathan Victor Honey, a maze of tall poles studded with soft lights that moves with the wind. We walk through this surreal field as it sways gently around us. In the stillness, it’s as if dozens of illuminated arms were reaching for the stars, pulling our gaze upward to the vastness of space. We stand in awe feeling small, yet part of something limitless at the same time.

“Red” by Nathan Victor Honey, 2023 (Photo by Christo Giliomee)The following days accelerate. There are workshops and live music at Chillaz, an incubation space for diverse African expression. We gather as three saxophonists and two trumpeters jam, playing the type of rhythmic music that moves the body against its will. As the sun sets, I climb to the top of the “Tree of Stories.” This mighty tree began life as the 2020 Clan (canceled due to the pandemic), built to honor the sacred land and tribes. Its roots connect us to the history of 13 AfrikaBurns, its hollow trunk filled with tributes to art from past editions. High up in its branches I observe the world we have created. Everything is stained pink, the powdery clouds suspended in the cooling air, the mountains sketched out on the horizon, the art igniting with the last rays of gold. The sea of smiling, flushed faces taking it all in.

At night, I hit the backstreets with my campmates, reclining on dusty beanbags at the open air cinema. Dust rises from drums pummeled by steady hands at the Twisted Saloon. Out in open playa, we watch amazed as the MEMNOC collective perform tricks on their giant illuminated skipping rope Hyperjump. On its outer edges, we crawl through “Chakra Tunnel,” which connects us to the body’s energy points. Amongst the sparse bushes, we discover and marvel at miniature fairy gardens that invite people to write their own fairy tales. Art lets us rediscover ourselves, reaching out like the outstretched hand of a child, beckoning us back to play.

And then there is the art that comes forth like a battle cry. That speaks for those who have been silenced, demanding to be heard. The weekend is upon us and with it comes a flurry of burns. We gather for celebration, healing, and to collectively let go. In a far corner of the playa is a tall structure with three letters carved in wood. Three letters that have affected the lives of so many. What started as an epidemic is now a manageable condition that with treatment cannot be transmitted, yet stigma and fear persist. Its artists are bold, challenging outdated uninformed views. Their message is simple. HIV is no longer the disease that it was — it’s time to change the name, so we can change the conversation. As the outer wooden structure collapses in flames a message is revealed “Change the Name, End the Stigma.” This fiery exorcism carries the needless suffering of so many up into the night. No one should bear the indignity of shame. By turning our backs on some, we turn our backs on our humanity. Such powerful pieces should be celebrated. Let us uphold a community that challenges ignorance and stands for inclusion, for burning down the old and bringing in the new.

“End the Stigma” by Roman Malessa, 2023 (Photo by Robin Blackfish)As our time in Space draws to an end, we watch as the center of our parallel universe, the Clan effigy burns. The night is alight with thousands of fiery sparks, falling to the earth like a meteorite shower. It is a silent burn in ode of an artist who passed while at AfrikaBurn. As the Clan topples, a sea of humans break rank to run towards the fire. Hundreds of bodies of every shape, color, and age circle the smoldering embers, like shadow puppets in the night. Through this wave, our oneness is laid bare.

(Photo by Roxane Jessi)The odds of people crossing paths are one in a billion, but somehow we have all been called to this desert to create this temporal community. What we get out of it will be the sum of what we put in. While the partying has its place in this world, let us not fall prey to mass escapism and only cater to those seeking the bright lights. Let us continue to use this blank canvas to its full potential, to build what we lack on the outside. A place for creative expression, Communal Effort, where all voices are invited to be heard, and where we champion greater diversity and inclusion. A space where minds can be opened and hearts can be changed.

This week has shown us that, both on Earth and in Space, we need healing in all its forms. It is in the hands that hold us, the music that takes hold of us, the art that awakens us, and the rituals that remind us we are not alone. Only when we stand together can we truly be whole. As the temple burn rages, the human silhouettes bend like bows, the hearts they form pulled and stretched to breaking point. Only when all are undone to the fire together do they eventually let go.

Cover image of AfrikaBurn at sunrise, 2023 (Photo by Christo Giliomee)

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In our first post of this series about Mutant Vehicles (MVs), Harley Sitner shares the power of small moments on playa, with a push for sustainability — returning to the dust again this year with his child Eden (aka The Oracle) aboard. Harley (aka The Great Haji) is a 26-year Burning Man veteran who has been turning “Lemons into Lemonade” with his small-scale, electric MV since 2019.

THE INSPIRATIONHarley’s mutant vehicle journey began way back in 2003, when he used a $1,500 work bonus to purchase an old hearse which he then converted into an art support vehicle named “Hearsila, Queen of the Desert.” Over the next two years that Hearsila made it to playa, Harley added a 12’ brass dance pole and a DJ platform to the front of her.

“Hearsila, Queen of the Desert” in Black Rock City, circa 2005 (Photo by Harley Sitner)A couple years later, Harley’s camp (Hippo Camp) purchased an old school bus that they converted into the double-decker “HippoCampBus.”

“HippoCampBus” by Harley Sitner, Markus Welcker and the Hippocampus Community, featuring the Sunrise Café, 2018 (Photo by Susan Becker)Harley: It had a massive sound system, and could carry 60-70 people on the deck. It would go out at sunrise every morning and do a French café out at the trash fence. The sheer amount of care and feeding that bus required was intense and crazy, but it was a lot of fun. It lived for six or seven years until it was eventually retired. After a few years without an art car, the itch returned and I had the idea for “Lemons into Lemonade.”

In 2018, I realized it was time — I had to bring my kid to Burning Man. I just kept thinking: What would my life be like if my parents had brought me to Burning Man? I had this vision of me with Eden, my then eight-year-old, being out at the trash fence, them on their little bike and me on my bike; they’re hangry and we didn’t bring enough food, we’re miles away and we’re riding into a dust storm, and they’re melting down… I knew that if I was going to bring a child to playa I needed to build a mutant vehicle as a way for the two of us to get around easily and safely out there.

Back in the early days of Burning Man, the art cars felt more intimate and approachable — you’d stumble upon one, go for a ride, meet the artist, hop off, then realize, “Wow, that took them a year to make!” So my favorite Burning Man experiences with mutant vehicles have always been those small, intimate ones which I treasure. I thought to myself, I want to create that for people.

I really wanted people to be able to hop on and off easily and have meaningful conversations. That’s why I built this electric vehicle (EV) to have almost no sound on it. Having it be quiet and electric enables those kinds of conversations. Since it’s electric, the only noise you hear is the sound of the playa crunching under the tires. The minimal lighting is intentionally subtle for that reason, as well. Its scale is small — I wanted something really approachable and intimate, to surprise people and offer rides.

Technically speaking, it started life as a 1984 Volkswagen vanagon, which we joke is the ultimate lemon car…

The inception of the car was to be a multi-generational advice station. We wanted to have kids on it, middle-aged people, and grandparents. You could also have cool lemonade served to you, and you could ask life advice and get three different generational perspectives: What does a nine-year-old think of your problem? What does someone my age (now 55) think? And if we could get an elder on the car, what do they think? The car was, in essence, turning Burners’ lemons into lemonade with life advice.

Their first year on playa (2019), my child Eden fell into the role of ‘The Oracle’ on our mutant vehicle — it was really quite amazing. They started giving people advice. At times they had maybe 20 people in line waiting to get advice from them. Watching my kid as they found this beautiful inner channel and voice was amazing, to see Eden step into their Burner role. It’s created a magical thing for us, for our family, and for Eden — who is like, ‘Dad, I’m a Burner for life now. I’m going every year.’ It’s been a really great thing for our relationship.

Eden (aka The Oracle) dispensing life advice and lemonade, side by side with their dad, atop “Lemons into Lemonade,” 2022 (Photo courtesy of Harley Sitner)ABOUT THE MUTANT VEHICLEName: “Lemons into Lemonade” Years: 2019, 2022, 2023

Harley had three main goals when creating an electric vehicle (EV) to bring to the dust:

1. Create an EV focused on sustainability. (Last year, “Lemons into Lemonade” only used 3.5 gallons of fuel for the whole week. This year, Harley hopes to reach the goal of being 100% solar powered.)
2. Create a familial, multi-generational experience on playa, for his family and others.
3. Create something of a throwback to the early days of art cars at Burning Man, where they were approachable, intimate, and the moment felt serendipitous.

Harley: It’s been a joy to create “Lemons into Lemonade.” It really has met all of its goals: being electric and sustainable; enabling our family and other families to burn; and creating a more intimate, approachable art car experience for Burners.

ABOUT THE ARTISTHarley first had the opportunity to go to Burning Man in the early ‘90s.

Harley: Back then it was Larry [Harvey], Danger [Ranger] and friends of friends. I was like, ‘I’m not going to the fucking desert with them; they’re the weird friends at the party.’ But I eventually made my way to the playa and one thing led to another — I’ve just been going every single year since!

This year (2023) will be Harley’s 27th straight Burn. A radically participatory Burner to his core, Harley has previously volunteered with Artica, Rangers, Greeters, and Media Mecca.

Harley: I’ve done a ton over the years — I’ve volunteered and done large-scale art on the playa. In 2003 we did a piece of art that weighed maybe eight or 10 tons. That was the year I did my first mutant vehicle, as well. Like you said, mutant vehicles are a magical thing; it’s truly the complexity of a moving piece of art. The type of experience it creates is truly unique. We all know there’s no art quite like the art of Burning Man, but mutant vehicles — there’s nothing that replicates that in the entire world.

PROCESS & MATERIALSUsing the resources from his shop and his team’s vast knowledge, Harley had the opportunity and skills at his disposal to do something cutting edge with an electrical conversion.

Harley: The car basically was in storage for two years due to the pandemic. If this thing had been an internal combustion engine, when we went to start it would’ve never worked — I mean, it would’ve never fucking worked. But as an electric car, we literally turned the key and pressed the pedal and it went. It’s just maintenance now, which is so beautiful. That was one unforeseen, positive outcome of converting it to electric.

The vehicle’s lemon top is currently being replaced with a fiber-glass construction, with the help of a team of eight or 10 volunteers, for its dusty 2023 return.DUSTY OBSTACLESHarley: This past year on playa (2022), the car acted up a little bit and we were like, “Wow, is it the motor temperatures, the computer temperatures? Are the fans working?” We were getting temperature readings of over 200 degrees in the little box. It turns out it was the pedal mechanism. We had an old Prius pedal and it was exposed to the element, and there was a contact in it that was shorting out occasionally. So just some compressed air and cleaning fixed it right up. (I guess we’re lucky, because I heard a rumor that something like 20% of mutant vehicles wouldn’t start after sitting unused for a couple of those COVID-19 years).

When it comes to the ability to diagnose and fix problems on the playa though, you’re really limited. During event week, the Rangers have ‘Captain Hook,’ which is two tow trucks that are mostly for getting people into the D-lot, or if you’re stuck in Exodus or Gate. It also will impound renegade cars. But you’re really on your own with a mutant vehicle. If you bring art, you have Artery and they can bring in HEaT (Heavy Equipment and Transportation), and there’s all sorts of resources — but for mutant vehicles, there really is no infrastructure around that to support you in Black Rock City. I mean, the DMV is awesome, but they’re really a permitting and post-event support group. So, plan ahead and be prepared to be radically self-reliant!

TIPS FOR FIRST-TIMERSHarley: Anyone can do this. However, I’ve got access to garages and lifts and vehicles and teams and parts suppliers. (Harley owns a small shop in Seattle called Peace Vans, specializing in the Volkswagen Camper platform.) With that said, it was still super complicated. That’s why I want to partner with the DMV; I really want to run some workshops or coach people on how to do electric conversions. It’s not realistic for a lot of people, but it’s improving every year. And we’ve proven it — our EV can move 20 to 30 people.

Most mutant vehicles start life as some previous car or vehicle. So you really want to be thoughtful about: Can that car convert to electric? Can it hold the batteries? Can you remove its existing computer and not screw everything up? Then there’s the concept of moving a lot of people. Not to mention, recharging is challenging out in the dust. Like I said, we were fortunate enough to put high-capacity Model-S Tesla batteries in “Lemons into Lemonade,” and we’re not doing a lot of sound or light, so we’re able to run off our solar power and batteries.

But in general, if sustainability is your goal, sometimes you have to make a lot of trade offs. You can’t have it all. That’s why I’d love to run a couple workshops and maybe help others figure those kinds of things out.

OUT IN THE DUSTYou can find Harley, Eden, and their lusciously lemony EV out on open playa creating tiny magical moments, or camped at Kidsville. They’re planning again this year to do one or two group rides — loading up about 20-30 kids, serving cool lemonade and hot life advice as they silently squire about the streets of Black Rock City.

Harley would also like to call out his co-creator and co-conspirator on this project, Eric Magnuson (aka Jugs), without whom “Lemons into Lemonade” would still be a dream.

To learn more about bringing a Mutant Vehicle to Burning Man,please visit the DMV webpage.

Cover image of Harley Sitner aboard their electric MV “Lemons into Lemonade,” 2018 (Photo courtesy of the artist)

(All photos courtesy of Harley Sitner)

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Destined to rise in Black Rock City this year, “Sanctuaria” is a regenerative installation by the Sanctuaria Collective that will serve up shade and sanctuary in the desert. A metaphorical safe haven to all Animalia, “Sanctuaria” beckons to a simpler time when all we needed was air, water, food, shelter and each other. The piece brings together form and function—incorporating materials made from prevented ocean plastic, and generating power thanks to building-integrated photovoltaic tiles.

We spoke with Cecilia Pagkalinawan, the lead artist for “Sanctuaria” to hear about the powerful experiences that motivated her, and to learn about the art collective’s impetus and journey.

What inspired you to address environmental themes in your work?Cecilia: I was born in the Philippines and left with my parents and four siblings when I was eight. As a small child, my favorite family vacations were spent on deserted islands; we’d be surrounded by jungle and nature and live totally off the grid. When I returned to those same Islands as an adult, I witnessed the deterioration of the waters where we used to swim. I was dismayed to see bleached and dead coral reefs and the expansion of plastic and garbage floating in the waters in Manila Bay, which used to be blue but now is a brackish gray.

Cecilia Pagkalinawan (Photo by Eleanor Preger)As a parent and nature lover living in the US, I’ve been alarmed by the pace of global warming, wildfires, and drought that have affected millions of people around the world. Initially I felt powerless to affect and alter the changes in climate and human destruction I witnessed. After a spiritual ceremony in 2021, where I was outside, leaning against a tree, I received a message—either imagined or downloaded—stating: “You are being healed and spared so you can help and heal the earth and humanity.”

From there I started getting inspired to create art and communicate the fragility of the earth’s ecosystems. I would wake up from vivid dreams with ideas I wanted to execute. One of my earlier pieces “Trapped” consists of me swimming in ocean plastic that my friends Else Marie Keefe, Billy O’Brien and I found on the beach. I dreamed about creating the piece after doing a beach cleanup on World Oceans Day. “Trapped” was presented at NFTnyc’s “Diversity in Art” showcase and was projected at Arthur Mamou-Mani’s “Catharsis” at Burning Man 2022 along with Refik Anadol’s art.

“Trapped” by Cecilia PagkalinawanIn 2022 you got a glimpse into the experience of bringing art to Black Rock City when you volunteered for the ARTery. What was that like?Burning Man 2022 was my first Burn where I was an empty nester. My son Mateo graduated in 2020 and is now studying architecture in college. I’ve been coming to Black Rock City since 2012, but 2022 was the first year I could stay through Burn Week. I volunteered on the ARTerian team giving art discovery bike tours. Through these I met many artists who inspired me—from Antwane Lee to Laura Kimpton. It was intense and tiring, but also beautiful and rewarding. I would head back to my camp, have dinner, fall asleep from exhaustion, then wake up for sunrise.

I read through descriptions and artist philosophies on almost 400 art submissions. I had to learn details about 88 Honoraria art installations for my tours and tried my best to engage art lovers and do justice to the artists who worked tirelessly on their installations. The team at the ARTery worked around the clock to assist in placement, installation, provide support, safety, and appreciation to 400 plus artists and thousands of builders who supported them.

I learned that bringing art to Burning Man is very democratic but can also be challenging. Many artists I’ve met were not trained artists and were just compelled to bring art as a gift to the playa and their Burner community. Many self-funded their projects and were in debt.

From there, you decided to create a regenerative art installation for Black Rock City. What was that journey like?Regenerative works of art creatively incorporate features and technologies that restore natural ecosystems or provide ecological solutions. Art in itself can be beautiful, moving and thought provoking. Regenerative art can be all those AND have a purpose—enliven communities and benefit the land and earth around us. Along these lines, “Sanctuaria” will offer a photovoltaic facade and leaves that generate power for e-bike charging stations.

A big catalyst for me to create regenerative art this year was learning from Burning Man Project’s emissions inventory that every year Black Rock City participants generate more than 52,000 tonnes of carbon, and that the organization and community are actively working to reduce that. I wanted to create art that would drive awareness and also inspire others to join the effort to slow down climate change.

In 2022, I was caught in a dust storm by myself for three hours and got through it because I was offered water, shelter and gifts by strangers. These acts of kindness inspired me to pay it forward and create a quiet place where we can be shielded from the sun, protected from dust storms and also comfort one another. I kept waking up from dreams where I envisioned a cave structure and oasis that would shelter and comfort Animalia. Upon hearing of the Animalia theme, despite all that I know and understand of Burning Man art and artists, I took a leap.

Within a week I contacted and assembled a collective of people whose talents, spirit, and ethos I admire. Within two weeks, we submitted our application with our “Sanctuaria” concept. My son Mateo did the initial renderings during a week when he had classes and a job working 30 hours/week. Our design now includes a sculpture of an endangered rosewood tree, which will rise from the center of “Sanctuaria” as a symbol of our reverence and gratitude for nature.

Our team has grown to include artists, engineers, architects, and builders, all who are instrumental. Our installation is regenerative art with BIPV (building-integrated photovoltaics) as part of our facade and prevented ocean plastic as the source of our flooring and decorative features. Our advisors, Hermann and Dan, are innovators in the renewable energy space and have hundreds of patents between them. I’m blown away by how much thought, care, and hard work members of our team have done in terms of keeping the air we breathe clean and keeping plastics out of our oceans.

You’re working with Land Art Generator Initiative (LAGI), who recently collaborated with Fly Ranch for the LAGI 2020 Fly Ranch Design Challenge. How did that collaboration come together?I sent a cold email to Robert and Elizabeth of LAGI, a leading think tank in regenerative art and architecture, after reading one of their blog posts on BIPVs (building-integrated photovoltaics). I was delighted when they wrote back and said that they wanted to advise our “Sanctuaria” team and introduce us to innovative solar technology providers. Their guidance on this journey has been invaluable and they are now our fiscal sponsor.

Tell us more about the technical aspects of “Sanctuaria.”As an added gift to the playa, our organic PV tiles will hopefully generate enough power to support e-bike charging stations, so those who make it out to deep playa and find us can rest, recharge, then continue on their way. We’re creating irradiation models factoring in sun position and strength in Black Rock City during Burn Week, and also preparing for a potential reduction of solar draw from excessive dust. Extreme temperatures and weather are a reality now for many inhabitants of our planet so it’s important for our team to be mindful of that as we create art integrated with cutting edge technology for those beyond our Burning Man community to enjoy.

How can the community support “Sanctuaria?”To get involved with “Sanctuaria,” please don’t hesitate to contact me or our team. We began our crowdfunding campaign on Earth Day to bring “Sanctuaria” to the playa and we would love your support. Donations to “Sanctuaria” will be received by LAGI and are tax deductible. They’ll go towards purchasing building materials, electronics, batteries and inverters for our solar system, photovoltaic tiles, lighting and sound systems, and e-bike charging stations.

Beyond Black Rock City, Earth Guardians have offered a future home for “Sanctuaria” so we can continue our mission to advocate for reducing our carbon footprint, slowing global warming and supporting a circular economy. I’m excited that my son Mateo will be turning 21, coming to his first Burn, and will be helping us build on the playa. We’re also seeking volunteers with a similar ethos for our build team. If “Sanctuaria” resonates with you, fill out the form on our website. Much much gratitude for this opportunity. Salamat. (Thank you in Filipino).

Cover image of “Sanctuaria” by the Sanctuaria Collective (Rendering courtesy of Sanctuaria)

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“People want to connect … Burning Man provides nothing but opportunities for connection, and has cultural practices which make it easy… The larger world gives people so few opportunities to do what they love that we’re still surprised by the impact it can have when people feel that they have permission to follow their bliss… As we consider how to alleviate loneliness in the broader world, Burning Man’s success should offer lessons to consider.”

The Surgeon General has declared that loneliness and isolation are an epic health crisis and must be addressed. According to The New York Times:

More than half of Americans are lonely, according to a 2021 poll, which also found that young adults are almost twice as likely to report feeling lonely as those over age 65.

Dr. Vivek H. Murthy, the Surgeon General, has often spoken about the decline in social connection and wrote a book about the subject, “Together: The Healing Power of Human Connection in a Sometimes Lonely World,” which was published in 2020. In the new advisory, he calls on the nation to strengthen its social fabric and to prioritize meaningful relationships.

The Surgeon General says this is a crisis because loneliness is a co-morbidity factor for death and illness: it makes everything worse. It increases the risk of heart disease by 29%, dementia by 50%, and strokes by 32%. Being lonely is compared to the health risk of smoking daily, or being obese.

I’m sure that’s all true, but I think it’s far from the real crisis in the world caused (at least in large part) by loneliness and a lack of meaningful social connection.

Here’s the bigger problem: high doses of loneliness lead to resentful narcissism. And resentful narcissists destroy what they touch.

That’s one of the research conclusions that Tom Nichols came to in his ongoing examinations of “lost boys,” his term for the (almost exclusively male) spree killers who go on lethal rampages out of a sense of personal grievance.

“Their actions,” he writes, “are not driven by criminal gain, but instead are meant to shock us, to make us grieve, and finally, to force us to acknowledge the miserable existence of the young men behind the triggers.”

I grant you that when Nichols calls them “deadly misfits” I think “that sounds like a band I want to sing in!” — and that often non-conformists are painted as targets by conventional thinkers just for being unconventional. But leave questions of legitimate non-conformity aside for a moment. Loneliness and narcissism, and the connection between them, comes up over and over again in accounts of tragic violence.

“Frustrated by their own social awkwardness, they are so often described as “loners” that the trope has been around from as early as the 1980s,” Nichols writes, “and they are, above all, staggeringly narcissistic.” They are the only killers who feel compelled to write manifestos about why they did it, in some ways just to prove that they existed.

“Performative mass killings and large-scale terrorism are mostly post-1970s phenomena, and we can likely trace at least some of the Lost Boy problem to the rapid emergence in the past 40 years or so of a hypersexualized and yet lonelier, more atomized society.”

Seen at the extremes, loneliness and narcissism go hand in hand. And it’s certainly true in my less extreme experience — and I imagine that it’s true in yours — that the times in which I have been most lonely have also been the times in which I was most narcissistic. Why wouldn’t they be? It’s hard to understand, let alone focus on, the needs of others when you feel like you’re alone in the world. People who are starving for attention, affection, and regard understandably have very little of it to offer for others… even if the act of offering it, of giving to others what you don’t have yourself, is in fact the road to salvation.

Loneliness leads to narcissism, and the two of them together can lead to explosive, tragic, and otherwise senseless violence of a kind that is becoming numbingly common. Just as bad: a group of lonely narcissists are utterly incapable of banding together to solve common problems. That, far more than a greater chance of heart disease, is what’s really at stake here. And it is an existential threat.

The issue with modern loneliness, then, is not a chill that we have to put a sweater on if we want to avoid a heart attack — it looks much more like this account of a therapist who specializes in “hyper-masculine men.” It is an iceberg crushing people under its weight, and it’s not just that they can’t stand the pressure: they don’t know what to do about it. The nature of their affliction blocks the road out of it.

That’s the particular condition of contemporary mass loneliness: it’s not that there aren’t people to connect too — this is an era when we’re drowning in swipes and “friend” requests! It’s that loneliness makes us narcissistic, and narcissists don’t know how to connect. When we’re given a chance, we don’t know what to do with it.

You Can’t Fight Loneliness by YourselfThat makes the Surgeon General’s most actionable recommendations feel… well, take a look. Here are some of them, once again from The New York Times:

• Take 15 minutes each day to contact a friend or a relative. Put a reminder in your calendar, if needed, so that it remains a priority.
• For more satisfying quality time, put the devices down and give your full attention to the people you’re talking to.
• Pick up the phone when people call, rather than letting it go to voicemail and waiting for a more convenient text.
• Donate your time to an organization in your community, or offer to help your family, co-workers or friends.
• Get help. Speak with a professional. Admit that you’re lonely to your friends and family.

All right, be honest — does that feel radically insufficient to you? Because damn, it feels like the loneliness equivalent of an abstinence only sex-ed class to me. Sure, abstinence theoretically works but… is that all you’ve got? Really?

I grant you that in the actual Surgeon General’s advisory, it does have section headings on things like “strengthening social infrastructures in local communities” and “enacting pro-connection public policies,” which sounds good. But when you look at what’s actually recommended under those headings it gets… really vague, saying things like:

“Prioritizing social connection in policy agendas and leveraging a “Connection-in-All-Policies” approach requires establishing cross-departmental leadership to develop and oversee an overarching social connection strategy,” and “strengthening social infrastructure that promotes social connection is critical to advancing key aspects of community health, resilience, safety, and prosperity.”

Statements like that aren’t what you say when you’re promoting a real public policy — they’re what you say when you acknowledge that there should be a public policy but don’t actually have one to propose.

The Surgeon General’s recommendations are things that might — might — work with a more antique form of loneliness, but not with the kind we’re actually experiencing now. We have to do better — but honestly I don’t think the Surgeon General knows how. But we do. Because we don’t just build cities and throw events… we build a common culture in an atomizing world.

Burning Man Has Found Ways to Connect People in a Post-industrial, Late-stage Capitalism, Digital WorldIt wasn’t something I did on purpose, but over the years I came to see much of the work I was doing with Burning Man and in underground art scenes as developing new ways to have meaningful community in atomizing times. And what I’ve discovered, each and every time, is that a “speed dating” approach to connection, in which you just try to introduce people and hope they click, is insufficient: individual friendships are much more likely to blossom when they are nurtured by vibrant communities. Trying to weave individual friendships out of a disintegrating social fabric requires ones to have already mastered intimacy… and even then is wrestling an angel. Expecting people who haven’t already mastered intimacy to make intimate connections without a vibrant community to support them is like trying to bake bread without heat.

We’re not going to fundamentally change the landscape of loneliness by asking “what can I do?” That’s a question that tries to use the tools of oppressors to fight oppression. The right question is: “What can we do?” Do not struggle against isolation in isolation.

“Building a temporary city together in the middle of the desert” is more the scale of what it takes. “Creating art together and then burning it in a ceremony” is more the kind of activity it takes. “Creating a theme camp together” is a better approach to fighting loneliness.

So what is it we do? And how do we do it?

Do What You’d Love If There’s No “Winning”As I’ve written elsewhere, one of the most vital dynamics of Burning Man cultural spaces is that they encourage — even demand — that people within them do the things that they’re intrinsically motivated to do. By existing largely outside of commerce (yes, yes, I know — it costs money to camp and to get there, etc., no argument here. But within the spaces themselves, commerce is largely and deliberately set aside), and asking people to entertain themselves rather than follow a pre-set program of events, Burning Man cultural spaces short circuit the question of what one “should” do. There is no singular moral high ground, there is no way one can “win,” and many of the traditional status markers have been removed. Instead one is confronted with the question: if I can do anything I want, and there’s no way to win… what do I actually want to do?

Burning Man confronts people in a real and very pragmatic way with the question “what do I really want to do?” because to no small extent, they actually can do it. It’s a surprisingly challenging moment, or series of moments, for many people.

I call this dynamic “applied existentialism,” and it’s absolutely central to the experience of Burning Man. But more than that — Burning Man (to a limited extent institutionally and a much greater extent culturally) is supportive of people who are pursuing their intrinsic, often weird and idiosyncratic and even inexplicable, desires. That support creates a feedback loop: people discover what they want through Burning Man, and get to do it at Burning Man (and in Burning Man cultural spaces), and are supported by the Burning Man community. When people are supported in their intrinsically motivated passions by a community, they become attached to that community and support it… thus the community supports the individual, the individual supports the community, and incredibly strong social ties develop.

Even more than that, however, two other simple but profoundly powerful dynamics are at play.

The first is that when people have the opportunity to do almost anything they want… eventually they form communities.

People want to connect, and given the opportunities, they find ways that work for them. This is less a celebration of Burning Man culture than it is a condemnation of the broader culture, which now provides so few opportunities for connection and makes them so difficult. Burning Man provides nothing but opportunities for connection, and has cultural practices (like Gifting, Decommodification, Radical Inclusion, and Participation) which make it easy.

The second is that by following their intrinsic motivations, people learn to do what they love. And the more people do what they love, the better they get at loving.

It’s really not complicated — but the larger world gives people so few opportunities to do what they love that we’re still surprised by the impact it can have when people feel that they have permission to follow their bliss.

As we consider how to alleviate loneliness in the broader world, Burning Man’s success should offer lessons to consider. It’s not enough to tell people to reach out and try harder and do more … but it can be enough to give people the opportunities to do what they love, and support them in it.

Given that, and some encouragement, often they’ll take care of the rest themselves.

You Are Not a Brand, This Is Not a CompetitionWhere we tend to get tripped up about this is the fact that many of the things people most want — the things they intrinsically, unconditionally, love, and want to dedicate themselves to — are utterly impractical.

Contemporary culture values consumption, and therefore tends to only value things that are compatible with consumption: efficiency, productivity, and commodification are the standards we tend to judge behavior by. These days every hobby has to be a side-hustle. The question “how do you monetize this?” hangs over every pursuit. If it can’t be monetized, can it at least be quantified? Can we build a wearable to measure it? Data or it never happened, and you can’t enjoy it.

As a result, we give social approval — and support, and time, and funding — to efforts to address loneliness that are overtly productive or seem like quantifiable acts of self-help. Notice the Surgeon General’s emphasis on taking 15 minutes a day to call someone — anyone, it doesn’t matter who, it doesn’t matter what the particulars are. Can you get those 15 minutes in? How about 10,000 steps?

It may be better than nothing, but most people are not made happy — let alone less lonely — by the pursuit of metrics.

Instead, people are made happy by things that we want to do for their own sake… however idiosyncratic, often inexplicable, that may be, and whether it makes sense to anyone else or not. We are made happy by the things that, even if we had all of our needs in the world met and had everything that we could ask for, we’d still want to do anyway. Things that have everything to do with our souls and our deep selves and our unconditional connections to other people.

And these are exactly the kind of thing that contemporary society doesn’t support; that contemporary society, in fact, looks down on and tries to stamp out. Asking a student who has found a subject they love “when are you going to use that in real life?” separates that person from their capacity to love for its own sake. It’s going to bring them joy! That’s how they’ll use it in real life! Asking someone who has a hobby or art practice they love if they can turn it into a side hustle or a “real job” insists that love only has value if it can compete in the marketplace. Our culture tends to disregard relationships that aren’t “going somewhere,” as if crossing a finish line is more important than the joy we bring each other.

The belief that everybody is “their own brand” is a rallying cry for alienation. A way we are taught to dehumanize ourselves.

Turning yourself into a brand is the opposite of doing what you love … and separates you from your authentic engagement with the world.

Do not look to the market for permission to feel connected. That’s true whether the market measures itself in dollars, or clicks, or likes.

It is when we support people doing what they love, especially the things that have no clear reward or extrinsic value, that we help them reach outside of themselves and learn how to love. Especially because, by supporting them in their authenticity, we are already connecting with them in an important way.

The 10 Principles are meant to be unconditional values (that was Larry’s term): things we don’t sacrifice for another goal, because even if all our needs are met, we’d still want Gifting and Radical Self-Expression and Participation and all the rest in our lives. Because they’re valuable for their own sake.

Similarly, in my exploration of psychomagic — a kind of art experience that San Francisco’s art underground developed and that Burning Man emerged out of — it seem clear that creating the kinds of “transformational experiences” that lead people to feel more open and connected, comes out of creating circumstances that cannot be optimized, cannot be gamed, cannot be won. Transformative experiences of this kind do not come from striving to win, but from making meaningful decisions about how you want to live in situations where there’s no such thing as winning. Play and honesty and authenticity for their own sake, outside of commerce, create the mindsets that allow us to experience a deeper connection.

When we do these things together, we become less lonely. Doing what we love works far better in this atomized and commodifying world, than a self-help style crusade to beat loneliness, because life has far more in common with an art project than it does a competition.

Burning Man has been a 37 year experiment in making the world less lonely. The Surgeon General, and anyone else interested in that cause, should study the results.

Cover image of Black Rock City sunset over “LOVE” by Laura Kimpton, 2019 (Photo by Eleanor Preger)

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In early 2021 Burning Man artist Rebekah Waites got a call she probably wasn’t anticipating. The voice on the line said something like, “Would you like to build and burn one of your large-scale sculptures at a British estate in rural England?” Less than a year later, thousands gathered on the grounds of Chatsworth House for a spectacular procession, rousing community celebration, and cathartic burn of her communally-built piece “Relevé.”

Read the rest of this three-part Chatsworth series here.

Rebekah is probably most well known in Burning Man circles for her provocative and beloved 2013 Honoraria Black Rock City piece, “Church Trap.” She again delighted Burners with “Singularity” in 2018, and plans to bring an early iteration of “Ripple Effect.” We were thrilled to sit down with Rebekah to learn more about her creative process and her experience creating artwork for Radical Horizons.

Rebekah on site installing “Relevé” (Photo by Rebekah Waites)Can you talk a little bit about your earliest memories of your relationship with creativity, and how you got to know your own creative energy?I have some very fond memories from when I was a kid. I was always drawing. I grew up in a hostile home environment, so drawing was the safest thing for me to do. It kept me quiet and out of trouble. I specifically remember my mom finding a wooden box of oil paints. It was hers. She had started taking a painting class, and then she just put it up in the garage. But then she gave it to me. I taught myself how to oil paint when I was maybe 10 years old. My Mom would buy a big roll of butcher paper and just roll it out on the table and then give all the kids markers and pens, and we would just sit there for hours and draw. I don’t know why, but it was just so much fun.

Where did you grow up?I grew up in Orange County, California, just north of Disneyland. You can hear the fireworks from my mom’s house.

Did you carry that identity as an artist from your childhood into adulthood, or when did you first identify yourself as an artist?It was really that box of paint. Something clicked, and I just started painting. I always knew that I had the ability to draw really well and [I had] a very big imagination. When I got to high school, it really took off. So I’d been painting since I was a kid and I did a lot of art shows as an adult and all that stuff, but I was just really floundering as a painter. It’s so hard to get into galleries. I’m a bit of an introvert so it’s hard for me to go up and just talk to somebody and be like, “Hey, I’m really great at this and that.” I just can’t do that. Selling myself has always been difficult. And so when “Church Trap” happened, that’s when my career really took off.

How and why did you first go to Burning Man? What called you to the desert?I always had this curiosity about Burning Man. When I went, I just kind of felt so out of place. I was not good with costumes and all the other things. My first year was 2006. I can’t even remember what the theme was for that year [Hope and Fear: The Future. We couldn’t remember, either]. I remember the Temple. I was like a weekend warrior. I didn’t know what the hell I was doing. Total amateur hour. It was pretty embarrassing. I have an embarrassing story that I don’t think I should tell involving a police officer… It’s how I got my playa name, “Probable Cause.” We’ll leave it at that.

“Church Trap” had a profound impact on so many people. Where did the idea come from, and how did creating that piece change the trajectory of your life?We were having a party at my house and one of my good friends, Dusty, was there. I had gotten involved with the Orange County Burning Man community. He’s a big member of that community, and he deserves a shout out because it’s kind of his fault that this happened. I told him, “I have this idea of a big mouse trap.” And I was kind of tongue in cheek talking about it. And he’s like, “You need to apply for a grant.” I didn’t know that they [Burning Man Project] offered that. I started looking into it, and when they announced the theme [Cargo Cult] that’s when all the stars aligned in a way. It just hit me what this project was going to be.

“Church Trap” by Rebekah Waites, 2013 (Photo by Robin Lamke)I grew up in a very, almost cult-like Christian upbringing. My mom, bless her heart, was very much involved in Apocalyptic Christianity, a cult movement of the seventies and eighties. I was a little bit traumatized by it because it really pushed this agenda that the end times were coming. And if you don’t get saved, you’re going to die. You’re going to get left behind. So I really struggled with that as a kid. I had a big family so if I came home and everyone was gone, my first thought was, “Oh, I definitely sinned and now I’m going to have to fend for myself.”

That whole experience of growing up around that very Bible-thumpy brainwashing really affected my childhood, my adulthood, coming out of the closet, and having a relationship with my mother, all of that stuff. I put all of that into “Church Trap.”

I had no idea it was going to resonate with so many people. It was just a very personal piece for me. I didn’t have any idea that any other people, that there were other people out there who went through the same thing that I did as a kid and as a young adult. It was really moving to actually connect with folks that are like, “That happened to me too.”

“Relevé” by Rebekah Waites, 2022 (Photo by Frances Milburn)Turning to your participation in Radical Horizons: The Art of Burning Man at Chatsworth, can you describe the piece “Relevé” for us? The Nine Ladies Stone Circle kept popping up in conversations. The story is of these women gathering. They’re out dancing because women out dancing is clearly very threatening, a big no-no, and it was on the Sabbath, on Sunday. Then they got turned to stone by a group of men. That is a topic that I would like to explore more in art. Growing up as a woman and continually being told that I can’t do things in a way is being turned into stone. You stop thinking about that thing that you wanted to do. Your dream stops at that moment. It turns to stone.

“Relevé” is not only inspired by the Nine Lady Stone Circle, but also my experiences growing up with my grandma, my aunt, my aunt and I. My Aunt Mary and I are really close. She’s an amazing artist as well. She does a lot of knitting and other amazing stuff. I have so many blankets that my grandmothers have made for me, and that’s the only thing I have left from them. Those things are really special to me.

“Relevé” by Rebekah Waites, 2022 (Photo by Andy Tudor)This whole idea around how, as women, how integrated it is with making your clothes, making, providing blankets, providing clothes and comfort for your loved ones… The idea of how stitching and fabric work, which is almost like a glue for your families to be dressed and have a warm bed. I integrated those techniques into the piece.

I was also really inspired by the dust devils at Burning Man. That phenomenon when the pieces are burning and then you get the tornadoes coming out. I kind of like putting them all together. The idea of these women dancing and their dresses spinning and the tornadoes spinning, just seeing the fabric and the embroidery work and what that would all look like. I brought them all together in this large twisted space.

“Relevé” by Rebekah Waites, 2022 (Photo by Frances Milburn)How did working with school groups impact the process and meaning of the piece?In my past life I taught art for the Fullerton School District. I’d go in and teach art with kids in kindergarten through sixth grade. Then I started volunteering with kids that are terminally ill. I’d go to their homes and do art lessons with them and their siblings and stuff. So working with kids has always been something that’s really special. It’s so important to work with kids and with art, to teach them that it’s something that they can do, that you can create a piece of art that gets put on a big art installation, or something that you take home and put on your wall — that you can do it. Working with the kids [on “Relevé”] was really, really special. It was probably one of the highlights of that whole experience.

I was thrilled to be there for the closing weekend and the burn. I was really moved by the community that showed up to participate, especially the little children. How was that final burn experience for you?I was the most nervous that I’ve ever been with a piece, because of the challenges that went into making it. So It was kind of bittersweet for me. But at the end when we burned it down and I was getting pulled in all these directions and getting interviewed, and then all of a sudden I hear all this, all these little voices, “Rebekah!” And I just stopped and I turned around and there was like a group of these little kids, and I just ran over there and just started talking to them. And it was so cute. Oh my God. One of my favorite moments was just hearing those voices. They were talking about wanting to do art themselves, and there’s a bunch of little girls in the group. It was just really cute. It was really sweet.

Any final thoughts?None of this can happen without the people around me. Going back to the community, from my girlfriend’s support to Kevin Linky, my build lead, and people like Kim, the crews that I’ve been able to work with. To make big art requires a village. And that village also deserves the same amount of praise as I get as the artist and the creator. It’s all of us making it, not just one person.

Cover image of “Relevé” by Rebekah Waites, 2022 (Photo by Andy Tudor)

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Maybe big art gets all the beauty shots, but there is magic in the small and whimsical works of art we stumble upon on playa and throughout the city. Steve Landis has been bringing small interactive artwork from New York City to Black Rock City for a few years. He is here to empower YOU to build that thing — no matter how small — that’s tickling your imagination. Whether in Black Rock City or elsewhere, we know you can do it.

THE INSPIRATIONMaking small art is (relatively) easy. The hard part is coming up with the idea of what to make.

You may be thinking, “But I don’t have tools or knowledge of how to build things, or even a way to get it to Burning Man.” Good news! Small art can be simple and need not be complicated, which allows even a novice to create playa art. As for the inspiration, that can strike easily or it may be the result of much pondering, group input, or taking someone else’s basic idea and making it your own in some new or unique way. I’ve used all of these methods at one time or another, and YOU can, too!

Everyone’s source of inspiration is different — from relying on a muse or being inspired by past playa art, to working independently or as a group to hash out ideas. You may have your own method to help clear your mind for kickstarting the creative process. For me, in order to begin the process of coming up with an art idea, I start by just letting my mind go completely blank (which seems counterintuitive to creating something when you have nothing, but it seems to work for me). I’ve also seen a piece of art and — all on its own — my mind sparks and fills with ideas for something else.

For my first small piece of Burning Man art, I saw a Daft Punk skeleton and thought of a dead Burning Man ultramarathon runner who didn’t finish the race. Thus was born a piece called “#DidNotFinish”:

By comparison, my mind was full of anticipation and boredom while waiting on Gate Road to enter Burning Man one year, as the line moved slowly. I thought about how to entertain myself and others, and recalled seeing signs along Gate Road in years past — reminiscent of highway ads from the 1950s called Burma Shave signs which provided witty sayings for drivers’ entertainment as they drove by. Thus, I made interesting and funny signs to hang on the trash fence to read as you passed by, called “#BurnerShaveSigns” (examples of which can be seen on the right).

Other times, inspiration came come from out of nowhere, seemingly random in nature. My next piece’s source of inspiration came while running on a treadmill after watching the movie comedy Blazing Saddles. (For those unfamiliar, there’s a scene where the main characters quickly build a toll booth in the middle of nowhere to slow down the corrupt sheriff and his posse.) At the time, I wasn’t looking for Burning Man playa art inspiration but the idea popped in my head that a tollbooth in Black Rock City would be funny. In Burning Man ethos, which discourages commodification, I twisted dimes into wishes, hopes and dreams to put in the basket in order to pass. Thus, the Black Rock City “Playa Wish Toll Booth.”

I installed the “Playa Wish Toll Booth” on playa in 2018 — the purple wood structure stood out, drawing Burners’ attention and providing immense satisfaction as I witnessed my simple idea bringing joy to others.

FROM CONCEPT TO DESIGNOnce you have the inspiration and idea, and have registered your project with the Burning Man Art Department (prior to the late May deadline), how to build your small art piece comes into play. For most people I’ve spoken to about making small art, this seems to them like the biggest hurdle. I know it is hard to believe, but it is neither hard nor difficult. The short answer is that design and construction help is available for you from many different sources, which gets explained below so that you can turn your idea into reality. There are many choices about how to build the art and the various options of materials to use, from wood, to EMT poles and decorated vinyl covering, to fabricated metal, and whether to include electrical elements and lighting. Remember: easiest is the simplest, which is what I’ve tended to do for both budgetary and shipping purposes.

In the end, my idea for “Playa Harvey” (a spoof on “PlayaBarbie Photo Box” by Mike Anglin and PlayaBarbie Camp) was brought to dusty life using very non-threatening and very non-difficult items that were only three plywood sheets, 2’x4′ pieces of wood, some screws and paint. While my first small piece of playa art fit inside my backpack, this art fit (mostly) inside the back of a minivan (with plenty of room to spare for my four yellow-top bins). Having small art built with so few pieces isn’t unusual — many other art pieces on playa are small in size but big in imagination.

As for designing and building things, I have limited knowledge — I’m not what anyone would call ‘handy.’ But I work well with what I have, know how to ask questions, and I am eager to learn new things, all of which works out well when you don’t know exactly what you’re doing.

MATERIALS AND CONSTRUCTIONFrom building the “Playa Wish Toll Booth” I learned about basic framing and construction materials. Out of curiosity, I also previously took photos of the interior of some playa art pieces to learn from their ideas and structures. When in doubt, there are online video tutorials galore, plus Burning Man Hive for other tips and tricks.

Informal networking and developing friendships with other Burners can help create a natural support system to build art. While I’m a strong believer in Radical Self-reliance, there’s also something to be said about asking for help when needed. I reached out to fellow artists with similarly-constructed small art (thanks again to “Hug Deli” and “Talk to God!”) to ask about shapes, sizes, wind, and lag bolts — they were happy to answer questions and help with suggestions, in true Burner spirit. This wisdom and assistance created a better and more detailed design, which then got further refined by an architect friend (kudos to Mark Richards!) who I also met at Burning Man. Because after all, Radical Self-reliance doesn’t mean you have to do everything alone, it takes a village (even to build small art)!

Need help finding a team, information, or just unsure where to start with your idea? There are many resources available to you within the Burning Man community: there’s the Burning Man Art Department who support playa art and its placement; Burning Man Hive, an online resource for ideas and knowledge; or the Facebook group Burning Man Builders & Makers.

Once I had a team for “Playa Harvey,” we were cooking with gas. While build space can be hard to come by for big art, small art lends itself to living rooms, backyards, garage space or even driveways. Since I live in NYC and have limited apartment space, I reached out for help and found a suburban friend with indoor garage space (and bonus, tools).

Even with expert help, mistakes often get made along the way — take it as a learning experience for next time. Asking the store’s orange vested staff about each material I needed was helpful; however, none of them had specific Burning Man art experience to know how each material might survive the playa dust, wind, and alkaline environment. So I asked more questions, learned more, and guessed where I had to (paying close attention to safety along the way).

Once we got our items, we worked to transform basic construction supplies into a piece of Burning Man playa art. We measured twice, cut once, and checked our sketches to avoid mistakes and extra expenses. Since Burners like to touch things — and rough edges make for unhappy Burners at emergency services — we sanded and rounded every edge to reduce potential injury and splinters.

One of the biggest sources of MOOP is wood bits and pieces. Our goal was a clean playa, which meant putting everything together ahead of time, then taking it apart entirely and having it ready to go with no further work to be done on playa. All screw holes, lag bolt holes, and attachments were drilled in advance to avoid a wood mess on playa and to make sure they all fit together. This process will help ensure an easy set up, with no muss and no fuss (or MOOP) once you arrive in Black Rock City.

GETTING YOUR ART TO BLACK ROCK CITYThis is potentially an expensive part of bringing art to the playa (unless your art somehow fits in your pocket or luggage). Some folks rent a car or truck and drive directly to playa, but I have the benefit of living in NYC where a bunch of Burners share costs and organize 4-5 giant shipping containers to bring gear directly to playa.

Elsewhere, for example in DC, Boston, Atlanta, Chicago, and other big cities, there are similar group container deliveries, or it’s done by Burners on a small group basis. If you live near Black Rock City, there’s always a box truck share among various artists (the ARTery or Burning Man Hive may be able to help connect you with nearby artists but ultimately it’s on you to make the delivery happen). Delivery of “Playa Harvey” to the New Jersey drop-off point again raised the issue of the barely fitting pieces into the back of the minivan (and later scraping bright green paint off of the car’s interior). As expected, the flat and nested pieces helped with the cost and ease of loading into the shipping container.

After I arrived on playa, I checked in with the ARTery, learned “Playa Harvey”’s placement location, and got the OK to start the installation process. A few minor paint repairs later (as a result of the pieces getting banged up in the shipping process), we carried “Playa Harvey” to its placement location. Our advanced planning paid off; everything fit together perfectly.

The installation team helped lift the heavy wood and the cutout head, which was hard to balance in the wind. Then, voila! The piece was ready for Burners to interact with for one glorious week in the Black Rock Desert.

THE BIG REWARD OF SMALL ARTHaving an idea transform into a physical piece on playa was the best part and made the whole process worthwhile.

Watching others approach and interact with the piece, and point as they understood what “Playa Harvey” meant, created joy for them and myself. You’ll feel wonderful by exercising your creative (and perhaps hidden) genius. It seems hard, but like attending Burning Man for the first time, once you do it you realize that it’s do-able and there are ways to make it an even better experience. It’s hard to overestimate this value, or to put the feelings into words, but there’s a firm reason why so many create art at Burning Man and why so many place the art as one of the top reasons to attend Burning Man. Big art may get more of the publicity, but there really is joy in the small art.

So get creative this year, and PARTICIPATE! Because small art helps our community bring back the mirth and magic of Burning Man.

Cover image of small art created by Steve Landis (All photos courtesy of the author)

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Black Rock City has named its streets since 1997, when “Esplanade” first appeared on a dusty map. Our modern practice of creatively alphabetizing the radial streets has been a tradition since 2006, and since then we’ve had any number of whimsical naming schemes mapped to the year’s art theme. 2023 carries that custom forward with a cryptozoological menagerie inspired by the ANIMALIA theme.

Cryptozoology is, of course, the study of animals that may or may not actually exist in our world, such as the Yeti, the Loch Ness Monster, and the virtuous Sparklepony. While scientific evidence of their existence may be scarce, or patently absurd (see the Fiji Mermaid), they live on in popular imagination thanks to ancient myth, modern day just-so stories, or persistent sightings by people who ought to know better. You may laugh all you want at the dedicated Bigfoot hunter, but the historical record is rich with tales of supposedly fanciful creatures abruptly switching status from mythic to real. Consider the coelacanth, a fish thought to be extinct for 66 million years before one was caught off the African coast in the 1930s.

Of the many sorts of animals celebrated in this year’s theme announcement, the cryptids are nearest and dearest to our Cacophonous hearts, and as such inform our street naming for 2023. Some are more immediately recognizable than others, and a few are absolute head-scratchers. This is not to be intentionally obscure, or to mess with the serious people who have to say these names all week on the radio (though, admittedly, that is fun to think about) – but rather because it’s no easy task to pick a full set that’s alphabetically compliant, A through K, without going off-theme.

So without further rabbit-holing (or jackalope-holing), here are the street names for BRC 2023:

Afanc – a lake monster from Welsh mythology that is variously described as a crocodile, demon or beaver hybrid. Any two of which would be scary.

Bigfoot – a legendary race of ape-men found (or not found) around the world, from the Sasquatch of the Pacific Northwest to the Yeti of the Himalayas. Enkidu, from the ancient Sumerian Epic of Gilgamesh (c. 2100 BCE), arguably marks the beginning of this “wild man’s” grand genealogy.

Chupacabra – the dreaded “goat sucker” of the folklore of the Americas, a meter-high reptilian monstrosity said to have greenish-gray skin, sharp spines running down its back, and a taste for goat meat. BRC has reportedly not been spared from this cryptid’s attacks (seen here in the Black Rock Gazette from August 26, 2003).

Dingbat – a fearsome critter from the tales of lumberjacks of North America from the 19th and early 20th centuries, described as a large bat or bird-like creature, with a short feathered body, large wings, and short deer-like antlers on its head. It is also described as resembling “a very fast owl.”

Encantado – pink-skinned Brazilian weredolphins (what?) that shape-shift into smartly dressed humans. In the guise of men they walk the countryside listening for the sound of beating drums to guide them to the nearest party, since they love to dance and make love to human women. Their dapper chapeaux cleverly conceal their singular un-transforming feature: the blowhole. (WHAT?!)

Frogbat – native to the Black Rock Desert and possibly a distant cousin to the dingbat, the frogbat is a large fire-breathing playaphibian with bat-like wings and explosive digestion. Not even the firing squad of a well-regulated militia has managed to put this fearsome critter down for good.

Grootslang – literally “big snake,” a legendary cryptid that is reputed to dwell in a deep cave in the Richtersveld, South Africa.

Hodag – a folkloric animal of the North American state of Wisconsin, it has “the head of a frog, the grinning face of a giant elephant, thick short legs set off by huge claws, the back of a dinosaur, and a long tail with spears at the end.”

Ipogogo – not to be confused with the Ogopogo – a lake monster reported to live in Lake Okanagan in British Columbia, Canada – the Ipogogo is instead a lake monster rumored to dwell in Lake Simcoe, Ontario, Canada.

Jackalope – or Lepus temperamentalus, is an animal of North American folklore, described as a jackrabbit with antelope horns or deer antlers and sometimes a pheasant’s tail. Not to be confused with its winged Bavarian cousin the wolpertinger.

Kraken – a colossal legendary sea monster said to dwell off the coasts of Norway and Greenland, with the unique cryptid category of “massive.”

Okay, that’s it for this year. Feel free to discover, invent or embellish your own cryptid legends for future denizens of Black Rock City. Because myths grow fast in the desert, but not without the seed of hearsay.

And thanks in advance for not stealing the street signs, trash pandas. (At least not until Exodus, okay?)

To see the complete BRC plan, head over to the 2023 Black Rock City Plan page here.

Appreciations to Retro and Playground, the unnamed co-naming the nameless, and now named

Cover image of BRC Street Signs, 2022 (Photo by Amber Skelley)

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While some were still de-dusting and decompressing from what, by many accounts, was a particularly challenging and all-consuming Black Rock City 2022, our friends across the pond were coming to the end of their own Burning Man project.

From April to October 2022, Radical Horizons: the Art of Burning Man at Chatsworth transformed a 1,000-acre public park in the English countryside into a playful, provocative, and interactive art park featuring 12 Burning Man sculptures, four of which were built in collaboration with local children and volunteers.

More than 500,000 people of all ages experienced the exhibition, which provided visitors an opportunity to delight in the magic of Burning Man in their own backyards. In response to the high volume of visitors, Roger Shelley, Trusts and Foundations Manager at Chatsworth House Trust observed, “We are fairly confident that we have changed people’s lives here. We’ve changed the way that they think.”

Chatsworth is the traditional seat of the 12th Duke of Devonshire, Peregrine Cavendish, who enthusiastically embraced the exhibition’s focus on interactivity and community. “It’s really pulling people in, perhaps a lot of people who have not been to Chatsworth before, which is so exciting,” the Duke noted. “Four hundred and ninety-five children have been involved in the participatory builds, and that was very much part of the ethos of the whole idea, to bring young people in and local communities in at every level.”

“The Flybrary” by Christina Sporrong, 2019 (Photo by Frances Milburn)While it may seem incongruous that a culture known for exploring new creative frontiers is collaborating with an English country estate, Kim Cook, Burning Man Project’s Director Creative Initiatives notes, “When you inquire about things that seem to be disparate, and then you discover they in fact have things in common, and that larger human metaphor was super important to me. Radical Horizons is as much about a radical return and how we reinvestigate the role and responsibilities of an estate in a modern sense as it is about a radical horizon that’s out there somewhere.”

During the exhibition, half a million people explored the landscape, sought out art and built connections in much the same way as we do in Black Rock City and Burning Man spaces around the world. Visitors who were completely new to Burning Man wanted to know more about the culture that produced these artworks. They explored with fresh eyes and open minds, delighted in the moment and embraced us, Burning Man culture, and the art.

This depth of curiosity and participation was a direct result of Burning Man Project’s engagement strategies, which encouraged visitors to interact with and collectively build art. Our approach changed the practice at Chatsworth; during Radical Horizons the estate worked with us to reinvent their engagement strategies. This led to more meaningful exchanges between visitors and the landscape through the art installations.

(Photo by Frances Milburn)The closing reception was a joyous affair with costuming, random acts of kindness, spontaneous expressions of creativity, and more than a few stories shared. People experienced the power of ritual as Rebekah Waites’ sculpture “Relevé” went up in flames. Participants gathered round for a large scale art burn, paraded, made music, spun fire, and basked in the warm glow of work, play, and new connections made, experiences co-created and shared.

Harley K. Dubois, co-founder and Chief Culture Officer of Burning Man Project, addressed the crowd as they excitedly gathered for the closing burn. “One of the things I love about ceremony is to see how you as an individual fit into the context of the greater whole. That’s the opportunity we have tonight with the burning of ‘Relevé’… We’re stopping the past and we’re stopping the future, and we’re going to have a moment to be together.”

Whether in a vast desert or the English countryside, with the closing act of gathering round for a large scale burn we find common ground. These experiences light a spark, help us all remember why interactive human connection is fundamental to our purpose and shared journey on this planet.

(Photo by Frances Milburn)

Cover image of “Wings of Wind” by Bryan Tedrick, 2008 (Photo by Frances Milburn)

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Roxane Jessi is an intrepid world traveler who spent the last few years participating in Burning Man Regional Events around the globe, from Blazing Swan and Burning Japan to Fuego Austral and Midburn — an odyssey chronicled in her newly released book, Once Upon a Time in the Dust: Burning Man Around the World. Roxane beautifully shares the sights and sounds she experienced in these diverse cities of dreams around the world. Here’s an excerpt from her book.

AfrikaBurn — South Africa’s annual Regional Burning Man Regional Event — kicks off today. As we write, 9,500 Burners from around the world are building Tankwa Town, a temporary creative community at Quaggafontein Farm in the Western Cape Province of South Africa. The event’s 2023 theme is Space, which invites participants to “embark on a journey through universes, to new worlds, through a glimmering wormhole and out the other side.”

Roxane Jessi participated in AfrikaBurn in 2018 — and she’s back there again this year. We thought it would be timely to share her photos and poetic impressions of AfrikaBurn, as described in Once Upon a Time in the Dust: Burning Man Around the World.

Clambering through the binnerking, we suddenly see the central “effigy,” the man of AfrikaBurn called The San Clan rising in the distance. It is uniquely South African symbol, taken from San culture, the oldest inhabitants of Southern Africa. It stands at a good 20m tall and has one body, several heads and dancing feet. It is based on an image from the Eastern Cape Province, found in San drawings in the sandstone caves and rock overhangs. Legend has it that it represents the sensations of having extra limbs as a result of shamanic dancing performed during healing, rainmaking trance dance ceremonies. The symbol speaks to release and ritual, so entrenched in African folklore.

The San Clan effigy at AfrikaBurn, 2018 (Photo by Roxane Jessi)It is a beautiful ode to the communities of afore, that shaped this land into what it is today. Their spirits wander amongst us out in the desert, their presence gracing the stars above and deeply rumbling in the desert’s earthy underbelly. The many legs of the Clan dance to different drums, just as is true of South African culture. The Clan speaks to us all. Even though we may seem far removed from the rituals of our ancestors, we still seek out celebration and dance allowing us to release and connect in wild abandon. And nowhere is the frenzied abandon more visible than here, rising to a crescendo as the week unfolds and accelerates.

AfrikaBurn participant struts their stuff (Photo by Roxane Jessi)

The next day our camp mates are scheduling an impromptu circus performance out on the playa. They are dressed in incredible costumes, giant green and blue geckos, multi-coloured dragons, leotards and clown outfits with long coloured stripy socks… The colours of their outfits pop and their faces are painted with an African pattern, dots of white paint forming a semi-circle drawn around the eyes. As the drums ring out passers-by join the procession which weaves through the playa before stopping in a nearby camp. A circle forms around the troupe as they begin their acrobatic performance. The drummers warm up the crowd as the clapping and cheering gets louder.

Performance at AfrikaBurn (Photo by Roxane Jessi)They clamber up on each other’s shoulders to form human towers somersaulting and back-flipping perilously through the air, to the gasps of the audience. The crowning moment is provided by the two-year-old daughter of two members of the troupe, born into circus life… As she is hoisted up into the air by the steady arms of her parents she giggles merrily before waving at the audience, with all the carefree self-confidence of a child. The burn brings together people from all walks of life, from circus performers to accountants, giving us all a place for play and Radical Self-expression, reminding us that there is no right path in life. A place where we can be free from judgment.

Circus performers at AfrikaBurn (Photo by Roxane Jessi)Curious about AfrikaBurn? Browse the event’s very informative website to learn about AfrikaBurn’s unique culture and ethos, its history, and what the community is rolling out this year for their Space-themed burn week.

Learn more about Once Upon a Time in the Dust: Burning Man Around the World by Roxane Jessi

Cover image of an AfrikaBurn sunset, 2018 (All photos courtesy of Roxane Jessi)

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This is the eighth entry in a long-form series designed to spark conversation about diversity, Radical Inclusion, and differences in the global Burning Man community.

Alba Roland Mejia is an Oakland-based filmmaker. She visited Black Rock City for the first time in 2022 and shot a short film, I Can Do Anything — A Letter to the Burning Man Community from a Black Man, on Super 8mm film. Transcript edited for clarity.

Dominique: Tell me a little bit about yourself. Where did you grow up? What was your childhood like? Who are you, where do you come from? What’s your family background?

Alba: I was born and raised in Salinas, California. That’s in the Central Coast, right next to Monterey. I was born to an immigrant Guatemalan mother and a Black American father. I grew up in a mixed household and it was a little unique because growing up in East Salinas you kind of grow up in the Mexican culture, which I love and adore. It was kind of mixed all over the place. I got Guatemala in me, Mexican, Black of course, and first generation United States American in me. So it was somewhat of a unique upbringing. It was interesting ‘cause I was kind of exploring this territory, this earth, this world alongside my mother because it was a new world to her as well.

Would you say that being born and raised on the West Coast is a part of your identity? And if so, what makes growing up on the West Coast unique, or what about it has been unique for you?

I would say growing up on the West Coast has a lot to do with my identity. My father was from the East Coast, from Pennsylvania. When I go over there and visit my family, it’s funny, something that they say is, “You reek of the West Coast!” And I’m like, “What does that mean?” I didn’t understand at first. But yeah, I think growing up on the West Coast, you’re somewhat more free-spirited. Diversity is normal here. I’m used to seeing different cultures and backgrounds, and spending my time with different age groups. With that brings a wider understanding and acceptance. So in that sense, you feel a bit freer to be yourself and to dive deeper into who you are as a person. I think also with the amount of space that we have, our day-to-day growing up can be a lot different than people from the East Coast. Out here we travel a lot. We’re doing road trips, we’re camping, we’re playing with the materials that we have around us and creating art. I would say we have a more outdoorsy, earth-centered mindset.

As a Person of Color and also as a person from the West Coast, how did that all play into you becoming the artist and filmmaker you are now? What was your spiritual or emotional path?

My filmmaking is therapeutic for me. What I’m trying to do is to dive deep into myself and dive deep into the loved ones around me. I want my films to reflect, of course, me and the people that I love. So my filmmaking is focused on the African diaspora and a lot of it — honestly thank you for bringing up the West Coast — does have to do with growing up on the West Coast and being around so many different cultures. I didn’t grow up in a Black neighborhood. Like I said earlier, I grew up in a Mexican neighborhood and that has such a huge impact on me. So yeah, I really want to focus on my identity and growing up, and what that effect has had on me — not necessarily fitting in fully to my Black side and not necessarily fully fitting into my Latina side and not having either of those two worlds fully accepting me, having to pave my own path and find my identity within myself as opposed to relating to others.

One of my films, Blackness Is Everything, explores that a little bit in showing how diverse we are as a people and how the stereotypical Black identity portrayed in the media is not all we are. That’s a small fraction. We come from vast backgrounds. We come from all over the world in different cultures and we eat different foods and speak different languages. That’s something that’s super important to me to show in my work because it was a struggle growing up and not fully being accepted into any one culture. I want to make something I wish I had seen when I was younger, something that helps me feel more comfortable in my own skin and helps me feel seen and accepted. So I want to create films that show Black people doing “non-Black shit.” And I say that in quotes, please put that in quotes, ‘cause there’s no such thing as “non-Black shit.”

How would you verbalize what Alba’s identity is?

Yeah, that’s an interesting question. Cause honestly, I’m 31 years old right now and I have just recently come to that answer. It’s taken me a long while to get there because of this push and pull from different cultures and different sides and feelings, wanting to feel accepted and never quite finding that. So I identify as an Afro-Latina queer woman but I went through a journey to get to that point. I didn’t know if I was just fully Latina. I didn’t know Afro-Latina was a thing until I got older. And then I started diving into my Black half because I didn’t grow up in a Black community. So by the time I got to college, I was introduced to more people, more cultures, and I was able to find that and find how proud I am of that and how beautiful that is and how much I love being a part of that community, whether some people accept it or not. It’s kind of a little dance in between the two and then creating a new unique dance that includes both of them. But it really wasn’t until within the past two years that I’ve proudly stated I am a queer Afro-Latina.

I’m curious to know when film became important to you. How old were you? What was the context? How did that happen?

Oh gosh. Okay. So there’s different layers to this. Film was first introduced into my life, I would say when I was one or two years old. I saw my dad with his really big VHS camcorder that was the size of a car, and he would hold it on his shoulder and get all of our home videos and record all of our biggest family moments. That’s something me and my dad had shared that was a bonding tool for us. We would go to the movies often. And coming from a small town, it’s kind of what you do is you go to the movies. My brother minored in film in college. He went to UC Davis, and my brothers and I would all act in his little films and we would joke around. It was a little family bonding experience. Eventually, I got into college myself. I was like, “Oh, I can actually make a living out of this.” Coming from a small town of East Salinas in particular we’re kind of bred and molded to get into the world of agriculture or the world of small business ownership — which is dope, too. But filmmaking, media, cinema, entertainment in general is just nothing that’s realistically on our radar. So it was really seeing my father with a camera and my oldest brother doing it as a major. It was seeing that it’s something we can create, not just something we consume.

I know 2022 was your first year in Black Rock City, but how had you heard of it before? What is the story of how Burning Man came into your life, and how did you end up out there?

I’ve always kind of known about Burning Man growing up on the West Coast. Something funny that we say is that the freaks come out at night in Santa Cruz. If you’ve been to Santa Cruz, California, on a weekend you know what I’m talking about. People I knew in Santa Cruz were talking about Burning Man, so it was something that always hovered in my life. But it was always something like, “Oh, Black people don’t go to that so I’m not going to go to that. How can I afford to go? That’s not something realistically that I can do.” The people I thought went were typically white, typically male, typically either they were a doctor and could afford to go, or they were a full-time roadie and they’re going to get there one way or another. But they didn’t look like me. They didn’t live like me, and I didn’t know if I could fit that mold or if I needed to fit that mold to get the acceptance to go to a place like Burning Man. It stopped me from trying and it stopped me from looking further.

Then when I moved to the Bay Area, I ran into this Black woman, this queen, and she had this really cool house in West Oakland. She was mentioning something about how one of the creatives of Burning Man used to live there and how she goes.

And I was just like, “Wait, what do you mean you go to Burning Man? Tell me about that. How does it feel to go to Burning Man as a Black woman?” She was like, “Oh yeah, there’s a lot of us actually, there’s this group called the Black Burner Project.” I’m like, “Wait, what? Please show me.” So she showed me their Instagram page while we were talking, and that’s when I learned about Erin Douglas and everything that she’s doing with the Black Burner Project and learned that there’s been Black Burners going since far before that, and this is just naturally a part of the culture as well. I was blown away. I didn’t know that was a thing for us. I didn’t know it was something we do, something that we talk about.

I think that was in 2019, I contacted Erin and said, “Hey, what you’re doing is really inspiring. If you ever want somebody to document your process, please let me know.” Burning Man 2020 didn’t happen but we stayed friends on social media and eventually she reached back out once we found out Burning Man 2022 was going to happen. Erin reached back out, she said, “Hey, I’m thinking about doing a build and I would love for you to document it.” That’s what kind of put the fire under my ass, like, this is something for the past few years I’ve been considering going to, but okay, now it’s going to happen. And then I was introduced to the process of getting to Burning Man, which is a whole other story. But yeah, it was really the introduction of the Black Burner Project and everything Erin was doing that got me truly inspired and really wanting to go.

How did burning in general compare to what you thought it would be like? Was it easier? Was it harder?

People I was going with said it was going to be hot, it’s going to be dusty, don’t even try to get clean because it’s not going to happen. They gave me a lot of really good tips. So luckily by the time I was ready to go out there, I kind of knew the things I needed. I didn’t have a trailer. I did the best I could. So when I got out there I was pretty much camping on the outer [part of the city]. I was pretty far out and I was there alone. But luckily I knew some of the people who were camping nearby. I had two 10′ x 10′ pop-ups and I kind of just joined them together to make one 20′ x 10′. I had my car tucked underneath there and I would just sleep in my car, which was super hot. I don’t think I would recommend that. I had a table and a changing tent in there as well, so I could change and shower. I just showered with a water bottle every other day and would immediately get dirty again. I had my little coffee set up and I had my little camper stove and was able to cook for myself every day. I was able to grab dinner with homies every other night, but I had a decent little setup.

It was way hotter than I expected. I can handle heat for two, three days, but a whole week — that tore me up. I remember getting caught in multiple [dust] tornadoes. There was one day in particular I was hiding in my tent thinking, “Okay, this is only going to last about 45 minutes.” It was seven hours. I was hiding in my tent for seven hours waiting for this dust storm to pass, and it just wouldn’t pass.

Another thing that I didn’t expect that was horrible was riding my bike from that far out to get to the playa, and the road was so bumpy that my bike seat, I’m just going to be honest, it was digging up my ass. When they tell you fat tires, fat seat, big bike, do whatever you can and get that.

Your beautiful short film “I Can Do Anything — A Letter to the Burning Man Community from a Black Man” brings together a few things. It brings together the experience of People of Color on playa. It brings together great visuals of the experience of Burning Man. It’s a thoughtful narration from Black Rock Smitty. Tell me about the experience of shooting this piece out there, and also what it means to you.

By the time I got out there, I really just wanted to shoot and I wanted to show my experience and the true experience of the people that I was around. Luckily, I was camping by these really dope Black Burners and I just got lucky. Through everything I was saying before, the dust storms and the heat, people were really enjoying themselves and they were at peace. It was pretty easy to capture the folks I did. I wanted to show the genuine, personal experiences people were having, and in particular the experiences Black Burners were having.

Smitty does such a great job with this letter. I was introduced to him early on before I even got to Burning Man. I got a chance to read his letter and it spoke to me — I loved how raw it was and how real he is inside and outside. He’s such a cool dude and was very accepting and welcoming of me. I just thought his vibe, his voice, his personality was the perfect match to layer on top of the visuals. I really wanted to not only show Black Burners and their experience at Burning Man, but show where they come from and why Burning Man is so important to them. It was an honor to be able to shoot Smitty outside of his home in the Bronx. That’s where he is from. That’s his love, that’s his heart. It was great to be able to connect with him in both of his homes.

In my six years of working at Burning Man, we have had hundreds of media projects come through. Lots of people say they’re going to come out, and they get out there and the cameras don’t work. The story doesn’t play out the way they imagined it. They can’t get their interviews together. So delivering a finished product from Black Rock City is a really tough task, and you put together something really beautiful. What was the most challenging part of filming out there?

I would say keeping my camera safe. Not only is there dust in the air all the time, but it’s also hot. And yeah, I’m shooting analog. I’m shooting on film. I actually shot this on super eight millimeter film. So every morning I had to go and get ice to keep my film cool. Otherwise it would melt. In the final piece, you can still see how hot it was out there and how the yellows, the oranges, and the browns really come out and that’s just heat damage on the film itself. The weight of the gear on your shoulder in the heat, when you’re trying to be as minimal as possible, that’s tough.

So just maintaining gear out there is hard, but that doesn’t even go into the actual shooting or trying to find anybody out on the playa. That’s a mission in itself. Smitty, for instance. I wasn’t able to find him. I really wanted to get some shots of him out there and I just wasn’t able to. Luckily we got enough beautiful footage to be able to pull something together, but you know, you just have to accept that if you go out there with a plan, it may not happen the way you want it to. You may not get the shots that you envision and you kind of just have to go with the flow and be fluid. You have to accept that when you’re shooting something that is based off of the human experience, it’s going to look like the human experience, which is all over the place.

How did you keep your focus?

I’m not going to lie — I wanted to quit every day. I don’t know though, I have a natural addiction to filmmaking. It’s my fuel and I knew that I would be so heartbroken if I wasn’t able to finish my mission, which was to share what I was seeing about people who look like me and who grew up like me. I think my mission was bigger than the experience I personally wanted to have.

So with one Burn under your belt, what would you say Burning Man has to offer the world? Why is Burning Man relevant? What can people take from it?

I think people are going to be able to find whatever it is that they’re seeking there. When I got home, people would ask me, “What is it? What’s so special about this thing?” My answer is that you’ll find what you seek. That’s the best way I can put it. But in particular with my project and with me and with my journey or with my mission, I really want to show individuals back home who are Black, who are mixed, who don’t truly feel like they fit in or that they belong, that we have access to anything. We can do anything, and it sounds super hokey and cheesy, but with determination we are capable of doing whatever — dressing, thinking, loving, feeling, whatever the fuck we want. Burning Man was my outlet to be able to share that message in this way.

Cover image of Alba in Black Rock City, 2022 (Photo by Mauro Martignoni)

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This press release was sent to the media on Wednesday, April 12, 2023, and we wanted to share this important news with the community. To learn more about the proposed geothermal project in Gerlach, read these prior posts.

FOR IMMEDIATE RELEASE — April 12, 2023

Washoe County Halts Ormat’s Geothermal Project in Gerlach, Nevada

Local residents make their voices heard; County officials vote to deny crucial administrative permit

RENO, NEVADA — In a 3-2 vote Tuesday evening, and a major victory for a small, rural community in Northern Nevada, the Washoe County Board of County Commissioners denied Ormat Technologies Inc.’s permit for a geothermal project in Gerlach. Concerned Gerlach citizens and co-plaintiffs in a related lawsuit against the Bureau of Land Management made compelling statements during the public hearing in support of Burning Man Project’s appeal, decisively turning the tide against Ormat’s utility scale energy project.

The County’s decision is final. Ormat may seek to appeal this decision in the courts or take some other legal action, but yesterday’s decision delays the project for a substantial period of time and could result in it never moving forward.

“Gerlach residents have been asking smart questions about this project for two years,” Burning Man Project’s Director of Government Affairs Marnee Benson said after the hearing. “They are worried about their water supply and way of life. Today their concerns were heard. This community stood up and made a difference. Burning Man is pleased to have played a role in protecting the town and this special wilderness area we call home.”

On January 5, 2023, the Washoe County Board of Adjustment approved a permit for Ormat to construct and drill up to 13 geothermal test wells in the Gerlach area. In addition to a federal permit from the BLM, Ormat needs approval from Washoe County to proceed with its exploratory wells. Gerlach residents Tina Walters and Andy Moore joined Burning Man Project in appealing the permit on January 17, 2023, arguing sufficient notice was not provided to community residents and its Citizen Advisory Board, which therefore limited public participation. In fact, not a single member of the public attended that permit hearing due to the timing of the notice and meeting directly before and after the holidays. The appeal also argued that ultimately the permit should have been denied because the proposed project fails to protect scenic vistas and natural resources as specified in Washoe County’s “High Desert Area Plan.”

Team photo after the Washoe County Commissioners denied Ormat’s administrative permit for the proposed geothermal project in Gerlach, April 2023 (Photo courtesy of Burning Man Project)At Tuesday’s hearing, Gerlach residents packed the room and spoke eloquently about the potential impacts of Ormat’s project on the town’s water supply, the structural integrity of their homes, and nearby natural hot springs. Residents expressed growing concern about noise and light pollution from the geothermal project, increased traffic, and irreversible impacts to the serenity and solitude of their remote high desert town. The County Commissioners noted the power and effect of the residents’ statements. (This direct quote and others included here were spoken during the public comment period, and have been condensed for clarity.)

“Gerlach’s very existence is threatened by the Ormat geothermal development,” Allen Nash, Gerlach resident, District 5 Citizens Advisory Board member, and Vice President of the Gerlach Volunteer Fire Department said at the hearing. “The proposed drill sites are down the hill from where the Gerlach Spring is, and where Gerlach gets its water. Ormat’s proposal is to drill holes below that spring. They haven’t done enough research to prove the proposed exploration would not risk Gerlach’s water supply. I personally asked a BLM representative what measures were in place to provide the town with water if the supply is reduced or eliminated. His response was: ‘none.’ Water is everything in the desert, and I fear that if this exploration goes forward without more research, the town could become the latest addition to the growing list of Nevada ghost towns.”

Gerlach resident AJ Pizo also spoke at Tuesday’s hearing: “We have learned that projects such as this have a long track record of drying out hot springs and causing groundwater subsidence, which has the very real possibility of sinking our homes and sinking our community. Ormat is moving forward without an Environmental Impact Statement, a document that would extensively study the effects of their project and ultimately on our community. It became clear to us as a community that what Ormat calls ‘exploratory drilling’ is in fact the first phase of a multi-phase process which leads directly to the construction of an [industrial] geothermal plant, possibly multiple. No company spends over $1 million per drill site without knowing they will move to the next phase. Both Ormat and BLM [have] repeatedly ignored our very real concerns and not provided our community with a guarantee that our investments will survive their exploratory project, and now our entire community is existing in a palpable state of impending doom.”

“The Ormat geothermal project runs the risk of changing a spectacular mountain vista into a spectacular vista of an industrial plant,” Seth Schrenzel, Gerlach General

Improvement District trustee and local business owner, said. “There has been an indication from Ormat about the creation of local jobs, but in local meetings, it was discussed that most jobs would be remote and that if any jobs were created locally, it is unlikely that anyone from Gerlach would have the qualifications required to hold these positions. I’ve heard no proposal for an improvement of our municipal water system. In the end, Gerlach shoulders the risk but realizes no benefits. This is a real threat to our homes, to our livelihood, and to the nature of our part of the country.”

He later added, “I am, like most people, not against geothermal. What I am against is that, as soon as the conversation got a little bit difficult, Ormat simply stopped participating with my community. Essentially, they ghosted us. I think that the outcome we saw yesterday at the County Commissioners meeting is a rebuke of their failure to continue to participate with the community that they will affect most.”

“I think the proposed project is not consistent with the High Desert Plan,” Dave Cooper, Gerlach resident and retired BLM Black Rock National Conservation Area Manager said. “It has the potential to change the very character of Gerlach and the surrounding area from rural to permanent industrial zone. If fully developed, this project may be larger than the town, will dominate the landscape, and cause significant long-term adverse impacts to the quality of life and property in our community. These public lands are used for recreation as well as wildlife habitat, and will be off limits when the fences and the no trespassing signs go up. The only way to mitigate the significant adverse impacts to the character of the community, the very sense of place that is Gerlach, is to move the development away from the community and adjacent private properties so it is out of sight and sound of the community. BLM never considered an alternative like this. I have written numerous environmental assessments and EISs over 30-some years with the BLM, and this environmental assessment is flawed.”

Click here to watch the Board of County Commissioners meeting (Burning Man/Ormat portion begins at 6:15:35):

Previously published background information:

In January, Burning Man Project filed a lawsuit in federal court challenging the Bureau of Land Management’s failure to comply with the National Environmental Policy Act. The complaint was filed on the grounds that BLM didn’t consider the full scope of effects and illegally segmented the project to avoid conducting a more rigorous Environmental Impact Statement (EIS). The plaintiffs in this case and residents in Gerlach agree that BLM’s monitoring and mitigation conditions for the geothermal project are lacking, and that comments from a concerned public were ignored. The complaint is still pending, and Burning Man Project intends to proceed with this challenge to federal authorization of the project unless Ormat relocates the project so as to not impact the Gerlach area. Co-plaintiffs on the suit include Friends of the Black Rock High Rock, Friends of Nevada Wilderness, The Summit Lake Paiute Tribe, the Gerlach Preservation Society, and local residents David Jamieson, Andy Moore, Will Roger Peterson, Nanci Peterson, Stacey Black, Margie Reynolds, Jason Walters, and Dave Cooper.

The Ormat geothermal exploration proposal included construction of up to 13 geothermal drilling wells and well pads, 2.8 miles of new and bigger access roads, and associated facilities. If adequate geothermal resources are confirmed, this would be the first phase of a much larger project that would include a geothermal production facility that abuts the town of Gerlach and would transform this unique and peaceful rural environment into a noisy and light-filled industrial zone.

The scenic town of Gerlach has a population of 120-130 and is the gateway to the Black Rock Desert High Rock Canyon Emigrant Trails National Conservation Area. Gerlach is a well-known astro tourism destination, attracting visitors from outside the region. Visitors come year-round for outdoor recreation and each summer for the Burning Man event. The potential dark sky effects of this project could impact an invaluable natural resource of this portion of Nevada, the darkest skies in the contiguous United States. Burning Man Project is a substantial presence in and around Gerlach, with over 20 year-round employees living and working nearby and ownership of multiple properties.

For additional info about the geothermal project and its potential impacts on Gerlach, see these links:

• Bureau of Land Management Sued Over Handling of Ormat’s Geothermal Exploration Project (1/15/23)
• Burning Man Project Comments on the Environmental Assessment for Ormat’s Geothermal Exploration Project (9/22/22)
• Why We’re Building a Permanent Hub for Burning Man Culture & Community (8/19/22)

Cover image of a double rainbow over the town of Gerlach, Nevada, 2022 (Photo by Daniel Fingerhut)

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Burners are tinkerers. More than that, many of us are makers and technologists who venture out into the Black Rock Desert to learn, innovate and prototype. It comes as no surprise that there is a ton of solar expertise in the Burning Man community – so much that Burners are ahead of the curve, exploring and prototyping technology that is leading the world.

Going Solar, the latest documentary by the all-volunteer Profiles in Dust crew, profiles several teams whose Black Rock City 2022 solar projects are working towards a net zero Black Rock City. Their work, and the learning and collaboration within the broader Burning Man community, is bringing us closer to meeting our Environmental Sustainability Roadmap goal to be carbon negative by 2030.

And they’ve only just begun. Whether led by Burning Man Project or the community, these sustainability projects continue to evolve into 2023. Jump below the video for a list of collaborative groups you can get involved with — no matter your current level of knowledge on solar energy.

During the pause between 2019 and 2022 Burners got busy and our collective knowledge about solar energy grew incrementally. Several teams working closely together rolled out solar systems and community education that came to fruition in Black Rock City 2022.

All these teams are going full steam ahead for Black Rock City 2023, scaling and advancing solar projects and education. All are welcome to participate — here’s how you can get involved:

2023 Sustainability Year Four UpdateOn July 21, 2023 you’re invited to join our 2023 Sustainability Report: Year Four Update to connect with the projects and people leading Burning Man’s sustainability efforts. Register here.

RAT Members — Doug Hanson, Bruce Cooper and Ken Rehor — installing solar panels at the Empyrean Temple, 2022 (Photo by Scott Williams)Green Theme Camp Community (GTCC)GTCC is a community-led group stewarding Burners towards the goals laid out in the 2030 Sustainability Roadmap. Two projects under their umbrella are Burner Leadership Achieving Sustainable Theme Camp (BLAST) rating system and the Thrival Guide, a future open source playbook of sustainable playa infrastructure. Join their Facebook group to learn about the next GTCC online happy hour and find out more on their website.

Join GTCC April 25, 2023 on Campfire Talks for “Sustainability is a BLAST!” Members of GTCC will talk about their work on Thrival Guide and BLAST, you’ll meet some BLAST-rated camps from 2022, and discuss what it means to be a camp sustainability lead. Register here.

Burner Leadership Achieving Sustainable Theme Camp (BLAST)BLAST is a green theme camp certification system developed along the lines of LEED certification for green buildings. In 2022 they met with, assessed and rated 20 camps across six focus areas — food, power, water waste, shelter and transport. View the results on their HIVE page. BLAST will be back for Black Rock City 2023 and they’re looking for camps to review; fill out this form if your camp is interested, and join BLAST on Hive to get involved.

BLAST volunteers at BWB Camp, 2022 (Photo by Andi Cox)Renewables for Artists Team (RAT)RAT is a community-run group that offers education and technical support to help artists switch from fuel generators to renewable energy. They’ve rolled out a series of solar power courses in Burning Man Hive, including Solar Power 101 and Solar Powered Art on the Playa. In 2022 RAT supported 12 artists on playa, including powering the portals on the path from the Man to the Temple. They’ll once again be supporting artists in Black Rock City 2023. All are invited to participate in RAT’s weekly meetings in Hive. Learn more on their website.

The Renewables for Artists Team with artists at Center Camp, 2022 (Photo by Scott Williams)Burning Man Project’s Solar CrewThe solar program started in 2021 out of necessity as a part of the 2030 sustainability initiatives. Burning Man Project has invested in acquiring solar resources with the aim to help alleviate our dependency for diesel generators and associated logistics on playa.

The Solar Crew continues to innovate with the design and creation of three new portable solar prototypes. Building on last year’s success, we’ll be expanding our fleet with a solar-powered refrigerated container, and new solar-powered workshop/living containers for use in Black Rock City 2023 and on our Northern Nevada properties year-round. In 2022 the team successfully rolled out 42 Baby Wookiees, which are 2.4 kW PV solar trailers used to power art projects and support city infrastructure. Burning Man Project also deployed two larger systems we call the Unicorns. These 30kW PV arrays mounted on containers were deployed as test cases, one to power a solar camp and the other to illuminate the Man throughout Burn Week.

Wookiees charging (Photo by Kirsten Weisenburger)Black Rock LabsBlack Rock Labs is a nonprofit technology incubator working with the Burning Man community to develop and scale solar energy systems that can be used in Black Rock City, and then implemented year round in the wider world. The knowledge and technology that emerge through this process can then be deployed in disaster sites and other urgent situations.

We’ll close with a quote from Going Solar. Here, Joshua Tree from Solar Koan Camp muses on the multi-year trajectory from fuel generator to full solar:

“When you can break it down in steps and just say year one… we need to make the foundational pieces to start putting solar, wind, and batteries first, and then you’re still going to use generators, but now you use the generator to fill your batteries so you can be primarily powered very simply. And then it’s just refining and expanding your system. You can invest in some that you own, modify, rent some, and over three years everyone can make the leap to be a hundred percent renewably powered. You can get better and better. The silence is more and more, the generator runs less and less. This community is so good at innovating once they understand the pieces. Now with all of these puzzle pieces that can be purchased, they can be leased and also can be supported. The time for the transition is fast, just go step by step by step and we’re all going to get there.”

Cover image of mutant vehicle “Daisy the Solar Powered Tricycle” by Samuel Carter, 2022 (Photo by Henry Wu)

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The AfterBurn is our annual look back at the past year in Burning Man history — our ups, downs, and get-back-up-agains. Burning Man Project, the official name of the nonprofit Burning Man organization, is operated and supported by thousands of people who take responsibility for making Burning Man happen in the Black Rock Desert and around the world. The AfterBurn Report highlights what Burning Man Project’s various departments do, why we do it, what changes occur year to year, our successes and failures, and our vision for the future. Browse past years’ AfterBurns here. (We also annually publish the Dispatch, a richly-illustrated folio that tells the story of our year — as an event, an organization, and a global culture.)

Read the full 2022 AfterBurn hereBurning Man 2022: How We Built Waking DreamsEvery fall, once we’re all home and de-dusted, we ask all Burning Man Project departments the same question: How was it for you? We then gather all the responses and publish them here as a learning tool, so event organizers and others outside Burning Man Project can learn from our experience and ever-evolving event cycle. The AfterBurn Report shares the story of our year-round operations from the hard-working teams who bring Black Rock City to life and support year-round Burning Man culture and community.

A Little Journey Back in Time

Recently we went back in time to peep past AfterBurns. Our very first Black Rock City AfterBurn Report was published in 2001; it’s short and sweet, covering the goings-on of just five departments (and an essay on the future).

Now Let’s Jump Ahead 21 Years

As Black Rock City and the Regional Network grew in magnitude and complexity, so did our year-round event cycle, operations and community work. Today, the AfterBurn Report spans more than 38 digital pages.

We have so much to share — learnings, unlearnings, relearnings (and forgettings). In 2022 Burners went from sheltering in place and tentatively organizing small events, to raising Black Rock City (and creating 73 in-person Regional Events) — with bells on.

Was it easy? No. Was it an astounding feat of logistical and cultural prowess? Yes. We’re proud of every human who brought their whole self to the mighty endeavor of building Black Rock City.

And Build the City We Did

Chris ‘ChAos’ Neary, Associate Director of Burning Man’s Department of Public Works (DPW) succinctly summed up 2022:

Adaptation is the name of the game when building BRC in an environment like the Black Rock Desert. This year really tested our ability to remain flexible and figure things out on the fly… We just put our heads together and got busy solving problems quickly as they arose. And the amazing members of our DPW crews stepped up over and over again to meet every challenge head on.

To all the teams that worked around the clock under difficult conditions to keep Black Rock City running — from Gate, Perimeter and Exodus (GP&E) to the Black Rock Rangers, DPW to Placement, and so many others.

Art, Diversity and Sustainability

And the playa came alive! More artists registered to bring their art to the Waking Dreams playa than ever before, including a record number of projects that represented diversity and emphasized sustainability. Black Rock City blossomed with 84 art installations supported by Honoraria grants, which include 48 from 2020 and 2021 as part of our Art No Matter What program. In total, Burning Man Project granted more than one million dollars to Honoraria artists and the Temple in 2022.

We leaned into our commitments to advancing Radical Inclusion, Diversity, and Equity (R.I.D.E.) and sustainability in our dusty home. Throughout 2021 and 2022 we cultivated new relationships and made it possible for first-time Burners to come to Black Rock City. Honoraria-funded art projects, camp communities and playa events expressed the diversity of the city’s population. Meanwhile, throughout Black Rock City there were noticeably fewer fuel generators, thanks to a proliferation of solar technology and expertise.

Thriving Year-round Communities

As part of their work supporting community resiliency projects around the world, Burners Without Borders (BWB) restarted their grant programs and hosted a productive Spring Summit at Fly Ranch. Around the world, Regional Events came back. Organizers showed up with innovative ideas that helped communities gather anew, and overcome fear and isolation from years apart. In Black Rock City, the Regionals team took to the dusty streets, encouraging participants to bring Burning Man into their lives year round.

Burning Man Hive thrived as a hub for Burners to build connections and learn from one another as they prepared for Waking Dreams. Now anyone in the global Burning Man community can follow the Core Curriculum in Hive, six courses with essential learnings for anyone wishing to level up in Burning Man culture.

It was a monumental year for our properties in Northern Nevada. Fly Ranch welcomed visitors to the land for campouts, nature walks, and Stewardship Days. Meanwhile, in Gerlach people came together to learn new job skills, work on community service projects, and envision a year-round center for Burning Man culture in Northern Nevada.

A Global Culture Connected by Storytellers

The Philosophical Center continued to share enlightening conversations on Burning Man Live, hitting 125,000 downloads by November 2022. The Communications team shared essential news and stories from the global Burning Man community via the Burning Man Journal. Every two weeks we reached more than 200,000 people via our newsletter, the Jackrabbit Speaks.

We Couldn’t Do Any of This Without You

People look to Black Rock City and global Burning Man culture as a beacon of hope for creative freedom and transformative possibilities. Without your imagination, your relentless energy and community spirit, Burning Man would not be the inspiring creative force in the world that it is today.

Read the full 2022 AfterBurn here

Cover image graphic design of the 2022 theme “Waking Dreams” by Tanner Boeger

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Burning Man stories very often begin with a crew of friends embarking on a journey into the unknown.

This particular story began in summer 2021 when three remarkable artists from México contributed their work to the Boundless Space charitable auction. Fast forward to 2022 and the story morphs, with plot twists as extraordinary and metaphysical as the three artists’ magical realist creations. Luis Sánchez, Tania Quezada and Víctor López were invited to create murals for the interior of the 2022 Man Pavilion.

Supported by Nueve Arte Urbano founder Édgar Sánchez and producer Ivonne Uribe, the artists set to work preparing spiritually and logistically, spending long hours creating their murals, and filing the paperwork to travel into the US in time for Burning Man.

Only Édgar had been to Black Rock City before; the other four were embarking on their very first Burning Man experience. In the end, only Édgar, Ivonne and Víctor acquired visas to enter the US. Luis and Tania stayed in México, handing over their work and watching as their friends and collaborators went to Burning Man.

This video, produced by Nueve Arte Urbano, speaks about the purpose and impact of Burning Man, and introduces the artists and their work.

I first met the artists back in 2021 as they prepared for the Boundless Space auction. We spoke about their lives, work and perspectives on creativity and Burning Man. Now that they’ve made the journey, I wanted to know how it felt to be such an instrumental part of a city that, until then, had been a faraway abstraction.

Tell us about the murals you created for the Waking Dreams Man Pavilion.Víctor: My work seeks to explore my own family and ancestors, the roots of my creativity. I celebrate this journey as a very big moment in my life, as I was able to bring a narrative inspired by my own Zapoteca ancestors to such a place like Burning Man. I consider the Black Rock Desert as a sacred place. So taking my family and identity to this ancient land within a creative endeavor is something very important in my life and work.

Painting in the “Visionary Offerings” series by Víctor López (Photo courtesy of Nueve Arte Urbano)Tania: From the moment Édgar told me that [my murals were] going to be in the ceiling, I thought, “Okay, I can make a temple of this.” Querétaro is a really religious city and we are all surrounded by religious artworks and altar pieces, amazing works of painting and sculpture. So I seeked to recreate the essence of that in a contemporary way, by painting figures for the four directions of the world: the mother, the machine, the seed and the magic. And for me those four symbols are the things that humanity creates that keep us closer to becoming something divine.

Paintings in the “Visionary Offerings” series by Tania Quezada (Photo courtesy of Nueve Arte Urbano)Luis: Burning Man has a social and cultural complexity that few human endeavors have, everything that takes to perform a vast array of expressions, and make it all circle around a single culmination that thousands gaze upon. It shows you what power drives mankind and defines it, that can be found in otherwise ancestral and primordial activities. To settle, to gather up, to use natural resources and shape them, and let everything burn and weather away. I think most human acts sum up to these kinds of gestures, though we try to add dialectical complexity to our doing.

I tried to paint figures that make a narrative out of this reflection, each character is a trait of contemporary life, and mainly what I personally have experienced, which have to do with education, wealth, survival, pain and pleasure, the holy and the mundane, the godly and earthly embodiments of life. I think that many people will find a personal interpretation, and in that they will own them, if they find it amusing, they find a message or dislike them. We as creators must let our works be and release them into the world, hopefully to contribute to what horrors and wonders others may find along their way.

Paintings in the “Visionary Offerings” series by Luis Sánchez (Photo courtesy of Nueve Arte Urbano)What was the journey like, from México to Black Rock City?Édgar: When we got the invitation to Burning Man, we immediately acted, but it was not possible to get all the visas; the appointments were very scarce since the pandemic. We did anticipate this challenge, so we decided to produce all 39 canvases in Querétaro, bring them to Burning Man and staple them to the walls of the Man Pavilion. Fortunately we had a full crew with Víctor, Ivonne, Juan Carlos and the powerful vibe of the Man Pavilion crew.

Ivonne, Édgar and Tania in their studio in Querétaro (Photo courtesy of Nueve Arte Urbano)Édgar: We were a crew of friends on a pilgrimage through amazing experiences. Flying to Las Vegas because this was the only place where we could find a van. And then driving for hours through Death Valley to finally enter the boundlessness of the Black Rock Desert. That very first Tuesday night, trying to sleep in a half built BlackRock City, we had a very strong storm. Our tent’s aluminum frame broke and we had to go into the van, four people inside the van [laughs], trying to sleep without moving, very, very hot. So, yes, Burning Man is a very strenuous and enchanting Communal Effort.

Touchdown in BRC (Photo courtesy of Nueve Arte Urbano)Víctor: I was surrounded by my friends and I felt also accompanied by my own family, even though they were not there. I experienced an intense personal process through the trip. The preparations, the driving through the land, the building part of the city and the accompaniment of all of us as a team; all these experiences helped me to prepare emotionally for the pilgrimage to this sacred place.

How did Black Rock City participants react to your murals in the Man Pavilion?Luis: I started receiving all these messages. People wrote to me through social media, people who saw the paintings live and wanted to share their stories with me — especially [in relation to] the painting that had to do with the pandemic. For example, nurses, first responders, medical aids, the people who drive the ambulances, doctors — they all said almost the same thing: that it was a catharsis. It was cathartic for them to be shown those images.

And the curious thing is that they said that it spoke to them, especially the mural that has some sort of a parade of characters, which includes an angel, and there’s someone there with a mask on like the ones worn during the pandemic. They all said that they touched really sensitive things within them, but I think they all had a personal interpretation; they all owned the art in their own way, experiencing through the painting.

Paintings in the “Visionary Offerings” series by Luis Sánchez (Photo courtesy of Nueve Arte Urbano)Tania: When I saw the images that Víctor brought to us and the experiences that he had there, he said he watched so many people connect with my work. Lately I have had these messages on social media, they were like: “We were searching for almost a year to find you because we didn’t know who you were.” I have all these beautiful messages from people who really connected, understood that piece.

Víctor: Amazing, incredible, yes. There was a magic connection beyond culture, beyond the language through the ancestors. Because no matter what culture or language, all of us, we can connect with the idea of the ancestors giving us the power to go on a pilgrimage. There were moments when people would show their feelings while contemplating my work, my family. I’m working with my family and people are reacting to my family — but in fact, it was a true connection within themselves.

Víctor López in Black Rock City (Photo courtesy of Nueve Arte Urbano)Édgar: I saw many people shedding tears or asking for the artist, for Víctor, connecting with the art. And it was every day, all day, so it was emotionally difficult for us to stay there [at the Man Pavilion] because it was very intense. We would end up crying or something like that. People were celebrating engagements or doing impromptu ceremonies. All the time there was something happening right there in front of the murals and the Man.

How did it feel to contribute such an essential element to Black Rock City?Tania: When you send your work, it’s part of you. Working to put something in a place that you’ve never been and in a building that you have never seen physically before you make the work, it was a very surreal experience because we had to connect in a spiritual way to the event first.

Ceiling pieces from “Visionary Offerings” by Tania Quezada, recovered before the burn and back in Querétaro (Photo courtesy of Nueve Arte Urbano) Víctor: Burning Man is a creative utopia. The possibility to experience a utopian community in which you can create is a very rare opportunity. We should remember that this utopian community is about including everyone, all kinds of cultures, and in fraternity and equality.

Ivonne: My heart crashed towards my mind, and then I just knew that we were going into something great. It was a monumental challenge. It was a great joy, but also a great challenge. It changed my perspective in many areas of my own life.

What was it like collaborating with the Man Pavilion crew to install the murals?Édgar: The Man Pavilion crew is amazing. When we got there, they had already brought the pieces from Reno and they were perfectly preserved. They gave us tools that we were not able to carry in the airplane or get [in Reno]. They made us feel at home immediately, they even played Mexican music and shared precious hydration. We were very happy working with them in the middle of the storms.

Installing “Visionary Offerings” by Luis Sánchez (Photo courtesy of Nueve Arte Urbano)Édgar: Then one week later we enter into strike night and there’s a big storm and suddenly it’s like an apocalyptic scene. Lots of machines are coming and the visitors are being asked to leave and suddenly there’s a fence around the Man and we’re deinstalling the pieces with a lot of help. It was a very energetic night. It was very hard work. No one got hurt.

We were all happy working in the middle of the night and I was so excited that night that I could not sleep. We were leaving the next morning very early and I could not sleep. So when we finished and we placed the artwork in a safe place, I just went out walking until the sun came up because I felt so full of energy. This is the beauty, this is the gift that Stuart [Mangrum] speaks about. This whole place is a gift and it’s a great work of communal art. It’s really amazing.

Édgar Sánchez with Man Crew during build (Photo courtesy of Nueve Arte Urbano)You brought all the murals to Black Rock City, and then they went back to México. What’s next?Édgar: We worked about four hours on strike night and carried the 90 pounds of canvases all the way back. We will exhibit them in the most important museum in town, Museo de Arte de Querétaro, on May 3. We are working to show not only the murals that we took to the Man, but also the pieces that we did for the party in México City, the Boundless Space altars, and also the new pieces that are part of the calligraphic art book “Intersección Nueve.”

The murals are created as a series of polyptychs (paintings with several panels), so we will now install them all together as murals, to make a different experience from the desert. After this exhibit we will continue showing our work to inspire other Mexican emerging artists.

Luis: Not only was it an amazing project, but it was life-changing for me. I still have to have that experience. It’s not something that I pursued. It was something that came up, and now it’s something that I really have to do… not only to go there, but also to make something big. It’s something that grows inside of you. If you’ve had a little taste of it. You really have to have more of it. It’s a huge ambition for me to give something back as it’s been given to me.

Cover image of Víctor López at the Man Base (Photo courtesy of Nueve Arte Urbano)

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Since I started this series, I’ve gotten a few messages from people saying (more or less): “YES, I want to be part of a decommodified culture! But also, I need to fundraise for my art project. Does that make me a bad person?”

No. No it does not. It means you are struggling to do something that’s difficult given the world we live in.

There’s nothing immoral about fundraising. Artists require resources to create, and a culture of Decommodification is not the same thing as a vow of poverty. If you can’t go to your community and say “Hey, I have a vision, can you help me with it?” then what kind of community are you in? Sure, maybe they can’t help, or just don’t like your idea, but they should understand that this is something we can do for one another.

We want to belong in communities that support their members.

But the fact of needing money isn’t what makes commodification so dangerous.

What makes commodification dangerous is the impression it creates that you’re not really a community. That you’re just a collection of resources to be exploited. The danger with fundraising isn’t that money is some kind of cursed object that should not be gathered by artists, but rather that often the process of asking people for money makes them feel that they themselves have been commodified. That they are not really your friends or members of your community, but people-shaped ATMs. That they are not being invited to play or participate in something amazing, but are being dehumanized by somebody who needs something.

It’s the difference between a close friend asking you to help with a project that you know they’re passionate about, and being asked for money by a guy who you only hear from when he needs money for one more damn project.

They’re completely different experiences, and not only do they get a very different reaction, they should get a very different reaction.

There’s nothing wrong with money. But there is something wrong when money mediates human connection. There is something wrong when we need a commercial excuse to relate to one another as human beings, and when we let monetization limit our ideas of what’s possible.

When that happens, fundraising hurts individual people and makes authentic community more difficult, or even impossible.

The default world has not developed any tools or approaches that really help with this. But over time, Burning Man culture has.

How Do I Participate in Your Art Project?If you’re trying to find a way to keep a project you’re fundraising for from being commodified, your go-to Principles are Participation and Communal Effort.

I mean, obviously “Decommodification” is relevant here, but if “Decommodification” is what you want to end up with, Participation and Communal Effort are how you get there.

Because here’s the difference between fundraising for a project that feels commodified and a project that feels decommodified: is there a way that someone not involved in the project can participate in it besides consumption?

Let’s take “Generic Project X,” which is not only a project you’ve encountered before but which I was pitched just last week by a friend.

Here’s how “Generic Project X” works (this is how it always works): some artists decide to do something cool. They need to raise money for it. So they crowdfund and ask all their friends to get involved.

And what does “getting involved” look like? Well, you can contribute to the fundraiser!

And if you can’t or won’t do that? Well, then you can pay for a ticket to see the project when it’s finished!

And if you can’t or won’t do that? Well then, you can watch the project for free on its social media channel, or when it’s open at a Regional for a couple of days.

And that’s it.

Do you see the issue here? Do you see the problem? If you’re not already an artist on the project, then there is no way to be involved with the project except through consumption — either the active consumption of paying for something, or the passive consumption of sitting back and watching it.

There is no Participation outside of consumption, and there is no meaningful Communal Effort.

Now — again — there’s nothing morally wrong with this from a conventional standpoint. This happens all the time. It’s how the Metropolitan Opera, box-office hits, and Major League Baseball all function. And we don’t get upset with them just because they won’t let me sing an aria at the Met, play third base, or get a cameo as Ant Man’s second cousin. There’s nothing wrong with that.

But they are also examples of very explicitly commodified art. And the reason they’re commodified is not that they take in and spend money — it’s that the only way for someone outside the project to relate to it (and most people inside the project) is through consumption. Money and passive viewing mediates everything. That’s it. That’s all there is.

If you want your art project to be part of a decommodified culture, even when you’re fundraising, then you need to find ways that people — both your friends and strangers who come in off the street — can participate in ways that don’t involve consumption.

Your fundraiser is decommodified (or at least less commodified) if you’re offering people ways that they can participate without contributing money.

That’s all. But it’s often harder than it sounds.

Fundraising Is Not the Point of ArtThe first — and saddest — objection that people have to this is that decommodifying their art project will interfere with their fundraising.

“If I give people another way to engage with the project, then some of them will do that and then my fundraising won’t be as successful!” they say.

And yes, yes they will. That is exactly right.

But that’s also the point. As I said in the previous post in this series, about reaching decommodification by subordinating money to play: you can’t create a decommodified culture if you always prioritize money first.

I mean, obviously. You obviously can’t do that.

If you want to put the money first, go do that! God bless, and good luck! Make that art, and make that money! But it isn’t a decommodified project, and it doesn’t belong in a decommodified culture.

Putting everything else through the prism of money, giving people no permission except to consume, is the essence of commodification.

There’s no way around that. I’m sorry, but there isn’t.

Be a Teaching GuildThe next issues people have with this are practical. “Yes, I want to make my project decommodified! But … how do I do that? How else can people participate?”

Those questions are not only valid, they’re harder than they ought to be precisely because we live in a culture that often reduces participation to consumption: we’re implicitly taught that they’re the same thing.

But in fact there’s lot you can do.

In some ways the gold standard is the participatory guild model offered by groups like the Flaming Lotus Girls: anyone who wants to participate in creating the project can come in and will be given a place on the project. If they don’t know how, they’ll be taught. They’ll learn how to weld, how to wire circuitry… whatever they need to do. And if they can also offer support in the form of people wrangling or fluffing or bookkeeping, fantastic!

Notice — this is important — that none of that participation is contingent on people buying into the project, or even getting a ticket to Burning Man. You get to participate and help if you want, and it has nothing to do with commerce.

Turning the entire project into an opportunity for inclusive Communal Effort is about as Decommodified as I can imagine a project being, even if they fundraise for hundreds of thousands of dollars.

In 2016’s Art, Money, and the Renaissance series, we asked if theme camps would be the new Renaissance art guilds. This is in many ways what we were getting at:

Though rarely seen as art themselves, a case can be made that it is Theme Camps – not mutant vehicles, not giant sculptures, not dub-step – that are the most original and fundamental form of Burning Man art.

They are also a new, and incredibly flexible, form of social organization. In many ways they serve the function of artisan guilds in the Renaissance, but they are formed around a common artistic vision, not commercial utility. Some have membership dues; some have work requirements; they have a variety of different governance structures; but at their core, the basic premise is always the same: “we are organizing a community around a shared vision of art and whimsy that we can give to the community. Do you want to be part of it?”

In that sense, the more you can make your art project like a theme camp that anyone can join, the more Decommodified it is likely to become. Don’t think of it as a single project, think of it as a guild to teach people how to do this kind of thing and then support their vision of art in the world, too.

Decommodify PermissionThat may be the gold standard, but there are other ways to decommodify art projects by creating more opportunities for Participation and Communal Effort.

If there’s not enough room on your project for more people to usefully help, can you offer to help other people do versions of your project? Or is there a way you can extend your project if people are willing to help out?

Can they make art about your art project? Create stickers, images, videos, memes, poems, essays about what you’re doing? (This already happens in many commercial projects, but that’s always unauthorized, and the way fan art is treated in our culture is much closer to “fans seizing the means of production” than it is “participating in the project.” Can we do better?)

Participation can take so many forms — the important thing is that it’s active, not passive; connecting (and therefore communal), not isolating; and productive, not consumption.

More generally: it works if it does not look to money and consumption for permission.

It’s not universally true, but it’s mostly true, that when you decommodify permission you also decommodify everything around it.

Cover image of Thunderdome (Photo by Mark Nixon)

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Roxane Jessi is an intrepid world traveler who spent the last few years participating in Burning Man Regional Events around the globe, from Blazing Swan and Burning Japan to Fuego Austral and Midburn — an odyssey chronicled in her soon-to-be-released book, Once Upon a Time in the Dust. This is the fifth in Roxane’s Journal series sharing the sights, sounds and connections from Regional Burns that took place around the world in 2022.

Every year the Black Rock City Honoraria program supports artists in creating art for the annual Burning Man event in Black Rock City, one of the most awe-inspiring art experiences in the world. But beyond the Nevada playa, many established Regional events, regardless of size, offer art grants to participants.

Through these grants, event organizers in the Burning Man Regional Network do something that is missing in our default world, unleashing a creative flow that breathes cities of art to life. It allows incredible feats of architecture to be undertaken yearly by artists in some of the most unforgiving environments on earth.

The Effigy at Bequinox by Eric Anderson, 2017 (Photo by David Carstens)With the announcment of the 2023 Black Rock City Honoraria, we reflect on the art gifted to us each year by so many talented co-creators around the world — from towering pieces celebrating our diversity or taking a social stand, to the small gifts we give each other, which are artworks in themselves — and how the experience of creation indelibly changes the lives of the artists, as well as those who engage with it.

Last year, I was one of the many hopefuls applying for a Black Rock City Honorarium art grant. Attending more than a dozen burns, reporting on Burning Man culture globally, and building smaller-scale art at the 2019 BRC event had inspired me to create something bigger, more impactful. Following Black Rock City’s — and the wider world’s — three-year hiatus, I felt a calling to do just that. Trying my hand at creating larger-scale art seemed like a logical next step, and I was about to find out what a crazy rollercoaster ride it was.

With countless pieces of participatory art, Black Rock City is an undeniable art mecca. The sheer number of installations makes it impossible to see everything. This encourages artists to create ever larger and more imposing pieces, reaching for the sky and vying for attention like skyscrapers in Manhattan. Art on such a scale requires equally large-scale collaboration, with whole armies of artists coming together to conceptualize, fundraise, build and tear down what they have created. This in turn fosters community.

But art takes many forms. It is in the towering pyramids and spiraling temples that make us crane our necks up to look at them in awe, but equally in the smaller-scale pieces we find tucked away in a side street, or performance art. It is in the gifts we give each other, without expecting anything in return. Art offers a view into how others see the world, and sometimes a chill of recognition which speaks to a deep and secret part of us. The more interactive it is, the more it sparks playfulness and joy, and the more deeply it offers outlets for healing. As we build, we lose ourselves to a higher flow. This is felt all the more strongly when we know the worlds we are building will only live in a space in time before being dismantled or ceremoniously burnt to the ground.

Art at Midburn, 2021 (Photo by Schlomi Farin)After experiencing so much creation this call grew progressively louder in my ears. And so, I woke up to an idea in late 2021 that kept me up all night. Every year I take a moment for introspection in remembrance of someone I have lost. I reflect on how far I have come, and the route still ahead. After so much social isolation and global loss, it seemed important to take a stand and rebuild the collective healing spaces that had been dismantled.

In my mind’s eye, I saw a spiraling stairway, a metaphysical space for catharsis and reflection where participants could collectively dream up a future. We had all been affected in some way by the COVID-19 pandemic, whether through losing loved ones, our livelihoods, or — less tangibly — our sense of togetherness. The piece invited us to reflect on moments of intense societal change as we re-entered social spaces and reconnected.

“Viral Stairway” proposal by Roxane Jessi, 2021Inspiration tends to be sourced directly from our subconscious. In an uncanny coincidence weeks later I was struck to recall that a vision of the stairway had appeared in a recurring dream during the early days of isolation. Sometimes our dreams call us to action, opening doors through which our souls can reawaken.

Wide-eyed, I scanned the Burning Man Project website and realized I had just under two weeks to submit the first stage of the Black Rock City Honoraria art grant application. In those weeks, I took the seeds of an idea and sketched it into being. With no artistic or building background I had to be resourceful. Our human networks are such that when we employ a little Radical Self-reliance we usually find the help we need. I reached out to architects in my wider circle and shared the concept. When a cause ignites you, words and emotions seem to come to the surface like a rallying cry. From this place magic happens, and collaborations are born.

The Letter of Intent is the first step of an art grant application. There is no prescribed theme or format for the art that can be submitted, it just needs to align with Burning Man’s mission of art as an “interactive, participatory, shared experience of creative expression.” The process is competitive and a steep learning curve for an artistic newbie, but it is equal parts thrilling.

Creating cities, however whimsical and temporary, comes with hard work. Teams of exceptionally talented people come together each year and dedicate considerable time, resources, and energy to build incredible feats of architecture for no monetary return.

“Soleil de Minuit” by Les Mains dans le Feu at Hyperborea, 2018 (Photo by Andrew Miller)After successfully making it through the Letter of Intent stage, I got to work developing the art proposal. I found myself faced with a plethora of puzzles, such as how to secure structures against punishing desert winds without digging deep in the playa floor. Black Rock City is an architectural Rubik’s Cube. While Burning Man Project’s Art Department provides some guidance to artists, it very much expects you to be Radically Self-reliant.

Behind the scenes, artists face monumental logistical challenges to bring structures out to the desert. There are multiple hurdles along the way when pre-building off site; transportation, assembly out in Black Rock City, making sure structures are safe, and Leaving No Trace. Thinking through each of these steps myself gave me a whole new appreciation for the level of effort and the epic collaborations involved.

After reviewing submitted Black Rock City Honoraria applications, Burning Man Project issues approximately 70 grants to fund playa art, and one grant to support the team that designs and builds Black Rock City’s Temple. 2022 was especially competitive because many of the 2020 Honoraria artists brought their projects in 2022, limiting new proposals, and ultimately my own project was not successful.

As I later witnessed, awe-struck out on the Black Rock City playa, 2022 was an exceptional year for art. Some artists had worked on their pieces for three years, facing monumental hurdles during build given the spiraling cost of materials. There was a clear evolution towards environmental sustainability, and a shift to powering art by solar energy, including the Man and most of the Temple. A number of artists, such as the creators of “Catharsis,” Arthur Mamou-Mani and the Catharsis Crew and “Paradisium” by Dave Keane & The Folly Builders (the latter built out of reclaimed lumber) decided not to burn their art.

Black Rock City provides an important platform for its co-creators to call for social change, and the art on show invariably has a social mission. “Black! Asé” by Erin Douglas and Black Burner Project proudly displayed large-scale portraits of Black Burners to mark their place in histories (past present and future). “Consumption” by Tom Boughner and the Desert Propaganda Collective was a tall sculpture in the shape of a dollar sign assembled from discarded household appliances, highlighting the unsustainability of our modern societies. And of course, the unforgettable “Facing the Fearbeast,” by Tigre Mashaal-Lively, which moved so many with its powerful message to face our fears.

“Black! Asé” by Erin Douglas and Black Burner Project, 2022 (Photo by Manuel Pinto)We can only imagine the kaleidoscope of art that will grace the global playas in 2023. What is clear is that the process of creation will touch the artists’ lives in unforgettable ways, and indelibly touch those who experience it.

Regardless of the outcome of my own art adventure, I believe the best stories are written outside of our comfort zones. I embarked on this ride with no artistic experience, and in two months was launched into a crash course, reconnecting with the community that had inspired me. Too often we think of art as the end result, but art is a journey in itself — usually far from linear. Perhaps this was just a stepping stone for a future project.

Our default world champions conformity and consumerism and actively discourages us from pursuing our creative talents. But Burning Man culture lets us reconnect to the artist within. Art — in all its forms — is the thread that unites the global movement. The playas of the world are every shade of their citizens, joined in a Communal Effort to build cities out of dust. In the words of Burning Man founder Larry Harvey: “People come for the art, they stay for the community.”

Cover image: “Paradisium” by Dave Keane & The Folly Builders, 2022 (Photo by Jane Hu)

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Leaving No Trace: A Critical Moment and a Call to ActionThis was not our cleanest victory.

Returning to the playa after two years of lockdown, the Burning Man community appears to be at a generational turning point regarding the future success of our Leaving No Trace (LNT) principle — and therefore, of Black Rock City itself. I cannot overstate the importance of the communal LNT effort needed to successfully undo our impact on the land every year. Worldwide, the Burning Man community is rooted in Leaving No Trace, and all of the beauty on the playa was made real because of this. As manager of Playa Restoration (Resto) since 2005, this community has made a believer out of me. You’ve cleaned up after yourselves year after year, which has meant that we’ve successfully passed the Bureau of Land Management (BLM) Post Event Inspection every year, even as the scope of the event and our population grew toward 80,000 citizens. In 2022, once again, you did your part and we did indeed pass the BLM Inspection, but it was extraordinarily and alarmingly close. Moving forward, this is the critical moment when we need to recommit to building, burning, and Leaving No Trace like we fucking mean it.

After a near perfect LNT year in 2019, 2022 was one of the messiest playas in recent history. It was evident by the intensive follow-up work needed by the Playa Restoration Crew that our community struggled with the cleanup effort needed to return the Black Rock Desert to its pre-event condition. Many camps and projects had trouble striking infrastructure and line-sweeping their square footage. The excessive heat, punishing winds, blinding dust storms burying MOOP, early departures, and fatigue were all factors. But with improved planning, education and acculturation, we can do better. Burning Man culture was born of these harsh desert landscape conditions, grew strong in these conditions, and learned to thrive in these conditions.

Playa Restoration’s mission is to follow up participants’ Leave No Trace effort in Black Rock City. Resto is not here to clean up after you — we’re here to check your work. First, and most crucially, you need to do your part. Only with our combined effort can we make Black Rock City disappear like it never happened.

Playa Restoration All-Star Team line sweeping the remains of Black Rock City, 2022 (Photo by Steve Tietze)Playa Restoration 300-yard MOOP dumpster (Photo by DA)MOOP Map 2022: Introducing The Clear Version For the first time ever, we’re introducing an alternate, clear version of the MOOP Map. Here, the historical standard color of GREEN is replaced by CLEAR to better depict the severity and locations of MOOP (this is, after all, the original purpose of the MOOP Map). Otherwise, the map below shows exactly the same data.

The Standard MOOP Map 2022: The Green VersionNow, for comparison, here is the good ol’ green version of the MOOP Map we all know and love. Keep in mind, this shows the exact same data as the clear version. For those motivated by green: fantastic work — keep setting the bar high.

Yellow and red: from the whole community, we’re imploring you to step up your LNT game — the future of Black Rock City is at stake.
Since the first official MOOP Map in 2006, green doesn’t mean perfect — it simply means we were able to move quickly without needing to stop and record specific MOOP data. Over time, the positive perception of green on the MOOP Map has overshadowed the focus of the MOOP itself.

Going forward, green is still a great goal. For those who are motivated by and strive for green, please continue to do so in 2023 and beyond. Especially as we ramp up to Burning Man’s 2030 Sustainability Road Map goals of No Matter Out of Place, Being Regenerative, and Being Carbon Neutral… GO FOR GREEN!

Use this MOOP Map slider to compare clear and green maps!

 The New Number One MOOP (And the Most Dangerous): Tent Stakes/Rebar/Lag Bolts BRC 2022 GPS marked locations of tent stake/rebar, cement stakes, and lag boltsResto recorded approximately 3,000 MOOP data points by GPS. By far the most alarming were the 1,023 spikes, tent stakes, rebar, cement stakes and lag bolts found still in the ground and marked red on the MOOP Map! Of the total recorded MOOP data points, one third were spikes left by participants. This is an astounding 900% increase from the 100 spikes found in 2019. **Spikes in the ground are the most dangerous (and most abundant) category of MOOP**. They can puncture tires, cause injuries and vehicular accidents, and are a violation of our Leave No Trace community standards. So, what the hell is up with all the spikes left in the ground, Black Rock City?! Did you forget how to pull them out of the ground? If so, here’s a quick video tutorial on how to pull spikes out. (And a suggestion of a tool you can use to get them out.) Or did you forget where you nailed your spikes into the ground and lost them in the dust? If so, please flag your spikes so you know where they are. This is a serious problem that must be corrected in 2023: **ALL SPIKES PUT IN THE GROUND MUST BE ACCOUNTED FOR AND REMOVED BY THE PARTICIPANT, CAMP, OR PROJECT THAT PLACED THEM.**

DPW Associate Director, ChAos, and Coordinator, Can I Watch, find several 8’ grounding rods and pull them out of the playa (Photo by DA)BRC 2022 GPS marked locations of tent stake/rebar, cement stakes, and lag bolts (NOTE: The GPS waypoints appear bigger than the stakes and are not to scale)The full list of top ranking MOOP items of 2022 is below.

Playa Restoration 2022 Top MOOP Ranking

1. Tent stake/rebar/cement stakes/lag bolts – 1,023
2. Assorted Matter Out of Place – 932
3. Wood – 400
4. Plastic debris – 308
5. Glass debris -271
6. Metal debris (nails, screws, fasteners, staples) – 204
7. Micro-MOOP (unidentifiable) – 97
8. Cigarette butts – 75
9. Cardboard paper debris – 69
10. Electronic debris – 47
11. Food debris – 34
12. Textiles/fabric – 32
13. Fuel spills -31
14. Carpet rugs – 20
15. Grey water – 20
16. Black water – 10
17. Burn scars – 10
18. Paint chips – 10
19. Fireworks debris – 2

BLM Post Event Inspection 2022 Results: We Passed, But It Was CloseIn 2019, we only failed ONE test area. In 2022, we failed EIGHT test areas — and many other points were close to failure. On October 7, 2022 BLM met with Playa Restoration on the playa where 120 test points were plotted within Black Rock City limits. Each test point was marked with a stake and a 37-foot rope, the radius of which defined the boundary for MOOP debris capture. All MOOP in those circles was collected and labeled. BLM concluded that although it was close, we did pass the rigorous standard of one square-foot-per-acre and no more than 10 percent failed test points.

A bit of good news — although we came close to the total number of allowable fails, Resto was able to keep the average amount of square foot per acre of MOOP relatively low at 0.4 sq.ft./ac. Moving forward, we will be asking camps to test their areas after their final MOOP sweeps by using the same BLM inspection method, essentially line sweeping in a circular motion within a 38-foot radius. More detail and LNT best practices from Playa Restoration will be published soon in an upcoming Burning Man Journal post.

In the end, we fought like hell through extraordinarily difficult circumstances, and we passed. Burning Man and Black Rock City are still undefeated. This was a hard-fought victory by the entire BRC community, and I thank you all. Everyone’s LNT effort matters. On behalf of the playa, Restoration, and the Department of Public Works, thank you for being there and for Leaving No Trace.

Once more, into the dust, we will build, burn, and pick up 100% of the pieces for Burning Man 2023: Animalia! See you on the playa! LEAVE NO TRACE!

Playa Restoration 2022 Facts* Black Rock City extends over more than 3,600 acres. * 75,069 citizens lived in Black Rock City 2022. * 1 square foot per acre is the allowable standard of MOOP. * 1 square foot per acre translated into percentages means that we must be under .002% in order to pass a test area. That’s essentially zero. Anything above .002% is a fail. * .04 sq.ft./ac. is the average amount of MOOP, which is well under the 1 square foot per acre allowable standard. * 11 is the number of one-square-foot-per-acre test areas that we cannot exceed failing. * 8 is the number of one-square-foot-per-acre test areas that we failed. * 112 is the number of one-square-foot-per-acre test areas that we passed.

Resto Manager, DA with windblown MOOP — mostly packaging — stopped by the Perimeter Fence (Photo by DA)

Cover image of BRC 2022 MOOP Map

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Susan Bernosky’s story can be told by beginning with Hurricane Camille, which smashed through Gulfport, Mississippi in August 1969. Susan was just a little kid; her dad decided that she, her siblings, mother and grandparents would stay home during the storm while the town was evacuated. The morning after the hurricane the family woke up alive, barely sheltered by what remained of their demolished home.

That single event wreaked havoc on Susan and her family, leaving them with emotional scars, and sometimes estranged. It also most assuredly bestowed Susan, who we knew on playa as Sweetthang, with her astonishing strength and resilience. She could let anything run off her like water off a duck’s back — and she’d do it with a gleaming, dimpled smile. Unless, of course, she really cared; then there was no stopping her no matter who you were. She would take on a mad dog if she thought it would hurt her family or reputation.

Sweetthang left home young. She slept on the streets, and met her first husband when they were just teenagers. They carved out an existence, learned about life and love together and eventually started their own insurance office — helping people who may find themselves in the predicament she was in at such a formative age. She was incredibly good at what she did, and was the insurance agent for many Burning Man Project staff over the years. In time she became a broker and started her own practice, one of her proudest accomplishments.

(Photo by Paul Chinn | The Chronicle)When Sweetthang found Burning Man, she found her home. It was so obvious! She started showing up at weekly Greeters meetings sometime around 1999, driving in the evenings with her youngest daughter Cindy in tow. She was always on time, and always on her game, though I didn’t feel like she had a sense of how strong and powerful she was. I almost felt like she didn’t know how to have it, how to be as cool as all of the other players. Everyone around her knew she was in her element — but did she know it? It took some time but eventually she thrived in her Sweetthang persona.

About the time Sweetthang came along I had started seven departments that would later become Community Services. They were all nascent and needed the exact same thing — people to step up to the plate and help run them. After one year I asked her to take the lead on Greeters. She said, “No, there’s no way I could run Greeters,” and refused. So I sat back and let her take charge without the formalities. After she’d been essentially running it for another year, I asked again, “Now that you’ve been doing the job, will you finally take the title?” Now she was honored. Did she prove it to herself?

Sweetthang, Harley K. Dubois and Jennifer Lynk, 2002 (Photo by David Bernosky)Sweetthang eventually moved on to Placement, and was the second person to run it after I left to become City Manager. Together she and I refined a process for placing staff camps and she ran staff placement for years to follow.

In the early 2000s I introduced Sweetthang to her current husband. They were married a short six months later. After almost 20 years with Burning Man, she stepped away to spend time with her five children (three from her first marriage, and two from her husband’s previous marriage) and four grandchildren.

A woman with an innate ability to go big and strong, Sweetthang spent her entire life finding out who she was. Her involvement with Burning Man was a contributing factor to her recovery from trauma, supporting her growth into a beautiful, fiery, bike-riding momma. I feel like she blossomed for us all. Burning Man helped her find her confidence in who she was in a way she couldn’t have felt anywhere else. It allowed her to be her whole self — and she had a big whole self, at times rough around the edges: a dedicated and loving mom, a hard worker, a sexy woman, an accomplished professional, a loyal (though spicy!) wife, and ALL completely self made.

(Photo by Laurel Renz)Decades later in Black Rock City Sweetthang came to me in tears and asked me to read a Reader’s Digest article. It (somewhat inaccurately) detailed her family’s harrowing encounter with the hurricane. That day was the anniversary of Hurricane Camille, and she was viscerally re-living the trauma as if it was happening right there.

Here’s an excerpt from “Face to face with Hurricane Camille” by Joseph P. Blank (Reader’s Digest, March 1970):

The wind sounded like the roar of a train passing a few yards away. The house shuddered and shifted on its foundations. Water inched its way up the steps as the first-floor outside walls collapsed. No one spoke. Everyone knew there was no escape; they would live or die in the house… A moment later, the hurricane in one mighty swipe, lifted the entire roof off the house and skimmed it 40 feet through the air. The bottom of the steps of the staircase broke apart. One wall began crumbling on the marooned group.

In February 2023 we lost Sweetthang to cancer.

Sweetthang and I were sisters at heart. We fought, we cried, we laughed — and yes, pole danced. There was a lot of straight talk and honesty between us. We appreciated each other for this clarity, and through it we learned a lot. I keep hearing how she was a role model to many newer women at Burning Man, modeling how to be a badass. She was. She had a way of building authentic connections with many different people and many different departments, in many different ways. She had super high standards in what she expected and you knew she was disappointed if you didn’t meet her standards. That could get ugly. In the end I think her greatest ability was meeting people where they were at.

She was so competent. When she got cancer, she went into it with grace and no regrets and lived her life the fullest she could to the very last moment. She called the shots and bid people a loving adieu, saying she would see them on the other side. She was still growing into who she was until her last minute. It was truly admirable. I had the honor of being the last person beyond her family who saw her before she passed. And she was just as beautiful then as she was her whole life. A Sweetthang story.

Cover image of Sweetthang (Photo by Laurel ‘Sunset’ Renz)

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Burning Man Arts is thrilled to announce the artworks selected for Black Rock City 2023 Honoraria art grants. There’s nothing quite like this first preview of art installations to make our dusty city start to feel real!

The Selection ProcessWhen we select the Honoraria projects, the artworks we fund reflect an experience we would like to create, rather than a value judgment. We don’t choose the 75 “best” artworks — whatever that means! — but instead look to build a collection that offers a full range of aesthetics and experiences for participants.

Our goal is to include a wide variety of artworks — from large to small, intimate to monumental, vertical to horizontal, and everything in between. We include whimsical, playful projects; outlandish, fiery things; and serene, meditative works. We welcome both novel interpretations of the annual theme, and artworks that aren’t related to the theme at all; artworks of striking beauty; and conceptual projects that make us contemplate. We’re always keeping in mind interactivity, visual impact, and sheer creativity, while supporting both emerging and experienced artists. Finally, we aim to celebrate diversity and encourage environmental sustainability.

One new element that we’re aware of is the influence of Artificial Intelligence on both the images and the written materials in grant applications. As cool as it would be to see a 42’ tall rideable snail-cat with a glowing fractal shell and laser eyes shooting fire poofers out of its ears, we often ask: “But will it really look like that?”

This year artists submitted 610 Letters of Intent, and we invited 390 projects to submit full proposals. We are happy to share that 75 projects will receive funding for Black Rock City in 2023!

“Burden of the Beast” by Walker Babington and Sabatom Studios2023 Theme — AnimaliaWow, are we feeling the Animalia theme! Our community was super inspired by the concept; you can probably imagine how many critters, beasts, quadrupeds, mythical creatures, and various other species were dreamt up as art projects for this year’s event. We always select some theme-related projects, and this year we have more than ever with a whopping 45% of Honoraria projects connected to the theme!

“DraGong” by Michael MaleckiSome projects feature literal animals. This year the playa will have a veritable Noah’s Ark of turtles, elephants, octopi, bunnies, cats, ducks, owls, butterflies, bears, fish, rhinos, spiders, and dinosaurs. (Oh my!) There are also mythical creatures you may recognize: for example, a sphinx, a siren, and a dragon-inspired, 1,200-lb. gong, “DraGong.” Other projects feature animalia that can only be found in the wildly creative brains of artists. We can’t wait to see “Burden of the Beast” by Walker Babington and Sabatom Studios — a bison with a polyhedric folk-arty shack built into its torso. If you can’t find the species you are looking for, “Exquisite Animalus” invites you to rotate the four sections to create your own unique combination of illustrated ears, face, torso, and feet, à la exquisite corpse.

“The Spirit of the Healing Siren” by Turburam SandagdorjWe were especially inspired by the many proposals that fit with the theme and highlighted Mexican or South American culture. We’ll have installations featuring recognizable, brightly colored Mexican folk art sculptures that are typically seen as wood carvings from the Oaxacan region. “Quetzalcoatl Reborns” depicts the feathered-serpent deity from pre-Hispanic Mesoamerican culture and literature. “Axolotl: A Spirit Guide” may look equally fantastical, but it’s an interpretation of a real, near-extinct salamander that has been native to the Mexico City region since Aztec times. “Yuluka” represents the concept of duality in the form of a magical, mythical, double-headed creature rooted in pre-Hispanic Colombian culture.

“Quetzalcoatl Reborns” by Leyla Issa, Lisa Regan, Ivana Palma and Crescent WorksOther Highlights and ThemesIf 2022 was about returning to our home in BRC, 2023 for many is a transitional period of emerging from the pandemic years and entering into a time of collective uncertainty and change. Many of the proposals we received featured doorways, portals, or other liminal spaces to express this collective experience. You can see this highlighted in the series of entryways in “The Star Kingdom of Oba,” which is inspired by mystics, magic and supernatural influences of the ancient Benin Empire.

“The Star Kingdom of Oba” by Dipo Doherty and ART|unknownWe were awed by several projects featuring the craftsmanship and beauty of fine craft. One of the more monumental projects will be “1000 Hands,” a collectively-crafted tapestry that will stand 50’ tall and invite participants to swing from the bottom. “Living Knit Pavilion” uses very fun tech-y textiles: 3D-knitted optically and electrically-active yarns that generate and record multi-dimensional sensor data based on physical interaction and drive a responsive lighting system for collective expression and experience. Next level!

“1000 Hands” by Nicholas DeBruyne and Art Island + Wevolve LabsIn addition to 19 states in the US plus the unincorporated territory Puerto Rico, we’re pleased to have 13 international Honoraria projects this year. There are four from Mexico, four from Canada, and one each from Belgium, France, India, Spain and Ukraine. There are several artists who have just started making art recently. Nine 2023 Honoraria recipients will be coming to Black Rock City for the first time!

“Crystal Evolution” by Kay Sims and Kasey Minor (Photo by Ralph Daub Photography)Burning Man is known for fire art, and we are happy to report that 16 Honoraria projects will play with fire and flame effects. While burn projects all require separate review and approval, there are three artists who hope to execute a “burn reveal” where part of the sculpture burns away to reveal a surprise. The big stunner and largest burn this year will be Michael Garlington’s “Chapel of Babel, a sensational 60’ tower emerging from an illusory cityscape, covered with his signature, archetypal black and white photography. “Welcome to the horror and the wonder,” he says. That sounds about right.

“Chapel of Babel” by Michael GarlingtonAt night, flame effects attract us all towards the warmth and beauty of fire art. “The Lite of Spring” invites us to sit on a throne adorned with flaming wings, and we look forward to cozying up under the fire ceiling captured under a flower bloom in “Ignus.”

“The Lite of Spring” by Ronnie Allman and The Brat PackThere’s so much to be excited about, and we can’t wait to share it all with you.

Gender DiversityWe are thrilled that over 41% of the 2023 Honoraria projects have a lead or co-lead who identifies as female or non-binary, an increase of 5% over last year. In “Justice,” Jenny Mount and the Department of Spontaneous Combustion explore the role of the justice system, women, and equality. Hind Baghdadi will bring a larger-than-life intricate tea set, built on-site in Morocco. We’re excited about our first-ever grantee from Alabama, artist Hannah Warner. Two of the projects from Canada, “Life is a Circus” and “Animated Wind Powered Carousels” are by women artists and both have a very whimsical charm.

“Exquisite Animalus” by KJ Boheme & Stefan SpinsKirsten Berg, known for her exquisite mirrored installations, will explore color by using magenta dichroic mirror steel for her new sculpture, “Oneirotica.” Kendrick Wanamaker is creating a larger-than-life tarot card in “The Lovers (T4T),” which celebrates trans beauty, community support and belonging. And finally the seriously silly “Duck, Duck, Gaggle” brings a charming Midwestern aesthetic with its costumed geese lawn ornaments, where participants are invited to chillax, commune, preen, or play a game of Duck, Duck, Goose. Where else but in Black Rock City do you get such a mix?!

Sustainable Art Last year we invited Honoraria applicants to consider how their projects will address the challenges and opportunities around sustainability in order to align with Burning Man Project’s 2030 Environmental Sustainability Roadmap. After a strong showing last year, we’ve become even more rigorous about what we consider sustainable. We looked for proposals that went beyond solar power, bringing sustainability into other aspects of the project — including (but not limited to!) concept, transportation, or even materials. We’re pleased to report that 35% of this year’s projects demonstrate a significant effort towards sustainability!

“Liquid Forest” is made from single-use plastic waste, creating three jellyfish-inspired creatures powered by solar that will turn into a bioluminescent playground at night. Jen Lewin will return with her Ursa Minor sculpture from 2022, joined by the much larger Ursa Major to create “The Ursas,” which highlights a selection of animals that have gone extinct in just the past two years. Hannah Lewis will create “We Must Sleep In It,” a small house constructed from repurposed fast fashion and fast furniture waste, to educate, create conversation, and initiate change in our consumerist choices.

“The Winged Turtle” by Lolo Garner Art and The Factory ArtCharlie Gadeken will use sustainable and recyclable materials to create “Elder Mother,” a monumental, awe-inspiring 40’ tall metal tree that moves in the wind and speaks with the languages of light and color. “The Winged Turtle” is one of several turtles you will see on playa (turtles all the way down!); it has developed wings to escape a sea full of plastic waste, reminding humans that we cannot escape from the damage we have caused. Mia Hanak and Millennium ART are partnering with the Washoe Tribe to create “LAKA’LELUP | Coming Together for a Common Purpose.” It will be powered by a combination of solar panels with solar battery packs and biodiesel generators with biofuel, and amplifies the belief that we are one with our environment and we must coexist with our natural ecosystems.

How You Can Get InvolvedOf course, most of the more than 400 art installations in Black Rock City come without financial support from Burning Man Project. We are serious about our commitment to support ALL artists, and there are many other ways (besides financial) that we help artists to ensure they are successful. For example, we may support artists with heavy equipment, engineering review, communications outreach, and partnership with our team along the way.

“Cactus of Life. A Mirror of Truth. Awaken Your True Self.” by David Lombrozo, Tania Ordoñez, Pablo Fernandez, and Humerto WongPeruse the following list of 2023 BRC Honoraria projects, and if you have a vision that is missing from the list, you are warmly invited to make it happen. Check out this recent article written by Erin Douglas, a 2022 Honorarium recipient, for advice that is relevant to all artists about bringing art to BRC. Do you have skills to contribute and want to help an existing art project? Then please check out our collaboration tool, Spark.

Without further ado, we’d like to introduce this year’s Honoraria recipients. Drum roll, please…

The 2023 Black Rock City Honoraria Recipients1000 & 1 — Tyler FuQua and Tyler FuQua Creations — Eagle Creek, OR

1000 Hands — Nicholas DeBruyne and Art Island + Wevolve Labs — Austin, TX

Alebrijes — Laura Salcido — San Francisco, CA

Alight — Trey Watkins and the Frogma Art Collective — El Segundo, CA

Animated Wind-Powered Carousels — Esmeralda Nadeau-Jasso — Slocan, British Columbia, Canada

Anya and the Void Bunnies — Steffin Griswold — Robbinsdale, MN

ATABEY’s Treasure — NiNo Alicea — Los Angeles, CA

Axolotl: A Spirit Guide — Ricardo Martinez — Schaerbeek, Brussels, Belgium

Barrel Oh’ Monkeys “The Great Escape” — Tabasco Mills and the Iron Monkeys — Seattle, WA

Black Rock City Supper Club — Carlyn Perona King and Black Rock City Supper Club — Reno, NV

Black Rock Station — Wes Modes and Black Rock Transportation Company — Felton, CA

Build A Seat 2.0 — Mo Osunbor and Build A Seat — Brooklyn, NY

Burden of the Beast — Walker Babington and Sabatom Studios — New Orleans, LA

Burning Time — Robert Bruce — Coburg, OR

Cactus of Life. A Mirror of Truth. Awaken Your True Self. — David Lombrozo, Tania Ordoñez, Pablo Fernandez, and Humerto Wong — Mexico City, Mexico

Chapel of Babel — Michael Garlington — Petaluma, CA

Confusion of Tongues — Mona Wang and Hami Melon Benevolent Association — Oakland, CA

Conversation with a Squad — Alexia DeFluff — Les Roches L’Eveque, France

Cradle to Grave, the battle to generate the maximum progressive transformation. — Drew Hsu and Sepia Syndicate — Timnath, CO

Crystal Evolution — Kay Sims and Kasey Minor — Portland, OR

DraGong — Michael Malecki — Rockford, IL

Duck, Duck, Gaggle — Meghan Rimelspach — Towson, MD

Elder Mother — Charles Gadeken — San Francisco, CA

Exquisite Animalus — KJ Boheme & Stefan Spins — New York City, NY

Farmer the Rigger — Brian Green and Burger Boys (Black Burner Project) — Los Angeles, CA

Gear Heart — Kelly O’Brien — Houston, TX

Hubowl Telescope — Daniel Adrian Coello Araoz and Laboratorio Mexicano de Diseño — Benito Juárez, Distrito Federal, Mexico

Ignus — Jordie Laidlaw — Terrace, British Columbia, Canada

Infinity — Matt McConnell — Raleigh, NC

Infinity Swing — Sharon Pedrini — New York, NY

Jíbaro Soy — Mark Rivera and Kidnetick — Bayamon, Puerto Rico

Justice — Jenny Mount and Department of Spontaneous Combustion — Richmond, CA

LAKA’LELUP | Coming Together for a Common Purpose — Mia Hanak and Millennium ART — Missoula, MT

Life is a Circus — Sandra Bérubé — Vancouver, British Columbia, Canada

Lincoln Bear — Mr and Mrs Ferguson Art — Alameda, CA

Liquid Forest — Richard Wilks — Santa Monica, CA

Living Knit Pavilion — Irmandy Wicaksono and The Antidisciplinary Collective — Cambridge, MA

Los Animales de la Playa — Mark Ramos and Muchos Amigos — Forest Knolls, CA

Lost Reflections — Elodie Mitchell and The Real Grass — Crested Butte, CO

Love thy Beast — Kristi Narvaez — Portland, OR

Lucid Beacon — Hannah Warner — Tuscaloosa, AL

Mariposa — Christopher Schardt — Oakland, CA

Monster — Erin Jaeger-Freeborn and Carly Moore: Kitsune — Calgary, Alberta, Canada

Moroccan ParTea — Hind Baghdadi and Lady Gaia — Sarasota, FL

Nazar — Sukant Panigrahy and Sandeep Manyam (Codewarrior) and The Discovery’s Collective — Mumbai, India

Of a Temporary Nature 2.0 — P. Michael Quinn — Beechgrove, TN

OHM — Colin Bowring — Oakland, CA

Oneirotica — Kirsten Berg — Berkeley, CA

Over Ruled — Cody Smith and Looking Up Arts — San Francisco, CA

PādaPagoda — Dawn Jian — San Mateo, CA

Quetzalcoatl Reborns — Leyla Issa, Lisa Regan, Ivana Palma and Crescent Works — Naucalpan, Mexico

Rain God — Miguel Guzman — Joshua Tree, CA

Recyclosaurus Renocores (aka R2) — Lynda Traves and Reno Core Project — Reno, NV

Snailing Around Splay-ro-Graph — Rob Colbert and Mountain Mayhem, Snailing Around — Fort Collins, CO

Sparkle Bonies — Meredith Braden and Society for Humerus Art — Alameda, CA

Spider Trap — Josh Zubkoff and Looking Up Arts — San Francisco, CA

Superior (Mother) — Kate Kuaimoku and Aggregate Group — Oakland, CA

The Council of Animals (what to do about the monkeys) — Quill Hyde — Tonasket, WA

The Hedgehog Temple — Yaroslav Korets and Kurenivka — Kiev, Ukraine

The Journey Aquatic — Mark Dill — Fleming Island, FL

The Lite of Spring — Ronnie Allman and The Brat Pack — San Francisco, CA

The Lovers (T4T) — Kendrick Wanamaker and Little Arcana Arts Collective — Seattle, WA

The Prairie of Possibilities — James Gwertzman and Moonlight Collective — Mercer Island, WA

The Solar Library Phase 2 — Jared Ficklin and The Other Singularity — Austin, TX

The Sphinx — Martin Taylor and Chromaforms — Oakland, CA

The Spirit of the Healing Siren — Turburam Sandagdorj — Reno, NV

The Star Kingdom of Oba — Dipo Doherty and ART|unknown — Pittsburgh, PA

The Ursas — Jen Lewin Studio — Brooklyn, NY

The Winged Turtle — Lolo Garner Art and The Factory Art — Palma, Spain

Tower of Tooter — Robert Cox — Kalama, WA

Trust — Stephanie “Paige” Tashner — Richmond, CA

Unfolding Humanity — Diane Hoffoss and ArtBuilds — San Diego, CA

We Must Sleep In It — Hannah Lewis — Los Angeles, CA

Worth a Thousand Words — Debbie Lambin — Carson City, NV

Yuluka — Camilo Quimbayo Wilches and Homweork / Outline — Mexico City, Mexico

Full project descriptions with images and links will be available later in the spring.

The BRC Honoraria Program relies on the generosity of our community. You can help support this program and an array of on- and off-playa artist services and our nonprofit mission by making a gift here.

We’re so grateful to all the artists who will be sharing their creativity in Black Rock City in 2023, and we can’t wait to explore this outpouring of creativity together!

Cover image of “Yuluka” by Camilo Quimbayo Wilches and Homweork / Outline

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It’s that time again! The moment has arrived to create your designs for the 2023 Black Rock City stickers. With a theme like ANIMALIA, I can’t wait to see what wild creativity flows.

2023 ANIMALIA theme design (Graphic by Tanner Boeger, featuring “El Pulpo Magnifico” by Duane Flatmo and Jerry Kunkel (Photo by Stephane Lanoux); “The Monumental Mammoth” by Tahoe Mack (Photo by Keith Aeschliman); “Feeding on Dreams” by Mark Dill (Photo by Dan Adams); “Be Art” by Jeff Schomberg (Photo by Mark Hammon); “Teddy Bear” by unknown artists (Photo by Nikolai Sander); “Spacecats Final Landing” by Ayda Keshtkar and the Adenium Collective (Photo by Perry Julien))Jump to the end of this post for design specs, submission guidelines and the deadline (spoiler: it’s May 12, 2023).Every year we print many different sticker designs, and typically over a dozen submissions find their way to the playa. Last year we printed even more due to the many amazing submissions! That’s right, we aren’t sitting over here behind our laptops designing a bunch of weird stickers — YOUR lovely brains are in charge. We just print a ton of them and magically transport them to the playa… and hopefully into your hands (and onto your stuff). So if you’ve ever wanted to see one of your own designs on a BRC sticker, this is the moment. Live it!

Think your style is a little wacky? Fear not. We like variety! Get weird. Bring that snark. Tap into that inner child and get playful. Indulge your love of symmetry. Truly, create whatever your heart desires.

Feel free to submit a couple different designs. Don’t forget, there is a theme (hint: it’s ANIMALIA); if a sticker has at least something to do with our animal friends, it’s more likely to get printed. Want to improve your chances even more? Submit a square design, since most submissions we receive are circles.

One more thing! Before you submit a design, please read through the requirements below. No custom shapes. No low-res JPGs. And if the type isn’t outlined, our laptops turn your font into something like Comic Sans or Marker Felt (the horror!).

Rites of Passage sticker, 2011; Fertility 2.0 sticker, 2012; Burner sticker, 2006 (Photos by Steven Fritz)Black Rock City 2023 Sticker Design Specs1. Design(s) will need to be one of these die sizes:

• 3” diameter circle
• 3″x 3″ square with a 0.062” corner radius

• 2.5″ x 6” with a 0.125” corner radius

• You must OUTLINE all fonts, meaning vector text is no longer a font but rather it is vector shapes. This eliminates issues for us and the printer not having the font, which is a dealbreaker.

• If using one to three colors, set up the file to print as PMS. If using four or more colors, set up the file to print as CMYK.

Designer Tips* Did you read the specs? Read the specs! * Include “Burning Man” or “Black Rock City” and the year 2023 in the design for bonus points. * Incorporate the ANIMALIA theme. Or don’t. It’s your sticker. Just remember what I said above.

Two of the Waking Dreams stickers, held by their creators at our designer meetup, 2022 (Photos by Jamen Percy)Submitting Your Art* Send the original Adobe Illustrator (.ai) file to stickers@burningman.org. You can also send a high resolution PDF, but the original file is preferred. * Whether sending a design or questions, please put your first and last name in the subject header as well as the phrase “2023 Sticker Submission.” * DOUBLE CHECK THAT YOUR DESIGN MEETS ALL DESIGN SPEC REQUIREMENTS LISTED ABOVE.

Sticker Art Submission Deadline:Wednesday, May 12, 2023. No art can be accepted after this date!

P.S. Did you read the specs? If you send the wrong file type, color settings, or dimensions, we won’t be able to consider your design. And we don’t want that. So double check, then triple check. Is it vector? Is the text outlined? Yes? Then send it on over!

Cover image is a collection of BRC stickers from 2022 (Photo by Jamen Percy; the hands are the author’s)

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“People think the life of a cowboy is some sort of Wild Bill shoot-em-up wrangler type. But a real cowboy finds himself sitting in a saddle for weeks on end under big skys with silent mountains as he moves along no faster than the pace of a cow eatin’ grass. Out there, a fella can think a thought the whole way through. That’s when the real pace of the world starts to reveal itself in the slow flow of nature.” – Cowboy Carl

Cowboy Carl Brucker, a retired Marine and local cowpoke, had his camp set up on the outskirts of the east side of Black Rock City with the door facing outward toward the Razorback Mountains. This is how he always camped. After two decades of working with the Department of Public Works (DPW), his camp had become a regular destination for those seeking a quiet moment with the “Other Man in the Hat” — the Camp Chaplain, if you will.

“How do you stay way out here all by yourself, Carl? Don’t you get lonely?” asked a wayward seeker of knowledge who sat in front of Carl’s campfire while waiting for the grounds of the cowboy coffee to cool and drop to the bottom of the pot. The morning sun was starting to shine on Carl’s Airstream trailer.

“Hell, I’m not out here by myself,” he replied. “See this fire? It’s surrounded by all the dead friends I have. I’m never alone out here. It’s just quiet enough so I can hear ‘em.”

Cowboy Carl (Photo by Chris ‘Taz’ Petrell)Cowboy Carl really was a cowboy. He started poking cattle in the early 70s and had all the hard-boiled wisdom that comes with understanding that world. His eyes weren’t shrouded by the clutter of overthinking things. He was our DPW guru; our poet laureate; our Father Superior; our sympathetic uncle that bails us out of jail.

He waltzed into our lives in 1997. The county road grader we’d hired to gouge a road through the prairie brush to the Hualapai Flat, where that year’s event was to be held, came to a halt due to a teepee blocking its way. Out jumped a naked man wearing a cowboy hat and holding a coffee pot. This was Cowboy Carl.

Little did we know…

Burning Man was a lost puppy fumbling on wobbly legs back then, too naive to know how little it knew about desert living. Carl was amongst the first of the locals to show up. He would calmly roll up in his white Ford pickup truck, get out on “cowboy time” and slowly stroll over to us “city folk.” We’d be struggling with a barbed-wire fence or trying to clack together some shade or pound in a T-bar stake, mostly unsuccessful.

“Oh boy! You mushroom-smokin’ hippies sure could use a pointer or two!” he would say. Then he’d saunter back to his truck to get the wire pliers or fence pounder, or whatever proper tool we had never heard of, to show us how a rancher would do it. Burning Man had much to learn about living in the high prairie of Northern Nevada, and Cowboy Carl was willing to lend a hand. The locals of that time mistrusted and shunned us and would rather we disappeared. But the honest heart of Carl could see through the skepticism. He quickly picked up on our soul. We just needed to acquaint ourselves with dust and desert living, one truck tool at a time.

Fence Construction Manager Cowboy Carl ‘hates these damn radios’ but makes an exception to announce that the 9-mile fence is complete, 2006 (Photo by CameraGirl)In the seasons to come, Carl became a member of the DPW of Black Rock City, building and managing our trash fence. He stayed with us for the next two decades until he stepped down from the Fence Manager position to take care of his ailing aunt in Florida. Over those years he taught the DPW how to work and build in the desert and this in turn set examples for the rest of Black Rock City. It could be argued that Carl Brucker influenced the entire Burning Man community on desert living best practices, one “mushroom-smokin’ hippie” at a time.

Carl influenced us in so many more ways than just teaching us how to mend a fence. He spoke from a genuine core of truth, even when it hurt. But he always had a deep humor that would make even the surliest ones grin at the ridiculousness of life. He was a cowboy crack-up that provided an endless fountain of quotes that only he could get away with. Our daily regret was not having a pen and paper around to capture the pithy quips that were like sulfur spring water. Most everyone had a Cowboy Carl quote of the day, many unrepeatable when taken out of context, but always peppered with spiritual gems. When once asked how he does it, he replied — in the same metered drawl — without a pause, “I just open my mouth and shut off my brain.”

One good example was what he said of a crew member having a rough morning after a late night: “That fella looks like he got shot at and missed and shit at and hit.” The rugged wisdom never ended.

There were two things Carl never stopped being: a Marine and a devout Catholic. At any given time if you were to step into his Airstream trailer, he would have a Catholic radio channel soothing the room. He was on the path to becoming an ordained priest in the past, but poor eyesight due to cataracts prevented this. Though he was unable to read the Bible, he never lost faith and it remained at his core as a foundational guide to his wisdom. The other main spoke of his wheel was his life as a military Marine.

“A fella never stops being a Marine,” he would say. “It boils into your body fat like beef tallow!”

He trained with the Navy Seals and spent six years on Special Forces Reconnaissance. He spoke little of his troubled memories of war but carried their impact; he once divulged that the ghosts of war haunt him still. Having the dichotomy of military and religion influencing his life gave him the steel and perspective he thrived on and carved the paths of truth we followed.

He once told a nervous crew member he had just gleaned from the commissary, “Don’t cha worry, greenhorn. I never knew if I should be a priest or a Marine. Looks like you’re getting a bit of both, kid.”

Cowboy Carl (Photo by Chris ‘Taz’ Petrell)It was that two-sided wisdom mixed with his genuine country charm that led Carl to being our unspoken Camp Chaplain. He was a sympathetic ear to any who felt themselves to be a misfit or struggling with the hardships of living. His Airstream trailer door was always open as a capsule of truth and always with a fresh pot of cowboy coffee. He wouldn’t pull the punches and give it to you straight, but somehow did so in bites you could chew. He was brutal when you needed it, but had a safe cushion to land on. One by one he had won the hearts of us all.

Carl had no trouble fitting in with our ratty gang. If we were raging through the night, he was right there with us. If we were wearing clown wigs, there was an extra one for him. If we were booty-shaking on a dance floor, Carl was doing the “Cowboy Bop,” as he called it. A high school homecoming king could only wish to be this popular. He wasn’t a hard liquor drinker — “I haven’t had whiskey since 1979! Whaddya tryin’ to do? Get me into a knife fight?!” — but Carl would swill on a jug of wine from time to time. Word would travel fast when he did; we were in for a fun night!

And all this time he was still working on that bridge between us and the new desert world we were learning to live in. Through his introductions, we would find ourselves sharing friendly conversations and cold beers with locals on opposite ends of political spectrums; conservatives and liberals finding the common ground that we always had. And now after two decades, the strange bedfellows of the Burning Man community and the local salt of the earth thrive, setting an example for the unseen possibilities of communal harmony. So much of this was from the planted seeds of our good friend Cowboy Carl Brucker.

Kahil Gibran wrote a piece titled “The River Cannot Go Back.” It speaks of how a river cannot escape its fate of spilling into the sea.

“It’s not about disappearing into the ocean, but of becoming the ocean.”

It does not die but simply gives up being a river. But at the same time, the river is never forgotten. It has carved deep paths in the earth. Sometimes even grand canyons! Cowboy Carl was our river. His truthful flow carved a twisted pass through the mountains of struggle for us to follow. His canyon runs deep and his high banks of wisdom will be our guide. He was our guru of understanding. He was our Other Man in the Hat.

Rest easy, good friend. You have won a place in our hearts forever.

(Photo by Brian Kelly)

Cover image of Cowboy Carl, 2012 (Photo by Rich Van Every)

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My first post in this series explored the way in which Decommodified art can do things that commodified art can’t. That it’s not just that one’s “free” and one “costs money” — the act of decommodifying something create a difference in kind as well as accessibility.

The second post was a closer look at why this is and how it works.

The third post examined a social paradox that everyone who has ever wanted to make lots of art has encountered: we want to live in a society that produces a lot of high-quality decommodified art, but to do that you need artists to be able to make a living. And how the hell do artists make a living if we want their art to exist outside of commerce? That post offers some collective experiments we can try to make this better.

In this post, I’m going to offer up my own personal experiences trying to find ways to reconcile “making money from my art” and “being part of a decommodified culture” as I went on book tours while creating decommodified spaces where nobody was selling anything. Here’s what I’ve found helps:

Subordinate Money to PlayWhile creating events for Turn Your Life Into Art, I decided that since I wanted these experiences to be decommodified I wasn’t going to sell the book at my own book events. There would be no point of sale. If people wanted to buy the book they could do that outside the event, from their local bookstore, or online.

I expected people would appreciate the effect this had — and they did. But what I hadn’t anticipated was that there would be pressure going the other direction. Yes, people were glad that the experience was decommodified, but many people still wanted to buy the book here and now!

Was commerce really so important?

No, I don’t think so: the book really was easily available elsewhere, and sometimes for cheaper than I was selling copies directly. This wasn’t about the acquisition of an item.

What people actually wanted was a chance to have an experience with the author, a moment with the artist, and a keepsake from the experience, that you don’t get if you purchase their art elsewhere. They wanted the moment of conversation, they wanted the experience of having the book signed, they wanted a story to tell, and they wanted to offer support in a way that was more satisfying than getting the book from a third party.

What they were trying to do was not to have a commercial experience, but to use commerce as an excuse to have a human experience. They wanted connection, and they wanted to play. As I noted at the very beginning of this series, we are conditioned to need a commercial excuse to do things that aren’t really commercial at all.

I tried to reconcile these competing impulses by creating a system in which people could give me money, but as a playful gesture rather than as a genuine fee-for-service. I added a raffle to each event, which was explicitly to “support the artist” (me). I had a designated volunteer sell raffle tickets for $10. Any winning ticket would get a book.

But would it be this book: Turn Your Life Into Art? It could be that book, but it could also be one of my other books. Or it could be a random book that I’d brought from my shelf at home. Or that I’d stolen from a friend’s house minutes before coming here. So yes, by all means, shell out money and join the raffle if you want, but even if you win you’re probably not going to actually get something valuable or worthwhile.

Furthermore, they weren’t actually “tickets” that people were buying — they were post-it notes, on which you were supposed to write a name. Whose name? I don’t care! It could be yours, it could be a friend’s, it could be anybody! Whoever’s name is on the post-it note (if it’s picked) gets whatever book I happen to have on me. We’ll try (though only so hard) to get it to them if we can.

Whenever a question came up about how this was going to work or what was going to happen, we didn’t respond with the answer that was most efficient or remunerative for me — we responded with the answer that was the most funny. We made it clear, at every step, that while money was involved in this offering, that we were making money subordinate to play. When somebody asked if they could pay for their raffle ticket in chocolate bars they had in their bag, we said yes. Why? Because that was the funnier answer.

The results were a smashing success, both in terms of money raised and in terms of the way people reacted to it. People enjoyed the opportunity to participate, supported me as an author, and then had a hilarious time during the raffle itself as they discovered how weird the book selection got. People put down friend’s names on their own tickets, and as far as I know it enhanced the experience that everyone had. Neither I nor my co-organizers ever had a single complaint that we were commodifying the experience.

For me, that was a giant step forward, and offers a clear lesson on one way that limited commerce can safely exist alongside decommodified spaces: make sure that commerce is subordinate to play.

This can’t just be lip-service, though: it doesn’t mean “tell people a joke when they buy something” or “do a little dance in line.” That’s creating an artsy gloss on what is still a fundamentally commercial experience. You have to be able to put play where people are expecting money, and that means potentially sacrificing. Anything short of that is not decommodification but bullshit, and not really play but hustle.

High Contribution NonsenseA related strategy that I’ve seen work well is to create an absurd and stupid, even unpleasant, experience that no one would probably want, and then offer it up for an expensive amount of money right here, right now.

The best example of this that I’ve seen doesn’t come from my work, but from the Poetry Brothel troupe, first out of New York City. At this event (which to be clear is not decommodified) one can purchase tokens which can then be given to wandering poets for a private performance of original compositions.

But if one wants to blow over 100 bucks, one can get up on stage and have all the poets read a different poem to them at the same time! It’s an absurd, terrible, experience … I mean, it’s the exact opposite of what poetry should be … but sometimes somebody just has to try it. I had to try it. It immediately heads off concerns about commodification because you’re buying something no one could really want, but it’s incredibly entertaining for everyone else at the event, and you’ve gone above and beyond to support the artists.

Getting more stupid and more playful … especially when it’s pointless … can often yield fantastic results that make people feel good about money being involved. There’s a frontier here to be explored.

Respond to the Crowd You HaveGoing through the motions is not the same as earning trust.

In each and every case, only the barest pre-existing structure was brought into each new event. Everything else was determined — often on the fly — by what worked with this particular group of people at this particular moment. We never assumed that what seemed decommodified to Boston would feel decommodified to San Diego, or that it would feel right at a completely different space in Oregon. Much in the same way that subordinating commerce to play required us to make whatever decision seemed funniest in the moment, rather than sticking to a pre-set script, keeping a commercial art event decommodified meant figuring out what felt like marketing and sales to the people who were participating in this event right now, and keeping away from that. The issue is never whether you are technically decommodified based on some set of abstract rules, but whether the people you are with here and now feel that they are having an experience that is outside of commerce. Although a lot of the big picture issues will be the same, the experience is going to have to be individually tailored every time.

Separate the Artist From the AskThe more book events I did, the more I appreciated having volunteers who could handle money oriented tasks. This wasn’t just about freeing me from one more thing to do — though certainly that. It was because, as the artist, I was setting the tone of the experience: I was the person people had come here to see (alongside their community friends) and was generally the center of attention. The more time I spent handling money and sales myself, the more the event became centered around money. The more time I spent creating art experiences, interacting with people, and connecting in ways that were outside of commerce, the more outside of commerce the experience as a whole became.

It mattered that other people were collecting the money for the raffle and giving out the tickets. It mattered not just that there wasn’t a point of sale here for my book, but that other people — not me — could explain how to buy the book if someone wanted a copy. It mattered that people who didn’t want to engage in commerce, who didn’t want to buy my book, didn’t have to turn away from the artist or have an uncomfortable moment where they overtly weren’t supporting me. It mattered that someone could fully participate in the event without having to deal with commerce. When commerce is truly optional and no-pressure, it becomes less threatening. But to do that you have to de-center it.

Separating the artist from the commercial aspects of an event and having someone else — especially volunteers — do it allows people who are interested in supporting the artist to engage without having it mediate their experience of the artist, and it allows people who don’t want to contribute to still be fully present and not have to make excuses or put up walls.

It’s a StartThese are all tactics, not strategy. They are approaches that help around the margins, but aren’t going to change the dynamic of artists struggling to make a living. They can, however, do significant work at squaring the circle between making a living as an artist and working in a decommodified culture. They suggest that something is possible. There may be breakthroughs if we play with it more.

Which to me is the key insight here: we can never reconcile art and commerce if we take either of them too seriously. Only playful absurdity works.

(Cover photo by Bill Klemens)

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Hello friends!

We want to take a moment to share and celebrate the last year of progress on the land at Fly Ranch and honor the incredible contributions of our community and volunteers who make this project possible. We’re excited to share what’s in store for 2023.

2022 Programming RecapOver the course of our season, we averaged 60-250 people at Fly each week and saw more than 1,000 unique visitors to the property. We continued to be entirely powered by renewable energy; in 2022 we quadrupled our solar reserve and eclipsed 100 kwh of capacity on site. We also launched a major update to the Fly Ranch Virtual Tour. Here are few highlights from last year’s programming:

• The Fly Guardians are an all-star crew of volunteer site stewards who camp at the springs and protect its natural beauty and critical habitat. They completed more than 130 24-hour shifts with a crew of 42 active Guardians.
• Friends of Black Rock-High Rock hosted the fifth season of weekly nature walks for the public at Fly Ranch. In 2022, Friends ran 52 Nature Walks with more than 750 participants.
• We prototyped Fly Ranch Stewardship Days and hosted eight of these volunteer action days between April and October with more than 80 registrants.
• We continue to graze 150 head of cattle, fix fences, address non-native plant spread, and do many other ranching projects. (It’s not all Burning Man all the time!)

2023 is going to be another exciting year with several ways to get involved at Fly Ranch. We’re glad to be able to give you a preview of how to get involved.

(Photo by SEED Project)Stewardship CampoutsOnce a month, starting March 2023

In 2023, we are very excited to welcome the public to join us at Fly Ranch for weekends of stewardship, fellowship and fun! These weekends are an opportunity to invite the Fly Ranch community to camp on the property once a month. Each weekend will focus on a hands-on stewardship project while setting aside plenty of time to explore the property, soak in the hot springs, make new friends, and enjoy the beauty that surrounds us. You can learn more and sign up here.

Fly Geyser, 2022 (Photo by Peter Thoeny)Fly Ranch Nature WalksSaturday mornings and evenings, April to October 2023

The local conservation group Friends of Black Rock-High Rock offers three-hour nature walks on Fly Ranch where participants can explore two distinct portions of the 3,800-acre property. This is a great offering to share with friends and family who want to explore the ranch on foot and experience the Fly Geyser in person. Signups for 2023 Fly Ranch Nature Walks can be found here.

(Photo by Thomas Takano)Fly Ranch GuardiansVolunteer roles, available all year

If solo camping is more your flavor, the Fly Ranch Guardians are a network of volunteer land stewards who help monitor and preserve the beauty of Fly Ranch. This unique role is a hybrid of the Black Rock Rangers and the Earth Guardians. It provides an opportunity for volunteers to spend several nights at a time in the desolate beauty of the Hualapai Valley and experience the land and hot springs first hand. Fly Guardians monitor the property, interact with and educate visitors, and prevent trespassing or misuse of Fly Ranch. If you’re interested in volunteering as a Guardian, you can learn more here.

Fly Labyrinth, 2022 (Photo by Steve Teitze)Labyrinth Walks with Will Roger and Crimson RoseSundays at 2:00pm, year-round

Each Sunday afternoon, Burning Man co-founders Crimson Rose and Will Roger walk the entirety of the Fly Labyrinth that they lovingly hand-built throughout the course of the pandemic. Will and Crimson have graciously invited Fly Ranch and Burning Man community members, and the public, to join them each Sunday. You can either check with us at flyranch@burningman.org or stop in at the Burning Man Gerlach Office at 390 Main Street to get the latest information. Learn more about the Fly Labyrinth here.

About the Fly Ranch ProjectWe are a year-round platform for artists, makers and organizers of the Burning Man community and an incubator for wider cultural, ecological, and programmatic experiments. Our top priorities are to care for the land and help people engage with programming to build toward that. We’ve supported Burning Man’s 2030 Sustainability Goals. We take stewardship seriously and are working to address nonnative plant sprawl, reverse the impacts of decades of conventional ranching, and protect hundreds of acres of critical wetlands habitat, including the home of the at-risk and endemic Fly Ranch Pyrg. Through all our work we try to balance ecology, human habitation, land art, gatherings and sustainability. These projects and our vision have formed through an open-source process. All of our documents can be found on our website. Fly Ranch is located on occupied Numu (Pyramid Lake Paiute) tribal land.

Do you enjoy pretty pictures and cute animals? Browse the Fly Ranch Instagram.

Cover photo by Ben Henretig

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I think we need to start with the recognition that New Zealand (Aotearoa) is fabulous. Gorgeous gorgeous country (seriously, the drive to the burn, alone, is a treat), and with really lovely people. It’s worth coming here just to experience that. Just saying.

Going all the way back to 2004, Kiwiburn was the very first Regional Burning Man Event outside North America. In 1994 Mark ‘Yonderman’ Stirling and Jane Thomsen stumbled on Burning Man by chance while camping in the Black Rock Desert. When they returned to New Zealand, Mark became the country’s first Regional Contact; a few years later he started organizing New Zealand’s Regional Burn.

It’s important that we acknowledge and honor the local iwi named Ngāti Hauiti in whose rohe (territory) Kiwiburn is located. I’m pleased to tell you that Kiwiburners actively respect and support the local Indigenous tribes here, and this is something they do regularly when they meet in different forums. The lands are now a farm owned by Mark and Andrea Grace, who have welcomed the Kiwiburners since 2014.

That said, my next Kiwi phrase for Kiwiburn is “PFM” — Pure Fucking Magic! There were 2,300 participants this year. That’s a really nice size for a burn, by the way — still lots of people, and yet more intimate than Black Rock City.

Because the burn is on a farm, Kiwiburners speak about “the paddock” rather than “the playa.” Camping is all around with plenty of room wherever you find a place that calls out to you. There are three paddocks, upper (great bars and dancing), middle (quieter, saw a great cabaret there at camp Swing Fling with lots of aerialists) and lower paddock, the quietest (where families usually go).

Kiwiburn produces a great booklet, filled with useful information beyond what’s available on their website. It’s worth perusing beforehand to get ideas of what to contribute. Volunteerism is very much in the culture there, so there are many opportunities. With so much going on you’ll want to see where you best fit in.

The Middle Paddock (Photo by Gigi Gallaway)Below the lower paddock (are you ready for this?) there is a river. Gang, if there is one thing we need at every burn, it is more water. The river in question is the Rangitīkei River. Rangitīkei translates as “the day of striding out.” The Maori ancestor Hau named the Rangitikei River while pursuing his wife and her lover southward from Taranaki. With long strides (tīkei) he moved one day (rangi) to the river he then called Rangitikei. You might notice that Kiwiburn participants knew the story and thought it worthwhile to tell me, and that they clearly cared. This is one way in which they are honoring and respecting the Indigenous people here.

Speaking of weather, I don’t know if you’re aware of it, but New Zealand is right beneath that hole in the ozone layer we keep hearing about. So the sun is intense. They say to reapply your sunscreen every 20 minutes.

Let’s talk about art. This was my first Regional Event and the art was impressive and really fun. My favorite was a surprising installation called “Solitary Refinement,” which offers participants a room for a period of time… and the room is amazing. That’s all I can tell you, as seeing it without introduction is the best way to experience it.

Another piece, “Taking Flight (Aroha mai, Aroha atu)” is a wooden Haast’s Eagle or Pouākai, an extinct New Zealand bird. It was created by Sparking Andromeda, a team of builders and designers from Black Rock City’s Department of Public Works.

I had an interesting experience with the Pouākai; I saw the crew disassembling it. I was reminded of the amazing process that goes into making a sculpture like this. It starts with a musing of “what if…” and then develops through planning (and many people), choosing the ideal materials, shaping them just so, adding additional designs (or not) placing them into exactly the right place, adjusting as needed, and eventually the heart stops in its place, and you’re done.

Every time we see art, we’re only seeing the end result and unfortunately missing the rest of the story. But if you stare at it, and really feel into it, then you can perceive the magic. No two pieces are the same… ever. Having people take that kind of time for a piece they bring to a burn reflects just how amazing the burns are. (Rumor says “Taking Flight” may land on the Black Rock City playa next.)

“Taking Flight (Aroha mai, Aroha atu)” by Sparking Andromeda (Photo by Tim Warren)The effigy (a wooden head, Kiwiburn’s version of the Man) and the Temple felt very inviting to me. Both had ramps. I was impressed that Kiwiburn organizers were thinking about accessibility, having discussions around it and actively working to improve on it.

Kiwiburn effigy by Jo Artemis Fox (Photo by Gigi Gallaway)So let’s talk about Radical Inclusion, specifically BIPOC and LGBTQIA. I’m pleased to share that there were many camps for both, with lots of workshops and welcoming discussions. Kiwiburn’s Rainbow Team created the amazing Hosting Queer Inclusive Events Guide as a resource for camps and community members (YAY!). I also met a wonderful Indigenous woman named Sarah who brought me up to date with how the Maori, the Indigenous people of Aotearoa New Zealand, are doing. I like the interest, awareness and open conversations everyone had here.

Kiwiburn was the first Regional Event to prototype Burner Leadership Achieving Sustainable Theme-camps (BLAST), a Green Theme Camp certification program that emerged from the Green Theme Camp Community. I LOVE their focus here. Kiwiburn had composting toilets this year for the first time. They are helping lead the way toward greater environmental stewardship in our global community.

Burners received a major gift from the farm owners who had a water supply line near the Paddock and generously offered that water to the burn! Kiwiburn installed $20,000 of infrastructure, including bulk storage tanks, piping, faucets and a water treatment plant to take it to potable standard. The result was that we were gifted easy access to drinking water. Imagine the plastic saved with everyone not having to bring that in! Another Fab thing? This was Kiwiburn’s first year with composting toilets.

We had a lot of rain (you might have heard how Auckland flooded the week of the burn), and oh baby, it was quite the muddy scene! I felt lucky that only a bit of my stuff was wet, as there were people with a couple of inches of water throughout their camp. Everything in parts of the paddock was flooded. The roads around the burn were super muddy, so no one could leave the burn… it was quite something.

Flooded camp (Photo by Gigi Gallaway)Huge credit to the burn organizers who had massive machinery to pull out trucks, and put wood chips all over the place to create a road and facilitate more people leaving. Not that rain and mud stopped the burn (of course), but it did slow things down a bit. Interesting camping note: the tents in New Zealand are really nice and super rugged. I’ve never seen ones like them in the US. A Kiwiburner told me that they’re made for harsher conditions (lots of rain).

I firmly believe Burners model how the world should be. We have strong connections and openness with each other, we treat our environment with the highest regard, and we seek to improve what we are creating for humankind and the Earth. We live a life that needs to be noticed and duplicated. All Burners worldwide connecting closer is something we should strive for, and Regional Events offer that opportunity. Kiwiburn is a great place to start! The 2024 Kiwiburn marks their 20th anniversary, so mark your calendars now. You will be very glad you came. Just bring a load of sunscreen.

Cover image of Devour & Delight Camp (Photo by Gigi Gallaway)

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The Man Pavilion is our central plaza, for many a form of annual pilgrimage, a place of gathering, and a place of both memory and promise. It serves not only as a pedestal for the Man, but also as a playground where Black Rock City participants can explore and inhabit an artist’s interpretation of the year’s theme.

We asked 11 artists to submit design sketches for the 2023 Man Pavilion. Read on, as we share their brilliant concepts, each of which uniquely resonates with the Animalia theme. Of course, we’re also announcing which design we ultimately chose to be Black Rock City’s 2023 Man Pavilion.

As you browse these submissions you may wonder, “How do they choose?” We would answer, “Thoughtfully.” Indeed, each artist developed beautifully thematic and inspiring concepts and sketches. We make our decision based on three criteria: the relationship to this year’s theme, the aesthetic (subjective indeed, but there are several of us), and our ability to build it within the time, budget, and human capacity available to us.

Opening the submissions as they come in from the artists is a sort of surprise package. I like to think of it as a birthday gift to the late Larry Harvey; submissions are due during his birthday week. Larry embraced the process of designing the Man Pavilion in collaboration with numerous artists and builders who helped him fulfill his annual vision for the theme and the event. I recall him talking to me about his process of reading the signs, symbols, and zeitgeist of the moment to conjure each theme. Today the theme is authored by his close friend and collaborator (and Director of Burning Man Project’s Philosophical Center) Stuart Mangrum. We endeavor to honor Larry as we work with artists to bring Animalia to life, animating its spirit and underlying ideas through creative expression.

Artists’ Submissions (and Our Selection) for the 2023 Man PavilionWe invite you to join us now on a fantastical Animalia journey replete with birds in whimsical cages, intertwining serpents, creatures of the ocean deep, and the entire animal kingdom, accompanied by the words and visions of the artists who created them.

Julia Nelson-Gal“The Birdcage”“The Birdcage” by Julia Nelson-GalJulia Nelson-Gal writes:

As birds move ever faster toward extinction, they become the “canary in the coal mine” for the continuation of life on Earth. While appearing delicate, they are known for their strength, fortitude, freedom, community, diversity and beauty — all qualities we Burners cherish. There are few among us who haven’t wished to soar freely with the birds who represent so much about the beauty of life on Earth.

“The Birdcage” shares the beauty and struggle of the animal kingdom with participants, serving as a stark reminder of our deleterious impact on and need to control nature. This Man Base will honor our rituals of beauty, art, fire and ephemerality, while addressing sustainability by using far less wood and creating a shorter burn.

About Julia Nelson-Gal

• https://julianelsongal.com
• @julia_nelsongal

Dave KeaneUntitledUntitled by Dave KeaneDave Keane writes:

I was drawn to the idea of putting the Man in a birdcage or specimen jar to celebrate and gaze upon the Man as animal, as its place in our world both immediately and in the bigger picture. But ultimately the man will not be caged — hence the removable top section.

About Dave Keane & Folly Builders

• https://www.follybuilders.com/
• @follybuilders

Esmeralda Nadeau-Jasso“The Snake” by Esmeralda Nadeau JassoEsmeralda Nadeau-Jasso writes:

The snake is a bridge between worlds; it winds its way upward from the earthly physical realm to the celestial. Its representation in this art piece draws on native Mexican traditions. From my mother I inherited a history that connects me to the Aztecs and Purépecha first nations people. She is native Mexican and follows many of the ancient ways.

The rich history of Quetzacoatl spanned many different cultures and meant different things to different peoples. To the Aztecs and Purépecha, Quetzalcoatl is a symbol of dying and resurrection as well as life force and the path to knowledge. It also features in the first people’s creation stories. On their search to find home they were directed to find an eagle with a snake in its beak — the fusion of these two animals became Quetzacoatl. Burning Man similarly represents a pilgrimage for many and has become a spiritual home.

About Esmeralda Nadeau-Jasso

• @avocabow

Leeroy New“Bakunawa the Moon-Eater”“Bakunawa the Moon-Eater” by Leeroy NewLeeroy New writes:

The Bakunawa is an aquatic serpentine creature from Philippine mythology that is said to have eaten six of the moon’s sisters and would repeatedly attempt to eat the last remaining moon. This is how the people of ancient times explained the occurrence of the lunar eclipse.

The versions of the story vary depending on the region of the Philippines, but it is common among them that Bathala, the creator, made seven moons to illuminate the night for the humans. The Bakunawa fell in love with the moons and wanted to be eternally one with them. This prompted the Bakunawa to eat the moons to become the sole possessor of the moons. Bathala, seeing that there is only one moon remaining, planted bamboo on the moon to prevent the Bakunawa from devouring it. The bamboo can be seen as the dark spots on the moon.

The Bakunawa’s consumption of the moon, in reference to the lunar eclipse, symbolizes rebirth and renewal. The burning of the Man can also be interpreted as a form of rebirth and renewal.

About Leeroy New

• http://leeroynew.com/
• @newleeroy

Shilo Shiv Suleman“The Serpentine Pavilion”“The Serpentine Pavilion” by Shilo Shiv SulemanShilo Shiv Suleman writes:

In my mythology the serpent is everything — transformation, fear, reverence, ancestor. The lord lies asleep on an eternal snake, Ananta Sesa (the one who has no end). Below this world exists another sleeping world, Nagaloka, where serpents shift tectonic plates of the macrocosm. While in our microcosm, within the spinal column lies a coiled snake that uncurls itself to revelation.

As this year’s theme emerges into animistic worlds, wrapped around the Man is a mythical metaphor that exists across cultures as temptation and revelation. The burning of this creature then represents a skin shedding, and transformation into eternal life.

About Shilo Shiv Suleman

• http://shiloshivsuleman.in/
• @shiloshivsuleman

Pyroglyphics“The Man is the Fifth Beetle”“The Man is the Fifth Beetle” by PyroglyphicsAbout Pyroglyphics

• https://www.pyroglyphics-collective.com/
• @pyro.glyphics

NiNo“Perla del Desierto”“Perla del Desierto” by El NinoNiNo writes:

In the beginning… the first creatures known to science that populated our planet started in the oceans and the lakes around 800 million years ago. The origin of life evolved from there to where we are now. The comb jelly, sponges and all the fossils we have found prove this to us; water is where it all started.

Our own Black Rock City is created once a year in a dry lake bed, also as we know, the playa that formerly contained a full standing body of water. The Man Base design is inspired by a seashell to honor our first water creatures. The sphere shape represents a pearl, or perhaps some will see a globe. It is a celebration of all the animals that inhabit our planet.

About NiNo

• https://www.leaveittonino.com/
• @leaveittonino

Kate Greenberg“Porifera”“Porifera” by Kate GreenbergKate Greenberg writes:

“porifera” • a phylum of aquatic invertebrate animals that comprises the sponges

The site of the Black Rock Desert was underwater until 9,000 years ago, and the first animals to call it home were sea creatures. Sea sponges evolved over 500 million years ago, and are believed to be some of the oldest known forms of animal life. Many porifera fossils have been found across present day Nevada, where ancient lakes once existed. What if the basin valley could be refilled, and we could adventure through the aquatic garden that lives on the bottom of the lake bed?

At night, the playa becomes a bioluminescent reef, where we pedal after sea monster art cars in neon-lit aquanaut schools. At dawn, we see again the great effect geologic time has cast on this other-worldy landscape, and set out to expedition through its fossilized magic like sci-fi archaeologists. This proposal celebrates animal life that was on playa long before us, with a Man Pavilion inspired by the unique structure of porifera.

About Kate Greenberg

• https://skmaticdesigns.carbonmade.com/
• @skmatic_design

Jack ‘Opa’ Haye“Hall of Animals”“Hall of Animals” by Jack ‘Opa’ HayeJack ‘Opa’ Haye writes:

This structure honors a variety of animals by making the facade of each wing represent an animal. It is also reminiscent of American vernacular barns with high ceilings and exposed trusses and skip sheathing to allow the wind to pass through and a soft dappled light to enter.

My submission honors all of the animals of the Burning Man ecosystem by providing a museum-like space where artists are invited to bring and display their individual visions of the many varieties of animals — from playa chickens to narwhals and everything in between… and outside the lines as well. I envisioned the Hall to be a place for hanging animal art, but there is also space on the walls for large 2D pieces.

About Jack ‘Opa’ Haye

• https://www.youtube.com/watch?v=x2ibuwdZoAc

HYBYCOZOUntitledUntitled by HYBYCOZOHYBYCOZO write:

Six structures represent the six major animal groups. The Pentagon represents the five characteristics of Animalia. Speakers in each structure will play sounds that represent the animal group in that structure. Possibly separate artists and groups could be responsible for the interior of each structure. The outside of each structure could have CNC-cut animal patterns. No animals will be set on fire during the Burn.

About HYBYCOZO

• https://www.hybycozo.com/
• @hybycozo

SELECTED 2023 MAN PAVILIONWe are thrilled to present Tim Bremner’s “The Hive” as the 2023 Man Pavilion!

Tim Bremner“The Hive”“The Hive” by Tim BremnerTim Bremner writes:

Like a proper bee colony, we Burners all have our roles and exist in a beautifully designed place. This year the theme lines up nicely with what we’ve always been… one big-ass dusty beehive of applied creativity. For this year’s Man Base pavilion, I’d like to propose “THE HIVE”.

About Tim Bremner

Tim Bremner is a designer, artist and creative director from Oakland who has been coming to Black Rock City since they started putting bases under the Man in 2001. Primarily known for small snarky art, he occasionally will rally a community of super talented weirdos to make big beautiful things such as the “La Victrola” gramophone. He designs his art in visual systems based on a theme. For “La Victrola” Tim dove deep into Art Nouveau patterning, for the Hive Man Base he designed the entire concept using just two sizes of hexagon to make it simple, yet incredibly intricate at the same time.

Cover image of “The Hive” by Tim Bremner

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If you’ve been to a Burning Man event anywhere, chances are you came home with a pocket full of wonderful gifts. Burners love to make and share jewelry, tchotchkes, costumes and all manner of printed creations. LadyBee, aka Christine Kristen, is Burning Man Project’s archivist. She gathers and catalogues Burning Man’s archival materials and ephemera, and works with museums and libraries to donate collections and curate exhibits.

LadyBee writes:

Burning Man Project and our wildly creative community have produced quite the volume of archival materials over our 36 years of existence; most of our archives are at Burning Man Project Headquarters (HQ) in San Francisco, California. There are also several growing collections at libraries and museums, some of which are publicly accessible.

Burning Man Archives and Collections at Libraries and MuseumsAn avid collector of Burning Man gifts, jewelry and ephemera, I recently donated my 26 years of archival materials to the San Francisco Public Library History Center, where anyone interested can walk in and request to see them.

The Nevada Museum of Art (NMA) in Reno has a large Burning Man archive, originally donated by Burning Man Co-founder Michael Mikel and then added to by many others. Later this year I’ll be donating my 26 year playa jewelry collection, plus prints, documents and photographs, to the NMA.

In addition, Nora Atkinson of the Renwick Gallery at the Smithsonian will soon select playa jewelry to be housed in the new wing being built for their permanent collection, opening in 2024.

Archives at Burning Man Project HeadquartersAs Burning Man’s archivist, I manage six archives and curate the art, photography and ephemera displayed at Burning Man Project HQ, which is a vibrant and some would say living museum of Burning Man history.

Burning Man press / media archivesBurning Man photographsThe history wall at Burning Man Project HeadquartersCollection of Burning Man material culture itemsLibrary books at BMHQ1. Burning Man Print Production: This archive includes everything that we’ve printed, including our annual newsletters (1999-2007), postcards, our annual stickers, the print version of our annual Survival Guide, the WhatWhereWhen and the annual BRC maps, thank you cards, Dispatch (annual reports) and departmental handbooks. 2. Press / Media: We initially kept hard copies of all newspaper and magazine articles about us; now we use a digital service to track domestic and international press articles, online videos and TV/radio spots. 3. Photographs: We have many digital and printed photos dating back to 1986, and we have a complete digital photo gallery online. You can search for photos by year, photographer, and subject. It’s great fun to pick a year and look through the many shots in our Gallery. In addition we have many framed/mounted photographs on display at our offices in San Francisco. 4. Material Culture: This is such an interesting archive! It contains physical items, many made to be gifted on playa, and includes patches, stickers, jewelry, shot glasses, bandanas, postcards, and much more. To see some of the items in this archive, go to our photo gallery and search Material Culture; you’ll be amazed at what you’ll find. You can also search by the item—such as stickers, pendants, and patches. I encourage everyone to upload photos of their playa gifts by clicking on the upload link at the top right of each page in the gallery. Then you’ll be part of our digital Material Culture archives in perpetuity. You can also mail items, using this form, to: BMHQ—Material Culture, c/o Burning Man, 660 Alabama St., SF, CA 94110. 5. Regional Archives: This archive consists of print production and material culture from the many Regional Burning Man communities all over the world. As of August 2022, the Regional Network is comprised of more than 250 volunteer Regional Contacts in 115 locations across 36 US States and 32 countries on six continents. There are now over 100 regional events annually. 6. Our Library: We now have 200 books; 40 entirely about Burning Man and 160 with significant Burning Man content. You can view many of them here.

Playa jewelry at the Sierra Arts Gallery in Reno, NevadaThe Burning Man Project Headquarters libraryAnnual ticket posters, on one of the library wallsT-shirts from when Burning Man was a SF Cacophony Society Zone Trip2020-2021 Burning Man patchesLearn more about the Burning Man Archives:* The Kitchen Sisters Present: Burning Man – Archiving the Ephemeral * There’s an Archivist for That

Cover image of 2020 – 2021 Burning Man patches (Photo courtesy of LadyBee)
All other photos courtesy of the author

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Roxane Jessi is an intrepid world traveler who spent the last few years participating in Burning Man Regional Events around the globe, from Blazing Swan and Burning Japan to Fuego Austral and Midburn — an odyssey chronicled in her soon-to-be-released book, Once Upon a Time in the Dust. This is the third in Roxane’s Journal series sharing the sights, sounds and connections from Regional Burns that took place around the world in 2022.

Borderland, Sweden’s Regional Event, epitomizes Communal Effort. I was fortunate enough to take part in its main gathering this summer in the enchanting Swedish woodland. I then returned in December for an unofficial decompression event in Stockholm. Both experiences demonstrated the strength of this year-round community.

I land in a frozen Sweden in the depths of winter to reunite with my Borderland family. As the year draws to an end, snow blankets most of the country, lakes have turned to ice, and frigid winds whistle round street corners. The days are short, and the long nights are best spent indoors by roaring fires. As I approach the city, I cast my mind back to the magic I lived when I last visited the country for the main event. Borderland is a Moomin-like wonderland in the woods, where trees are enchanted, and miniature bars spring from the ground. A land where Vikings compete in epic duels, boars are skinned with expert precision, and participants let go of their deepest inhibitions — however wild.

(Photo by Roxane Jessi) *

Back in July, I traveled from red-hot Nowhere in Spain to Sweden’s cool wilderness, crossing the “Border” to a land where the only currency is play. Borderland is unlike other burns I’ve participated in — and I’ve been to fifteen on five continents. Rooted in Live Action Role Playing (LARPing), it is more like a social experiment in participatory theater.

On arrival, a young Gandalf-like wizard strolls by with a wink under his giant gray felt hat, and I dive headfirst into play. The site buzzes as self-described Borderlings erect structures they’ve spent months creating. Art is not the main draw; the camps are. A sinful church, a spaceport, and one of the ubiquitous saunas — a Scandinavian rite of passage. On the hill, a fairytale fortress is being raised. There is no effigy or temple, the latter at odds with the predominantly atheist culture amongst this community, as would later be explained to me by a local Borderling. Unlike the ultra-organized Midburn in Israel, the pace of work seems purposefully slow, the site changing daily with new spaces to explore.

Borderland is uniquely managed. Aside from a core group that handles general event administration, participants co-create realities (practical aspects) and dreams (anything you can imagine). 2022 was the first year Borderland took place on this land, which was recently bought as its permanent home.

Like others, my camp, the 6* Hotel Jean-Luca has no set shifts for camp duties. It is a do-ocracy and everyone chips in, often breaking into loud Swedish folk song. During the day, we thumb the dog-eared JOMO guide with its Game-of-Thrones type activities. From welding, BorderLARP classes, to a Viking warrior quest. While there are few art structures on show, performance art is all around. Everyone stops to play, in full character. I challenge myself to enter the “Pet Olympics.” The competition is fierce; one daredevil contestant breaks free to climb to the top of a towering tree in a monkey suit.

Beyond the theatrical, the quiet camp area beckons, sweetly smelling of coffee. Home to cozy camps such as the Inner Cartographer’s Club, which is covered in plush cushions and heavy books that map world philosophies. As the sun dips people flock to the lakeside Tiki Bar, run by the comically-named Tropical Goths who huddle under black umbrellas while The Cure plays on repeat.

After dark, the wonderland comes to life. While burns are often synonymous with dusty deserts, the Borderland sound stages are nestled deep in the woods. We take a magical walk to the Muumimaa stage, inspired by the Moomins, a family of white, round fairy tale characters created by a Finnish illustrator. The trees twinkle with fairy lights on the enchanted woodland path, and the fresh smell of fern permeates the cool night. We delight at boxes hidden along the path, wherein one can take and leave gifts for other wanderers.

I am joined by one of our virgin campmates, and we leave Muumimaa to hit the backstreets and quieter camps. As we explore, I try to convey the awesome power of a place where everyone is free to be their authentic self and gift to others. At first he was hesitant to give in to play, and adamant against any fancy dress. I would see his transformation during the week; his serious exterior progressively chipping away. Burns have a way of softening the edges of those entering their social experiments.

(Photo by Maja Søby Madsen)For all its softness, Borderland is not for the faint hearted, providing a no-holds-barred environment for Radical Self-expression. A wild boar hunted by bow and arrow is skinned Viking-like outside our camp. Further afield, staff will insult you at the tongue-in-cheek Patriarchy Lounge’s Bastard Bar.

By the weekend, the outlandish peaks. I pass a man dressed as a werewolf-king, before diving to the ground for last orders at the world’s smallest miniature bar. Meanwhile, dark-bearded goths crowd the Tiki bar in formal wear for a snail race. Bets are placed and patrons loudly egg-on their snail, which they incentivize to race with salad leaves. Back at the hotel, wild boar is being served on a silver platter by a shirtless waiter with ram ears and a bow tie. He turns around; it’s the virgin burner who accompanied me to Mumumima earlier in the week — apparently no longer opposed to fancy dress.

The nights are short, and a heavy sunrise mist blankets the site. The mystical looking tree I’m camped beneath has been selected as a treehouse. I climb up and the view takes my breath away. In Norse Cosmology all beings live in Nine Worlds in the branches and roots of the world-tree Yggdrasil. Nine is a mythical number in Northern Europe, and the Poetic Edda, the most ancient collection of Norse poems, suggests these included the worlds of the Aesir and Vanir tribes of gods and goddesses, giants, and elves. ​​The Edda also speaks of Niflheim, the primordial world of ice, and Muspelheim, the primordial world of fire. As we come together to Burn, we honor the spirit of Muspelheim anew. Up in the tree, in the stillness of dawn, these ancient worlds collide like soft and distant voices as cool air blows through the tree’s majestic branches. It feels eerily magical, the misty woodlands alive with Nordic folklore.

Finally, we come together for the closing ceremony. Due to a fire ban there is no burn, but we feel the warmth of this 2,000-strong family. An arm gently snakes around my waist. The virgin burner who was so guarded earlier in the week gives me a hug, thanking me for helping him open up to this experience.

Although strangers a week ago, the experience has united us. This is what Burning Man does best, across its network. There’s no need for a dusty desert, towering art, or dramatic burns to feel its power. Borderlands’ Scandinavian experiment strips away these elements. Here we become real-life characters in the ultimate LARPing game — in a co-created reality where we can be our true selves.

Back to the present day in frigid Stockholm, my 6* Hotel Jean Luca campmates have organized a six-course meal in honor of my return. I am showered with hugs as I walk through the door and my hosts immediately dress me in traditional Viking wear. I look at at the faces around the table; the bonds between this group are solid. A sweet reminder that the tightest burn families never disband.

Later we go to the mini burn organized at Noden with its plethora of workshops offered by participants. It is a place to disconnect, a place to be silly, a place to be free. Here we are once more reminded of the strength of the community that exists year-round, notably through Blivande (which roughly translates to “becoming”), a participatory working space in the city founded by members of the community where artists and co-creators gather to plan the creative projects of the future.

It is these city gatherings that keep the burn spirit alive during colder times, when our day-to-day lives bite and we thirst for connection even more. Trudging through the bitter wind and snow, it feels good to reunite with warm friendly faces, reminisce about the times we built our “Home” in the woodland, and feel like one again. We leave with hearts full from a time spent on the border of reality and dreams. A tale of two cities, where we gathered to celebrate the primordial Muspelheim and Niflheim worlds of fire and ice.

Cover image by Roxane Jessi

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Photographer, conservationist, and Burning Man Co-founder Will Roger Peterson lives in Gerlach with his life partner and fellow Co-founder Crimson Rose. His remarkable photography, whether captured in his home studio or in the surrounding Black Rock Desert, speaks of the power and mystery of the natural world. We had the opportunity to speak with Will about his inspiration and daily practice as an artist, and his belief in the potential of creative flow to change how humanity engages with Mother Nature.

Will at his “Bouquets Ablaze” exhibit, 2022 (Photo courtesy of the artist)How long have you been creating your flower portraits and what is your process in the studio?I started in Oakland. It’s a good story. Crimson knew that I love flowers. So she would weekly buy me a cut flower bouquet, and we would put it on the table and then they would die, you know? But I wanted to do something to commemorate the bouquets and to thank Crimson for being really good about buying flowers every week. So I set up a little studio in Oakland. In my master’s thesis I used a technique called peripheral strip photography, which involves putting something on a turntable. And then there’s a whole technical thing that happens with that.

What I wanted to do was just show the flowers and make them more alive than they really were. I wanted to show the magic in it if I could. So I set up a turntable, strobe lights, and a flashlight. Then getting the exposure levels on all of that is very complicated. It took me a couple of months to figure out how to make good exposures and how to make it work.

So once I got that, I had a studio that worked, and then we did a renovation and I had to move the studio, and then I couldn’t get it to work again. Took me like a year to figure out what was going wrong. And then it happened again. Finally I moved it here [Gerlach, Nevada]. And I’ve been doing it here for a few years. So it’s probably been close to 20 years of flowers if I look back at the original ones, which look very different, and yet are similar to what I’m doing now. So there’s a thread through it all.

“Bouquets Ablaze,” 2022 (Photos by Will Roger Peterson)

What time or place or environment best suits your creative process?I’m a trained studio artist. That’s where my background is. So I walk into my little studio in Gerlach and I can feel the creation energy there because I’ve worked in that place a lot, and it feels comfortable. So some of it is your intention. For me, the place itself is a marker for bringing up that creation energy. The other place is anywhere outside. As soon as you go outside, you’re under the influence of the planetary cycles, right? So you walk outside and there’s a moon and a sun, and all of a sudden there’s a dynamic and a connection that has been repeated by humans for two million years.

I feel like that when I’m doing my walks; we have a labyrinth here in Gerlach that we walk every day and another one out at Fly Ranch that we walk on Sundays. That’s a very special place because the horizon is visible to the east, and you have mountains to the west. It’s a magnificent valley in Nevada and you can feel the creation energy there. You feel the connection to the Earth and to the moon and the stars and all of that, especially at night.

Can you explain your philosophy of Earth energy?Earth energy is creation energy. If you look at where we come from as an evolved species on a planet, we’re made up of materials from the planet. So I try to find my inspiration working with the elements from the Earth — which we all do, no matter what. Everything that you see scattered in this office behind me, everything behind me was made from stuff from the Earth. Okay? So for me, Earth energy is everything. And so I try to work with that.

What I’m doing is showing people that there’s magic all around us all the time. The fact that we’re on this rock flying through an infinite universe, and that this rock happened to have the right materials to create life. And that life started with a single cell, and it evolved into millions of species of different plants and birds and reptiles and mammals, and we’re all part of that — there’s a magic and a creation and a mystery to all of that. If I can get people to see that, and to find who they are in it, then maybe we have a chance to save our habitat on this planet Earth.

Fly Ranch Labyrinth Walk, 2022 (Photo by Will Roger Peterson)Do you have any strategies you use when you are feeling stuck creatively?I think there’s something about daily practice that’s really important. The dominant cycle for humans and everything on the planet is the revolution of the Earth. So sunset, sunrise, we have light, we have dark, that’s daily. I mean, that happens every day of our lives. And we take it for granted. We don’t even really think about it. But the daily cycle is the most important cycle. It runs our bodily functions. It runs a lot of different things.

So if you as an artist put something in your life that’s a ritual that happens daily, then I think you’ve achieved a lot. For me, daily practice is going for a walk at sunset every night. And I haven’t missed that in, I don’t know, probably 10 years. It’s more important than anything else. And if I’m somewhere else, I just go for a walk. And that has created a framework for me of creativity.

As an artist, you need to recognize that you need to connect it to the Earth. And that happens with daily practice. If you’re a writer, write every day, even if it’s just a sentence, but write every day. If you’re a musician, you should practice every day. As human beings, we need to practice being human every day . We don’t even do that. We’re in a fog, we’re in a dream most of the time. It’s the dream that our culture wants us to be in, to be consumers. To deal with creation energy outside of the dream that’s being imposed on us creates clarity.

Is it better to be creative on your own or to work in a team?A lot of my work is alone. The solo artist has always been an important contributor to our culture. On the other hand, the idea of collective art and collective consciousness, and working towards a common goal with a group is phenomenal. There’s nothing quite like it because everyone gets buoyed. Their spirit rises because of everyone. I guess it’s the best use of the term synergy; the collective result is much greater than the individual parts. So you have a synergy that happens with the group, with group art.

David Best is a good example. David Best has a way to inspire everyone that hasn’t anything to do with the art that he’s creating. He brings that inspiration to them, and that creates a collective consciousness and this incredible flow that happens. It might look impossible to meet the deadlines, then all of a sudden the flow is activated and things get done early. It’s just remarkable to see the machine that happens when you have a collective consciousness like that.

Larry Harvey burned a thing on a beach with Jerry James, and there was a creative moment, and everybody saw it. I mean, the rest of the people on the beach just ran down to see the Man burn. Larry had an incredible way of enlisting everyone in his creative ideas. The Burning Man community is a result of that. He was inspired every day, every moment. The guy was a walking creation machine. He was a great human being.

I miss him terribly, but I also feel that he is with me because he taught me in many ways how to take risks as an artist. I could never thank him enough. I miss him because of the parody and the craziness and the art spirit that would happen. I’m working to create that same thing in my own life, inspiring people in a much different way — by getting people to wake up and take risks and take chances and be real and be who they really are, not who they think they are.

Black Rock City, 2016 (Photo by Will Roger Peterson)Which of your creations are your most proud of?My book, Handbook for a Burning Age, is right now the most important thing I’ve done because it involves my photography of nature and my writing about how important the art spirit is in making this next step as humanity towards saving our habitat.

How can an individual — or humanity as a whole — tap into new creative possibilities?Good ideas and possibilities are always there for us. And yet, we’re in a fog most of the time that doesn’t allow us to see the opportunities and the possibilities that exist. Once in a while, we wake up and then an opportunity comes by and we take it and it’s life changing, and we go change our lives. And all of that’s cool.

But really we’re in a creation flow where there’s creative possibility and inspiration there all the time. The big point there is to remove our inner dialogue from the present moment. If we can do that, then the opportunities of creation flow in. That’s what happens when you get into a flow, an artistic flow. Your inner voice doesn’t interfere because you’re not questioning it, you just let it happen. I believe that we could be in that heightened state all the time, and if we did that, it would change the way humans live on the planet. We would be in creation energy, and we would be happier and more powerful and more in tune with the reality that we’re in on this planet in an infinite universe.

It’s vital. If we don’t walk through this door of creation energy, if we don’t walk through that door together as humanity, then Mother Nature is going to cause us to walk through that door painfully, let’s put it that way. So what I’m trying to do as an artist is wake people up before we get to the point that Mother Nature causes us to wake up. And we may already be past that point, I don’t know.

Cover photo by Gary Geer

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Burning Man Project, Friends of Nevada Wilderness, Friends of the Black Rock High Rock, land owner David Jamieson, and local official and Gerlach resident Andy Moore have filed a lawsuit against the Bureau of Land Management (BLM) for their handling of a proposed geothermal exploration project in Gerlach, Nevada. The proposed project would permanently alter the viewshed, deplete the local springs and water supply, and fundamentally change the quality of life for Gerlach residents and visitors.

The lawsuit was filed on the grounds that BLM didn’t consider the full scope of effects and illegally segmented the project to avoid conducting a more rigorous Environmental Impact Statement (EIS). The plaintiffs in this case and residents in Gerlach — a town of approximately 120 people — agree that BLM’s monitoring and mitigation conditions for the geothermal project are lacking, and that comments from a concerned public were ignored. The Finding of No Significant Impact was made without consideration of cumulative impacts or geographic context.

Even renewable energy projects must be studied and located in such a way as to minimize harm to the environment and the local community. This is an industrial project on the border of one of America’s pristine conservation areas, established for the purpose of preserving the view and natural environment.

BLM approved the drilling of thirteen 2.1-acre wells drilled to 1,500 to 7,500 feet spanning 2,742 acres in Gerlach, adjacent to the ecologically sensitive Black Rock Desert High Rock Canyon Emigrant Trails National Conservation Area (NCA). The co-plaintiffs have strong concerns about the adverse environmental, economic and social impacts of this project, and have asked BLM to conduct due diligence to ensure the region is not adversely affected. BLM completed a comprehensive Environmental Impact Statement for the Burning Man event in 2019, a week-long Leave No Trace event. An EIS is needed under conditions where permanent infrastructure will be constructed in the area of a small town and unique national resource.

Gerlach is a small rural town of 120 people, known by residents and visitors alike for its quality of life, natural environment, remote location, and sweeping vistas. The region is also known for its dark skies, which, when unobstructed by light pollution from industrial activity, offer exceptional opportunities for stargazing and amateur astronomy. Gerlach is known as the “darkest town in the country” and part of only seven Dark Sky Sanctuaries in the entire world.

Gerlach resident and Gerlach-Empire Citizens Advisory Board member Andy Moore joined the lawsuit out of concern for the permanent effects to his town and the region he loves. “No one I know is against green power. What we are against is a company coming in, disregarding our public input, ignoring our questions, giving false statements, and damaging a community in order to fill their shareholders’ pockets while destroying our quiet nights, our property values, and our peace. There is no gain for this town, only loss from this project at our expense and way of life.”

In greenlighting the project, BLM dismissed the cultural and recreational value of the town of Gerlach and disregarded the detrimental economic impact that could occur if tourism falters from loss of the dark skies designation or depleting the local springs and water supply. BLM offered no solution to local concerns about a diminished quality of life during construction, or in the aftermath — whether the project is abandoned or a power generation facility is built. This lawsuit is a response to BLM’s deficient process.

Earlier this week on January 11, over 70 Gerlach residents and guest speakers attended a public meeting to share thoughts and concerns about the potential short-term and long-term negative effects of Ormat’s proposed project. Concerns included potential erosion of the local watershed, incessant noise from construction and drilling, light pollution, habitat damage, and more. Community members expressed that their concerns have been ignored by BLM and Ormat for the past two years as Ormat has developed this project.

Gerlach residents and several of the lawsuit’s co-plaintiffs attend a community meeting on Wednesday, January 11, 2022 (Photo by Dominique Debucquoy-Dodley)Friends of the Black Rock High Rock is a nonprofit organization headquartered in Gerlach whose mission is inspiring a legacy of public land stewardship through conservation and education. Executive Director Stacey Wittek said, “The potential impact to this region can’t be overstated. Gerlach depends on tourism, and tourists come here for the small town feel and abundant access to sustainable recreational and educational opportunities. Our organization supports renewable energy in Nevada, but even renewable energy projects need to be studied and located in a way that doesn’t harm the environment or ruin the local community.”

Gerlach is the gateway to the extraordinary 800,000-acre public lands of the Black Rock Desert High Rock Canyon Emigrant Trails NCA. These arid landscapes are home to sensitive species, hot springs, canyons, 120 miles of emigrant trails, historical wagon trails, and prehistoric Lake Lahontan, the expansive playa where the annual Black Rock City event takes place each year. Many groups work and recreate in this area year-round, including ranchers, rocketeers, artists, astronomers, hikers, and off-highway vehicle operators. Public lands and small towns are essential to the character of the American West, and we want to help protect the unique resources in this area of Northern Nevada.

Environmental sustainability — including renewable energy — is one of Burning Man Project’s top priorities. Written in 2019, the 10-year Environmental Sustainability Roadmap has ambitious goals. We are taking our Gerlach operations and our BRC operations off of fossil fuels, as part of a long-term goal to make Black Rock City carbon negative. To get involved with Burning Man Project’s work related to the Ormat geothermal project or get information about sustainability and Burning Man, drop our Sustainability team a line at sustainability@burningman.org.

You can read more about the proposed geothermal project — including our comments on the BLM Environmental Assessment — on BLM’s website, and in this series in the Burning Man Journal.

Read the full lawsuit here

(Photo by John Curley)

Cover image of Hwy 447 (Photo by Leori Gill)

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What the heck just happened? It’s been months since we left the desert and I’m still working through this in my head. So bear with me. In fact, I’ll probably need a year to process what happened to me, how I feel about it, and then to find better words for articulating it.

What I do know is… this past year (well, the past five years) has been a whirlwind of unexpected triumphs, challenges, emotions, magic, growth, lessons and beautiful connections — all based around Black Burner Project and Burning Man.

If you don’t already know, I started documenting the presence of People of Color at Burning Man in 2018, through photography and personal interviews — titled Black Burner Project — after seeing the lack of visual representation presented in the media and the false understandings of the experiences people were having out there.

“Black! Asé” on playa, 2022 (Photo by Mattias Löw, ML Photography)Let me take you back with me, for a moment… See, I’ve always wanted to step into the version of myself that I knew in my soul I was destined to be. But circumstances, which I took as failures because of what I was lacking, led to fear and frustration over how long it was taking. Feeling “stuck” in life seemed to take me on a never-ending cycle to nowhere. Why couldn’t I just trust and stand in my power? I often felt I was watching the people around me evolve and move forward while I couldn’t get a grip. I can see now that I simply lacked awareness and the ability to stay present during this evolution of self journey, which kept me from believing it was ever going to happen — even as it was happening. I was not enjoying the ride.

Saying yes to a gifted Burning Man ticket and stepping onto the playa for the first time is what I credit for creating a shift in my life. What I’m realizing now is how those two important moments didn’t cause the shift — rather, they shook me up to notice the purposeful journey I was already on — and meant to be — on more clearly. I needed to go to Burning Man for Black Burner Project to exist and, subsequently, for “Black! Asé” to exist. Having the boldness to say yes, even amidst my fear, changed me. Never had I felt so strongly about an idea as when I felt the need and desire to start documenting the presence of Burners of Color. I had no choice but to pursue it. And then, it became bigger than me.

In 2021 I applied for a Black Rock City Honoraria grant and later led an outstanding team of doers, creators, leaders, and committed people to help bring a historic large-scale installation to Black Rock City in 2022. This put me in the vanguard of black female photography artists to receive the Honoraria. I’ve yet to really feel or understand the magnitude of this entire journey.

Pre-fabrication in Richmond and Petaluma, California, 2022 — with gratitude to Marco Cochrane & Ulan McKnight (Photo courtesy of Erin Douglas)I am learning now that I’ve always been the person I was looking for. Everything leading up to this huge idea, before I even knew about Burning Man, meant I was already powerful enough to dream it and accomplish it. Continuously questioning who and where I was in life was what took the feeling of my own power away for so long.

How My Journey to Bring Art to Black Rock City Began I remember when I first decided I wanted to bring an art piece to Black Rock City. It was a “someday I want to be the artist with a piece out there” thought that came to me. I sat with it. This idea would visit me every once in a while, but it never went further than a little desire deep down that I wasn’t ready to admit out loud or go after yet. It seemed too big. I’d never done anything like it. I was undermined by a little voice that asked, “Who do you think you are, anyway?”

(Photo by Erin Douglas)(Photo by Erin Douglas)In the meantime, I went on with my life. I was working my ass off to fill the void I knew Black Burner Project needed to fill, without any idea of what this work would eventually lead to.

It was the holiday season of 2020. We still didn’t know if Black Rock City 2021 would happen or not. I was hopeful that the normalcy I was used to was closer than it actually was. I was sitting in my basement watching a Christmas musical when I got a call from Yomi of We Are From Dust, a nonprofit that helps Burning Man artists install their work in public spaces after the Burn.

(Photo by Erin Douglas)Yomi presented me with an idea: We Are From Dust wanted to support an Artist of Color in bringing their first piece to Black Rock City. It sounded like he wanted me to be on the board. When I hung up the phone I remember saying in a soft whisper, “I want to be the artist.” That was the first time I had said this aloud, the beginning of this little dream brewing inside me evolving into something huge and real.

I had no damn clue what I was doing or what I had to do to bring this dream into reality. I didn’t know where to start, or what I needed to do. But the meetings started. The ideas and concept were born. I reached out to people I knew I wanted on my team, including mentors, and just took one step at a time. I can truly say I figured out every bit of this in the moment.

I learned fairly quickly that I was embarking on a multifaceted journey. Bringing an art piece for the first time as someone who had never entered the space of public structures or installations is no small feat. I know now that I did not ask the right questions and, without a doubt, I didn’t ask enough questions. What was I really getting myself into? What kind of support would I get or need? Where does one who has never done anything like this even start? What roles do I need to fill on my crew? What skills do I need? How much is this going to really cost me?

A few screenshots of our team’s virtual calls throughout the year, 2022“Black! Asé” Build Leads: Kyle Mimms & Brian GreenBy Day 6 of Build Week the elements were affecting my soulFran Xavier, “Black! Asé” architect & co-designerThis has been my biggest, most challenging learning experience, but also an extremely rewarding one that catapulted my growth exponentially. The pressure I put on myself, and the attention this project generated, compelled me to figure it all out. What kept me going and believing it was possible — even when everything seemed to be falling apart — was truly believing my project needed to be out there and then visualizing it, out in the dust, with people experiencing it. I dreamt of forming a diverse team with People of Color in lead rolls. What I wasn’t expecting was to witness my team form bonds, become family, and be inspired to go after their own creative endeavors.

What I Learned That Might Help You, Too! You will need an amazing team. You’ll need committed people who believe in your vision and mission more than you even expect them to. Once you build that team of remarkable humans, take care of them.

Spreadsheets and video calls will become your BFFs. I had more conversations about fundraising, metal, scaffolding, power, wood, and earth anchors than I ever expected.

You’ll be learning as you do it, and you will likely get a lot of things wrong. It was exciting to learn so many new skills. That’s why it’s so important to give yourself grace. You’re not supposed to be all-knowing and great at everything.

Understand your purpose and stand firm in why you are doing your project. Your reason and purpose is yours. It’s normal and healthy for the question, “Is this worth it?” to come up throughout the process. Even now, I still often get asked the question, “Was it worth it?”

Building art in Black Rock City is hard and will take over your life. Know up front that you will have many breakdowns. Experienced advisors and mentors are essential. Many unexpected situations you weren’t prepared for will challenge you. The dust storms may impact your build. Some days I couldn’t find our build site due to the thickness of the dust. Also, the heat! (Need I say more?!)

Expect your budget to be at least 20-percent higher than what you projected. Unexpected expenses will happen often and add up (I now own a 40-ft tall storage container, y’all. I mean, what?). Raising money is hard as hell. Ask for in-kind donations for everything. You’ll be surprised what people will offer. Inflation’s impact on materials can really jack up your budget.

Visualize your project at BRC before it’s there. I’m mentioning this again, because I can’t tell you how crucial I feel this was for me. It helped me stay sane. I even made a playlist that embodied the emotions I wanted the project to have on people and included songs that were encouraging for me. I listened to it every day.

Throw one epic event on playa and be done with it (if possible). The number of events I’ve now curated on and off playa for this project has officially taken me to pro-level. Remember to budget time, money and your asks of people towards planning events (fundraising). Consider collaborating with camps and/or art cars for events both on and off playa. Hosting too many on-playa events becomes exhausting.

The “Black! Asé” team (and a few others) after the PoC group photo on Friday evening in Black Rock City, 2022Black Burner Project group photo at the after party in collaboration with Robot Heart & DJ Ameme, 2022Believe in magic. It happened so many times. The humans on my team were pretty much magicians. The community and support has been overwhelmingly beautiful.

Be kind to yourself, and have fun during this process. Cry if you need to. Have fun. Find a jokester who can bring fun and encouragement to the team. Take care of yourself, so you can take care of your team. Find someone who will ensure you are being healthy on playa. Sing, dance and laugh often with your team. This makes long, hot build days more durable. Take it all in, feel your accomplishments, and try to be present throughout the week on playa.

Plan ahead for your Burn recovery. You will not be the same person on the other side. People will ask, “What’s next?” It’s okay to not know. The recovery for some can be intense. After this experience, I now know I can do anything!

Be bold, Burners of Color. Believe in yourself. Create whatever’s in your heart. Own your magic, no matter what. Take up space wherever you are, with every moment you are blessed with… To understand why we need this is to have lived within the souls of our ancestors.

Lastly, Even though the thought of doing something that is big, bold and powerful may be daunting — (I’m talking to YOU, aspiring artist) — this is when the journey begins. If you have the desire, it’s meant for you. Go after it!

(Photo by Christian Lamb)It takes a community. To all the people I met and worked with throughout this journey — those who touched this piece in any way: supported me, mentored and advised me, those who sent uplifting messages to keep going, and all the Burners who joyfully spent time with “Black! Asé” — you made this such a beautiful and humbling experience.

To the “Black! Asé” team — we did it! I am so proud of each person who was a part of this historic experience (starting from the very beginning, regardless of the role or time given). I am honored that this project received the gift of YOU. Your contribution was exponential in bringing “Black! Asé” to life. Our mission was grand. The purpose was and will continue to be extremely important. I hope you are proud of the impact we had. I hope you are inspired. I can’t wait to see what comes next for each of you in your creative journeys.

Until I know what comes next… Thank you!

Group photo in front of “Black! Asé” on playa, 2022 (Photo by Erin Douglas of Black Burner Project)

Cover image of group photo in front of “Black! Asé,” 2022 (Photo courtesy of Erin Douglas)
All images courtesy of Erin Douglas unless otherwise noted

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It’s been three years since Burning Man Project announced a new physical Temple, so we are extremely excited to kick off the new year by presenting Temple of the Heart by Ela Madej with Co-lead, Reed Finlay.

The Selection ProcessSelecting the Temple for Black Rock City is a uniquely challenging decision. We look for a design with a strong visual impact that can serve as a meaningful space to hold the full range of our community’s experiences and offerings.

There are both conceptual and practical considerations. Is the Temple creative and beautiful enough to be an artwork in and of itself, but simple enough that it doesn’t get in the way or dictate an experience? Will it burn well, and safely? Have the applicants planned for LNT, and considered sustainability in their design and execution?

The lead artists are also a key consideration in the decision-making process. Because the Temple is such an important and meaningful space, we need to be sure we select someone motivated by the right reasons.

With all this in mind, we are delighted to have selected Temple of the Heart! Design-wise, we appreciate that it will be relatively modest in scale. The space allows for many offerings from the community without pushing to be bigger than ever — a key consideration as we balance tradition and environmental sustainability.

We always look for a design that allows unskilled volunteers to make meaningful creative contributions. Temple of the Heart’s central altar will allow for people without build experience to participate in a significant way.

The selection committee is thrilled to have a woman as the Lead Artist for this year’s Temple. The feminine aesthetic and exquisite floral motifs found throughout the structure will be beautiful elements, both up close and from across the playa, day and night. Ela and Reed are putting their own hearts and impressive skills into this aptly-named Temple.

We hope you are as inspired as we are by our 2023 Temple!

The DesignTemple of the Heart is designed to look like an upside-down desert flower with a stem reaching up into the sky, serving as both a beacon as well as a sundial. It creates a feeling of being near a heart, wrapped in love for those who seek solace and respite. At night it will glow with soft, warm, welcoming light.

Sketch by Ela MadejPolish lace inspiration (Photo by Somadlyinlove)The structure is based on a 12-star base; the central gathering space is the Heart Chamber. Traditional floral lace patterns from Eastern Europe — inspired by Ela’s Polish heritage — will be used on the ceiling panels.

The center of the Heart Chamber features the Rose Altar, a prominent decorative element that will be back-lit to emit a soft glow. It will include approximately 100 large and medium-sized roses and hundreds of smaller flowers created by Temple volunteers and community members. The Altar is situated on a star-shaped elevation that connects all the way up to an external spire that represents the stem, sending the energy of the space upwards.

Design rendering of the interior of the Heart Chamber by Ela Madej and Reed FinlayHugging the Heart Chamber is a walled-off Outer Ring with an additional 12 alcoves with built-in seating. This space will inspire walking reflection and satisfy a need for movement, so the Heart Chamber can hold space for stillness.

The four entrances are surrounded by an ornamental fence with corresponding gates to create a courtyard surrounding the main structure. Each gate will be crowned with additional wooden roses.

The Lead ArtistsEla Madej (whose playa name is “Light”) is the Lead Artist behind Temple of the Heart. Originally from Kraków, Poland, she moved to the US in her mid-twenties and now lives in San Francisco. Her first Burn was in 2012, and she hasn’t missed one since. In 2016, she joined a sustainability-focused theme camp, Hotel California. As one of their “Monkeys,” she is involved with most build jobs that involve heights that scare other builders. In her professional life, she is focused on creating positive social and environmental impact. As a mother and someone who often metaphorically holds space for others, Ela was moved by the idea of creating a vessel that can physically hold space for thousands of people and hopefully help them feel loved and accepted.

Ela says, “In bringing this Temple to the playa, we want to experiment with how much of our hearts we can insert into Her in the next eight months. This is going to be a beautiful process and hopefully a life-changing experience for those who get involved.”

Reed Finlay is the Co-lead behind the Temple. Residing in Ojai, California, Reed is a designer of spaces for spiritual health and transformation. He was inspired to co-create Temple of the Heart with Ela after hearing about her vision of bringing a feminine Temple to Black Rock City and seeing her early sketches. What followed was a powerful collaboration: Reed’s expertise in temple design and sustainability led to a structure that is not just beautiful and powerful but also buildable, ecological, and safe.

“The Burning Man Temple is the most remarkable place for deep sharing, grieving and celebration,” Reed says, “and we feel a great responsibility to provide a space that respects those profound experiences.”

Ela has already assembled a team of highly skilled builders with extensive experience in building previous Temples. Tree J, one of the most experienced woodworkers in Burning Man’s artist community and a founder of the Temple Builders Guild, is the Build Lead for the Temple of the Heart. Nonstop Symon is the LNT Lead and Ajesh Shah will be the Volunteer Coordinator. Others who have committed to supporting the project include Steve Brummond, 2017 Temple co-artist and architect, and many other skilled builders with experience in Black Rock City. Finally, Ela’s crew from Hotel California is committed to supporting all stages of the project and are donating camp resources and their custom solar infrastructure to the Temple.

Design rendering aerial view of the Temple of the Heart by Ela Madej and Reed FinlayHow You Can Get InvolvedBuilding the Black Rock City Temple takes a vast community of individuals who are dedicated to creating a space for thousands of participants to have meaningful experiences.

Do you think you want to be on the Temple Crew? Ela and Reed welcome experienced builders as well as those looking to learn. If you would like to help, please fill out the form linked on Temple of the Heart’s website.

Another key way in which the Temple Crew plans to involve the community is through the flowers incorporated into the design. They are looking for contributors to send their wooden flowers, which will be added to the composition in the Rose Altar and used to decorate the gates. With these flowers, contributors may also send a letter or photograph to be added to the Temple offerings.

The Temple Grant only covers a portion of the total expenses. The Temple belongs to all of us, and it takes many donations, large or small, to help it become a reality. You are invited to donate now through the Temple of the Heart website, or look for the Kickstarter campaign scheduled to launch in mid-February.

(Cover image is a design rendering of the Temple of the Heart by Ela Madej and Reed Finlay)

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Burners around the world kept the flame burning brightly this past year. Some of us built an ephemeral city in the Black Rock Desert. That’s f-ing incredible! You also brought Regional Events back, made Burning Man art out in the world, and sparked connections, new and old. Every one of you brought your Burner spirit to collective projects; you shared the struggle, and the glory.

What we do as Burners and as a global culture is important to the world. Burning Man in all its iterations gives us permission to bring our full selves to life. Through this process we create, we learn, we play, and we build a path forward for humanity.

We’d like to share gratitude from some of the humans who help make Black Rock City and global Burning Man culture happen. Feeling the love and gratitude too? Drop it in the comments.

A City of Art — Imagined and Built by You“Seed of Dreams” by Martin Taylor and the Chromaforms Art Collective, 2022 (Photo by Leori Gill)Katie Hazard from the Art Department writes:

“Art came back in a big way in 2022 — literally. Black Rock City had more art than ever! In the Art Department, our staff were thrilled to help make the magic happen by supporting so many artists after nearly three years of dreaming, planning, pausing, building, adapting, and evolving. Burning Man artists are so passionate about sharing their work in Black Rock City and that dedication was more evident than ever in 2022.

“This year was a struggle for so many of us — particularly art crews — but as we looked out upon the open playa it was truly heartwarming to see their visions finally realized. We’re so proud of and grateful for the tremendous emotional and cultural impact that Burning Man art and artists have on our community and the world. It’s inspiring to see what we’re capable of when we work together!”

The Spirit of Gifting“Petaled Portal” by David Oliver, 2022 (Photo by Espressobuzz)Danny Kaufman from the Philanthropic Engagement Department writes:

“The spirit of gifting, and YOUR generosity these past two-and-a-half years allowed us to not only return to our dusty Home, but also to continue carrying out the year-round nonprofit programs that bring Burning Man culture out into the world. In all, more than 25,000 Burners around the globe stepped up and made a donation to Burning Man Project during this period, with more than 7,000 contributing in 2022.

“We could not be more grateful or inspired by the kindheartedness of this community. We literally could not do this without you. If you would like to continue supporting this important work, please consider making a gift to Burning Man Project before the end of the year.”

We’re Endlessly Inspired by Global Burning Man CultureWhere the Sheep Sleep, 2022 (Photo by Brenda & Huybert)Iris Yee from the Regional Network writes:

“2022 was a comeback year in the Regional Network, the interconnected web of volunteer Regional Contacts and instigators who bring Burning Man culture into their local communities year round. Seventy percent of official Regional Events held in 2019 returned — 73 in-person gatherings in 18 countries and 27 US states!

“Around the Burnerverse, there was a release of pent-up creative energy which manifested as a strong year for art at events. Simultaneously, Regional Contacts, official Regional Event organizers, and community leaders came together virtually in workshops and forums to teach, learn, and explore how Burning Man gatherings, spaces, and projects can be more inclusive, environmentally sustainable, and meaningfully connected.

“Thank each of you for tending the fire in your own way, keeping the culture alive while experimenting in new and inspiring ways. We can’t do this without all of you!”

Cover image of the Man on Burn Night, 2022 (Photo by Duncan Rawlinson)

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Burning Man culture is filled with secret instigators who show up time and time again to help make astonishing things happen. Our eyes may wander to the shiny humans who stand in the limelight. But just outside the frame are people like Rob Schmitt. Some call him the Invisible Man. Others say he’s Santa Zero, aka Santa Rob. SantaCon — yes the Santa rampage that happens yearly in cities around the world — is his wayward brainchild. Here’s Rob’s story.

Greetings, Santa Rob. Thanks for making time to speak with me.I usually don’t give interviews. I usually don’t come out in the world with my real name or my face. I’ve always been kind of in the background doing things like that.

So how does it feel to be brought out into the open as Santa Zero?An article in Harper’s Magazine brought me out in 2017. Well, nobody might notice this time too, but you never know. One day maybe it’ll catch on.

So what the hell happened? How did you get this noble title of Santa Zero?In the early nineties, the Cacophony Society attracted me. So I went to a lot of Cacophony events and I thought of doing the Salmon Run, running the salmon upstream in the Bay to Breakers race in 1990.

You thought of that?We didn’t get around to it until 1994. I got involved with the Cacophony Society and I mentioned it in a Cacophony meeting. Annie Coulter designed and built the salmon costumes with me. While I was making the salmon costumes, I found a postcard in her bedroom of Santas playing pool. I looked at it and I looked at her and said, “We gotta do this.”

I’d heard about the Santas in Denmark, giving away toys in the stores. And then the guards came out and ripped the toys away from the kids and beat up the Santas.

I heard about it in a dinner party with a friend of mine from the Suicide Club, and stuffed it in the back of my head. Then when I saw the postcard, which was sent by Lisa Archer from the first Santa Camp at Burning Man, I was like, “We gotta do this.”

I brought it up at a Cacophony meeting and one of the guys was like, “Oh, that’s the worst idea ever . Think about the kids.” It was because Cacophony never did anything that would damage anybody else, never wanted to hurt anybody. He kept on telling me, “You can’t do it.” Which made me wanna do it more.

But in the back of my head, I heard the Mother Jones article that Gary Warne sent in the Suicide Club Newsletter. It was about the guys in Denmark going into the toy stores and giving toys away to kids. I loved that. Loved that idea.

So that’s how I ended up getting into this. That’s how it started for me.

Why are Burners so fascinated with Santa Claus?I think it’s the appropriation of an image in popular culture — and that’s a big image. Everybody knows Santa Claus, everybody knows who it is. I think that may be the thing: we’re messing with a big image or a big, big thing. It probably made it take off cuz people like jumping on big popular things, I guess.

I was surprised going to Burning Man in the late nineties, seeing a ton of Santas at Burning Man . People would dress up in a costume and be in that hot desert in the heat. But Peter Doty in 1993 did Santa Camp — all Santa all the time. Lisa Archer sent the postcard to Annie Coulter. She was Santa’s helper. I went over there and had eggnog in 100 degree weather. The Christmas carols… back then there were really no sound systems. So you can hear the Christmas carols all through the camp.

Peter Doty sharing s’mores at Christmas Camp, 1993 (Photo by Gerry Gropp)Christmas Camp, 1993 (Photo by Gerry Gropp)I don’t think it was the first theme camp, though it was considered the first theme camp. There were theme camps out there already. There was the Bolt Action Rifle Club that was out there the first year even. But nobody noticed they had guns then. Nobody noticed. Must have been noisy, but it was a big desert.

But they noticed Santa. At the end right after the Burn a giant storm came through the desert. Every mountain got hit by lightning all at the same time right before the Burn. And the Burn went off without a hitch. It was beautiful. It looked like you were in a 10 Commandments movie or something like that. It had a wonderful biblical feel. As soon as the Man was done and fell over, the dust storm hit and people were trying to get back to the camps where you couldn’t see anything, you couldn’t breathe. It was a really bad dust storm.

I’m walking back to my tent and I see Peter Doty dressed as Santa being pushed on a wind sailer that was built up like a horse, I think it was. He was sitting on this wind sailer, dressed as Santa being pushed back to his camp going, “On Donner! On Vixen!” So good. He stayed in character the whole time. The camp was all dressed up in tinsel and decorated for Christmas. It was beautiful.

How how many Burns did Christmas Camp last?One, I think.

Good, okay. Otherwise all of Burning Man could have become Christmas Burning Man if we weren’t careful.* Ok. Tell me all about the first SantaCon.***In fact, when I did the first SantaCon, it went very well. It was a beautiful event. I had so much help. I couldn’t have done it without everybody. I had so much help. Back in the day with Cacophony, everybody joined in and did everything they could to make it work.

And I think that’s why Burning Man works . Because back in the day, in the early days with Cacophony, everybody helped. Everybody jumped in. If you had to lift something or move something, a truck showed up. If somebody needed to get equipment, equipment showed up. It was a magical time where people were able to survive here in San Francisco without too much money and then be able to do stuff and be able to have time off to do the events.

Cacophony Society instigators Larry Harvey, Rob Schmitt, Danger Ranger, Louise Jarmilowicz and the 5:04 PM art car, 1994 (Photo by Philip Liborio Gangi)You’d be mailed the Rough Draft and you called each other on the phone and stuff like that beforehand. But people really didn’t have voicemail back then. You got an answering machine. So you had to be really on top of your game. And I think that has remained in Burning Man culture. In order to make things happen, you still have to pay attention. You still have to connect with people in person and be on top of your game. I don’t think that’s gone completely.

So when SantaCon began, Stuart Mangrum made this business card. Kris Kringle Institute, I think it said. I can’t remember if that was the first year or the second year. The original idea was getting out of a Santa school with a bunch of Santas and going out drinking.

My idea back then, because I did events and parties — to this day, I do events and trade shows — and I knew where all the Christmas parties were.

SantaCon announcement in Rough Draft, the Cacophony Society newsletter, 1994So you crashed big holiday parties?I knew where the debutante ball was, so I crashed the debutante ball. The Smothers Brothers were giving a performance to the debutante ball when the Santas came in through the back door. We knew how to go into the back rooms and the back ways, through hotel rooms or through the hotels. So I dropped ’em off at one part of the hotel. I told them, “Go into the back door this way and go.” So they ran in from the backstage area, crashed the debutante ball, danced with the ladies and then we got out and went straight to the Tonga Room.

Cheap Suit Santas crash a fancy shindig, San Francisco SantaCon 1995 (Photo by Peter Field)We got there on a cable car, got in the Fairmont and the bus was going to meet the Santas down by Fisherman’s Wharf. So I had to run and then get the bus to come up to pick them up at the front of the Fairmont. It was just a mess. Trying to get people together, herd cats like that, the typical. I kind of missed all the exciting stuff. So I hear stories about how they crashed the Tonga [Room at the Fairmont].

We went to two bars that night. We went to Vesuvio’s and Paradise Lounge. I knew the owner of the bar. I called him up and I said, “Look, we have 38 Santas, we’re in the neighborhood, we’d like to drop into your bar. Is that okay?” “Yeah, sure. Bring them in.” I actually wasn’t able to go into the bar because I was waiting on the bus protecting the bus . They parked in the back; there were bad parts down around the neighborhood. I was on the bus so the driver of the bus could actually go in and experience part of the event. So I sat on the bus in the doorway waiting for people to come back and they were in there for about half an hour doing stuff.

A busload of Santas, first SantaCon in San Francisco, 1994 (Photo by Peter Field)How do you feel about what has emerged from that one event in San Francisco?I really don’t think about it that much. When I still do SantaCon once in a while… When I walk into the bar, all of the bartenders give me the finger, both fingers and then mouth, “Thank you.”

At first when I was doing this, I thought, “I’m destroying Christmas for the kids.” Well [at the first SantaCon in 1994] we hit the Emporium, which is a shopping center downtown San Francisco where they used to have a kiddie carnival, including a Ferris wheel on the roof. The first year we were there, we had 38 Santas and we were able to get all the Santas on the Ferris wheel. We all walked into the Emporium, all dressed as Santa. We rode the escalators, all went to the roof. And when people were asking, “What do you do? What’s happening?” We’re like, “We’re here. You asked for Santas?”

Getting on the roof of the kiddie carnival, I was expecting to see more kids. But luckily there were only two little girls up on the roof when they saw all the Santas. The little girl was like, “Santas more Santas, more Santas.” All they can think about is more Santas.

They’ll never be the same.And they followed the Santas around. When they saw the kids, the Santas were nice. And when the Santas were on the Ferris wheel, the kids were watching, it looked like the Santas were riding a sleigh. The visual is in my head like indelible link, Santas on the Ferris wheel, riding a sleigh

Then I realized it was not going to destroy Christmas.

How do I feel about it? The size amazes me. In New York City they had 40,000 Santas. I was out there. And it boggles the mind: everywhere you look, red people. It was so nice getting in a cab from Brooklyn going across the Queensboro Bridge and heading south at the tip of Manhattan — every single block had 20 or 30 Santas on it. We’re driving through Brooklyn or driving through Manhattan from halfway down Manhattan, Santas everywhere.

I feel kind of good about it, but at the same time , I’m not scared of it cause it’s interesting to amass so much fun, I guess. I don’t know. When I stepped out my door on the day of SantaCon, I walked down to Washington Square Park and it was a hundred percent full of Santas. You couldn’t move. Throughout the whole park was shoulder-to-shoulder to Santas.

And nobody knew that Santa Zero was in their presence at that moment.A couple people there. A couple people found me.

I’m kind of glad it keeps on going. I’m glad that the new guys that are doing it are doing it because it gives them ideas. Cause when I’m going to the event, these guys are, “What are we going to do next?” And they talk about what they can do. Which is kind of how this thing got started. If people are out there and they see a bunch of Santas, maybe it’s going to tilt them in a way that gives them an idea to do something.

Want more? Here’s Chuck Cirino’s video from the second SantaCon in 1995:

Cover image: Montage of early San Francisco SantaCon photos, 1994 and 1995 (Photos by Peter Field)

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I recently sat down with first-time Burners Kartik Vasan and Smriti Bhadauria, a husband and wife from India. They were gracious enough to share their experience—in words and photos—from Black Rock City 2022.

Tell us about your journey getting to the Black Rock Desert—what made you decide to go for the first time this year, and what was that process like for you?Smriti: Oh, man. The first Burn was so much more than what we could have ever expected. It’s been a really, really, really long-time dream of ours to make it to the Burn; we just never got lucky with tickets. But this year, things were ‘meant to be’ for us.

We were on a ferry in Nicaragua, with the spottiest network ever, sitting in the virtual lineup for tickets. We honestly had zero hopes of getting in. Then, suddenly, the screen was like, “Oh! You are in for tickets, just make your payment.”

We couldn’t believe it because 35 of us from our camp were trying to get tickets and only the two of us, on a ferry in the middle of nowhere, hot-spotting on our laptop, got tickets! So we were like, “Okay, this is a sign. This is our year.”

How was it when you finally arrived on playa—were you feeling nervous, excited, overwhelmed…?When we first told everyone we got tickets, our friends were like, “Won’t you be in Colombia then? What are you gonna do with your dog? What are you gonna do with your campervan?” We had to find a place to leave our dog and the van, we had to fly down, get packed… It was a lot.

We didn’t have our van or an RV or anything like that for our first Burn this year, we just did the tent thing. Thankfully there are so many resources on the Burning Man website—what to pack, what not to pack. It was overwhelming, to be honest, the packing process. We had spreadsheets and spreadsheets—we need water, we need this, we need that. All those checklists really help you.

I think bringing an openhearted mindset is so important as well, and just being able to embrace whatever it is. ‘Cause before you get there, you’re honestly overwhelmed with the prep. Once you get there, you’re like, “I’m doing it. (big sigh) I’m gonna do this.”

You’ve seen so many pictures of Black Rock City, but still nothing comes close to just being there. It literally blows your mind. We knew it was going to be overwhelming for us, so we kind of prepared for it. The first two or three days we’d planned to not do too much—just soak it all in, understand how the camps work, understand how the community is out there. Then we started exploring the playa.

How did you decide what to pack, and what resources did you find useful when you were planning what to bring to the Black Rock Desert?(Smriti smiles.) We were in our planning stage of outfits for a while. The ONE question I had in mind for the entire prep of my first Burning Man experience was what exactly is a Burner outfit? My husband was able to find a lot of—I don’t even know how to say it exactly, but—“Burn clothes,” I guess?

I was not at all comfortable with what I was finding; None of the outfits I was seeing felt like a way for me to radically express myself at Burning Man. I was very unsure of how I was gonna be myself and what I’d be wearing.

Then suddenly, while we were at my aunt’s house, I was just browsing her closet and it hit me: “Wait a second! Is there anything more colorful than Indian sarees? And is there anything more wild than a saree? What’s more expressive than being loud and proud of my culture and bringing representation to a space that predominantly feels very white?” So I just picked out the most vibrant colors from my aunt’s closet and picked out some crop tops, too. I was like, “You know what? This is going to be my Burn!” Instantly I felt this sheer excitement and connection to the Burn, once I was able to make that decision to rock a saree at Burning Man. After that, everything was just magical.

“I was going to be this vibrant version of myself that I was not able to find in Black Rock City otherwise; that little decision really made the experience so much more powerful for me.”

The Burn is so much about self expression, but I didn’t know what my expression was—right up until I decided to embrace my culture and my roots and my traditional outfit. The thing with sarees is: it’s just a piece of fabric, so it’s such a body positive outfit. Anyone can drape it, no matter what your size is—how big you are, how small you are— and it just looks feminine on you. It looks perfect, no matter how you wear it, how you drape it, it makes a statement.

I also picked up some jewelry with it. There are these long-hair accessories from this classical Indian dancing called Jadai Billai, which my niece does. She wears them in her hair whenever she performs. I asked her if I could borrow some for Burning Man. So in some of our photos and videos, I’m wearing a long braid with these little golden pieces throughout the braid that are actually part of the dance form called Bharatnatyam.

View this post on InstagramA post shared by Smriti | Kartik | Everest (@thebrownvanlife)

Where did you find the inspiration and courage to wear your saree, since it was something you hadn’t seen or heard about others wearing previously? When we started our van life journey, we were literally one of the first brown people to do it. So I think somewhere during this journey, we discovered that we have to own who we are and we have to celebrate who we are. It’s the same essence we felt with Burning Man: we are outnumbered and we are limited; we have differences, we are all different people, but that’s fine. We have to own it and celebrate it.

Overall the overwhelming support that we continue to get from our van life community and from the social media community—what it means to them—every time we own who we are and celebrate it… It’s amazing how powerful and impactful that is.

To then witness the response I got on playa from Burners, it was exactly what I needed to feel like a part of the community at my first Burn. I’ve talked to a lot of people who said they didn’t have the courage to do what I did.

“So many brown girls have been pleasantly shocked to see me ride my bike in a saree around the playa, I think they’ve realized they can do it too.”

Smriti in front of “Autumn Spire” by Eric Coolidge, 2022 (Photo by Kartik Vasan)Do you feel like you saw more or less diverse representation than you expected in Black Rock City?To be honest, once I was there, I felt a little out of place because I just didn’t see many brown people out there. But once we started exploring, I was surprised.

As soon as I went out cycling wearing my saree, there were brown girls running towards me—just coming up and hugging me. There was one brown girl who was dressed as a cupcake, and she hugged me really really tight. She just kept saying, “Thank you, thank you, thank you for doing this!” I was like, “For doing what?” And she said, “You have no idea how many years I’ve been dreaming of wearing my saree at the Burn.” I guess it was her fifth or sixth Burn. “But I just never had the courage. I never thought I could pull it off. Until I saw you and I was like this is it. Next year I have to bring my saree!”

After that, I had so many of those moments where random people—from India or from South Asia—would just come up to me and be so proud and so happy to see that I did this. That’s when I realized that there were actually a lot of brown people, they were just not prominent or they were hidden or they were just trying so hard to blend in that I could never really make them out. But I was able to make a little community out there and connect with people—I was like, “Hey, maybe we should do a Bollywood Club next time, like a theme camp.” Everyone got so excited with that idea.

Honestly, you may feel a lack of representation at your first Burn, but things are changing. There were a lot more BIPOC folks than I had expected. There was Black Burner Project; we got to attend a diversity talk hosted by PlayAlchemist, where Monica Dogra played music; and we even bumped into our favorite Indian actor, Abhay Deol.

Can you tell us about the epic dinner you hosted in your camp?Our camp is very supportive and small—we have a group of about 35 people. It’s called Never Never Camp. One of our very close friends Josiah was the one who started it, and they have assigned dinner nights.

Burners at Never Never Camp enjoying Smriti’s home-cooked meal on playa, 2022I knew I wanted to do an Indian dinner, which is very elaborate. I was committed to it. So we packed all the spices, all the ingredients. I had made the curry paste right before—maybe an hour before—hitting the road. We packed up all of our ice coolers.

I decided that since everyone would be beat that first night, I was gonna do a fabulous Indian dinner the second night. I went all out—I made two, three dishes. I made a vegan version of a curry, then a chicken version, and a regular vegetarian version. I also did a very elaborate Indian dessert, plus naan bread and rice and everything. I even brought a box full of Indian snacks just for everyone to munch on all week. It was amazing to feed people food from my country, and in the middle of Black Rock City where there’s so much love and warmth.

“Being comfortable in your own dusty skin and clothes is a huge part of this community. It was beautiful to see everyone welcome our culture and roots when we wore our desi outfits and shared our Indian cuisine. We cooked up an entire Indian feast for our camp of 35 members and served pani puri on playa.”

Have you started making plans yet to attend Burning Man again, and what will that look like?I really wanna do a Bollywood night where we just play a lot of Bollywood music and dress up. In 2023 we are also planning to do a bike ride out in sarees, because one of the biggest concerns everyone had was: How will you ride a bike in a saree? It’ll be impossible to ride a bike. But I figured it out this year; so next year a bunch of girls in my camp and other girls have said they already want to participate. Hopefully we’ll build a bigger community once we come back next year.

We definitely decided this year that this is going to be a lifelong relationship. It’s not gonna be just one Burn for us. We’ll come back as long as possible. So you’ll definitely see some Bollywood-related events in next year’s roster.

“Overall, Burning Man made us open our hearts in ways we didn’t know were possible. #ThanksLarry”

You can follow more of Smriti and Kartik’s beautiful journey as they travel the world—with their dog Everest—in their renovated 1977 Dodge B200 Tradesman campervan.

All photos and videos courtesy of Smriti Bhadauria and Kartik Vasan; Cover image of Smriti Bhadauria in her saree on playa, 2022 (Photo by Kartik Vasan)

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This is part III in Caveat’s series about “decommodifying permission” and figuring out how to square the needs of a decommodified art culture with the difficulty making a living as an artist. Read the whole series here. A while back I was having tea with an artist I admire, and he mentioned that one of […]

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Originally published on October 29, 2022 | Reposted with permission from the author Midburn. A return to dust. But instead of white powder blowing like wispy dancers across the Nevada plains, the sands of Israel’s Negev Desert shift like golden tides over tall dunes. Dunes that are made to be explored, wrapped in thick desert […]

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Black Rock City rises each year on the ancestral land of the Pyramid Lake Paiute Tribe and the Fallon Paiute-Shoshone Tribe. Over the years, there have been many voices and conversations in favor of organizing a land acknowledgement and blessing prior to building Black Rock City. In 2019 Marnee Benson, Burning Man Project’s Director of […]

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Originally published on August 14, 2022 | Reposted with permission from the author Last year — for the second year in a row — most of us sat at home and experienced Black Rock City (BRC) and its Regionals through a screen, or via a headset as an avatar. I remember the rather unceremonious burning […]

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In my first post in this series, I said that decommodified art can do things that commercial art can’t. But what does that mean? Here’s how I put it in Turn Your Life Into Art (with snippets from a few different sections, lightly edited below): Consider Disney World. Imagine the most impressive, impossible ride that […]

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“Sometimes, I am the beast in the darkness.” ―Heather Durham The Black Rock Desert can appear at first glance to be lifeless—other than, of course, the silly humans who build a city there every summer—but this is far from the truth. Anyone familiar with the high desert knows that even out on a dry lakebed, the […]

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To witness Crimson Rose in action wrangling performers and staff is to experience a force of nature at work in her element… and yes, that element is fire. One of the six Cultural Founders of Burning Man Project, Crimson oversees everything to do with performing at and participating in Black Rock City’s Burn Night rituals, […]

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For the past year I’ve been visiting different Burning Man communities and offering to work with local artists and creators to collaborate on some kind of weird art experience for everyone who wants to participate. The reason—at least at the time—was that since publishing my new book Turn Your Life Into Art: Lessons in Psychomagic […]

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Even as the 2022 Burning Man event was still happening, there were murmurs from participants about an art project of a large, convincingly scary beast that you had to seek out and experience. In the weeks following the event, “Facing the Fearbeast” by Tigre Mashaal-Lively & Make Love Visible was getting a lot of attention […]

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Back in June, we shared with you about the base we didn’t build. Now, here’s the story of the base we did build. The 2022 Man Base was very much a collective effort, in terms of conception, creative execution and build. Kim Cook, Burning Man Project’s Director of Creative Initiatives, had the unique opportunity to […]

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Now that we’re on the other side of That Thing in the Desert, dusting off our gear and getting back to whatever it is we do the rest of the year, it’s easy to believe that the BRC event cycle has come to a close. Oh nooo, friends. October is when we — the Black […]

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Holding hands with my sister and playa family while the Man burst into flames, the dancing fire reflected in our eyes, having lived an unforgettable week of fun and adventures. This was the ending I was expecting after three years off playa during which I sorely missed our Home and poured my heart into writing […]

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Burners. We’re a culture of producers. It’s only ever a matter of time before each of us has to tackle cat herding and event logistics — whether we’re creating public art, concocting something small and weird for our friends, or joining a crew to engineer something much bigger than ourselves. Just one month after many […]

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The ephemeral nature of our desert metropolis is a large part of what makes Black Rock City what it is. The city is built, we Burn, and then everything is systematically taken down and picked up. But it would be a (forgivable) misnomer to say that what we build together is “a week in the […]

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I don’t know anyone who isn’t thinking that this past Burn was one of the hardest weeks of Burning Man that we’ve ever had. But why? It’s been hot before, and we’ve had whiteouts before, so how come this one felt so challenging? I say this knowing that we (Erica & I) are among the […]

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My first several days on the playa did not feel like Burning Man to me. It felt strange and unfamiliar. I was looking for big, showy moments of overwhelming magic. When Burning Man began to happen to me, it happened in quieter moments, almost private.  These are the first few moments when I realized: yes, […]

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I have a new metaphor for the way Burning Man changes. For the last 10-ish years, I’ve been a part of the team at BMIR that is on the air while the Man burns. I started out as a color commentator, and then gradually became the broadcast host as other members of the team departed. […]

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Light-hearted disclaimer: Just because I went to Black Rock City with a broken leg doesn’t mean you should! Black Rock City is radically inclusive of participants with reduced mobility. But also, it’s your responsibility to be physically prepared for potential hardships. Looking for mobility support in our dusty metropolis? Start with Mobility Camp. It was […]

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On August 19, the Bureau of Land Management released its Draft Environmental Assessment of Ormat Technologies’ proposed geothermal exploration project outside of Gerlach, Nevada. The BLM is seeking public comments and feedback by September 19. Burning Man Project has taken up that call and is sharing our comments here. You can also read our first […]

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You can’t document Burning Man. Most who try hit the potholes of confirmation bias or fascination with shiny objects. In photographers’ terms, most look at Burning Man with a shallow depth of field. The main subject is in focus, but the background is oddly blurry. That being said, John Curley is one of the rare […]

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Fire is the very heart and essence of all life, for it is more phenomena than substance that is revealed, seen and touched in ways of ritual and risk. It is the primordial energy of the divine manifesting in matter and we are all part of that primordial ingredient. Dancing with fire has always been […]

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The gates haven’t even opened yet, but we got a very early taste of what Burning Man 2022 will be like. Last night began ever so calmly as the sun got lower in the sky and the late afternoon golden light bathed everyone in the wonderful pinkish glow. Work setting up the camp was done […]

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We are in week three of the build and despite continuing difficulties with the weather, incorporating new members of the volunteer crew, and having to kind of relearn everything we used to be able to do with our eyes closed, Black Rock City is coming into shape nicely, according to city superintendent Tony “Coyote” Perez.His […]

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Renowned human rights activist Dr. Victor Pineda spends his days teaching at UC Berkeley and running two global initiatives through his foundation: A World Enabled which partners with governments and companies to unlock Radical Inclusion; and Cities for All, which directly helps city leaders and communities create more inclusive, accessible, and resilient futures. As a […]

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Since Burners first frolicked in the Black Rock Desert way back in 1990, the culture and ethos we’ve created has trickled into the wider world. In the beginning, our imprint was small and obscure. But slowly, year after year, as Black Rock City grew and morphed, Burning Man culture began to have a considerable impact […]

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The re-opening of Black Rock City after several years away from the dust is just days away. If you’re like me, you’re quietly (or not so quietly) freaking out about how you’re going to make it Home this year. Among the 80,000 lucky souls who are able to join us in person, your main concerns […]

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If your destiny is taking you to Black Rock City in a few short days and your living space isn’t currently filled with bins and random piles of extremely useful or completely frivolous objects, we hope it’s because you’re a very skilled procrastinator.  Because now is the time when list-building, spreadsheeting, instant messaging, and last […]

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In 2018 Burning Man’s founder, my close friend Larry Harvey, had a stroke. While he was in a coma in the hospital, by happenstance I found myself reintegrated with the Man build crew. While working on the Man, I thought a lot about Larry fighting to rewire his brain. In a cathartic release after the […]

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In this episode of the Waking Dreams series we’re going to time-travel back to the earliest days of Burning Man in the desert and reexamine a closely related event that had a formative effect on what we now think of as Burning Man art, the “waking dream” of William Binzen’s Desert Siteworks. Binzen and the […]

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It’s true that you have to be prepared for everything, and sometimes everything happens in the course of one day. You can go from beautiful pastel blue skies and puffy white clouds and general gorgeousness to an ominous gray walls of storms and dust clouds and threatening skies and gushes of rain and howling winds […]

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I just have to share a major feel-good story to juice you as you pack and make your way to That Thing in the Desert (or wherever you’re headed during Burn Week). As some of you may know, Erin Douglas, founder of the Black Burner Project, received an Honorarium to build a major art installation […]

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Black Rock City stretches our capacities in weird and unanticipated ways. We gather a crew, make some plans, and go out there to build art or run a camp in one of the world’s most inhospitable environments. Even if you run crews or manage teams in your default life, getting things to happen as planned […]

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All y’all are pretty great. And weird. And fun. And full of unending sarcasm. Over the last couple of years, spending my days behind the feeds of Burning Man Project’s social media channels, I feel like I’ve come to know some of you personally. I read all the comments, sometimes reply, and offer up that […]

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Launched in 2020 by a team of seasoned Temple builders, the Temple Builders Guild is a collection of craftspeople who apply playa expertise to provide infrastructure and resources to creators of community art projects. Their purpose is to share human resources, accrued knowledge, tools, equipment, and practical solutions to reduce waste, increase efficiency, promote sustainability, […]

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We’re packing our things, heading to the desert, and will soon be entering Black Rock City — our minds buzzing with excitement. We’ll throw caution to the dust and explore our temporary city with eyes wide open. But there’s another side to Burning Man that, while appreciated, generally remains a mystery. So as you finalize […]

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It’s that time of year when EVERYONE is a Burning Man expert, doling out endless playa tips — what to wear, what to eat, how to think, what to build… And thank goodness! Because if this whole Burning Man thing is new to you, you likely need all the help you can get. But whose […]

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Thankfully, it has happened again. The Golden Spike has been sledgehammered into the ground, marking the spot where the Man will be built and then later burned. And we mean thankfully quite literally, as person after person in the Spike circle expressed gratitude for their ability to be here again. They gave specific thanks to […]

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For some organizations sustainability is something they have to do, an add-on that helps keep integrity intact and values respected. For the Folly Builders, sustainability is simply who they are. The Bay Area big art creators seamlessly weave environmental stewardship into their massive installations from inception through finale, manufacturing dazzling immersive experiences that refuse to […]

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Show of hands: have you ever used “hypnogogia” in a sentence? Just as I thought. This year’s Waking Dreams theme offers a blinking headlamp squint into the unknown of our own psyches … and the street names are here to remind us how little we know about what we know. Many are named after Surrealist superstars […]

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Black Rock City tickets are beginning to ship! If you’re in the US or Canada (and maybe elsewhere) you can expect a certain cinnamon-y confection to arrive with your ticket and Survival Guide. What do YOU do with your Atomic Fireball? Do you eat it immediately? Stash it away with your Burning Man keepsakes and […]

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Everyone interprets a Burning Man theme from their own unique perspective, and that’s just as it should be. Yet occasionally someone gets to the heart of the story in ways I couldn’t have imagined when writing it. After all, a theme is just the shell of a story, waiting to be occupied and lived in. And that’s certainly […]

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If you’ve watched Desert Arts Preview and followed other Black Rock City art announcements, you’re aware that we’re championing playa installations that take sustainability into consideration. What does this mean? Among other things, a sustainable artwork may use renewable energy, be created from repurposed materials, and be built locally instead of transported across the ocean. […]

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If Black Rock City and our global community are in fact a manifestation of our collective dreams, what have we been dreaming for the past few years, and what might that look like in the light of day? For many, the pandemic has offered a space for reflection on the need to make our ephemeral […]

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After not building our home in the desert for two years, Black Rock City does indeed feel like a distant dream… yet here we are, fast approaching Burning Man 2022; our theme, Waking Dreams, couldn’t feel more appropriate. We exist because people dared to dream, and they dreamed big! Over the years, many artists have […]

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The first year I went to Black Rock City, I was part of a crew of about eight Burgins. None of us — not one — even remotely knew what we were getting into.  It was 2004. We flew into Reno from a faraway place… Montreal, to be exact. We bought some food, water and […]

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I received my first text communication from Antwane Lee in early March 2020. The seriousness of the coronavirus was still up in the air and at that point Burning Man 2020 was still on. I would soon learn this never-been-to-Black-Rock-City, Chicagoan architect was persistent, intelligent, sure of what he wanted, and a big thinker. He […]

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Contemporary times have seen our forms of social organization stultify and stagnate. While our ancestors once lived in societies that possessed highly diverse governance structures, habitats and social schemas, many of us have mostly settled on hierarchical, profit-maximizing forms of government and urban structure.  However, there still remain hotly imaginative pockets that are rewriting the […]

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Greetings friends, participants, artists, citizens of Black Rock City. Yes, we will burn the Man this year! We’ve been hard at work on a magnificent plan for this central part of our cultural event. As we did in 2019 and 2020, we invited a group of artists to suggest a concept for the Man Pavilion […]

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Returning to Black Rock City after a three-year hiatus will be joyful, and weird, vulnerable and surprising. Our city of imagination will inevitably be different this year, in new and unanticipated ways. Expect different versions of ourselves, different means of self-expression, and a metropolis with new priorities, people and shared experiences. And that, according to […]

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“The force that through the green fuse drives the flower Drives my green age; that blasts the roots of trees Is my destroyer.” —Dylan Thomas, The force that through the green fuse drives the flower, 1952 No one could have imagined that a small Solstice gathering of friends on a San Francisco beach could spark […]

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You may already be familiar with Jason Silva from his appearance on the Burning Man LIVE podcast. Or from his tenure as host of National Geographic’s Brain Games. This amazing philosophical rant, The Human Condition, was recorded in Black Rock City 2019, and then enhanced via AI to add kaleidoscopic art visuals. The resulting video […]

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More than a couple of dreams came true last night, and we were lucky enough to be in attendance for the celebration. The first one was the launch of Burning Man’s new publishing arm, and the second was launch parties for two books by pivotal Burning Man figures. You may already be familiar with the […]

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Laura Day, Associate Director of Operations at your service, here to spill the beans around our plans to reimagine Center Camp — sans coffee.  As we wake from the dream between years without Black Rock City and prepare to return Home in 2022, we are coming to the realization that we are no longer the […]

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Every year since Burning Man Project became a nonprofit, we’ve produced a report to share just some of the ways we facilitate and extend Burning Man culture into the world. With the pandemic, and all the other things that morphed and shifted in the past two years, we changed up our storytelling too. [Drumroll please…] […]

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The AfterBurn is our annual look back at the past year in Burning Man history — its ups, its downs, and its get-back-up-agains. Burning Man Project, the official name of the nonprofit Burning Man organization, is operated and supported by thousands of people who take responsibility for making Burning Man happen in the Black Rock […]

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Burners have a rich and varied history of sharing wild yarns and waxing philosophical, whether around burn barrels or with pixels and ink. Storytelling and literature have always been essential to the burnerly arts, almost as vital as building and burning things in inhospitable environments. Once we’ve burned it, LNT-ed it, packed it up and […]

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Martinique (Marty) Lewis has had Burning Man on her list for several years, but always found an excuse to push it back. She’s created an exciting career fighting for diversity in the travel and media spaces. A girl after my own heart.  In Fall 2019, I walked into the Lorraine Motel in Memphis, the hotel […]

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If you’ve been through Gerlach in the last year, you may have noticed our favorite desert town has a little more hustle and bustle. The last stop on the journey between Reno and the Black Rock Desert, Gerlach has long been home to a handful of resident Burners who have grown to more than 30% […]

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Hey, how do transformative experiences work? Great question! In February I led the first in a series of virtual panel discussions on how to create transformative experiences. The conversation was based on, but not limited to, the book “Turn Your Life Into Art,” recently published by Burning Man Project. February’s conversation was amazing, but unfortunately […]

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The war in Ukraine has many of us in a state of shock, trying to find ways to help while we witness the daily acceleration of a humanitarian crisis. The global Burning Man community has a history of response in support of displaced people around the world. It therefore comes as no surprise that Burners […]

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Welcome to number eleven in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who contributed work to Boundless Space… The Possibilities of Burning Man, an online charitable auction in support of participating artists and Burning Man Project. Sculptor Benjamin Langholz’s work is heavy.  In Black Rock City 2019 you […]

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Close your eyes, open your mind, and explore your Waking Dreams, because the moment has arrived to create your designs for the 2022 Black Rock City stickers! It’s been waaaaay too long since we last got slap-happy with official BRC stickers, so I’m simply atingle to see what you all come up with. Wait…what? You […]

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Burning Man Arts is thrilled to announce the art installations selected for Black Rock City 2022 Honorarium art grants. There’s nothing quite like the announcement of our Honoraria artists to get us psyched to build our city in the dust, and our anticipation is higher than ever after two years away from the playa.  Things […]

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Nick Farr’s first time in Black Rock City kicked off a series of important lessons. “I found out what a darkwad was when the batteries on my headlamp faded out and died in deep playa. That’s when I started bringing out the biggest possible pack of batteries you could buy on every future trip out […]

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Inside an art warehouse just above New Orleans’ Bywater neighborhood, Linden Keal taps away on an antique piano as KayKay Fantasia whooongs and whiiings ghostly sounds on her musical saw. Outside, the music is accompanied by bangs and bubs from marching bands — the unofficial New Orleans soundtrack through carnival season. “A lot of people […]

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Burning Man culture creates remarkable opportunities for sharing knowledge. Sometimes this learning takes place in a formal environment, but more often it happens out in the world within crews, between teams, and among individuals as we work together on projects we’re passionate about. In fact, Education is one of Burning Man Project’s six program areas. […]

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To say that we’re excited to be building Black Rock City again (at long last) in 2022 would be the understatement of the year. Whether this is your first time thinking about bringing art, or you’re a long-time veteran of the process, please take the time to read this and share it with your crew. […]

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Greetings Euro-friends and intrepid travelers! It’s not easy to make the journey from Europe and the UK to experience mind-bending art in Black Rock City. If you’re staying on your side of the Atlantic this year, do not fret — we have exciting news to soothe those big art cravings. You can look forward to […]

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In 1995, the Center Camp Coffee Shop was born as a single espresso machine sitting on top of hay bales. Rumor has it that a storm took out the bedouin-style tent that housed the bales, but the espresso machine and its offerings persevered — an early testament to the dedication and resilience of Burner culture. […]

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“The real reason to go to Burning Man is to spend time and reconnect with yourself, the universe, and the world. Really clear your thoughts and face those things you avoid, the things that keep you from doing those things aren’t at Burning Man.”  —Hank Willis Thomas Many of us know Hank Willis Thomas as […]

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Hello, you go-getting Burners! Let me introduce myself: my name is Deets, and I’m the Content Manager for Burning Man Project. Part of my role includes spending time in different digital spaces, where I inevitably find myself admiring your myriad creations and projects. It’s inspiring to see so many of you out in your community […]

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P Segal has been an instigator in San Francisco’s underground art scene for decades. She led Burning Man’s move from Baker Beach to the Black Rock Desert and started Black Rock City’s Center Camp Cafe. Her home at 1907 Golden Gate was a hub for Cacophony Society rabble-rousers and Burning Man founders, who gathered there […]

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This piece is authored by a community member and does not represent the official views or opinions of Burning Man Project. Because we value Radical Self-expression, Communal Effort, and Participation, the Burning Man Journal has always been a space for sharing the many diverse voices, unique experiences, and colorful stories within our incredible global community. […]

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The past two seasons without Black Rock City have provided Burning Man Project time to reflect and assess. This pause in the event cycle, challenging as it’s been, has been an opportunity to focus our intentions; you will see some of this in our 2022 ticketing strategy. We’re excited to share news of the updated […]

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“It’s not easy, having a good time…”  —Tim Curry Burning Man is often transformational. The vortex of whimsical, engaging, and sometimes tortuous effort of building camps, art cars, and the fantastic art installations it is known for, is infectious and often produces a “camaraderie by ordeal” bond between Burners. Michael Beneville, a somewhat legendary developer […]

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Before the holidays, we informed you about Ormat Technology’s proposed geothermal exploration project in Gerlach, Nevada, and the potential impacts of such a project in the tranquil desert town that serves at the gateway to the Black Rock Desert – High Rock Canyon Emigrant Trails National Conservation Area (NCA).  The Bureau of Land Management is […]

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OK, there are a jillion and a half podcasts out there, and more Burning Man podcasts than you can shake a feathered stick at, but there’s only one that comes to you LIVE (sic) from the Philosophical Center: Burning Man LIVE! It’s the official podcast of Burning Man Project, hand-crafted for your earbuds by a […]

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Burning Man Project plans to participate in the public scoping process for Ormat Technologies Inc.’s proposed geothermal exploration project in Gerlach, Nevada, and we encourage you to consider doing the same. The Bureau of Land Management Black Rock Field Office is soliciting feedback to develop an Environmental Assessment: “The field office is analyzing the environmental […]

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Welcome to the tenth in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who contributed work to Boundless Space… The Possibilities of Burning Man, an online charitable auction in support of participating artists and Burning Man Project. They hail from cities and traditions that span the globe — from […]

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Welcome to the ninth in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who have contributed work to the charitable online auction, Boundless Space… The Possibilities of Burning Man. Harsha Durugadda’s piece Conversation is open for bidding until 12:30PM ET on Friday, December 17. Proceeds from the Boundless Space […]

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Welcome to the eighth in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who have contributed work to the online auction, Boundless Space: The Possibilities of Burning Man. Proceeds from the Boundless Space auction are supporting participating artists and Burning Man Project. DJs spun; Burners in goggles, fake fur and spandex […]

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We’ll get right to it — Black Rock City will be coming back in 2022. After a two-year hiatus and with persistent, pandemic-driven unknowns, the road may be a little more circuitous, but we’ll be damned if it’s not leading us Home. It’s time to resume our Waking Dreams and look to the future we’ll […]

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As we collectively move into a time of year many devote to gifting, contemplation, and renewal, we’d like to introduce you to the 10 Ingredients for Building Beloved Community and Creating Belonging. Yes, this is another list of 10 things… not to be confused with (but absolutely related to) the 10 Principles of Burning Man.  […]

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As the world struggles to meet the challenges of runaway climate change, massive global and local inequality, environmental breakdown and injustice, mass species extinction, and a global pandemic, we yearn more than ever for glimpses of hopeful, inspiring, and beautiful solutions for life in a world that has moved beyond carbon pollution, beyond environmental extractivism, […]

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In a typical year, many theme camps go quiet and hibernate in November. But this is no typical year as we slowly thaw from a two-year freeze brought on by the global pandemic. This post about Black Rock City’s 2022 Placement Process is coming earlier in the event-planning cycle because it’s going to take more […]

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Caveat is Burning Man’s Philosopher Laureate and has been writing about Burning Man culture and community for years. His writing does not represent the official views or opinions of Burning Man Project. Because we value Radical Self-expression, Communal Effort, and Participation, the Burning Man Journal has always been a space for sharing the many diverse voices, unique […]

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Launa Eddy was just trying to get her art home to New York. As one of the 2021 Burning Man Honoraria recipients making art no matter what, she was working out of a Washington-based studio to build her art piece, Through the Mind’s Eye. It was taking longer than expected (as art is wont to […]

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In 1992, the first rave-style sound camp touched down in Black Rock City. And if you think it was well received, read on, intrepid Burner. Per the founders’ instructions, the sound camp Craig Ellenwood (aka DJ Niles or DJ Kraig) and Terbo Ted brought to the desert was placed one mile from Center Camp, speakers […]

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Boundless Space…. what a whirlwind of a week. I experienced an out-of-the-box collision of two worlds with more in common than one may think. The collaboration brought together Sotheby’s, one of the oldest auction houses in the world, and Burning Man, one of the largest and most unique experiences driven by artists and creatives. It […]

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The 2022 Burning Man theme will explore the transformative power of dreams, both literal and figurative, and celebrate the dreamers who channel this potent energy in eye-opening, often surrealistic, sometimes life-changing ways. Because after all what is Black Rock City if not a collective manifestation of the community’s dreams? “I dreamed I was a butterfly, […]

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Welcome to the seventh in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who have contributed work to the online auction, Boundless Space: The Possibilities of Burning Man. A diverse and delightful collection of work by 180 artists is now open for bidding. We’re inviting YOU and the world to […]

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This interview was written by Katie Bain. For more from Katie about the Boundless Space auction, check out this piece in Sotheby’s Magazine. Katie: How did this collaboration with Sotheby’s come to be? Who approached who, and when? Why is Sotheby’s the right partner for this project? Marian: Burning Man Project was looking for new […]

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Caveat is Burning Man’s Philosopher Laureate and has been writing about Burning Man culture and community for years. His writing does not represent the official views or opinions of Burning Man Project. Because we value Radical Self-expression, Communal Effort, and Participation, the Burning Man Journal has always been a space for sharing the many diverse voices, unique […]

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Welcome to the sixth in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who are contributing work to the upcoming Boundless Space: The Possibilities of Burning Man online auction. A diverse and delightful collection of work by 180 artists is now on auction. We’re inviting YOU and the world […]

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Artists, art-lovers, and creatives of all kinds: start your engines! This post is full of exciting art news, including the opening of the Honoraria grant program for 2022, a Temple announcement, and an online course about Burning Man art history. Hooray! After having no Black Rock City in 2020 and 2021, it feels like there’s […]

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Welcome to the fifth in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who are contributing work to the upcoming Boundless Space: The Possibilities of Burning Man online auction. A diverse and delightful collection of work by 180 artists will go on auction. We’re inviting YOU and the world […]

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Welcome to the fourth in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who are contributing work to the upcoming Boundless Space: The Possibilities of Burning Man online auction. A diverse and delightful collection of work by 180 artists will go on auction. We’re inviting YOU and the world […]

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As Burners, some like to wish each other a happy new year when the Man burns at the end of our annual Burn Week. This sense of closure and new beginnings often kicks off new friendships, dreams, and collaborations. Wherever and however you participated in Burn Week this year — virtually, in the desert, or […]

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Welcome to the final story in a three-part series that unpacks how our 2021 theme — The Great Unknown — summons Burning Man’s origin story. Long before the Man touched down (and burned up) in the Black Rock Desert, the Cacophony Society and its early Zone Trips defined Burning Man’s irreverent spirit. You can now […]

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The garage door rolls open with a rumble. You step from the bright outside into the long, shadowy, corridor. There’s a door on the other end. You walk to it, open it, and emerge into a small backyard, surrounded by other buildings. You blink in the light: there is a shade structure, some camping chairs, […]

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Written Tuesday, September 7, 2021 The last stragglers are still hanging out in the Black Rock Desert, not ready to let go of this year’s intensely personal Burning Man experience. There was no big art, but there was big heart. It was the biggest little Burning Man ever, and the general feeling was that it […]

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It’s been a long, strange, mostly dust-free year and a half for many of the creators in our global community. We’re all missing the playa, and many of us have idle hands raring to get things going again. What’s it like for a project and camp as complex as Mayan Warrior to be forced off […]

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Over the past year, we’ve had many conversations with the global community. You told us you are eager to connect, to learn, to share ideas, find collaborators, and imagine new projects with other Burners. You said you were curious about the inner workings and were interested in collaborating with teams and leaders within Burning Man […]

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Welcome to the third in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who are contributing work to the upcoming Boundless Space: The Possibilities of Burning Man online auction. Work by 180 artists, many of whom emerge from underrepresented communities, will go on auction September 30 to October 8, 2021. We’re […]

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Did you know that the “Man Burn” used to happen on Sunday night? For a handful of years after the annual gathering found its (second) home in the Black Rock Desert, the effigy burn happened on Sunday evening. The next morning everyone broke camp and went home. But for the past 20 years or so, […]

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Welcome to the second story in a three-part series that unpacks how our 2021 theme — The Great Unknown — summons Burning Man’s origin story. Long before the Man touched down (and burned up) in the Black Rock Desert, the Cacophony Society and its early Zone Trips defined Burning Man’s irreverent spirit. As subsequent episodes […]

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Meet three community artists who are bringing their visions to virtual life this week at Build-A-Burn, one of the six Virtual Experiences that make up Virtual Burn 2021. Ari Lazer, Adam Dreams, and Teresa Yung have created their virtual art with the support of Build-A-Burn’s community art grants. They bring a range of artistic, Burning […]

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AmberBurn is a locally organized Regional Burn in Lithuania that is run entirely by volunteers following the 10 Principles of Burning Man, and organized with the support and leadership of Erika Kiele and Regional Contact Povilas Germanavicius. Since November of 2020, over 30 committed Burners dedicated their time, sweat, and tears to creating this event […]

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Virtual Burn 2021 kicked off today — and oh lordy, it’s delightfully raw and wily in all the right ways. As I poured over an entire week of event listings across seven Worlds, a familiar feeling nestled itself in my belly. It felt a little like I had arrived in Black Rock City, albeit less […]

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With the 2021 Virtual Burn happening now (yes, right now…check it out!), it seemed fitting for us to highlight one of our Honorarium artists whose work incorporates technology and is accessible in virtual as well as physical spaces. We interviewed Matthew Pagoaga, an artist, technologist, and 2020/2021 Honorarium recipient. His Honorarium project, Parallel Self Embraced, […]

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You may have heard rumblings lately about things that are happening in dusty old Gerlach, where the pavement ends and the West begins (the pavement doesn’t really end here, but more about that another time). Of course there is lots of talk and activity about the upcoming Rogue Burn, or Plan B, or the Non […]

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Welcome to the first story in a three-part series that unpacks how our 2021 theme — The Great Unknown — summons Burning Man’s origin story. Long before the Man touched down (and burned up) in the Black Rock Desert, the Cacophony Society and its early Zone Trips defined Burning Man’s irreverent spirit. As subsequent episodes […]

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The digital gates to Virtual Burn 2021* are about to open! Tens of thousands of Burners and new faces will be welcomed Home to pixel-populated playas filled with mind-bending art, events, people, and performances.  Thanks to the generous spirit of the independent teams behind these magical experiences, all of them are now accessible for free […]

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Welcome to the second in our Boundless Space storytelling series, which introduces just a few of the astonishing artists who are contributing work to the upcoming Boundless Space: The Possibilities of Burning Man online auction. Work by 180 artists, many of whom emerge from underrepresented communities, will go on auction September 30 to October 8, […]

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Here we go again! August 22 to September 7, 2021, six teams of wildly creative technologists are building Virtual Worlds and inviting one and all to explore, co-create, and play in the digital dust. Welcome to the second in a series of conversations with the amazing humans who have dedicated their summer to building their […]

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Last year I discovered—sadly, reluctantly—that so far, at this state of its technology and culture, VR feels nothing even remotely like Burning Man for me.   So instead I turned the small backyard of my apartment building into a theme camp, and invited anyone who wanted to come over—close friends, vague acquaintances, and even complete strangers—to […]

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A series about visiting the Black Rock Desert in the summer of 2021, with updates from the Bureau of Land Management (BLM), insights into desert life, responsible recreation on public lands, Leaving No Trace, staying safe, visiting Gerlach and the surrounding communities, emergency services, and much more. Please use this series as a guide to […]

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What would it look like for Black Rock City and all of our global communities to be more radically inclusive and diverse? How can this help change society? Burning Man Project is on a journey to build a more educated and aware organizational culture, to create a framework for community engagement around this work, and […]

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Whether you believe it’s the wave of the future or you’re skeptical as a jackrabbit out in deep playa, there’s no denying that cryptocurrency is here and it’s booming. Back in 2014, Burning Man Project began experimenting with accepting cryptocurrency. We’ve learned a lot since then, and the digital currency landscape is changing and evolving […]

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It’s August 2021, and the Department of Do-ocracy is missing the yearly swag swap. So two of our best creatives developed special Burning Man logos as a 2021 gift… just for you! Ever seen a Burning Man sticker out in the wild and wished you knew the story of who put it there? Or high-fived […]

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This past weekend I used an invitation to a large party full of people (who I didn’t know) to try out a new art experiment. On a driveway near the backyard I set up a table and some chairs; I had a gavel, a gong, and an audio recorder. I was dressed in a scarlet […]

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Here we go again! August 22 to September 7, 2021, six teams of wildly creative technologists are building Virtual Worlds and inviting one and all to explore, co-create, and play in the digital dust. Welcome to the second in a series of conversations with the amazing humans who have dedicated their summer to building their […]

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The COVID pandemic has led many of us to adopt new habits and rituals, trying as best we can to bring some small semblance of order to a world gone crazy and strange and inaccessible. For Burning Man co-founders Will Roger and Crimson Rose, who spent a lot of time during the most locked-down periods […]

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In the before times, long, long ago, before the pandemic and lockdowns and cancellations, going to the Black Rock Desert had become a strangely familiar thing. When you exited Interstate 80 and started the lonesome drive across the Paiute lands on Nevada Highway 447, you’d make the long climb up the rise outside Nixon, descend […]

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One of the magical elements of Burning Man culture is (radical) Participation. Burners show up, stuff gets built, and creativity flourishes. Watching Black Rock City emerge from the dust is extraordinary; similarly, being part of Virtual Burn 2021 is quintessentially radical. For those who have the incredible stamina to organize a theme camp, create art, […]

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Here we go again! August 22 to September 7, 2021, six teams of wildly creative technologists are building Virtual Worlds and inviting one and all to explore, co-create, and play in the digital dust. Welcome to the second in a series of conversations with the amazing humans who have dedicated their summer to building their […]

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It’s been more than two decades since David Best and Jack Haye first introduced what would become the soul of Burning Man, the Temple. Originally serving as a memorial to a lost loved one, the 2000 Temple of the Mind has inspired future generations of temples. Today they are a sacred space on the edge […]

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This piece kicks off a series of conversations with artists whose work will be featured in the upcoming Boundless Space, The Possibilities of Burning Man auction catalogue, which launches September 20, 2021. Astonishing work by these artists, many of whom emerge from underrepresented communities around the world, will go on auction September 30 to October […]

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Here we go again! August 22 to September 7, 2021, six teams of wildly creative technologists are building Virtual Worlds and inviting one and all to explore, co-create, and play in the digital dust. Welcome to the second in a series of conversations with the amazing humans who have dedicated their summer to building their […]

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Two years ago this week, Burning Man Project shared a 10-year Environmental Sustainability Roadmap. Our goals are to sustainably manage waste, be ecologically regenerative, and be carbon negative by 2030. We are thrilled to share our Year Two Sustainability Report Update on just how far we’ve come and what steps we’re taking next, and to inspire […]

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Here we go again! August 22 to September 7, 2021, six teams of wildly creative technologists are building Virtual Worlds and inviting one and all to explore, co-create, and play in the digital dust. Welcome to the second in a series of conversations with the amazing humans who have dedicated their summer to building their […]

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Here we go again! August 22 to September 7, 2021, six teams of wildly creative technologists are building Virtual Worlds and inviting one and all to explore, co-create, and play in the digital dust. This post kicks off a series of conversations with the amazing humans who have dedicated their summer to building their World […]

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We’re publishers! Later this summer, Burning Man Project will be publishing our second book, Turn Your Life Into Art: Lessons in Psychomagic from the San Francisco Underground, written by none other than Caveat Magister, the single most frequent contributor to these very pages, and author of The Scene That Became Cities, which some consider the […]

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How much do we love the humans who spent months co-creating this summer’s Virtual Burn? A whole heck of a lot. Since last year’s Multiverse, devoted teams of independent technologists have been deep in code, pixels, and social engineering, building six wholly unique virtual experiences that will welcome virtual Burners from around the globe August […]

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This is Chapter 1 of a six-part story that was originally published on Medium in loving memory of a Dilated Peoples campmate. It is being shared with permission from the author, in the hopes that it brings back fond dusty memories of Home during this year without Black Rock City… “We are a bit of […]

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No one is better equipped to evangelize the wonder and cultural importance of burning every day, everywhere, all the time than Burning Man Project’s Associate Director of Community Events and Founding Member of the Regional Network Committee, $teven Ra$pa. We sat down and asked him a few questions about this wily global culture we’re always […]

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Months in the making, we present the 2020 Dispatch — a richly illustrated microsite that captures just a handful of the powerful stories that emerged from the wildly creative and resilient global Burning Man community over our most unique year yet. Dive into these pages to read how Burners helped out, co-created art, imagined remarkable […]

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It’s shaping up to be a busy summer for some Burning Man artists. Without the event in the desert this year, and with restrictions lifting across the country, people are eager to gather. And wherever they may gather, they want ART. Luckily, art is happening—right now, all around the world! As previously reported in The […]

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A few weeks ago I threw an outdoor party where, just before sundown, we performed a ritual to take us out of “plague time,” that uncanny and pervasive sense that the world has stopped changing and we have stopped changing with it. What does this have to do with Burning Man? I’ll get there. In […]

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We may not be building Black Rock City together this summer, but Burning Man is barreling full speed ahead, in full technicolor, and YOU are invited to get on board. Burners everywhere — just like you and your friends — are busy making art, planning wildly creative adventures, and doing helpful and good things. Of […]

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“One time at Burning Man,” the story often starts, and it’s only natural that it should. Stories by their nature are rooted in a time and a place, with a “once upon a time” to go with the “there I was.” For most Burning Man stories, the when is late August and the where is […]

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A series about visiting the Black Rock Desert in the summer of 2021, with updates from the Bureau of Land Management (BLM), insights into desert life, responsible recreation on public lands, Leaving No Trace, staying safe, visiting Gerlach and the surrounding communities, emergency services, and much more. Please use this series as a guide to […]

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A series about visiting the Black Rock Desert in the summer of 2021, with updates from the Bureau of Land Management (BLM), insights into desert life, responsible recreation on public lands, Leaving No Trace, staying safe, visiting Gerlach and the surrounding communities, emergency services, and much more. Please use this series as a guide to […]

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This solstice weekend, join us for storytelling and other surprises to honor Burning Man culture and Larry Harvey on the 35th anniversary of the first Burning Man on Baker Beach. To kick it all off, Andie Grace muses on her friend Larry, and what he might have thought of a documentary about his life and […]

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While many were following the circuitous twists and turns of making a decision around co-creating Black Rock City this year, AfrikaBurn organizers were already on the other side of this difficult process. The largest Burning Man Regional event, AfrikaBurn was put on hold for a second year in a row due to COVID-19 restrictions. But […]

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It may initially appear to be an unlikely pairing — a dusty, irreverent community of creators and rabble-rousers teaming up with a traditional and world-renowned auction house. But sometimes the most unexpected combinations result in delightfully unanticipated flavors and unique experiences.  This year, we’re taking our annual fall fundraising event global by co-producing a charitable […]

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Buckle up — the Virtual Burn is back for 2021. With another year of digital co-creation under their sparkly belts, independent teams of Burners and digital creators from across the known Burner-verse are hard at work building Virtual Burning Man 2021, which will in full swing from August 22 through September 7, 2021. Wherever you […]

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In the spring of 2007, “Kernal Angus” sat in a restaurant in Atlanta, Georgia, with his friend and well-known Black Rock City artist Zach Coffin, discussing Burning Man, as they were often prone to do. Zach described some of  the challenges that Burning Man artists with any reasonably-sized project face by explaining that they arrive […]

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“Burning Man now wants to see how it can shape the world it is part of instead of just reacting to that world.”                                                                  […]

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Due to the ongoing COVID-19 pandemic and the many complexities it’s created, for the second year in a row, we will not be building Black Rock City together. But the Black Rock Desert exists as a second home to many of us, and you may be thinking about going to the playa this summer. If […]

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Have you ever wished you could go to Burning Man 365 days a year? You’ve made it this far, so we’re going to reveal the big secret — YOU CAN! Consider this a cheat sheet for finding a gazillion Burner-y things to do. Behind all of the words and links below are real Burners doing […]

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We don’t know what the next year has up its sleeve, but we do know you are all what keeps Burning Man alive. This is the second video update from our CEO Marian Goodell, sharing important news about what’s up with Burning Man Project and Black Rock City. We want to know what you’re planning […]

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There’s going to be some great Burning Man art this year, no matter what, thanks to several generous donors who have funded our Honoraria program for the year! (We thought we’d just get that right out on the table.)  But wait, we’re getting ahead of ourselves. Step back with us for a moment, if you […]

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Spring of 2020 was drastically different than any of us could have predicted. Evolving circumstances required many nonprofit organizations to shift focus and priorities almost daily. As Burners Without Borders (BWB) assessed how to respond, the scale and scope of the disaster was unlike anything we had seen before. In this map of activity, BWB […]

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“Most people think it’s a joke when they first meet us,” Annie Dunlop says when describing our theme camp Religious As Fuck (RAF). What we really are is a bunch of (mostly) religious people, some of whom are ordained Christian clergy, and some of whom simply have found Christianity to be helpful in our own […]

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We don’t know what the next year has up its sleeve, but we do know you are all what keeps Burning Man alive. Our CEO Marian just shared an important update about what’s new with Burning Man Project and Black Rock City. Check out the full video here, and read on for highlights! This is not a GO/NO-GO announcement. We will share an update every Saturday until we make that decision, which we anticipate doing by the end of April.

Where Are We With Black Rock City?

While it’s still too soon to know if we’ll be together on the playa this year, some mitigations currently being talked through are: proof of vaccination, shifting on-the-ground operations (particularly for Gate, DPW, Rangers, and medical teams), handling emergencies, and more. But the go/no-go decision goes beyond the medical and practical factors. “Safe enough to move forward” is not the only consideration at play. Is this summer the right time to build Black Rock City together? What are the cultural and social implications of BRC happening this year? Just because we technically might be able to do the event, it doesn’t mean we necessarily should, or will. You will be kept in the loop over the next few weeks as we gain more clarity. Our intention is to make a go/no-go decision by April 23, or at the latest April 30. Thank you to our COVID-19 Task Force for helping us weigh the pandemic variables.

2021 Honoraria Art Funding

Our nonprofit survived last year because of our community’s generosity: over 21,000 people gave between $10 and $5,000,000 to help keep the lights on and the fire burning. A group of generous donors recently raised funds specifically to support Burning Man art and artists. As a result, we are pleased to announce we’ll be funding this year’s Honoraria art projects, no matter what happens with Black Rock City. Close to $1 million will be granted to 58 art projects in 14 U.S. states (NY, NC, GA, LA, IL, TX, CO, NM, UT, NV, AZ, OR, CA, WA), and eight other countries: Canada, Indonesia, Mexico, Philippines, Russia, South Africa, Spain, and Ukraine. The art of Burning Man is global, year-round, and deeply impactful, and it extends well beyond the trash fence on playa. We can’t wait to see how these artists bring their visions to life. If the artists are not able to bring their art to the playa in 2021 or 2022 they will not be penalized or asked to return the grant funds. The art needs to be built and we hope it will be in BRC, but if not, it will be out in the world where Burning Man art should also be! Thank you generous donors.

Art Speaks

The online artist storytelling series ArtSpeaks emerged from the digital dust in the spring of 2020. So far, 10 episodes have highlighted stories from 49 different Burning Man artists. ArtSpeaks will be back in the fall for Season 2, but for now you can binge-watch all of Season 1.

Sustainability & LAGI 2020 Fly Ranch

In July 2019, we announced the 2030 Environmental Sustainability Roadmap, and we’ve been plotting how to reach this ambitious goal. The LAGI 2020 Design Challenge partnered with Fly Ranch, the undeveloped 3,800-acre property near Black Rock City — a canvas for sustainability, learning and innovation. We are now down to 10 design finalists who will soon begin bringing their ideas to life. We can’t tackle Burning Man’s sustainable future alone: we hope YOU will get involved. Please join us on April 19 for a call on these topics to learn more about the LAGI Design Challenge. Want to visit Fly Ranch? Donation-based nature walks are open to the public.

Burning Man Hive Labs

Earlier this year, you told us you wanted to do more around sustainability; radical inclusion, diversity and equity (R.I.D.E.); health and safety; and participation. You said you wanted to learn, to have conversations, and to build things with others in the community. Those learnings brought us to this moment. Next week we will begin welcoming the first participants into Burning Man Hive Labs, a facilitated process on Burning Man Hive for Burners to connect, learn and collaborate around shared goals for evolving Black Rock City and Burning Man culture. Want to get on board? Let us know here!

The Virtual Burn

Over 165,000 people participated in the virtual Multiverse during Burn Week in 2020. In 2021, we’re again working with talented creators and technologists in our community to build the Virtual Burn: bigger, more interactive, and radically inclusive. Anyone with an internet connection, from anywhere in the world, will be able to participate. You can get involved and contribute as an artist, developer or volunteer — we want your help to bring virtual Burning Man to life!

Radical Inclusion, Diversity, and Equity (R.I.D.E.)

We are working to make all Burning Man spaces (including Black Rock City) more accessible, inclusive, and diverse. Our next big milestone is the multi-year R.I.D.E. Roadmap, to be published soon, which outlines a lot of the exciting work and objectives we have for the next 10 years. Over 500 people attended the first Radical Inclusion + Diversity Town Hall last October. A second virtual town hall is scheduled for April 24 — we hope you can join us!

Announcing an Invitation to the Future!

The Mega Cake by Piece of Cake Productions, Photo by Juan P. Zapata Many of you have shared that you would like to show your support for Burning Man’s future by securing access to future tickets. We are excited to announce (drumroll!) a new “Invitation to the Future.”

Those who have the financial means can buy a reservation that guarantees access to purchase one regular-priced ticket to the next two Black Rock City events.

In other words, purchasing this reservation ensures you have an opportunity to get a ticket the next two times we can gather on the playa. There are 1000 of these opportunities for $2500 each. We expect these to go quickly. Visit your Burner Profile if you’re ready to go for it. For more detailed information, check out this post or visit tickets.burningman.org.

We Hope to See You Soon

Be sure to tune into the next two upcoming events for deeper dives into the ongoing important work of Burning Man Project and in our community: learn about LAGI and sustainability on April 19, and the second R.I.D.E. virtual town hall on April 24. For Black Rock City updates and information, subscribe to the Burning Man Journal and the Jackrabbit Speaks, and keep an eye on our social channels.

Thank you for being here, and for embodying the spirit of Burning Man during this incredible time. We’ll be seeing you in the virtual (or actual) dust soon!

Cover photo by Leori Gill

Virtual Burning Man image: Helios by Kate Raudenbush from BRCvr 2020

R.I.D.E. Town Hall Design by Deets Shay, Photo by Kate Beale

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We know that for many, securing a ticket is what solidifies Black Rock City plans and kicks off other projects related to the Burn. Opening that envelope in the mail, seeing the Survival Guide, and enjoying a Fireball candy makes it all real.

We are pleased to announce an Invitation to the Future!

The idea is simple: Those who have the financial means can buy a reservation that guarantees access to purchase one ticket to each of the next two Black Rock City events at the published Main Sale price. In other words, securing a reservation ensures you have an opportunity to get a ticket the next two times we can gather together in Black Rock City. This is a chance to secure your own future participation in Black Rock City and support Burning Man Project.

Here are the details:

• The Invitation to the Future opens April 10 and can be accessed through your Burner Profile (set one up or update yours now!)
• Up to 1,000 reservations will be available for $2,500 each, with the option to contribute more.
• Individuals will be able to secure a maximum of two (2) reservations.
• Each reservation will ensure the holder future access to purchase one (1) regular-priced ticket to each of the next two (2) iterations of Black Rock City. (A reservation cannot be redeemed to purchase two tickets to the same iteration of BRC.)
• These reservations are nonrefundable and nontransferable. However, when reservations are redeemed to purchase tickets, those tickets will be fully transferable subject to the terms and conditions applicable to that event.
• Please check with your tax advisor as to the tax-deductibility of any of the amount paid for a reservation.

Visit your Burner Profile to get started right away! Full details can be found on the Burning Man ticketing page. While many have been hit hard financially this past year, others are able to help without sacrificing their own comfort and wellbeing. The Invitation to the Future is a way for those who can to demonstrate their belief in the global cultural importance of Burning Man and Black Rock City – a way to invest in the limitless possibilities of our co-created future.