I'm all for Alan Goldsworthy, but I'm not holding my breath. I will use my prodigious persuasive powers to convince him if I get the chance tho.

Chris Burden is a neighbor of mine, I'm working on him.

I want to help resurrect the classics as well:

An SRL show would be wonderful, I'm behind it 100%

Kal was one of my first B man inspirations, I'll work on getting him more active in our subdomain.

Christian Ristow should be with us too.

And thereis some cool stuff I want to do, but as I'm not running for Guest Curator, I don't really have to answer this question anyway.

Q: Identify five practical ways to exploit borg1 loopholes.

I confess ignorance of those loopholes at this point, but will appoint myself to a blue ribbon subcommittee to research the issue, and launch covert operations.

I will say, the biggest hole I've found, tho not really of the loop variety, is their lazy exhausted disrganziation out there. I mostly just try to ignore their rules and do what I want.

Q: What five pieces of construction equipment are you committed to delivering to the 2005 event for building, placing, and/or powering borg2 art projects?"

Hey, let me know what you need and I'll try to bring it. I'm all for more tools on the Playa. I bring whatever will fit in my vehicle.

My shop is in a container, and I'll bring the whole damn thing it we can figure a way to get it there.

Q: What can be done (at this level) to help make artist more encouraged, inspired and supported without more interferance?

This is basically our Guest Curators whole function. I don't know Ladybee hardly at all, but I sure as hell don't support her for borg2 guest curator.

One of the art council's functions should be helping artists who submit proposals to develop the actual presentations, and then help them actualize the installation. We will try to facilitate transportation, collaboration, material supply and hopefully significant funding.

Even is we fall far short in or $250,000 goal (sigh..) this logistic and collective support along with helping to interface with the borg1 infrastructure and local authorities will make this whole thing worthwhile.

Q: I'd also like to hear debate about how to deal with the promotion or encouragement of spontaneity.

I have proposed the formation of an experimental Borg2 Danger Zone, where we will require some sort of additional and ridiculously thorough and humorous release process to enter an isolated area where we will pretend to relax safety restrictions.

Obviously no one wants to see anyone injured who doesn't want to be injured (see Chris Burden reference above), but the painful and stifling effect of risk averse liability avoidance is a plague in modern America. That plague is growing rapidly in BRC and most of us feel its stifling effect on spontaneity and creativity out there.

My Danger Zone is more a work of art exploring this problem, although I would really like to have the input of real legal scholars on the release process. At the minimum it should include signatures in blood.

Q: How are they going to promote the Borg2 - our little Borg2 zone, the experiment, and encourage people to join us with their art (funded or not -- especially unfunded). I would like to know if they are committed to printing a "Borg2" greeters booklet.

Yes, I even think we should have our own greeters out there if we can. Show your borg2 lam and get a complimentary jelly jar.

We need a daily journal of record for the borg2 subdomain (we plan to liberate Spock Science Monitor from its tool hood of the Man).

We need a radio station out there, and a wireless network to continue our online dialog, which should then be selectively read on the air, more of a talk/information radio thing than the usual cd changer or tool of the man thing.

Prior to the event we will continue to hack our way onto the JRS, submit press releases to the Guardian and Examiner, encourage regional memebres to do the same in their own areas, and troll every list we can find.

Graffiti will be good, I love the Bay Bridge Banner idea, and plan to enlist my criminal progeny to start throwing up "borg2" along with their usual gang tags on every lifeguard tower from Santa Monica to Baker Beach, every freeway overpass from Bakersfield to Sacto, and urge you in Amsterdam and elsewhere to do the same.

Q: What have you fixed in your lifetime?

There is not enough bandwidth on the whole web for me to fully answer this question.

Let me say though that I have resurrected more art cars on the playa than I can count using mostly just my swiss army knife.

I have a surprising (at least it is to me) and almost supernatural ability to fix almost anything. When I finally finished building the chassis for my Canoe Car over four 16 hour days on the playa, I discovered that the engine I had brought has seized piston rings. With no access to parts, I tore the thing apart, and spent 2 hours with a can of WD-40 and my SAK, and got the rings free. To my amazement it ran like a champ.

I often stop when I see a hood up, knowing that 90% of the time a car won't start because of corroded battery terminals, and that a quick poke with the good ol' SAF will get it running. I love taking someone from nightmares of surly tow truck drivers and sadistic mechanics, to "who was that masked man" as I walk away from their idling vehicle seconds after appearing from nowhere.

And more importantly to the task at hand, I have served on the boards of a few failing schools, and patiently and methodically helped bring them back to life.

Q: Raising money. Have you some ideas on this?

My borg2 lams, and Backdoor to Possibilities project.

The "10% for art" ticket bonus is our best bet, and would even like to see the borg one allow us to sell premium borg2 tickets.

We need to set up a really transparent and trustworthy structure to help potential donors have faith in the process. It will be one of my first priorities on the council to find the appropriate individuals or entities to assure this.

Q: Since we will undoubtedly start with an estimate how will you keep financial disaster from befalling the artists as they begin their projects.

Hopefully, timing can resolve most of this. Borg1 does not announce their grant recipients until June, I think. If we have substantial commitments of funds before then, we can know just what we will be able to provide.

This is sure to be a moving target. I think offering transportation and logistic support at the minimum, may still help many projects happen even if we get very little capital to work with. Just our organization could have great value.

I will not, and would suggest than others not commit to expensive projects until these questions can be answered. I suggest that artists prepare a series of projects from the very ambitious, hoping for borg2's spectacular success, to the very modest, requiring just this supportive community to achieve.

Q: Do you think we should try to allocate some funding in ways that will benefit multiple artists such as a project transportation fund. I think more artists would do their own project if they knew they could get the thing up and back. Or how about considerations for overlapping use of on playa equipment like cranes or fog machines. (Still tryin to get that fog project in there). ;)

Yes. We should try to arrange transportation cooperation. A number of containers will be going out there, and we should try and arrange to load as much in any of them as we can. We may even be able to arrange for additional containers, flat bed trailers or other resources to share.

The alternate organizational constructs we have already formed should help better facilitate these sorts of collaborations which have always been part of the core of the event.

I am working on fog machines, which I also know a lot about, and think this is a great idea. If I get some support from a SFX rental house, I'll try and line up other effects devices like air mortars, e fans, pure water foggers and what not, for us to share.

Q: What have you broken in your lifetime?

You never know how much a system can tolerate until it fails. The way I've learned how strong things are is by pushing them until they break. Since I can fix anything, this has been a very productive process, that has given me excellent seat of the pants engineering skills.

Plus I'm an old fart who has had more time to break shit.

Q: Many prior Burning Man attendees say, "It's what you make it" and "It's about community." What is your response to these sentiments, if any?

The borg2 founding premise is that the art spontaneously coalesces community around it (it is, in fact, also the founding, if forgotten premise of borg1). If you value the community, then you actually value the art even if you don't know you do.

Don't help us if you don't want, we don't really care, snuggle away, and we'll still blow your minds for free.

It is not what you make it, it is what WE make it. Another of the keys to the magic is the collective and collaborative nature of the thing, and art grants are just a collaborative device. A reciprocation between the greater (and clueless part thereof) community and the artists.

Q: will the members of the art council put a drop dead date on most discussions, a date by which a decision must be announced?

Of course.

Q: Care to define art, wrt Burning Man, or not?

Art is making stuff consciously. Therefore life should be art, it's just that most people don't know it. Wrt Burning Man is the amazing prospect of actually teaching them this secret.

Q: Is it "ethical" for someone to recoup costs for their "theme camp" from co-participants, or is that "vending" and profiteering?

Of course not.

Q: Have been a camp organizer…

No.

Q:do you have any experience with large scale art?

Worked on a ton of shit on the Playa, and have made movies, built boats, houses, museum exhibits and raised 4 kids.

Q: If you spend a large amount of time, money and equipment to get a project together, do you feel slighted if you aren 't recognized, patted on the back, thanked, and beered daily?

No. In any human system, there is always a small (generally about 10%) of the population who does the majority (about 70%) of the work and thinking. The rest are sheep who do nothing but cheer and for me, that's enough.

Q: How would you acknowledge or show appreciation to the people who are doing the work and making things happen?

Cheer and whisper sweet nothings.

Q: Are you easily blinded by the cute and nakkid?

Not at all. Like I said I'm and old fart.

Q: Are you intimidated by the DPW?

Sometimes. But that hasn't stopped me from getting what I want from them

Q: How willing are you to work with the BMorg and their paper work?

Like wiping my ass, I'll do as much of the unpleasant task as it takes.

Q: Are there any groups you do not want to see at Burning Man and why?

The Promise Keepers. Cause they are fucking lame ass retro morons.
The Christian Coalition. same reason.
Al Qaeda. Cause they are scary mo fos.

Otherwise, I am into the radical inclusion thing the borg1 mouths. What I would like to see is some more urban planning out there. It's not like anarchy is alive and well at BRC, so why not continue to add moderate structure to the city to make things better.

Of course the 110db raves should be isolated out somewhere, so the rest of us can get some sleep. Of course parents with small children should know where to camp so as not to end up backed up against Jiffy Lube. There should probably be a red light district, a Hippy Zone, etc.

Q: As a candidate for art council are you open to restructuring the council to make it less SF Bay area/West Coast centric? If so, how?

Absolutely. I am proposing a general assembly with proportional representation based on ticket holder's locations. For now, in the scope of this experiment, all we can really do it to try and seek out people and projects from other areas. One third of the council has already been reserved for those away from the west coast, but in as much as the majority of attendees are still coming from here, it is appropriate that it be centered out here.

I hope, over time, that it may even be possible to hold the event in other places around the world as enough interest and energy comes to exist in those places. My own regional network here in LA is not mostly focused on the type of art that most interests me, so despite the fact that I am not in SF, I tend to be more related to that community, just as some of the machine artists up there have been finding a resonance in European communities. I hope this sort of conceptual diversity will help break down regional divisions.