Slowly (perhaps) but surely, universities have morphed into media companies. 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.
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.
“ 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
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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
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.
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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.
“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
“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.
Background: The use of older data and references is becoming increasingly disfavored for publication. A myopic focus on newer research risks losing sight of important research questions already addressed by now-invisible older studies. This creates a ‘Groundhog Day’ effect as illustrated by the 1993 movie of this name in which the protagonist has to relive the same day (Groundhog Day) over and over and over within a world with no memory of it. This article examines the consequences of the recent preference for newer data and references in current publication practices and is intended to stimulate new consideration of the utility of selected older data and references for the advancement of scientific knowledge.
Methods: Examples from the literature are used to exemplify the value of older data and older references. To illustrate the recency of references published in original medical research articles in a selected sample of recent academic medical journals, original research articles were examined in recent issues in selected psychiatry, medicine, and surgery journals.
Results: The literature examined reflected this article’s initial assertion that journals are emphasizing the publication of research with newer data and more recent references.
Conclusions: The current valuation of newer data above older data fails to appreciate the fact that new data eventually become old, and that old data were once new. The bias demonstrated in arbitrary policies pertaining to older data and older references can be addressed by instituting comparable treatment of older and newer data and references.
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
