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Entertainment Technology



Planning and Managing Security for Major Special Events

Lively Arts 300

Entertainment Occupancies

2025 GROUP B PROPOSED CHANGES TO THE I-CODES | Complete Monograph 2630 Pages

2024 GROUP A PROPOSED CHANGES TO THE I-CODES | Complete Monograph 2658 Pages

2024/2025/2026 ICC CODE DEVELOPMENT SCHEDULE

“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:

2024 IBC Chapter 3: Occupancy Classification and Use

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:

2019 GROUP B PROPOSED CHANGES TO THE GROUP B I-CODES

2019 GROUP B PUBLIC COMMENT AGENDA

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:

2024/2025/2026 ICC CODE DEVELOPMENT SCHEDULE

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:

https://www.iccsafe.org/cdpaccess/

We reserve a place on the agenda of our standing Lively 200 colloquia on this topic.  See our CALENDAR for the next online meeting; open to everyone.

 

Issue: [18-166]

Category: Architectural, Healthcare Facilities, Facility Asset Management

Colleagues: Mike Anthony, Jim Harvey, Richard Robben

The International Code Council (ICC) develops its codes and standards through a consensus-driven process. The ICC Code Development Process follows these major stages:

Code Change Proposal Submission

Stakeholders (e.g., government officials, industry professionals, and the public) submit proposals to modify existing codes or introduce new provisions.

Committee Action Hearing (CAH)

Expert committees review and evaluate submitted proposals.
Public testimony is allowed, and committees vote on whether to approve, disapprove, or modify the proposals.

Public Comment Period

After the CAH, the public can submit comments or suggest modifications to the committee’s decisions.
These comments help refine the proposed changes before final voting.

Public Comment Hearing (PCH)

ICC members discuss and vote on public comments.
This step ensures that all voices are heard and debated before finalizing changes.

Online Governmental Consensus Vote (OGCV)

Governmental members vote on the final code changes electronically.
Only governmental voting members (e.g., code officials) participate in this stage to ensure the process remains unbiased.

Publication of New Code Edition

Approved code changes are incorporated into the next edition of the ICC codes.
The ICC updates its codes every three years (e.g., 2021, 2024, 2027 editions).

This structured process ensures that ICC codes remain comprehensive, up-to-date, and responsive to industry needs while maintaining safety and functionality.

Requirements for Hybrid Media Production

Media production audio visual

Requirements for the Hybrid Media Production Facility of the Future

Mike Strein – Karl Paulsen

Society of Motion Picture and Television Engineers

Abstract: People who began their careers in television broadcasting before the 1990s should have seen television and media technical infrastructures endure three significant transitions: standard definition (SD) analog to SD digital; SD digital to high definition (HD) digital; and HD digital to media carried over an Internet Protocol (IP) network in multiple formats. Each transition involved either an infrastructure replacement or a complete rebuild of their technical facilities. Most of the gear and much of the cabling likely had to be replaced, updated, or refined. As changes to the system were made, compressed video, storage, and data management adjusted accordingly. New terminologies evolved, sometimes heightened by “marketing hype,” that drove users to amend workflows, processes, and capital budgets like revolving doors in a hotel.

We live in an age of continual transformation where formats, transport methods, and delivery have moved in full strength to yet another dimension—the era of IP. Yet again the industry is being thrust into yet another significant change in infrastructure, which now includes cloud, realtime over-the-top (OTT) streaming, and virtualization. How does one design a facility for these kinds of transitions without needing a forklift upgrade every decade? These are serious topics that impact return on investment (ROI), timing, and capital versus operational alterations. This article examines new hybrid models for media production, explores their components, and gives examples of how to compose the media future for live production environments at the studio and enterprise levels.

CLICK HERE to order complete paper

Stage Technical Standards for Outdoor Live Performance Theater

Theater 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…”

– Sir Lawrence Olivier

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:

ESTA Public Review Drafts

Consultation on an illumination standard runs through April 7th.

Transcripts of related standards:

2026 National Electrical Code Public Input Report CMP-15

2026 National Electrical Code Second Draft Report CMP-15

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

ARCHIVE: ESTA

*More >>

State Capitals And College Towns: A Recipe For Success

Baby Boomers Are Retiring to College Towns

The original University of Michigan codes and standards advocacy enterprise interviewed an ESTA affiliate in 2015:

Entertainment Occupancies

Digital Media Studios

The medium is the message

Chanson de matin Op.15 No. 2

“Chanson de Matin” is characterized by its light, lyrical, and charming melody, which evokes a sense of freshness and optimism associated with the early hours of the day. Elgar is known for his ability to capture various moods and emotions in his compositions.

Anderson University School of Music, Theater, and Dance

Physical Plant | Anderson University

Indiana

Audio Standards

“A Dance to the Music of Time” 1640 Nicolas Poussin

 

 

“The voice of the intellect is a soft one,

but it does not rest until it has gained a hearing.”

— Sigmund Freud

 

The education industry provides a large market for occupancy classes — athletic stadiums, student assembly spaces, performance theaters, large lecture halls– that depend upon effective audio systems*.   To an unexpected degree the structural engineering, specification of materials and electrical system design and operation is informed by acoustical considerations.  So does the integration of fire safety and mass notification systems into normal state enterprises so it is wise to follow and, ideally, participate in leading practice discovery and promulgation of audio standards.

The Audio Engineering Society — one of the first names in this space — has a due process platform that welcomes public participation.   All of its standards open for public comment completed their revision cycle mid-November as can be seen on its standards development landing page below:

AES Standards Development

Note that AES permits access to those revision even after the comment deadline.  You are encouraged to communicate directly with the Direct communication with the standards staff at Audio Engineering Society International Headquarters, 551 Fifth Avenue, Suite 1225, New York NY 10176,  Tel: +1 212 661 8528

We keep the AES suite on the standing agenda of our periodic Lively Arts teleconference.  See our CALENDAR for the next online meeting.

This facility class is one of most complex occupancy classes in education facilities industry so we also collaborate with experts active in the IEEE Education & Healthcare Facilities Committee. Much of the AES suite references, and borrows from, International Electrotechnical Commission system integration and interoperability standards.   The IEEE E&H committee meets online again four times monthly in European and American time zones.  The meeting dates are available on the IEEE E&H website

Media production audio visual

Issue: [19-23]

Category: Electrical, Academic,  Athletics, Fire Safety, Public Safety, #WiseCampus

Contact: Mike Anthony, Jim Harvey

*Mass notification systems are governed by NFPA 72 and, while life safety wiring is separate from other wiring, the management of these systems involve coordination between workgroups with different business objectives and training.

LEARN MORE:

Archive / Audio Engineering Society

 

Amphitheaters

“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

More coming

LEARN MORE:

Standing Agenda / Event Standards

 

Anthem “Seven Nation Army”

After moonlighting in several underground Detroit bands as a drummer, Jack White founded the White Stripes with fellow Detroit native and then-wife Meg White in 1997.  He graduated from Cass Tech High School and attended Wayne State University as a dramatic arts student; thereafter receiving an honorary degree; and since awarded eight Grammy Awards, among them, for his work on the soundtrack of “Cold Mountain”.

Detroit’s Wayne State University introduces world to Dr. Jack White

Rolling Stone: Jack White Saves Detroit Masonic Temple from Foreclosure

“Seven Nation Army”  is one of the most iconic and popular songs of the early 21st century and is routinely performed at athletic events at all levels in the United States.   Its view count on YouTube is closing in on 1 billion.  Several factors contributed to the song’s popularity:

Memorable Guitar Riff: The song is instantly recognizable for its distinctive and powerful guitar riff played by Jack White. The riff, created using a semi-acoustic guitar and an octave pedal, became an anthem for many music enthusiasts.

Catchy Chorus: The song features a catchy and memorable chorus with the repeated lyrics, “I’m gonna fight ’em off, a seven nation army couldn’t hold me back.” This repetition and simplicity added to its appeal and made it easy for listeners to sing along.

Sports and Pop Culture: “Seven Nation Army” transcended the music scene and found its way into various aspects of popular culture. The song became a favorite at sports events around the world, particularly in stadiums and arenas. Its use in sports contexts, such as football chants, contributed to its widespread recognition.

Critical Acclaim: The song received critical acclaim for its raw energy, innovative sound, and Jack White’s distinctive vocals. It won a Grammy Award for Best Rock Song in 2004 and became a defining track for The White Stripes.

Cover Versions and Remixes: The song’s popularity was further fueled by numerous cover versions and remixes by various artists across different genres. This contributed to its longevity and continued relevance in diverse musical contexts.

As a result of these factors, “Seven Nation Army” has endured as a cultural phenomenon, maintaining its popularity long after its initial release.

I’m gonna fight ’em off
A seven nation army couldn’t hold me back
They’re gonna rip it off
Taking their time right behind my back
And I’m talking to myself at night
Because I can’t forget
Back and forth through my mind
Behind a cigarette

And the message coming from my eyes
Says “Leave it alone”

Don’t want to hear about it
Every single one’s got a story to tell
Everyone knows about it
From the Queen of England to the Hounds of Hell
And if I catch it coming back my way
I’m gonna serve it to you
And that ain’t what you want to hear
But that’s what I’ll do

And the feeling coming from my bones
Says “Find a home”

I’m going to Wichita
Far from this opera forevermore
I’m gonna work the straw
Make the sweat drip out of every pore
And I’m bleeding, and I’m bleeding, and I’m bleeding
Right before the Lord
All the words are gonna bleed from me
And I will sing no more

And the stains coming from my blood
Tell me “Go back home”

Evensong “Melody in F”

Evensong services are typically held in cathedrals, collegiate chapels, and large parish churches, where choral music plays a prominent role. These services often feature the singing of psalms, choral anthems, hymns, and other sacred music.  The Evensong tradition holds a significant place in Western civilization due to its historical and cultural importance. It has provided a space for prayer, reflection, and worship for centuries, connecting individuals with their faith and providing a sense of spiritual solace.

The beauty and solemnity of the music performed during Evensong services have also contributed to the development of Western sacred music, with composers creating choral works specifically for these occasions.

Polska

History of Western Civilization Told Through the Acoustics of its Worship Spaces

 

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