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Lively Arts 300

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.

Standards Michigan Lively Art Catalog

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.

Audio Engineering Society

Audio Visual and Experience Association

Entertainment Services and Technology Association

Event Safety Alliance

Set design model for Giuseppe Verdi’s Otello, created for a Paris production in 1895@GallicaBnF
print(“Lively Arts”)https://t.co/93JWrmLwPh pic.twitter.com/RRxuzmGT4r

— Standards Michigan (@StandardsMich) December 10, 2021

The Johnny Carson School of Theatre & Film commits to the philosophy that students of the lively arts must be provided w/ practical skills for employment in industry &
educational settings.https://t.co/DRe7qWJKgW @NebCarsonSchool
Print(“Lively”) #StandardsNebraska pic.twitter.com/7K8zfXYlZj

— Standards Michigan (@StandardsMich) February 4, 2022

International Code Council

International Building Code: Section 303.2 Assembly Group A-1

Illumination Engineering Society

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.

National Center for Spectator Sports Safety and Security

National Fire Protection Association

Life Safety Code

Electrical Safety

National Electrical Code

Articles 518-540: Arenas, Lecture Halls & Theaters

Society of Motion Picture Technology Engineers

Professional Lighting and Sound Association

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.

Planning and Managing Security for Major Special Events

“Art is anything you can get away with” — Marshall McLuhan

More

International Code Council (N.B. Changes to its Code Development Process)

International Building Code: Entertainment Occupancies

Section 410: Stages, Platforms and Technical Production Areas

National Electrical Code: Articles 518 – 540

Code-Making Panel 15 (NEC-P15): Public Input Report 10/1/2020

Code-Making Panel 15 (NEC-P15): Public Comment Report 11/18/2021

ASHRAE 62.1 Ventilation for Acceptable Indoor Air Quality

Princeton University: Set Design & Construction

Building the Virtual Stage: A System for Enabling Mixed Reality Theatre

University of California: Special Effects Safety and Loss Prevention

University of San Francisco Special Effects Safety

Dance Floors v. Sports Floors

Today in History

Thornton Wilder’s “Our Town”

Lively Arts 300

Remember how good National Geographic used to be? When I was a kid happening on a stack of these was like finding actual treasure. I used to read my grandpa's old ones, until one year I got a subscription for Christmas. It was like having the whole world at my fingertips. pic.twitter.com/RyDtDuxbnN

— Casey B. Head (@CaseyBHead) November 26, 2025

Dance Wyoming

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Podcast Production

The term “podcast” is a combination of “iPod,” Apple’s portable media player, and “broadcast.” It originated in the early 2000s when individuals began creating audio content specifically designed for download and playback on portable media players, including the iPod. Over time, the concept has evolved, and podcasts are now a popular and diverse form of digital media covering a wide range of topics, including news, education, entertainment, and more. The key feature of a podcast is its on-demand nature, allowing listeners to access content at their convenience.

University of Alberta Facilities & Operations

Drive Time Bias By Omission

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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.

Florida State University assembly facebook cover 1923 721

The Center for Performing Arts at Governors State University facebook cover illinois art christmas winter

University_of_North_Texas,_Performing_Arts_Center auditorium 1921 719

Emerson Stage COLLEGE STAGE PLAY FACEBOOK TIMELINE 1921 721

university of iowa hancher auditorium night 1921 721

RWTH_Aachen,_Hauptgebäude,_Aula_I Rheinisch-Westfälische Technische Hochschule needs author interior germany auditorium 1921 722

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

USC School of Cinematic Arts facebook cover 1921 719

The University of Akron interior ohio media production facebook 1919 723

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:

The AES welcomes new Executive Director, Colleen Harperhttps://t.co/r7DfPp6wfE #AESorg #proaudio #audioengineer pic.twitter.com/nTKBf8oHeR

— Audio Engineering Society (@AESorg) January 16, 2019

Archive / Audio Engineering Society

Requirements for Hybrid Media Production

SCM-Media-Production-Studios-in-use-092017.jpg.5.1x.generic montclair university 1921

081004/AFA 2008/Production 3(B)/Jang San Temple/PHOTOLUDENS_bangbyanghak

radio-station barry university students 1922 EDU

northern virginia community college interior ICT media production studio 1923

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

Have you seen the renovations to the @COMatBU studios yet? Students and faculty are super excited by a half-a-million dollar investment in Studio West, podcast studios, and more.

Take a look ➡️https://t.co/N3VPyTD8BY pic.twitter.com/kWFWxH8eLD

— Boston University (@BU_Tweets) September 25, 2023

Stage Technical Standards for Outdoor Live Performance Theater

Theatre: Lighting Design

Artificial lighting was first introduced to theater dramatic performance stages in the 17th century. The use of candles and oil lamps initially provided a means to illuminate the stage, allowing performances to take place in the evening and enhancing the visibility for both actors and the audience. Before this development, theatrical performances were typically held during daylight hours due to the reliance on natural light.

In the early 17th century, theaters in England began experimenting with various lighting techniques. Thomas Killigrew’s Theatre Royal, Drury Lane, in London, is often credited as one of the first theaters to use artificial lighting. The use of candles and later oil lamps evolved over time, leading to more sophisticated lighting setups as technology advanced.

The 18th and 19th centuries saw further innovations in stage lighting, including the use of gas lamps. Eventually, the introduction of electric lighting in the late 19th and early 20th centuries revolutionized stage lighting, providing theaters with a more reliable and controllable source of illumination. This allowed for greater creativity in the design and execution of lighting effects, contributing significantly to the overall theatrical experience.