In his books, The Black Swan and Antifragile, Nassim Nicholas Taleb observes that freak disasters—rare, high-impact events—are unpredictable and often underestimated due to their low probability. He calls these “Black Swan” events, characterized by their extreme rarity, severe consequences, and retrospective predictability. Taleb argues that people and systems are overly reliant on normalcy and linear models, ignoring the potential for such outliers.
These disasters expose the fragility of complex systems, like financial markets or infrastructure, which are unprepared for extreme shocks. In Antifragile, he contrasts fragile systems with antifragile ones, which thrive under stress. Taleb emphasizes that freak disasters are not anomalies but inevitable in a complex world, urging risk management that accounts for uncertainty rather than predictability. He critiques overconfidence in forecasting and advocates for building resilience to mitigate the devastating effects of these unpredictable events.
We cover this ground, more than tangentially, in our activism in disaster management standards setting. Our coverage of this topic dates back to 1993 which the links below should reveal. We will expand upon this topic as more information is derived from this past week’s events in Kerr County Texas.
It is impossible to overestimate the sensitivity of this topic but poke at it, we will. At the moment, the less written here; the better. Much of this domain is outside our wheelhouse; though it has settled on a few first principles regarding patents, trademarks and copyrights relevant to the user-interest we describe in our ABOUT.
Many large research universities have a watchdog guarding its intellectual property and trying to generate income from it, and; of course, for branding. We will dwell on salient characteristics of the intellectual property domain with which we reckon daily — highlighting the market actors and the standards they have agreed upon.
Additionally, technical standards developers are generally protected by copyright law, as the standards they create are typically considered original works of authorship that are subject to copyright protection. In the United States, the Copyright Act of 1976 provides copyright protection for original works of authorship, which includes technical standards. This means that the developers of technical standards have the exclusive right to reproduce, distribute, and create derivative works based on their standards, and others must obtain permission or a license to use or reproduce the standards.
Some technical standards may be subject to certain exemptions or limitations under copyright law. In the United States, there is a doctrine called “fair use” that allows for limited use of copyrighted works for purposes such as criticism, comment, news reporting, teaching, scholarship, or research, without the need for permission or a license from the copyright owner. Almost everything we do at Standards Michigan falls under the fair use doctrine. This is why we have no search feature and most pages are protected. If we err in this; let us know.
Patent Act: This is the primary federal law governing patents in the United States. It sets forth the requirements for obtaining a patent, the rights of patent owners, and the remedies available for infringement.
Title 37 of the Code of Federal Regulations: This contains the rules and procedures related to patents, including rules governing the filing and examination of patent applications.
America Invents Act: This is a major overhaul of the U.S. patent system that was enacted in 2011. It includes provisions such as the transition to a “first-inventor-to-file” system and the creation of new post-grant review procedures for challenging the validity of patents.
Manual of Patent Examining Procedure: This is a guidebook for patent examiners that provides detailed information on the rules and procedures for examining patent applications.
Vad är en standard? Syftet med standarder är att skapa enhetliga och transparenta rutiner som vi kan enas kring. Det ligger ju i allas intresse att höja kvaliteten, undvika missförstånd och slippa uppfinna hjulet på nytt varje gång. https://t.co/zKhgPXPdpWpic.twitter.com/oKejdKSm47
— Svenska institutet för standarder, SIS (@svenskstandard) July 15, 2019
The International Trade Administration (ITA) of the U.S. Department of Commerce (DOC) is requesting public comments to gain insights on the current global artificial intelligence (AI) market. Responses will provide clarity about stakeholder concerns regarding international AI policies, regulations, and other measures which may impact U.S. exports of AI technologies. Additionally, the request for information (RFI) includes inquiries related to AI standards development. ANSI encourages relevant stakeholders to respond by ITA’s deadline of October 17, 2022.
The choice of red, white, and blue in national flags often carries historical, cultural, and political significance. Here are some reasons why various nations have chosen these colors:
Historical Connections:
United States: The colors were chosen for their flag in 1777 and have been interpreted to symbolize valor (red), purity (white), and justice (blue). The colors were influenced by the British Union Jack.
France: The Tricolour flag adopted during the French Revolution represents liberty (blue), equality (white), and fraternity (red).
United Kingdom: The Union Jack combines elements from the flags of England (red and white), Scotland (blue and white), and Ireland (red and white).
Cultural and Political Significance:
Russia: The flag’s colors were adopted from the Dutch flag, symbolizing pan-Slavism (red for bravery, blue for faithfulness, and white for honesty).
Netherlands: The Dutch flag’s colors (originally derived from the Prince’s Flag) have historical roots, symbolizing the struggle for independence and liberty.
Czech Republic and Slovakia: Both countries use red, white, and blue to represent their Slavic heritage.
Influence and Inspiration:
Chile, Costa Rica, and Panama: These countries were influenced by the colors and symbolism of other flags (e.g., the French and American flags) during their independence movements.
Australia and New Zealand: Both countries incorporate the Union Jack in their flags, reflecting their colonial history with the United Kingdom.
Symbolism:
Croatia, Serbia, and Slovenia: The colors are traditional pan-Slavic colors, representing freedom and national unity.
Iceland and Norway: The colors reflect their historical and cultural ties to other Scandinavian countries.
The exact reasons can vary, but often the colors reflect a mix of historical alliances, cultural heritage, and political ideals.
Bitcoin is developed under an open-source model and released under the MIT License. As an open-source project, the Bitcoin source code is publicly accessible, allowing users to examine, modify, and distribute it within the terms of the MIT License.
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:
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.
“We’re all actors: We all play different roles in different situations.”
Marlon Brando
Issue: [Various]
Category: Electrical, Infotech, Lively Arts,
Colleagues: Mike Anthony, Christine Fischer, Mike Hiler, Nehad El-Sherif
New update alert! The 2022 update to the Trademark Assignment Dataset is now available online. Find 1.29 million trademark assignments, involving 2.28 million unique trademark properties issued by the USPTO between March 1952 and January 2023: https://t.co/njrDAbSpwBpic.twitter.com/GkAXrHoQ9T
