Since so much of what we do in standards setting is built upon a foundation of a shared understanding and agreement of the meaning of words (no less so than in technical standard setting) that time is well spent reflecting upon the origin of the nouns and verbs of that we use every day. Best practice cannot be discovered, much less promulgated, without its understanding secured with common language.
The term “lively arts” is attributed to American writer and poet James Thurber. It was popularized in the mid-20th century as a way to describe various forms of performing arts, such as theater, dance, music, and other creative expressions.
Curtain for the Lviv Theatre of Opera and Ballet
“What art is, in reality, is this missing link, not the links which exist.
It’s not what you see that is art; art is the gap”
— Marcel Duchamp
Today we refresh our understanding of the literature that guides the safety and sustainability goals of lively art events in educational settlements. Consortia have evolved quickly in recent years, leading and lagging changes in the content creation and delivery domain. With this evolution a professional discipline has emerged that requires training and certification in the electrotechnologies that contribute to “event safety”; among them:
ASHRAE International
Standard 62.1: This standard establishes minimum ventilation rates and indoor air quality requirements for commercial buildings, including theaters and auditoriums.
Standard 55: This standard specifies thermal comfort conditions for occupants in indoor environments, which can have an impact on air quality.
RP-16-17 Lighting for Theatrical Productions: This standard provides guidance on the design and implementation of lighting systems for theatrical productions. It includes information on the use of color, light direction, and light intensity to create different moods and effects.
RP-30-15 Recommended Practice for the Design of Theatres and Auditoriums: This standard provides guidance on the design of theaters and auditoriums, including lighting systems. It covers topics such as seating layout, stage design, and acoustics, as well as lighting design considerations.
DG-24-19 Design Guide for Color and Illumination: This guide provides information on the use of color in lighting design, including color temperature, color rendering, and color mixing. It is relevant to theater lighting design as well as other applications.
Dance and Athletic Floor Product Standards: ASTM F2118, EN 14904, DIN 18032-2
Incumbent standards-setting organizations such as ASHRAE, ASTM, ICC, IEEE, NFPA have also discovered, integrated and promulgated event safety and sustainability concepts into their catalog of best practice titles; many already incorporated by reference into public safety law. We explore relevant research on crowd management and spectator safety.
“ I think that the theater is the initial glamorizer of thought; where it can be told – without too much disguise but without too much directness either – the secrets, and thereby its antipathies and sympathies – the secrets and the knowledge of the human heart…
…I think that makes the art of the theater as important as the doctor or the psychologist or the Minister…
…I think it’s vitally important that the world knows itself and I think the theater is one of the most immediate means of expression towards that end…”
Set design model by Marcel Jambon for an 1895 Paris production of Giuseppe Verdi’s Otello
Demand for live events in college towns — what is now called”entertainment content” — is gathering pace; owed somewhat to an older demographic that prefers expanded social interaction to the online entertainment offerings that the younger demographic prefers*. We see an expansion of the market in the construction of architecturally astonishing buildings; though the circumstances of pandemic has changed everything.
Today our interest lies in the complex safety and sustainability characteristics of the physical infrastructure — with particular interest in the fire protection, environmental air and electrotechnologies required to make them safe and sustainable. This facility class is far more complicated technologically and operates at significantly higher risk than, say, classrooms or office space.
The Entertainment Services and Technology Association is one of the first names in trade associations that support the ‘business of show business’ through networking, safe practices, education, and representation. We follow the standards making activity of its technical committees and monitor public commenting opportunities. ESTA releases markups of its consensus products for public comment at a fairly brisk pace on its standards development landing page:
Consultation on several titles run through September 16th.
You may obtain an electronic copy at the link above, along with a comment form. Send your comments to Karl Ruling, (212) 244-1505, standards@esta.org with an optional copy to psa@ansi.org). We encourage our colleagues in school districts and in colleges and universities large and small; with responsibilities for the safety and sustainability of cultural resource properties, media centers, performance venues to participate in the ESTA technical standards development program.
Glorya Kaufman School of Dance / University of Southern California
We keep the ESTA suite on the standing agenda of our Lively Arts colloquia; open to everyone. See our CALENDAR for the next online meeting.
Since the electrotechnologies for the lively arts have evolved into complex, interoperable systems we also collaborate with the IEEE Education & Healthcare Facilities Committee on technical specifics. That committee meets online four times per month in European and American time zones.
Issue: [Various]
Category: Electrical, Infotech, Lively Arts,
Colleagues: Mike Anthony, Christine Fischer, Mike Hiler, Nehad El-Sherif
“View from the Ancient Theater in Taormina to Mount Etna” c. 1880 Carl Wuttke
Safety and sustainability for any facility begins with an understanding of who shall occupy it. University settings, with mixed-use phenomenon arising spontaneously and temporarily, present challenges and no less so in square-footage identified as performing arts facilities. Education communities present the largest installed base of mixed use and performing arts facilities. A distinction is made between supervised occupants that are in secondary schools (generally under age 18) and unsupervised occupants that are in university facilities (generally above age 18).
First principles regarding occupancy classifications for performing arts facilities appear in Section 303 of the International Building Code Assembly Group A-1. The public edition of the 2021 IBC is linked below:
Each of the International Code Council code development groups A, B and C; fetch back to these classifications. You can sample the safety concepts in play with an examination of the document linked below:
Each of the foregoing documents are lengthy so we recommend using search terms such as “school”, “college”, ‘”university”, “auditorium”, “theater”, “children”, “student” to hasten your cut through it.
We find continuation of lowering of the lighting power densities as noteworthy. Technical committees assembled and managed by the International Code Council, the American Society of Heating & Refrigeration Engineers and the Illumination Engineering Society are leaders in developing consensus products that drive the LED illumination transformation.
The revision schedule for the next tranche of ICC titles that are built upon the foundation of the IBC is linked below:
We encourage experts in education communities — facility managers, research and teaching staff, architectural and engineering students — to participate directly in the ICC Code Development process at the link below:
Note in the transcript above that the four proposals submitted by Standards Michigan relate to healthcare facilities. Code Panel 15 receives proposals for healthcare and assembly occupancy wiring safety concepts.
Marcel Jambon for an 1895 Paris production of Giuseppe Verdi’s Otello.
The standard of care for electrical system safety in dramatic art facilities in the education, and other industries, is largely established in Articles 518 through Article 540 of the National Electrical Code (NEC). In some instances, dramatic art activity takes place in athletic arenas so we are mindful of parent standards for assembly occupancies generally; found in Chapter 3 of the International Building Code.
Free public access to the current 2023edition of the NEC is linked below:
Note the imperfect correlation between the NFPA and ICC occupancy definitions. This never happens by design but is sometimes necessary. Some risk aggregations have to be understood as terms of art; to be understood by seasoned experts in context. Also, keep in mind that the NEC is a wiring installation safety code.
Proposals for revisions to assembly-related installations in the for 2023 is linked below:
The so called “song and dance” sections of the NEC have been fairly “stable” in recent cycles. Changes to these articles in the NEC 2020 revision are incremental — i.e clarifications on grounding, wiring methods, cord wiring, illumination — and helpful for designers and inspectors. Nothing budget busting. Convergence of fire safety, mass notification, environmental air and visual experiences continues as once-independent technologies continue integration.
We collaborate with the IEEE Education & Healthcare Facilities Committee which meets 4 times monthly in Europe and the Americas. See our CALENDAR for the next online teleconferences; open to everyone.
Issue: [Various]
Category: Sport, Electrical, Telecommunications, Fire Protection, Arts & Entertainment Facilities, Lively Art
“Panoramic View of the Greek Amphitheatre at Syracuse” 18th Century Abraham Louis Rodolphe Ducros
From from time to time — particularly in the months of fairer weather, when many events are hosted outdoors — we break form from the grind of responding to c0nsultations to simply enjoy these spaces See our CALENDAR for our periodic Lively c0lloquia when we drill down into technical specifics.
서울대학교
University of Melbourne (Architect rendering of project in process)
Furman University
High Point University
George Fox University Oregon
Globe Theater / Southern Utah University
Point Loma Nazarene University
Augusta University / Georgia
Singapore Management University
Swarthmore College
Silliman University Amphitheater / The Phillippines
University of Colorado
South Dakota State University
University of Mary Washington / Virginia
California State University San Marcos
Universidade do Estado do Rio de Janeiro
Clemson University
University of Virginia
College of Idaho Centennial Amphitheater
Texas Woman’s University
Swarthmore College
Pomona College
Oakland University Meadowbrook Theater / Rochester, Michigan
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Abide with me; fast falls the eventide;
The darkness deepens; Lord with me abide.
When other helpers fail and comforts flee,
Help of the helpless, O abide with me.
Swift to its close ebbs out life’s little day;
Earth’s joys grow dim; its glories pass away;
Change and decay in all around I see;
O Thou who changest not, abide with me.
Not a brief glance I beg, a passing word,
But as Thou dwell’st with Thy disciples, Lord,
Familiar, condescending, patient, free.
Come not to sojourn, but abide with me.
Come not in terror, as the King of kings,
But kind and good, with healing in Thy wings;
Tears for all woes, a heart for every plea.
Come, Friend of sinners, thus abide with me.
Thou on my head in early youth didst smile,
And though rebellious and perverse meanwhile,
Thou hast not left me, oft as I left Thee.
On to the close, O Lord, abide with me.
I need Thy presence every passing hour.
What but Thy grace can foil the tempter’s power?
Who, like Thyself, my guide and stay can be?
Through cloud and sunshine, Lord, abide with me.
I fear no foe, with Thee at hand to bless;
Ills have no weight, and tears no bitterness.
Where is death’s sting? Where, grave, thy victory?
I triumph still, if Thou abide with me.
Hold Thou Thy cross before my closing eyes;
Shine through the gloom and point me to the skies.
Heaven’s morning breaks, and earth’s vain shadows flee;
In life, in death, O Lord, abide with me.
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