The Man went up yesterday, and you’ve probably seen a lot of pictures of him already. It’s the way Burning Man is now; what used to happen in the electronic cone of silence of the playa is now seen everywhere almost as it happens.
We’re as guilty as anyone, of course. Yesterday, Alpheus was kind enough to take us up on a boom lift for the raising of the Man, and we had posted a photo to the internets even before we came back down to the ground.
Everyone likes to be first, and everyone likes to show you things that other people can’t. But the lines are blurred this year maybe more than ever about keeping the experience here in Black Rock City instead of sharing it immediately with the social media.
The phone service out here this year has been banging. In previous years, AT&T customers like us have been forced to use a “roaming” service when we arrived in Gerlach. The data restrictions were severe; check your email a couple of times, maybe post a pic, and you’re about done. (Verizon customers have always fared better, with more reception and no roaming to deal with.)
But AT&T has apparently put up new cell towers in the area, and phone service on the playa is 3G with four bars pretty much all the time. We’re thinking that that will change once there are 70,000 people here, and the circuits will become overloaded and all but impossible to use. But the communications landscape has changed.
It’s not a new discussion, whether to be connected to the rest of the world during the event. But the Burning Man organization believes that being connected to the world runs counter to the value it places on immediacy.
“Last year I was out at one of my favorite places to dance,” Communications Director Megan Miller said the other morning, “and I saw three guys standing in a circle looking down, in the white glow of their phones, and I was just like, ‘This is the one place you go where that’s not supposed to happen,’” she said. “You know, they should be talking to each other, or dancing!”
Miller said the organization gets a lot of feedback and discussion from participants about the issue of cell phones here, “and I don’t think I got a single one that said, ‘I’m so glad I can use my cell phone there,’” she said. “What I got was, ‘I saw people riding across the playa, on their phones, like you see in San Francisco,’ and how they thought it was an intrusion.”
Of course there’s no law or rule against being on your phone, “but we do try to set an example by not being on social media while we’re here,” she said.
The estimates are that by Friday there will be enough people here to make cell service unreliable, so there won’t be many as Facebook updates or fresh Instagram photos. So I guess enjoy them while you can, because the genie goes back in the bottle soon.
While we’re on the subject of media: You all probably know of Burners.me, the gadfly site that writes extensively about Burning Man culture. We’ve debated the merits of the content there on numerous occasions, and generally we leave it to the reader to determine when the writer(s) are grinding an axe, and when they are simply reporting the news. We believe “caveat emptor” is the appropriate term.
But Burners.me did something we thought was really crappy this morning. They took a photo of ours from Facebook and posted it as their own.
Now, I realize that posting photos as public on Facebook has its risks. But, as reader Josiah Sean succinctly pointed out, “The easy and organic process of appropriate redistribution of personal works on social media is to hit the SHARE button, so that it is still connected to the author. Burners.me went through the effort of downloading the picture and reposting it so that all comments and likes and interactions would be associated with their Facebook page. #FuckedUp. This was a methodical and dishonest approach aimed at self-promotion and advancement … (and) it makes it that much worse.”
The photo in question, of the Man being lifted into place yesterday morning, was NOT posted on the Voices of Burning Man site. It was posted on my personal page, and just lifted from there. So, Burners.me, do the right thing and take it down. Don’t take things that aren’t yours. It’s called stealing.
UPDATE: Burners.me has taken down the photo and offered an apology. They sent along a screen shot of the same photo that had been posted to the Facebook Burning Man page, where a Brian Romans first put it up. Now, the argument can be made that Burners.me just ripped off the person who ripped off me. But, “I do consider photos of Burning Man posted on the Internet to be fair use in discussing Burning Man,” Burners.me wrote in a message to us. “I’m not making money or trying to rip anyone off or claim credit for their work. Most Burners are happy to gift their photos to others.”
Ok, fair enough, but: 1) Lawyers get paid to decide if “fair use” includes using other people’s copyrighted work. 2) It would have been easy to attribute the pic to the person who originally ripped it off (although there was no “share” button available) (and we guess there was no intent to rip anyone off, just excitement about seeing the Man go up). 3) I think I gift as many photos as anyone. Maybe not the most, but probably in the top ten. 4) The larger point here, the teachable moment, for all of us, is to give credit where it’s due. We try to name the artists in any pictures we take of the art out here. Maybe you should too. And because you see something on the internet doesn’t mean that you can take it as your own. And yeah, we know, good luck with that.
There’s a changing of the guard going on at the Center Café today. The build team, aka the Oculus crew, is pretty much finished constructing the site, and the Décor team is about ready to make it all look pretty for you.
The Décor crew was out mooping the site this morning, something we hadn’t seen happening before. Betty Boop explained to us that they do the line sweeps inside and outside the tent three times a day now. “It’s easier to keep a handle on this as you go along,” she said, keeping her eyes peeled on the ground for Matter Out Of Place (moop) – screws, nails, bits of glitter, anything.
The line sweeps aren’t the only thing that’s new. Twin Peaks is the new head of the Oculus crew, the first time in our knowledge that a woman has led that team. “It’s different here,” she said this morning, talking about the gender neutrality of the place. Her assistant is Austintatious, and she’s new to the role, too.
Almost everyone on the crew is either new or in a new role. The only folks with institutional memory are Monkey Boy, who’s been one of the backbones of Oculus for as long as we can remember, and Stinger, who’s been the lead rigger for the past several years.
Rigging is a big deal at the Center Café. It is believed that the Café is the largest temporary tensile structure in the world. The shade covers nearly an acre of ground, according to Twin Peaks, and it’s a place of both refuge and entertainment just about any time, night or day.
These are the only times that you get to see the beauty of the structure itself, all geometric patterns and beautiful light and shadow. The Décor team will soon do its thing, and when the event starts, it is one of the finest places on the playa for people watching and people meeting.
Tomorrow they’ll roll out the rugs, and Thursday they’ll put up the flags. “The Café isn’t the Café until the flags so up,” Twin Peaks said.
The speed limit in Black Rock City has dropped to 10 mph as more and more people arrive. Many of the artists and bigger theme camps are setting up, and it was estimated this morning that there are about 5,000 people in the city. That’s a very unofficial estimate, though, and it should not be taken as authoritative.
We were out at the Temple of Promise, and we talked to Jazz, the lead designer of the piece.
It’s his first time building big art out here, and only the third time he’s been to Burning Man. What’s the hardest part about the job?
“One to five,” he answered. That would be 1 o’clock to 5 o’clock, when the heat is at its worst.
Jazz was awarded the Temple project honorarium the second time he applied for it. The first time was in 2014, when he read that proposal applications were due in 11 days. “I had an idea to make the Temple about transition,” he said. “So I got something that went from big to small. … And straight lines are kind of boring, so we put the curves in,” he said.
The lead builder of the Temple, who’s been playa-named Mary Poppins because he seemingly dropped from the sky to help them out, is also a newcomer. He’s built big art before, but not here, and it was his job to translate Jazz’s vision into something that could actually be constructed.
“Jazz designed the whole thing in a gaming software,” he said with a chuckle, “And, uh, there was no real relation of gaming software to architectural prints, so I took on the challenge of re-drawing the structure from the ground up.” And that was a continuing challenge; at the build site in Alameda, “I was on one machine, trying to keep ahead” of construction, he said.
Jazz is not the only first-time big-art designer out here this year. He and his Dreamer’s Guild team are new; Bree, the lead designer for Storied Heaven, is doing her first big piece, and Charlie Nguyen of the Mazu Temple and the Department of Public Art is doing his first big piece, too.
“We like to think that we’re establishing a new generation of artists,” Betty June said at the Artery.
More photos from around and about: