By Patsy K. Eagan 
Right now in warehouse studios all over Oakland, preparations for Burning Man 2010 blaze ahead. Some artists solder scrap metal while others engineer solar-powered light displays. Sculptural gardens and LED-lit costumes come together in rusty neighborhoods that once bustled with industry. On August 30, the city will export its art to the lonely expanse that is Nevada's Black Rock Desert.
As artists forge their concept of "Metropolis" for this year's event, utopian questions come to mind. How does Burning Man, a week-long art event based on radical self-expression and self-reliance on the playa promote livable cities? Are the guiding principles of Black Rock City and Oakland's city charter viable blueprints for utopia? Or are they diversions from dystopian realities?
This story will explore the relationship between Oakland and Black Rock City, and what the Burning Man culture contributes, and takes away, from Oakland. Some say the city is in the midst of a cultural renaissance and despite the economic recession, burner artists and organizations continue to thrive. A closer look at Oakland's burner culture and the impact of art on city development may guide the decisions of a city facing unprecedented deficits. A better understanding of the symbiotic relationship between art and city could inform public policy.
In addition, this story series examines Burning Man's impact on other U.S. cities. Who are the burners in your town? The essence of burner culture—and its impact in metropolises on and off "the playa"—is the thrust behind this inquiry.
