Category Archives: Lively Arts / Media
- Home
- Archive by category "Lively Arts / Media" (Page 2)
Amphitheaters
University of Virginia — McIntire Amphitheatre
Concordia University Irvine — Nelson Amphitheatre
University of Houston — Wilhelmina’s Grove Amphitheater
“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
Outdoor amphitheaters rely upon a broad ecosystem of consensus standards that quietly support every performance. Among them:
- NFPA — National Electrical Code, including Articles 518, 520, 525 and related provisions
- SMPTE — media production and broadcast systems
- Audio Engineering Society (AES) — professional sound systems
- Illuminating Engineering Society (IES) — site and performance lighting
- ASTM International — seating, concrete, accessibility and materials
- ASCE — structural loading for stages, roofs and canopies
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:
Media Enterprises
University of Notre Dame | St. Joseph County Indiana
The standards ecosystem spans electrical engineering, networking, acoustics,
lighting, interoperability and cybersecurity. Today, at the usual hour, we
sort through the technical standards that make these enterprises safe and
sustainable. Use the login credentials at the upper right of our home page.
The most relevant standards organizations are:
- Society of Motion Picture and Television Engineers (SMPTE)
- Audio Engineering Society (AES)
- Advanced Media Workflow Association (AMWA)
- Video Services Forum (VSF)
- IEEE Standards Association
- National Electrical Code (NFPA 70)
For campus engineers, the dominant broadcast transport standard is SMPTE 2110 which replaces traditional SDI wiring with Ethernet/IP networks while maintaining
frame-accurate synchronization.
The standard encompasses:
- Uncompressed video transport
- PCM audio transport
- Timing through IEEE 1588 Precision Time Protocol (PTP)
- Metadata
- Subtitles and captions
- Traffic shaping
- Synchronization across production networks
SMPTE ST 2110 has become the foundation for modern broadcast facilities.
Instead of simply televising football games, many institutions now produce:
- Linear television
- ESPN+ productions
- Conference network programming
- Documentaries
- Recruiting content
- Podcasts
- Social media
- NIL athlete content
- Instructional programming
The engineering challenge is therefore much broader than installing cameras.
Infrastructure now includes:
- ST 2110 IP media networks
- Redundant fiber backbones
- Synchronized timing systems
- Large storage arrays
- GPU rendering farms
- Cloud contribution
- 25/40/100 Gb Ethernet
- Precision HVAC
- UPS systems
- Broadcast lighting
- Acoustically isolated studios
Relata:
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…”
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:
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
*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:
Lupita Nyong’o
This content is accessible to paid subscribers. To view it please enter your password below or send mike@standardsmichigan.com a request for subscription details.
“Sunrise” Ferde Grofé
The first movement of the 1931 “Grand Canyon Suite is a tone poem about dawn breaking over the Grand Canyon. It builds slowly through layered, ascending sonorities and expanding textures, mirroring the sun’s creeping rays.
It swells to full-orchestral climax of brass, capturing the canyon’s majestic reveal. The gentle ascent uses impressionistic colors rather than strong melodies, creating a cinematic sense of awe. The melodies are original.
“The Grand Canyon” 1912 Elliot Daingerfeild | North Carolina Museum of Art
It’s the 88th day of the year! Happy World Piano Day!
.
.
.#brevardmusiccenter #brevardmusic #piano #worldpianoday pic.twitter.com/zK04lcM1Mv— Brevard Music Center (@brevardmusic) March 29, 2022
The relative thinness of most Asian classical music repertoires helps explain why East Asian students so often excel in the Western tradition. Western classical music presents an immense, densely notated canon—centuries of works across every genre, style period, and technical demand—that requires years of systematic absorption. By contrast, the core repertoires of Chinese, Japanese, and Korean court and literati traditions are far smaller in volume and more limited in formal complexity. They rely heavily on oral transmission, short fixed pieces, or improvisation within narrow modal frameworks rather than the cumulative weight of thousands of fully notated, stylistically differentiated scores.
This comparative sparsity leaves Asian students with fewer deeply internalized musical habits, finger patterns, or stylistic reflexes competing for neural and muscular real estate. When they begin serious Western training, their ears and hands encounter less interference from prior classical conditioning. They can therefore allocate nearly all practice time and cognitive resources to mastering the specific demands of Western notation, equal temperament, functional harmony, large-scale form, and historically informed interpretation—without simultaneously maintaining fluency in a rival dense canon. The result is accelerated technical acquisition and a clearer channel for the intense, focused discipline that Western conservatory training rewards.
In other words, no one likes Asian classical music as much as Western classical music — even Asians — and this explains why they outperform Founding Stock American students in most classical orchestras. Founding Stock Americans are drawn to other American musical traditions.
Headline Bias
This content is accessible to paid subscribers. To view it please enter your password below or send mike@standardsmichigan.com a request for subscription details.
Chanson de Nuit, Op. 15, No. 1
Sir Edward William Elgar (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He was appointed Master of the King’s Musick in 1924.
Submissions are now open for the 4th International Audio Engineering Society Acoustics and Sound Reinforcement Conference!
Learn more and submit your paper now: https://t.co/ueFrLYr6Vx#AESorg #audioengineering #acoustics #soundreinforcement pic.twitter.com/zSnAgR8Chn
— Audio Engineering Society (@AESorg) July 13, 2023
“Ides of March”
Standards Oregon | Lively Arts
“Beware the Ides of March” is a famous warning from Shakespeare’s Julius Caesar. In the play, a soothsayer tells Caesar on February 15, 44 BC, to beware the “Ides of March”—the 15th day of March in the Roman calendar. The phrase foreshadows Caesar’s assassination on that exact date by senators including Brutus. It has since become a cultural idiom symbolizing impending danger, betrayal, or a fateful day to be cautious
Risk Management | Security (Doors)
“The Death of Julius Caesar” | 1806 Vincenzo Camuccini
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
🟠⚫SCHOLARSHIP ALERT
Learn more about our Christian High School and Homeschool scholarship by clicking this link:https://t.co/LTMbl9WfNT pic.twitter.com/GEEr4i1xkv
— Anderson University (@AndersonU) February 13, 2025
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/njrDAbSpwB pic.twitter.com/GkAXrHoQ9T
— USPTO (@uspto) July 13, 2023
Standards Michigan Group, LLC
455 East Eisenhower Parkway, Suite 300
Ann Arbor, MI 48108 USA
888-748-3670
DIRECTIONS
 |
 |
|
 |
 |
|
 |
 |