A monument to man's technological advancement has been mysteriously abandoned to time and left to seed. In its place, a monument to nature grows out of its fertile ground. The angular black steel roots of modern computer circuitry in the shape of a stepped pyramid give way to the ancient roots of a sacred Bodhi tree. This owing root system reclaims this relic of our Future's Past in its embrace, and signals the end of consumptive collapse and the beginning of evolved consciousness.
Throughout the festival a projection of a life-sized train slowly moves across the playa creating an innite train-car canvas for participants to digitally paint with modied spray cans. As participants paint the projected train their work not only appears to move with the train but also.
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It has 61 keys in 5 octaves. Each key is connected to a key on a synthesizer which plays the sound through a amplier and loud speakers. The Grand Flat Piano can be played by anyone, so just come out on the playa and play on the largest piano you have ever seen. If you want a whole jam session just bring your own instruments and jam along The Grand Flat Piano. Without the heart machine the city and civilization as we know it would fall apart.
Yet without humans to interact with it, the heart machine would cease have a purpose; cease to exist. In the absence of this symbiotic relationship the heart machine sits silently on the playa and participants passively wander the night looking for "somet h i n g.
Shaped in the form of prewar dirigibles, the sculpture points to a time when scientic progress was unaided by the technological advancement of computers and man-made materials and was undaunted by implications of war. The Hindenburk has the ability to inspire the collective unconscious as a symbol of early airship travel when it was a point of thrilling progress, capable of being accomplished with merely natural materials and a good dose of guts. Every culture in the world uses and makes maps in some form or another. They have evolved from Babylonian clay tablets to satellite imagery visible to anyone access to the internet.
It is this present technology that makes possible my eort to create dense and complex textured surface designs that incorporate city maps from around the world - from heavily structured grid formations of planned cities to the medina's of Fez. All these woven into one another to create a dense compacted moment and place in time like any good map would do.
The scale of this playful garden is exaggerated, making visitors feel part of the landscape, yet humbled by nature as it looms large above them. It is a destination for people to interact with each other. The installation is made of salvage and scrap materials, keeping it's environmental footprint to a minimum.
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This aspect supports the message of the sculpture; that we are small parts of a larger entity. The components of the sculpture include water fountains, re fountains and unique solar-powered lighting eects. The installation occupies approximately an acre.
From a distance, the installation appears to be an unusual and enchanting landscape. As people draw closer to the site, the over-size scale, the elaborate details and the smaller components captivate viewers. Once they have entered the installation, visitors are enveloped by this natural, enormous environment. Paying little attention to one another, their minds are instead occupied with thoughts of daily responsibilities, to-do lists, frustrations, and eeting revelations. Enveloped in the unceasing noise of the city, they view their surroundings, including one another, as obstacles that must be avoided in order to tend to their busy schedules.
Potential connections are passed up as judgments are quickly formed and opportunities are overlooked entirely.
Nightly, Malvoye's powers of mentalism are summoned to give you your own very unique and astonishingly accurate fortune. Malvoye knows all, Malvoye sees all. Each and every reading gives YOU the chance to ask Malvoye your own personal quest i o n. A latticed stainless steel dome on top allows people to see out without danger of falling.
The tower is in 6 sections.
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The bottom 3 are based on the vertebra of a lion. Steel and redwood will be combined to form a climbable structure. The upper 3 sections are painted to resemble snake skin and are smooth on the exterior to discourage people climbing externally. An interior access portal allows people to climb up to the dome. Light and sound eects will enhance the experience, especially when climbing i n t e r n a l l y. The monorail consists of two stations with a ' track in between, each station consists of an 8' high raised platform for boarding the monorail and a ticket booth.
The monorail car seats two people and eciently transports the rider from Nowhere to Nowhere. Participation is key to this cab company where the "fare" is collected in human power. During daylight hours they will oer rides around the Black Rock metropolis. Several Kinetic Cabs host art tours and deep playa journeys. Tours will depart the KCC regularly.
They will post "Kinetic Cab Stop"s around the playa nucleus kasia danula-billhartz to pick burners up for pedal powered rides in delightful ma- A circle of ames created from numerous smaller circles of chines. The cab stops will be be an interestingly unique feature ames- symbolizing the nucleus, center of all things. Hundreds Camp using the same method of collaborating artists working of large, colorful interlocking polygons and connectors are individually as a team project.
This year we want to bring the used to form functional, whimsical, fantastical structures or art down to eye level. Allow passer-byes to play with the sculp- sculptures, limited only by the imaginations of the particitures. Allow them to add color, to draw and write onto the pants. Build, tear down, build anew -- a metaphor for the dysculptures.
Wood, cardboard and paper will be used to create namic cycle of real cities.
And then, in the end A rainbow of markers and pens will be d o w n. Passer-bys can use these tools to supply their own contribution. The ability to malvoye the mentalist jeremy burmeister allow a participant to pick up water and ame to allow it to Malvoye the Mentalist: A fully automated antique fortune burn in their hand is amazing and safe. This piece gives people.
In that moment they share a time and place with monument. Referencing our impetus to create structure as re in a way they may never forget.
The Temple of Flux welcomes participants to take respite. It beckons one to journey spire of re steve atkins, eric smith its pathways and follow its sensuous lines as they arc into the From the Axum Obelisk to the new Burj Khalifa sky scraper a i r. Using shape, texture, materials, and light, towers attract people from afar to tiny tropolis max fancher, eliza schirin, erica geller, adi serve as a space for assembly. The Spire of Fire, a ft blend taylor, gabe mott, eric rubin of steel, re, and light, will stand grand and high on the ex- From a distance, Tiny Tropolis appears as a row of standard panse of the open playa and is designed to reect the evolution cardboard boxes that have been secured, one after another, of modern metropolitan architecture.
Its sheer size and pres- upon a wooden structure stretching out on the playa. The ence will capture attention, and at night the piece will come heart of Tiny Tropolis lies within, and passersby will need to alive with brightly colored lights and bursts of rhythmic ame get in close to experience the richness of this installation.
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Each reected o of stainless steel. It will ask you to put your hand deep into it's gaping poses the multitude of expressive beings living on top of and mouth and then tell a lie. It will judge your lie. What will it among one another in our nation's cities. Tiny Tropolis has a do, what will it say?
Nobody knows It is truly community-based- a collective project that funnels the artistic spirit of people across the country into subway matt ganucheau the most celebratory- albeit tiny- block party to hit the playa Within chaotic urban environments, we seek mental isolation y e t. Through isolation we can escape from the tension of surroundings to an internalized space of freetowering inferno anton viditz-ward dom. As we revisit this space over time, our mental barriers grow stronger in an attempt to preserve this internal place of unnatural selection michael coy serenity.
Subway is an interactive audio installation that ex- UnNatural Selection is an interactive "exquisite corpse" conamines this isolation, juxtaposing the dynamic sounds of a cept realized as a large, octagonal, artwork that rotates to form New York subway station with the vast, unconstrained desert. UnNatural Selecmusic. It's a public space, it's a sculpture, and it's a musical in- tion is a subtle way of illustrating mankind's increasing inustrument.