Thursday, 24 March 2011 19:38

Radio and Television Broadcasting

The production of television and radio broadcasts involves camera shoots and recordings on location and in the studio, video- and audiotape editing, transmitting and receiving broadcasts, managing electronic information and graphics, and maintenance of equipment and tape. Broadcast engineers and technicians produce pre-taped and live broadcasts for major network and cable companies, local stations and production companies. Major occupations include: camera operator, sound person, tape editor, computer operator, maintenance engineer, news broadcaster and other television and radio artists.

Broadcasting and its support activities can take place in remote locations, in the studio or in various maintenance and specialty shops. Employees can be exposed to many hazards typical of the technological workplace, including poor indoor air quality, poor workplace design and low-frequency electromagnetic radiation (since microwave technology is used to transmit and receive broadcasts, and the density of electronic equipment produces relatively high levels of low-frequency energy fields). Proper shielding and placement of equipment are prudent measures to protect operators from these fields.

Hazards and Precautions

Remote locations

Roving camera and audio crews cover news and special events for networks and local stations. Crews carry to the site everything needed for the broadcast, including camera, sound recorder, lights, tripod and electrical cords. Since the advent of lightweight cameras equipped with sound recorders, a single person may be assigned to operate the equipment. The hazards can include trips, slips and falls and musculoskeletal stress. Violence in riots and wars can lead to injuries and fatalities. Bad weather, crowds, environmental disasters and rough terrain increase the potential for serious injuries and illnesses among the crew.

The danger can be reduced through assessing the location for the potential for violence and the securing of safe operating locations. Personal protective equipment, such as bullet-proof vests and helmets, may also be needed. Adequate staffing and material-handling equipment and safe lifting practices can reduce musculoskeletal stresses.

News and traffic reports are frequently recorded or aired from helicopters. Broadcast personnel have been killed and injured in crashes and unplanned landings. Strict adherence to proper training and certification of pilots, preventive maintenance of equipment and prohibition of unsafe flying practices (such as flying too close to other helicopters or to structures) are crucial for protecting these employees. See the article “Heliocopters” elsewhere in this volume.

Sporting events, such as golf tournaments and car races, and other special events are often shot from elevated platforms and scaffolds. Motorized lifts and cranes are also used to position equipment and personnel. These structures and machines are typical of those used in general building construction and motion picture production, and one may encounter the same hazards, such as falling off the structure, being struck by falling objects, being struck by lightning in open areas and being electrocuted from contact with overhead power lines and live electrical equipment.

Proper inspection and erection of platforms, full guardrails with toe boards to prevent objects from falling, access ladders, grounding and guarding of electrical equipment and observance of weather alerts, as in construction work, are some appropriate precautions to be taken.

Studio productions

Studio productions have the advantages of familiar surroundings where employees operate cameras, sound equipment and special effects equipment. The hazards are similar to those described in motion picture production and include: musculoskeletal stresses, electrical hazards, noise (especially in rock radio studios) and exposure to theatrical smokes and fogs. Appropriate ergonomic design of work spaces and equipment, electrical safeguards, control of sound levels, careful selection of smokes and fogs and adequate ventilation are all possible preventive measures.

Film editing, handling and storage

Before being broadcast, video- and audiotapes must be edited. The conditions will depend on the size of the facility, but it is not uncommon for several editing operations to be going on at the same time. Editing work requires close attention to the material, and editing rooms can be noisy, overcrowded and poorly lit, with poor indoor air quality and electrical hazards. The space and the equipment can have poor ergonomic design; tasks may be repetitive. There may be noise and fire hazards. Proper workspace design including space, lighting and ventilation, soundproofing and electrical safeguards are all necessary. Special inspection and handling procedures are required for old film storage. Some production companies have libraries that contain old cellulose nitrate (nitrocellulose) films. These films are no longer made, but those that are in storage are severe fire and life hazards. Nitrocellulose can combust and explode readily.

Computer graphics are common in taped programmes and require long hours at visual display units. Working conditions vary based on the size and layout of the facility. Workspace design requirements are similar to other computer workstations.

Maintenance Shops

Technicians and engineers maintain cameras, recorders, editing machines and other broadcasting equipment, and their working conditions resemble those of their industrial counterparts. Low-residue organic solvents, such as freons, acetone, methanol, methyl ethyl ketone and methylene chloride are used to clean electronic parts and electrical contacts. Metal components are repaired using welding, soldering and power tools. The hazards can include inhalation of solvent vapours and metal fumes, skin contact with solvents, fire and machine hazards. The substitution of safer materials, local exhaust ventilation for solvent vapours and fumes from welding and soldering, as well as machine guards, are all possible safeguards.

 

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Thursday, 24 March 2011 19:25

Motion Picture and Television Production

The motion picture and television industry is found throughout the world. Motion picture production can take place in fixed studios, on large commercial studio lots or on location anywhere. Film production companies range in size from large corporations’ own studios to small companies that rent space in commercial studios. The production of television shows, soap operas, videos and commercials has much in common with motion picture production.

Motion picture production involves many stages and a crew of interacting specialists. The planning stages include obtaining a finished script, determining the budget and schedule, choosing types of location and studios, designing the scene-by-scene appearance of the film, selecting costumes, planning sequence of action and camera locations and lighting schemes.

Once the planning is completed, the detailed process of choosing the location, building sets, gathering the props, arranging the lighting and hiring the actors, stunt performers, special effects operators and other needed support personnel begins. Filming follows the preproduction stage. The final step is film processing and editing, which is not discussed in this article.

Motion picture and television production can involve a wide variety of chemical, electrical and other hazards, many of which are unique to the film industry.

Hazards and Precautions

Filming location

Filming in a studio or on a studio lot has the advantage of permanent facilities and equipment, including ventilation systems, power, lighting, scene shops, costume shops and more control over environmental conditions. Studios can be very large in order to accommodate a variety of filming situations.

Filming on location, especially outdoors in remote locations, is more difficult and hazardous than in a studio because transportation, communications, power, food, water, medical services, living quarters and so on must be provided. Filming on location can expose the film crew and actors to a wide variety of hazardous conditions, including wild animals, poisonous reptiles and plants, civil unrest, climate extremes and adverse local weather conditions, communicable diseases, contaminated food and water, structurally unsafe buildings, and buildings contaminated with asbestos, lead, biological hazards and so on. Filming on water, in the mountains, in deserts and other dangerous locales poses obvious hazards.

The initial survey of possible filming locations should involve evaluating these and other potential hazards to determine the need for special precautions or alternative locations.

Fabricating scenery for motion pictures can involve constructing or modifying a building or buildings, building of indoor and outdoor sets and so on. These can be full size or scaled down. Stages and scenery should be strong enough to bear the loads under consideration (see “Scenery shops” in this chapter).

Life safety

Basic life safety includes ensuring adequate exits, keeping access routes and exits marked and clear of equipment and electrical cables and removal or proper storage and handling of combustible materials, flammable liquids and compressed gases. Dry vegetation around outdoor locations and combustible materials used in filming such as sawdust and tents must be removed or flame-proofed.

Automobiles, boats, helicopters and other means of transportation are common on film locations and a cause of many accidents and fatalities, both when used for transportation and while filming. It is essential that all drivers of vehicles and aircraft be fully qualified and obey all relevant laws and regulations.

Scaffolding and rigging

On location and in studios, lights are rigged to sets, scaffolding or permanent overhead grids, or are free standing. Rigging is also used to fly scenery or people for special effects. Hazards include collapsing scaffolds, falling lights and other equipment and failures of rigging systems.

Precautions for scaffolds include safe construction, guardrails and toeboards, proper supporting of rolling scaffolds and securing of all equipment. Construction, operation, maintenance, inspection and repair of rigging systems should be done only by properly trained and qualified persons. Only assigned personnel should have access to work areas such as scaffolds and catwalks.

Electrical and lighting equipment

Large amounts of power are usually needed for camera lights and everyday electrical needs on a set. In the past direct current (DC) power was used, but alternating current (AC) power is common today. Often, and especially on location, independent sources of power are used. Examples of electrical hazards include shorting of electrical wiring or equipment, inadequate wiring, deteriorated wiring or equipment, inadequate grounding of equipment and working in wet locations. Tie-ins to the power sources and un-ties at the end of filming are two of the most dangerous activities.

All electrical work should be done by licensed electricians and should follow standard electrical safety practices and codes. Safer direct current should be used around water when possible, or ground fault circuit interrupters installed.

Lighting can pose both electrical and health hazards. High-voltage gas discharge lamps such as neons, metal halide lamps and carbon arc lamps are especially hazardous and can pose electrical, ultraviolet radiation and toxic fume hazards.

Lighting equipment should be kept in good condition, regularly inspected and adequately secured to prevent lights from tipping or falling. It is particularly important to check high-voltage discharge lamps for lens cracks that could leak ultraviolet radiation.

Cameras

Camera crews can film in many hazardous situations, including shooting from a helicopter, moving vehicle, camera crane or side of a mountain. Basic types of camera mountings include fixed tripods, dollies for mobile cameras, camera cranes for high shots and insert camera cars for shots of moving vehicles. There have been several fatalities among camera operators while filming under unsafe conditions or near stunts and special effects.

Basic precautions for camera cranes include testing of lift controls, ensuring a stable surface for the crane base and pedestal; properly laid tracking surfaces, ensuring safe distances from high-tension electrical wires; and body harnesses where required.

Insert camera cars that have been engineered for mounting of cameras and towing of the vehicle to be filmed are recommended instead of mounting cameras on the outside of the vehicle being filmed. Special precautions include having a safety checklist, limiting the number of personnel on the car, rigging done by experts, abort procedures and having a dedicated radio communications procedure.

Actors, extras and stand-ins

See the article “Actors” in this chapter.

Costumes

Costumes are made and cared for by wardrobe attendants, who may be exposed to a wide variety of dyes and paints, hazardous solvents, aerosol sprays and so on, often without ventilation.

Hazardous chlorinated cleaning solvents should be replaced with safer solvents such as mineral spirits. Adequate local exhaust ventilation should be used when spraying dyes or using solvent-containing materials. Mixing of powders should be done in an enclosed glove box.

Special effects

A wide variety of special effects are used in motion picture production to simulate real events that would otherwise be too dangerous, impractical or expensive to execute. These include fogs, smoke, fire, pyrotechnics, firearms, snow, rain, wind, computer-generated effects and miniature or scaled-down sets. Many of these have significant hazards. Other hazardous special effects can involve the use of lasers, toxic chemicals such as mercury to give silvery effects, flying objects or people with rigging and electric hazards associated with rain and other water effects. Appropriate precautions would need to be taken with such special effects.

General precautions for hazardous special effects include adequate preplanning, having written safety procedures, using adequately trained and experienced operators and the least hazardous special effects possible, coordinating with the fire department and other emergency services, making everyone aware of the intended use of special effects (and being able to refuse to participate), not allowing children in the vicinity, running detailed rehearsals with testing of the effects, clearing the set of all but essential personnel, having a dedicated emergency communications system, minimizing the number of retakes and having procedures ready to abort production.

Pyrotechnics are used to create effects involving explosions, fires, light, smoke and sound concussions. Pyrotechnics materials are usually low explosives (mostly Class B), including flash powder, flash paper, gun cotton, black powder and smokeless powder. They are used in bullet hits (squibs), blank cartridges, flash pots, fuses, mortars, smoke pots and many more. Class A high explosives, such as dynamite, should not be used, although detonating cord is sometimes used. The major problems associated with pyrotechnics include premature triggering of the pyrotechnic effect; causing a fire by using larger quantities than needed; lack of adequate fire extinguishing capabilities; and having inadequately trained and experienced pyrotechnics operators.

In addition to the general precautions, special precautions for explosives used in pyrotechnics include proper storage, the use of appropriate type and in smallest amounts necessary to achieve the effect, and testing them in the absence of spectators. When pyrotechnics are used smoking should be banned and firefighting equipment and trained personnel should be on hand. The materials should be set off by electronic firing controls and adequate ventilation is needed.

The uses of fire effects range from ordinary gas stoves and fireplaces to the destructive fires involved in burning cars, houses, forests and even people (figure 1). In some cases, fires can be simulated by flickering lights and other electronic effects. Materials used to create fire effects include propane gas burners, rubber cement, gasoline and kerosene. They are often used in conjunction with pyrotechnic special effects. Hazards are directly related to the fire getting out of control and the heat they generate. Poor maintenance of fire generating equipment and the excessive use of flammable materials or the presence of other unintended combustible materials, and improper storage of combustible and flammable liquids and gases are all risks. Inexperienced special effects operators can also be a cause of accidents as well.

Figure 1. Fire special effect

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William Avery

Special precautions are similar to those needed for pyrotechnics, such as replacing gasoline, rubber cement and other flammable substances with the safer combustible gels and liquid fuels which have been developed in recent years. All materials in the fire area should be non-combustible or flame-proofed. This precaution includes flame-proofed costumes for actors in the vicinity.

Fogs and smoke effects are common in filming. Dry ice (carbon dioxide), liquid nitrogen, petroleum distillates, zinc chloride smoke generators (which might also contain chlorinated hydrocarbons), ammonium chloride, mineral oil, glycol fogs and water mists are common fog-generating substances. Some materials used, such as petroleum distillates and zinc chloride, are severe respiratory irritants and can cause chemical pneumonia. Dry ice, liquid nitrogen and water mists represent the least chemical hazards, although they can displace oxygen in enclosed areas, possibly making the air unfit for supporting life, especially in enclosed areas. Microbiological contamination can be a problem associated with water-mist generating systems. Some evidence is forthcoming that respiratory irritation is possible from those fogs and smokes that were thought to be safest, such as mineral oil and glycols.

Special precautions include eliminating the most hazardous fogs and smoke; using a fog with the machine designed for it; limiting duration of use, including limiting the number of retakes; and avoiding use in enclosed spaces. Fogs should be exhausted as soon as possible. Respiratory protection for the camera crew should be provided.

Firearms are common in films. All types of firearms are used, ranging from antique firearms to shotguns and machine guns. In many countries (not including the United States) live ammunition is banned. However, blank ammunition, which is commonly used in conjunction with live bullet hits in order to simulate actual bullet impacts, has caused many injuries and fatalities. Blank ammunition used to consist of a metal casing with a percussion primer and smokeless powder topped with a paper wad, which could be ejected at high velocity when fired. Some modern safety blanks use special plastic inserts with a primer and flash powder, giving only a flash and noise. Blank ammunition is commonly used in conjunction with bullet hits (squibs), consisting of a plastic-cased detonator imbedded in the object to be struck by the bullet to simulate actual bullet impacts. Hazards, besides the use of live ammunition, include the effects of use of blanks at close range, mixing up live and blank ammunition or using the wrong ammunition in a firearm. Improperly modified firearms can be dangerous, as can the lack of adequate training in the use of blank-firing firearms.

Live ammunition and unmodified firearms should be banned from a set and non-firing facsimile weapons used whenever possible. Firearms that can actually fire a bullet should not be used, only proper safety blanks. Firearms should be checked regularly by the property master or other firearms expert. Firearms should be locked away, as should all ammunition. Guns should never be pointed at actors in a scene, and the camera crew and others in close proximity to the set should be protected with shields from blanks fired from weapons.

Stunts

A stunt can be defined as any action sequence that involves a greater than normal risk of injury to performers or others on the set. With increasing demands for realism in films, stunts have become very common. Examples of potentially hazardous stunts include high falls, fights, helicopter scenes, car chases, fires and explosions. About half the fatalities occurring during filming are stunt-related, often also involving special effects.

Stunts can endanger not only the stunt performer but often the camera crew and other performers may be injured as well. Most of the general precautions described for special effects also apply to stunts. In addition, the stunt performer should be experienced in the type of stunt being filmed. A stunt coordinator should be in charge of all stunts since a person cannot perform a stunt and be in adequate control of safety, especially when there are several stunt performers.

Aircraft, especially helicopters, have been involved in the most serious multiple fatality accidents in motion picture production. Pilots are often not adequately qualified for stunt flying. Acrobatic manoeuvres, hovering close to the ground, flying too close to sets using pyrotechnics and filming from helicopters with open doors or from the pontoons without adequate fall protection are some of the most dangerous situations. See the article “Helicopters” elsewhere in the Encyclopaedia.

One precaution is to employ an independent aviation consultant, in addition to the pilot, to recommend and oversee safety procedures. Restriction of personnel within 50 feet of grounded aircraft and clear written procedures for filming on ground near aircraft with their engines running or during aircraft landings or takeoffs are other safety measures. Coordination with any pyrotechnics or other hazardous special effects operators is essential, as are procedures to ensure the safety of camera operators filming from aircraft. Procedures for aborting an operation are needed.

Vehicle action sequences have also been a source of many accidents and fatalities. Special effects, such as explosions, crashes, driving into rivers and car chase scenes with multiple cars, are the most common cause of accidents. Motorcycle scenes can be even more hazardous than automobiles because the operator of the motorcycle suffers from the lack of personal protection.

Special precautions include using camera cars. Using stunt drivers for all cars in a stunt scene can lower the accident rate, as can special training for non-stunt passengers. Other safety rules include proper safety equipment, inspection of all ramps and other equipment to be used during a stunt, using dummies in cars during crashes, explosions and other extremely high risk sequences and not driving cars directly towards cameras if there is a camera operator behind the camera. See figure 2 for an example of using dummies in a roller coaster stunt. Adequate ventilation is needed for automobiles that are being filmed indoors with engines running. Stunt motorcycles should be equipped with a deadman switch so that the motor shuts off when the rider separates from the motorcycle.

Figure 2. Using dummies for a roller coaster stunt.

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William Avery

Stunts using fire and explosion place performers at higher risk and require special precautions beyond those used just for the special effects. Protection for stunt performers directly exposed to flames includes wearing a protective barrier gel (e.g., Zel Jel) on the hair, the skin, clothing and so on. Proper protective clothing, including fireproof suits under costumes; flame-resistant gloves and boots; and sometimes hidden oxygen tanks, should be supplied. Specially trained personnel equipped with carbon dioxide fire extinguishers should be on hand in case of an emergency.

Fight scenes can involve performers in fistfights or other unarmed combat or the use of knives, swords, firearms and other combat equipment. Many film and stage fights do not involve the use of stunt performers, thus increasing the risk of injury because of the lack of training.

Simulated weapons, such as knives and swords with retractable blades, are one safeguard. Weapons should be stored carefully. Training is key. The performer should know how to fall and how to use specific weapons. Adequate choreography and rehearsals of the fights is needed, as is proper protective clothing and equipment. A blow should never be aimed directly at an actor. If a fight involves a high degree of hazard, such as falling down a flight of stairs or crashing through a window, a professional stunt double should be used.

Falls in stunts can range from falling down a flight of stairs to falling off a horse, being thrown through the air by a trampoline or ratchet catapult system, or a high fall off a cliff or building (figure 3). There have been many injuries and fatalities from poorly prepared falls.

Figure 3. High fall stunt.

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Only experienced stunt performers should attempt fall stunts. When possible, the fall should be simulated. For example, falling down a flight of stairs can be filmed a few stairs at a time so the stunt performer is never out of control, or a fall off a tall building simulated by a fall of a few feet onto a net and using a dummy for the rest of the fall. Precautions for high falls involve a high fall coordinator and a specialized fall/arrest system for safe deceleration. Falls of more than 15 feet require two safety spotters. Other precautions for falls include airbags, crash pads of canvas filled with sponge rubber, sand pits and so on, depending on the type of fall. Testing of all equipment is crucial.

Animal scenes are potentially very hazardous because of the unpredictability of animals. Some animals, such as large cats, can attack if startled. Large animals like horses can be a hazard just because of their size. Dangerous, untrained or unhealthy animals should not be used on sets. Venomous reptiles such as rattlesnakes are particularly hazardous. In addition to the hazards to personnel, the health and safety of the animals should be considered.

Only trained animal handlers should be allowed to work with animals. Adequate conditions for the animals are needed, as is basic animal safety equipment, such as fire extinguishers, fire hoses, nets and tranquilizing equipment. Animals should be allowed adequate time to become familiar with the set, and only required personnel should be permitted on the set. Conditions that could upset animals should be eliminated and animals kept from exposure to loud noises or light flashes whenever possible, thus ensuring the animals will not be injured and will not become unmanageable. Certain situations—for example, those using venomous reptiles or large numbers of horses—will require special precautions.

Water stunts can include diving, filming in fast-moving water, speedboat stunts and sea battles. Hazards include drowning, hypothermia in cold water, underwater obstructions and contaminated water. Emergency teams, including certified safety divers, should be on hand for all water stunts. Diver certification for all performers or camera operators using self-contained underwater breathing apparatus (SCUBA) and provision of standby breathing equipment are other precautions. Emergency decompression procedures for dives over 10 m should be in place. Safety pickup boats for rescue and proper safety equipment, such as use of nets and ropes in fast-moving water, are needed.

Health and Safety Programmes

Most major film studios have a full-time health and safety officer to oversee the health and safety programme. Problems of responsibility and authority can occur, however, when a studio rents facilities to a production company, as is increasingly common. Most production companies do not have a health and safety programme. A health and safety officer, with authority to establish safety procedures and to ensure they are carried out, is essential. There is a need to coordinate the activities of others charged with production planning, such as stunt coordinators, special effects operators, firearms experts and the key grip (who is usually the individual most responsible for the safety of sets, cameras, scaffolding, etc.), each of whom has specialized safety knowledge and experience. A health and safety committee that meets regularly with representatives from all departments and unions can provide a conduit between the management and employees. Many unions have an independent health and safety committee which can be a source of health and safety expertise.

Medical services

Both non-emergency and emergency medical services are essential during film production. Many film studios have a permanent medical department, but most production companies do not. The first step in determining the degree of on-location medical services to be provided is a needs assessment, to identify potential medical risks, including the need for vaccination in certain countries, possible local endemic diseases, evaluation of local environmental and climate conditions, and an evaluation of the quality of local medical resources. The second, pre-planning stage involves a detailed analysis of major risks and availability of adequate emergency and other medical care in order to determine what type of emergency planning is essential. In situations where there are high risks and/or remote locations, trained emergency physicians would be needed on location. Where there is quick access to adequate emergency facilities, paramedics or emergency medical technicians with advanced training would suffice. In addition, adequate emergency transportation should be arranged beforehand. There have been several fatalities due to the lack of adequate emergency transportation (Carlson 1989; McCann 1989).

Standards

There are few occupational safety and health regulations aimed specifically at the film production industry. However, many general regulations, such as those affecting fire safety, electrical hazards, scaffolding, lifts, welding and so on, are applicable. Local fire departments generally require special fire permits for filming and may require that standby fire personnel be present on filming sites.

Many productions have special requirements for the licensing of certain special effects operators, such as pyrotechnicians, laser operators and firearms users. There can be regulations and permits required for specific situations, such as the sale, storage and use of pyrotechnics, and the use of firearms.

 

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Thursday, 24 March 2011 19:22

Scenery Shops

Theatres, motion pictures, television, theme and amusement parks and similar entertainment enterprises all build and paint scenery and make props for their presentations. In many cases, these are made in-house. There are also commercial scenic shops that specialize in making large scenery which is then transported to the site. The major difference between making scenery backstage in a small theatre and building huge sets or even houses for a motion picture, for example, is the scale of the work and who does the work. In small theatres, there is little division of tasks, whereas in larger facilities, there would be a division of labour among carpenters, scenic painters, welders, prop makers and so on.

The scenery for a theatre play, motion picture set or television studio might look realistic, but is often an illusion. The walls of a room are usually not solid but are composed of lightweight flats (panels of painted canvas stretched on wooden frames). Background scenery often consists of backdrops (huge curtains painted to represent the background) which can be lowered and raised for different scenes. Other solid-looking props, such as trees, rocks, vases, mouldings, sculptures and so forth, might be made out of papier mâché, plaster, polyurethane foam or other materials. Today, a wide variety of materials are used to make scenery, including wood, metal, plastics, synthetic fabrics, paper and other modern industrial products. For scenery which performers will walk or climb on, the structures must be solid and meet proper safety standards.

The basic processes and chemicals used for making sets and props tend to be similar for the various types of entertainment facilities. Outdoor sets, however, can often use heavy construction materials such as cement on a large scale, which would be impractical inside due to smaller load-bearing capacities. The degree of hazard depends on the types and amounts of chemicals used, and the precautions taken. A theatre might use quarts of polyurethane foam resin for making small props, while the inside of a tunnel in a theme park set might use hundreds of gallons of the resin. Small in-house shops tend to have less awareness of the hazards, and overcrowding often creates additional hazards due to the proximity of incompatible processes such as welding and use of flammable solvents.

Woodworking

Wood, plywood, particle board and Plexiglas are commonly used in constructing sets. Hazards include: accidents with woodworking machinery, power tools and hand tools; electrical shock; fire from combustible wood dust; and toxic effects from inhalation of wood dust, formaldehyde and methyl methacrylate decomposition products from machining plywood, particle board and Plexiglas, and solvents used with contact adhesives.

Precautions include machine guards, proper electrical safety, housekeeping and adequate storage to reduce fire hazards, dust collectors, adequate ventilation and eye protection.

Welding, Cutting and Brazing

Steel and aluminium frameworks are commonly used for the construction of sets. These are often welded using oxyacetylene torches and arc welders of various types. Injury hazards include fire from flying sparks, fire and explosion from compressed gases, and electrical shock from arc welders; health hazards include metal fumes, fluxes, welding gases (ozone, nitrogen oxides, carbon monoxide) and ultraviolet radiation.

Precautions include removal or protection of combustible materials, proper storage and handling of compressed gas cylinders, electrical safety, adequate ventilation and personal protective equipment.

Scenic Painting

Paints, lacquers, varnishes, dye solutions and other coatings are used for painting scenery flats and fabric drops. The paints and dye solutions can be either solvent based or water based. Powdered pigments and dyes are usually mixed in the shop, with the use of lead chromate pigments still being common. Large flats and drops are often sprayed. Solvents are used for dissolving dyes and resins, thinning, removing paint and other coatings and for cleaning tools, brushes and even hands. Hazards include skin contact with solvents and inhalation of solvent vapours, spray mists and powdered dyes and pigments. Solvents are also fire hazards, particularly when sprayed.

Precautions include elimination of lead pigments, using water-based paints and dyes, adequate ventilation for use of solvents, respiratory protection for spraying, proper storage and handling of flammable liquids and proper disposal of waste solvents and paints.

Plastic Resins

Polyurethane foam resins, epoxy resins, polyester resins and other resins are commonly used to make large sets and props. Spraying of polyurethane foam resins containing diphenylmethane diisocyanate (MDI) is particularly dangerous, with hazards of chemical pneumonia and asthma. Epoxy resins, polyester resins and solvents have skin, eye and inhalation hazards, and are fire hazards.

Precautions include substitution of safer materials (such as cement or celastic instead of spray polyurethane foams, or water-based materials to replace solvent-based types), local exhaust ventilation, proper storage and handling, proper disposal of waste materials and adequate personal protective equipment.

Props and Models

Plastic resins are also used to make body armour, face masks, breakaway glass and other props and models, as are wood, plaster, metal, plastics and so on. A variety of water-based and solvent-based adhesives are also used. Solvents are used in cleanup. Precautions are similar to those already discussed.

 

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Thursday, 24 March 2011 19:18

Theatre and Opera

Occupational safety and health in the theatre and opera comprises diverse aspects, including all the problems of industry in general plus specific artistic and cultural aspects. More than 125 different professions are involved in the process of making theatre or opera performances; these performances can take place in classrooms and small theatres, as well as large opera houses or convention halls. Very often theatre and opera companies tour around the country and abroad, performing in diverse buildings.

There are the artistic professions—artists, actors, singers (soloists and choirs), musicians, dancers, coaches, choreographers, conductors and directors; the technical and production professions—technical directors and managers, lighting manager, chief electrician, sound engineer, chief machinist, armourer, wigmaster, dyeing and wardrobe director, property maker, costume maker and others; and the administrative professions—chief accountant, personnel managers, house managers, catering managers, contracts managers, marketing personnel, box office personnel, advertising managers and so on.

The theatre and opera involve general industrial safety hazards such as lifting of heavy objects and accident risks as a result of irregular working hours, combined with factors specific to the theatre, such as the layout of the premises, complex technical arrangements, bad lighting, extreme temperatures and the need to work to tight schedules and meet deadlines. These risks are the same for artists and technical personnel.

A serious attitude towards occupational safety and health demands taking care of the hand of a violinist or the wrist of a ballet dancer, as well as a broader view of the situation of theatre employees as a whole, including both physical and psychological risks. Theatre buildings are also open to the public, and this aspect of safety and health must be taken care of.

Fire Safety

There are many types of potential fire hazards in theatres and opera houses. These include: general hazards such as blocked or locked exits, inadequate number and size of exits, lack of training in procedures in the event of fire; backstage hazards such as improper storage of paints and solvents, unsafe storage of scenery and other combustibles, welding in close proximity to combustible materials and lack of proper exits for dressing rooms; on-stage hazards such as pyrotechnics and open flames, lack of fireproofing of drapes, decorations, props and scenery, and lack of stage exits and sprinkler systems; and audience hazards such as permitting smoking, blocked aisles and exceeding the legal number of occupants. In case of a fire in the theatre building all aisles, passages and staircases must be kept entirely free from chairs or any other obstructions, to help evacuation. Fire escapes and emergency exits must be marked. The alarm bells, fire alarms, fire extinguishers, sprinkler systems, heat and smoke detectors and emergency lights must function. The fire curtain must be lowered and raised in the presence of each audience, unless a deluge sprinkler system is installed. When the audience must leave, whether in an emergency or at the end of a performance, all exit doors must be open.

Fire safety procedures must be established and fire drills held. One or more trained fire guards must be present at all performances unless the fire department assigns firefighters. All scenery, props, drapes and other combustible materials present on the stage must be fireproofed. If pyrotechnics or open flames are present, fire permits must be obtained when required and safe procedures established for their use. Stage and backstage lighting equipment and electrical systems must meet standards and be properly maintained. Combustible materials and other fire hazards should be removed. Smoking should not be allowed in any theatre except in properly designated areas.

Grids and Rigging

Theatre and opera stages have overhead grids from which lights are hung, and rigging systems to fly (raise and lower) scenery and sometimes performers. There are ladders and overhead catwalks for lighting technicians and others to work overhead. On the stage, discipline is required from both the artists and the technical staff because of all the hanging equipment above. Theatre scenery can be moved vertically and horizontally. Horizontal movement of scenery at the side of the stage can be done manually or mechanically through the ropes from the grids in the rope house. Safety routines are very important in rope and counterweight flying. There are different kinds of rigging systems, using hydraulic and electric power. Rigging should be done by trained and qualified personnel. Safety procedures for rigging include: inspection of all rigging equipment before use and after alterations; ensuring load capacities are not exceeded; following safe procedures when loading, unloading or operating rigging systems; maintaining visual contact with a moving piece at all times; warning everyone before moving any rigged object; and ensuring no one is underneath when moving scenery. The lighting crew must take appropriate safety measures while mounting, connecting and directing spotlights (figure 1). Lights should be fastened to the grid with safety chains. Safety shoes and helmets should be worn by personnel working on stage when any work is proceeding overhead.

Figure 1. Arranging lights in a lowered lighting grid.

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William Avery

Costumes and Makeup

Costumes

Costumes can be made in the theatres’ own ateliers by the wardrobe attendants. It is a heavy job, especially the handling and transportation of old classical costumes. Body aches, headaches, musculoskeletal strains and sprains and other injuries can result from operating sewing machines, dryers, irons, ironing boards and electrical equipment; dust from textiles is a health hazard. Cleaning and dying of costumes, wigs and shoes can use a variety of hazardous liquid solvents and aerosol sprays.

Wearing heavy costumes can be hot under stage lights. Frequent costume changes between scenes can be a source of stress. If flames are present, fireproofing of costumes is essential.

Precautions for wardrobe attendants include proper electrical safety; adequate lighting and ventilation for solvents and spraying; adequate adjustable chairs, work tables and ironing boards; and knowledge of textiles health hazards.

Makeup

Performers usually have to wear heavy layers of makeup for several hours for every performance. Application of makeup and hair styling is usually done by makeup and hair artists in commercial theatre and opera. Often the makeup artist has to work on several performers in a short period of time. Makeup can contain a wide variety of solvents, dyes and pigments, oils, waxes and other ingredients, many of which can cause skin or eye irritation or allergies. Special effects makeup can involve the use of hazardous adhesives and solvents. Eye injuries can result from abrasions during application of eye makeup. Shared makeup is a concern for transmission of bacterial contamination (but not hepatitis or HIV). The use of aerosol hair sprays in enclosed dressing rooms is an inhalation hazard. For makeup removal, large quantities of cold creams are used; solvents are also used for removing special effects makeup.

Precautions include washing off the makeup with soap after every performance, cleaning of brushes and sponges or using disposable ones, using individual applicators for makeup and keeping all makeup cold. The makeup room must have mirrors, flexible lighting and adequate chairs.

Setting Up and Striking Sets

Scenery at a theatre may require one standing set, which can be constructed of heavy materials; more frequently there can be several changes of scenery during a performance, requiring movability. Similarly, for a repertory theatre, changeable scenery can be constructed which is easily transportable. Scenery can be built on wheels, for mobility.

Stage crews risk injury when building, disassembling and moving scenery, and when moving counterbalances. Hazards include back, leg and arm injuries. Accidents often occur when breaking down (striking) the set when a show’s run is over, due to fatigue. Precautions include wearing hard hats and safety shoes, safe lifting procedures and equipment, banning of unnecessary personnel and not working when fatigued.

For scene decorators or painters painting, nailing and laying out backdrops, paint and other chemicals are also health hazards. For carpenters, unsafe worksites, noise and vibration as well as air contamination are all problems. Wig and mask makers generally have problems with working postures as well as health risks associated with the use of resins—for example, when working on bald heads and false noses. Health risks include toxic chemicals and possible allergies, skin irritation and asthmatic complaints.

Regulations

There are often national laws, for example, building codes, and local regulations for fire safety. For grids and rigging, directives from the European Economic Commission—for instance, on machinery (89/392 EEC) and on lifting appliances for persons—may influence national legislation. Other countries also have safety and health legislation that can affect theatres and opera houses.

 

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Thursday, 24 March 2011 19:17

Actors

Acting involves placing your mind in the world of fantasy and bringing forth a character for a performance. Actors are involved in many arts and entertainment areas, including theatre, film, television, amusement and theme parks and so on. Hazards faced by actors include stress, physical hazards and chemical hazards. Stage fright (performance anxiety) is considered in a separate article.

Stress

Causes of stress include the fierce competition for scarce jobs, the pressure of performing shows daily or even more frequently (e.g., theme parks and matinee days), working at night, touring shows, filming deadlines, frequent retakes (especially while filming television commercials) and so on. There are also psychological pressures involved in adopting and maintaining a character role, including the pressure to express certain emotions upon demand, and the tactics often used by directors to obtain a given reaction from an actor. As a result, actors have higher rates of alcoholism and suicide. The solution to many of these causes of stress involves improved working and living conditions, especially when touring and on location. In addition, personal measures such as therapy and relaxation techniques can also help.

Costumes

Many costumes are a fire hazard near open flames or other ignition sources. Special effects costumes and masks can create problems of heat stress and excess weight.

The costumes of all actors working near open flames must be treated with an approved fire retardant. Actors wearing heavy costumes or costumes not suitable to the climate should be given adequate work breaks. With heavy metal or wood framework costumes, supplying cool air inside the costume might be necessary. Provision should also be made for easy escape from such costumes in case of emergency.

Theatrical Makeup

Theatrical makeup can cause allergic skin and eye reactions and irritation in some people. The widespread practice of sharing makeup or applying it to many people from the same container can create risks of transmitting bacterial infections. According to medical experts, transmission of the HIV and other viruses is not likely through shared makeup. The use of hair sprays and other spray products in unventilated dressing rooms is also a problem. Special effects makeup can involve the use of more hazardous materials such as polyurethane and silicone rubber resins and a variety of solvents.

Basic precautions when applying makeup include washing hands before and after; not using old makeup; no smoking, eating or drinking during application; using potable water and not saliva for moistening brushes; avoiding creation of airborne dust; and using pump sprays instead of aerosol sprays. Each performer should have his or her own makeup kit when practical. When applying makeup to several individuals, disposable sponges, brushes and individual applicators, individual lipsticks (or sliced and labelled lipsticks) and so on should be used. The least toxic materials possible should be used for special effects makeup. The dressing room should have a mirror, good lighting and comfortable chairs.

Stunts

A stunt can be defined as any action sequence that involves a greater than normal risk of injury to performers or others on the set. In many such situations, actors are doubled by stunt performers who have extensive experience and training in carrying out such action sequences. Examples of potentially hazardous stunts include falls, fights, helicopter scenes, car chases, fires and explosions. Careful preplanning and written safety procedures are necessary. See the article “Motion picture and television production” for detailed information on stunts.

Other Hazards

Other hazards to actors, especially on location, include environmental conditions (heat, cold, polluted water, etc.), water scenes with possible risk of hypothermia and special effects (fogs and smoke, pyrotechnics, etc.). Special consideration must be given to these factors before filming starts. In theatres, scenes with dirt, gravel, artificial snow and so on can create eye and respiratory irritation problems when hazardous materials are used, or when materials are swept up and reused, resulting in possible biological contamination. An additional hazard is the growing phenomenon of stalking of well-known actors, actresses and other celebrities, with resultant threats or actuality of violence.

Child Actors

The use of children in theatre and motion picture production can lead to exploitation unless careful procedures are enforced to ensure that children do not work long hours, are not placed in hazardous situations and receive adequate education. Concern has also been expressed about the psychological effects on children participating in theatre or motion picture scenes involving simulated violence. Child labour laws in many countries do not adequately protect child actors.

 

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Thursday, 24 March 2011 19:15

Performance Anxiety

Performance anxiety is, like fear, joy or grief, an emotion which includes physical and psychological components. Motor responses, autonomic reactions, memories, ideas and thoughts continuously interact. Performance anxiety is no longer thought of as an isolated symptom but rather as a syndrome comprising attitudes, traits and unconscious conflicts that become activated in particular circumstances.

Nearly every person must deal with performance anxiety in one form or another at one time or another. By the nature of their profession, however, performing artists, or those for whom public performance is an important part of their profession, have to deal with performance anxiety more frequently and often more intensely than do others. Even those with years of experience may still have a performance anxiety problem.

Performance anxiety is mainly characterized by an irrational situational anxiety accompanied by unwanted physical symptoms which can lead to dysfunction and/or uncontrolled behaviour. It occurs especially in those situations in which a task has to be done that could subject the performer to possible criticism from others. Examples of such situations include public speaking, giving a concert, writing exams, sexual performance, etc. Performance anxiety can cause a broad range of possible physical symptoms of distress, such as trembling hands, trembling lips, diarrhoea, sweating hands and palpitations of the heart. These symptoms can not only affect the quality of a performance but may also negatively influence the sufferer’s future and career.

Some experts believe that the causes of performance anxiety include improper practice and preparation habits, insufficient performance experience, having an inappropriate repertoire and so on. Other theories view performance anxiety as mainly caused by negative thoughts and poor self-esteem. Still others are of the opinion that the stress and fear of performance anxiety is closely related to so-called career stress, which includes feelings of inadequacy, anticipation of punishment or criticism and loss of status. Although there is no agreement as to the cause of performance anxiety, and the explanation cannot be simple, it is clear that the problem is widespread and that even world-famous artists such as Yehudi Menuhin or Pablo Casals are known to have suffered from performance anxiety and fear all their lives.

Personal traits are undoubtedly related to performance anxiety. A challenge for one person can be a catastrophe for another. The experience of performance anxiety depends to a great extent on the personal perception of a fearful situation. Some introverted individuals may, for example, be more prone to stressful events and thus more likely to suffer performance anxiety than others. For some people, success can also cause fear and performance anxiety. This in turn reduces and undermines the communicative and creative aspects of the performer.

To achieve an optimum performance a bit of fear and stress and a certain amount of nervousness may be unavoidable. The margin between the degree of (still) acceptable performance anxiety and the necessity of therapeutic intervention, however, can be set only by the performer.

Performance anxiety is a complex phenomenon; its various components lead to variable and changing reactions depending on the situation. Individual aspects, work situations, social factors, personal development and so on play a considerable role, making it difficult to give general rules.

Methods for diminishing performance anxiety include developing personal coping strategies or learning relaxation techniques such as biofeedback. Such approaches are directed towards transforming task-irrelevant negative thoughts and worrisome anticipations into task-relevant demands and the positive task-orientated self. Medical interventions, such as beta-blockers and tranquillizers are also commonly used (Nubé 1995). The taking of drugs however, remains controversial and should be done only under medical supervision due to possible side effects and contra-indications.

 

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Thursday, 24 March 2011 18:59

Radiation Biology and Biological Effects

After its discovery by Roentgen in 1895, the x ray was introduced so rapidly into the diagnosis and treatment of disease that injuries from excessive radiation exposure began to be encountered almost immediately in pioneer radiation workers, who had yet to become aware of the dangers (Brown 1933). The first such injuries were predominantly skin reactions on the hands of those working with the early radiation equipment, but within a decade many other types of injury also had been reported, including the first cancers attributed to radiation (Stone 1959).

Throughout the century since these early findings, study of the biological effects of ionizing radiation has received continuing impetus from the growing uses of radiation in medicine, science and industry, as well as from the peaceful and military applications of atomic energy. As a result, the biological effects of radiation have been investigated more thoroughly than those of virtually any other environmental agent. The evolving knowledge of radiation effects has been influential in shaping measures for the protection of human health against many other environmental hazards as well as radiation.

Nature and Mechanisms of the Biological Effects of Radiation

Energy deposition. In contrast to other forms of radiation, ionizing radiation is capable of depositing enough localized energy to dislodge electrons from the atoms with which it interacts. Thus, as radiation collides randomly with atoms and molecules in passing through living cells, it gives rise to ions and free radicals which break chemical bonds and cause other molecular changes that injure the affected cells. The spatial distribution of the ionizing events depends on the radiation weighting factor, w R of the radiation (see table 1 and figure 1).

Table 1. Radiation weighting factors wR

Type and energy range

wR 1

Photons, all energies

1

Electrons and muons, all energies2

1

Neutrons, energy <10 keV

5

10 keV to 100 keV

10

>100 keV to 2 MeV

20

>2 MeV to 20 MeV

10

>20 MeV

5

Protons, other than recoil protons, energy >2 MeV

5

Alpha particles, fission fragments, heavy nuclei

20

1 All values relate to the radiation incident on the body or, for internal sources, emitted from the source.

2 Excluding Auger electrons emitted from nuclei bound to DNA.

Figure 1. Differences among various types of ionizing radiation in penetrating power in tissue

ION020F1

Effects on DNA. Any molecule in the cell may be altered by radiation, but DNA is the most critical biological target because of the limited redundancy of the genetic information it contains. An absorbed dose of radiation large enough to kill the average dividing cell—2 gray (Gy)—suffices to cause hundreds of lesions in its DNA molecules (Ward 1988). Most such lesions are reparable, but those produced by a densely ionizing radiation (for example, a proton or an alpha particle) are generally less reparable than those produced by a sparsely ionizing radiation (for example, an x ray or a gamma ray) (Goodhead 1988). Densely ionizing (high LET) radiations, therefore, typically have a higher relative biological effectiveness (RBE) than sparsely ionizing (low LET) radiations for most forms of injury (ICRP 1991).

Effects on genes. Damage to DNA that remains unrepaired or is misrepaired may be expressed in the form of mutations, the frequency of which appears to increase as a linear, non-threshold function of the dose, approximately 10–5 to 10–6 per locus per Gy (NAS 1990). The fact that the mutation rate appears to be proportional to the dose is interpreted to signify that traversal of the DNA by a single ionizing particle may, in principle, suffice to cause a mutation (NAS 1990). In Chernobyl accident victims, the dose-response relationship for glycophorin mutations in bone marrow cells closely resembles that observed in atomic bomb survivors (Jensen, Langlois and Bigbee 1995).

Effects on chromosomes. Radiation damage to the genetic apparatus may also cause changes in chromosome number and structure, the frequency of which has been observed to increase with the dose in radiation workers, atomic bomb survivors, and others exposed to ionizing radiation. The dose-response relationship for chromosome aberrations in human blood lymphocytes (figure 2) has been characterized well enough so that the frequency of aberrations in such cells can serve as a useful biological dosimeter (IAEA 1986).

Figure 2. Frequency of dicentric chromosome aberrations in human lymphocytes in relation to dose, dose rate, and quality of irradiation in vitro

ION020F2

 

Effects on cell survival. Among the earliest reactions to irradiation is the inhibition of cell division, which appears promptly after exposure, varying both in degree and duration with the dose (figure 3). Although the inhibition of mitosis is characteristically transitory, radiation damage to genes and chromosomes may be lethal to dividing cells, which are highly radiosensitive as a class (ICRP 1984). Measured in terms of proliferative capacity, the survival of dividing cells tends to decrease exponentially with increasing dose, 1 to 2 Gy generally sufficing to reduce the surviving population by about 50% (figure 4).

Figure 3. Mitotic inhibition induced by x rays in rat corneal epithelial cells

ION020F3

 

Figure 4. Typical dose-survival curves for mammalian cells exposed to x rays and fast neutrons

 

ION020F4

Effects on tissues. Mature, non-dividing cells are relatively radioresistant, but the dividing cells in a tissue are radiosensitive and may be killed in sufficient numbers by intensive irradiation to cause the tissue to become atrophic (figure 5). The rapidity of such atrophy depends on cell population dynamics within the affected tissue; that is, in organs characterized by slow cell turnover, such as the liver and vascular endothelium, the process is typically much slower than in organs characterized by rapid cell turnover, such as the bone marrow, epidermis and intestinal mucosa (ICRP 1984). It is noteworthy, moreover, that if the volume of tissue irradiated is sufficiently small, or if the dose is accumulated gradually enough, the severity of injury may be greatly reduced by the compensatory proliferation of surviving cells.

Figure 5. Characteristic sequence of events in the pathogenesis of nonstochastic effects  of ionizing radiation

 ION020F5

Clinical Manifestations of Injury

Types of effects. Radiation effects encompass a wide variety of reactions, varying markedly in their dose-response relationships, clinical manifestations, timing and prognosis (Mettler and Upton 1995). The effects are often subdivided, for convenience, into two broad categories: (1) heritable effects, which are expressed in the descendants of exposed individuals, and (2) somatic effects, which are expressed in exposed individuals themselves. The latter include acute effects, which occur relatively soon after irradiation, as well as late (or chronic) effects, such as cancer, which may not appear until months, years or decades later.

Acute effects. The acute effects of radiation result predominantly from the depletion of progenitor cells in affected tissues (figure 5) and can be elicited only by doses that are large enough to kill many such cells (for example, table 2). For this reason, such effects are viewed as nonstochastic, or deterministic, in nature (ICRP 1984 and 1991), in contradistinction to the mutagenic and carcinogenic effects of radiation, which are viewed as stochastic phenomena resulting from random molecular alterations in individual cells that increase as linear-nonthreshold functions of the dose (NAS 1990; ICRP 1991).

Table 2. Approximate threshold doses of conventionally fractionated therapeutic x-radiation for clinically detrimental nonstochastic effects in various tissues

Organ

Injury at 5 years

Threshold
dose (Gy)*

Irradiation
field (area)

Skin

Ulcer, severe fibrosis

55

100 cm2

Oral mucosa

Ulcer, severe fibrosis

60

50 cm2

Oesophagus

Ulcer, stricture

60

75 cm2

Stomach

Ulcer, perforation

45

100 cm2

Small intestine

Ulcer, stricture

45

100 cm2

Colon

Ulcer, stricture

45

100 cm2

Rectum

Ulcer, stricture

55

100 cm2

Salivary glands

Xerostomia

50

50 cm2

Liver

Liver failure, ascites

35

whole

Kidney

Nephrosclerosis

23

whole

Urinary bladder

Ulcer, contracture

60

whole

Testes

Permanent sterility

5-15

whole

Ovary

Permanent sterility

2-3

whole

Uterus

Necrosis, perforation

>100

whole

Vagina

Ulcer, fistula

90

5 cm2

Breast, child

Hypoplasia

10

5 cm2

Breast, adult

Atrophy, necrosis

>50

whole

Lung

Pneumonitis, fibrosis

40

lobe

Capillaries

Telangiectasis, fibrosis

50-60

s

Heart

Pericarditis, pancarditis

40

whole

Bone, child

Arrested growth

20

10 cm2

Bone, adult

Necrosis, fracture

60

10 cm2

Cartilage, child

Arrested growth

10

whole

Cartilage, adult

Necrosis

60

whole

Central nervous system (brain)

Necrosis

50

whole

Spinal cord

Necrosis, transection

50

5 cm2

Eye

Panophthalmitis, haemorrhage

55

whole

Cornea

Keratitis

50

whole

Lens

Cataract

5

whole

Ear (inner)

Deafness

>60

whole

Thyroid

Hypothyroidism

45

whole

Adrenal

Hypoadrenalism

>60

whole

Pituitary

Hypopituitarism

45

whole

Muscle, child

Hypoplasia

20-30

whole

Muscle, adult

Atrophy

>100

whole

Bone marrow

Hypoplasia

2

whole

Bone marrow

Hypoplasia, fibrosis

20

localized

Lymph nodes

Atrophy

33-45

s

Lymphatics

Sclerosis

50

s

Foetus

Death

2

whole

* Dose causing effect in 1-5 per cent of exposed persons.

Source: Rubin and Casarett 1972.

Acute injuries of the types that were prevalent in pioneer radiation workers and early radiotherapy patients have been largely eliminated by improvements in safety precautions and treatment methods. Nevertheless, most patients treated with radiation today still experience some injury of the normal tissue that is irradiated. In addition, serious radiation accidents continue to occur. For example, some 285 nuclear reactor accidents (excluding the Chernobyl accident) were reported in various countries between 1945 and 1987, irradiating more than 1,350 persons, 33 of them fatally (Lushbaugh, Fry and Ricks 1987). The Chernobyl accident alone released enough radioactive material to require the evacuation of tens of thousands of people and farm animals from the surrounding area, and it caused radiation sickness and burns in more than 200 emergency personnel and fire-fighters, injuring 31 fatally (UNSCEAR 1988). The long-term health effects of the radioactive material released cannot be predicted with certainty, but estimates of the resulting risks of carcinogenic effects, based on nonthreshold dose-incidence models (discussed below), imply that up to 30,000 additional cancer deaths may occur in the population of the northern hemisphere during the next 70 years as a result of the accident, although the additional cancers in any given country are likely to be too few to be detectable epidemiologically (USDOE 1987).

Less catastrophic, but far more numerous, than reactor accidents have been accidents involving medical and industrial gamma ray sources, which also have caused injuries and loss of life. For example, the improper disposal of a caesium-137 radiotherapy source in Goiânia, Brazil, in 1987, resulted in the irradiation of dozens of unsuspecting victims, four of them fatally (UNSCEAR 1993).

A comprehensive discussion of radiation injuries is beyond the scope of this review, but acute reactions of the more radiosensitive tissues are of widespread interest and are, therefore, described briefly in the following sections.

Skin. Cells in the germinal layer of the epidermis are highly radiosensitive. As a result, rapid exposure of the skin to a dose of 6 Sv or more causes erythema (reddening) in the exposed area, which appears within a day or so, typically lasts a few hours, and is followed two to four weeks later by one or more waves of deeper and more prolonged erythema, as well as by epilation (hair loss). If the dose exceeds 10 to 20 Sv, blistering, necrosis and ulceration may ensue within two to four weeks, followed by fibrosis of the underlying dermis and vasculature, which may lead to atrophy and a second wave of ulceration months or years later (ICRP 1984).

Bone marrow and lymphoid tissue. Lymphocytes also are highly radiosensitive; a dose of 2 to 3 Sv delivered rapidly to the whole body can kill enough of them to depress the peripheral lymphocyte count and impair the immune response within hours (UNSCEAR 1988). Haemopoietic cells in the bone marrow are similarly radiosensitive and are depleted sufficiently by a comparable dose to cause granulocytopenia and thrombocytopenia to ensue within three to five weeks. Such reductions in granulocyte and platelet counts may be severe enough after a larger dose to result in haemorrhage or fatal infection (table 3).

Table 3. Major forms and features of the acute radiation syndrome

Time after
irradiation

Cerebral form
(>50 Gy)

Gastro-
intestinal form
(10-20 Gy)

Hemopoietic form
(2-10 Gy)

Pulmonary form
(>6 Gy to lungs)

First day

nausea
vomiting
diarrhea
headache
disorientation
ataxia
coma
convulsions
death

nausea
vomiting
diarrhea

nausea
vomiting
diarrhea

nausea
vomiting

Second week

 

nausea
vomiting
diarrhea
fever
erythema
prostration
death

   

Third to sixth
weeks

   

weakness
fatigue
anorexia
fever
haemorrhage
epilation
recovery (?)
death (?)

 

Second to eighth
months

     

cough
dyspnoea
fever
chest pain
respiratory
failure (?)

Source: UNSCEAR 1988.

Intestine. Stem cells in the epithelium lining the small bowel also are extremely radiosensitive, acute exposure to 10 Sv depleting their numbers sufficiently to cause the overlying intestinal villi to become denuded within days (ICRP 1984; UNSCEAR 1988). Denudation of a large area of the mucosa can result in a fulminating, rapidly fatal dysentery-like syndrome (table 3).

Gonads. Mature spermatozoa can survive large doses (100 Sv), but spermatogonia are so radiosensitive that as little as 0.15 Sv delivered rapidly to both testes suffices to cause oligospermia, and a dose of 2 to 4 Sv can cause permanent sterility. Oocytes, likewise, are radiosensitive, a dose of 1.5 to 2.0 Sv delivered rapidly to both ovaries causing temporary sterility, and a larger dose, permanent sterility, depending on the age of the woman at the time of exposure (ICRP 1984).

Respiratory tract. The lung is not highly radiosensitive, but rapid exposure to a dose of 6 to 10 Sv can cause acute pneumonitis to develop in the exposed area within one to three months. If a large volume of lung tissue is affected, the process may result in respiratory failure within weeks, or may lead to pulmonary fibrosis and cor pulmonale months or years later (ICRP 1984; UNSCEAR 1988).

Lens of the eye. Cells of the anterior epithelium of the lens, which continue to divide throughout life, are relatively radiosensitive. As a result, rapid exposure of the lens to a dose exceeding 1 Sv may lead within months to the formation of a microscopic posterior polar opacity; and 2 to 3 Sv received in a single brief exposure—or 5.5 to 14 Sv accumulated over a period of months—may produce a vision-impairing cataract (ICRP 1984).

Other tissues. In comparison with the tissues mentioned above, other tissues of the body are generally appreciably less radiosensitive (for example, table 2); however, the embryo constitutes a notable exception, as discussed below. Noteworthy also is the fact that the radiosensitivity of every tissue is increased when it is in a rapidly growing state (ICRP 1984).

Whole-body radiation injury. Rapid exposure of a major part of the body to a dose in excess of 1 Gy can cause the acute radiation syndrome. This syndrome includes: (1) an initial prodromal stage, characterized by malaise, anorexia, nausea and vomiting, (2) an ensuing latent period, (3) a second (main) phase of illness and (4) ultimately, either recovery or death (table 3). The main phase of the illness typically takes one of the following forms, depending on the predominant locus of radiation injury: (1) haematological, (2) gastro-intestinal, (3) cerebral or (4) pulmonary (table 3).

Localized radiation injury. Unlike the clinical manifestations of acute whole-body radiation injury, which typically are dramatic and prompt, the reaction to sharply localized irradiation, whether from an external radiation source or from an internally deposited radionuclide, tends to evolve slowly and to produce few symptoms or signs unless the volume of tissue irradiated and/or the dose are relatively large (for example, table 3).

Effects of radionuclides. Some radionuclides - for example, tritium (3H), carbon-14 (14C) and cesium-137 (137Cs) - tend to be distributed systemically and to irradiate the body as a whole, whereas other radionuclides are characteristically taken up and concentrated in specific organs, producing injuries that are correspondingly localized. Radium (Ra) and strontium-90
(90Sr), for example, are deposited predominantly in bone and thus injure skeletal tissues primarily, whereas radioactive iodine concentrates in the thyroid gland, the primary site of any resulting injury (Stannard 1988; Mettler and Upton 1995).

Carcinogenic Effects

General features. The carcinogenicity of ionizing radiation, first manifested early in this century by the occurrence of skin cancers and leukaemias in pioneer radiation workers (Upton 1986), has since been documented extensively by dose-dependent excesses of many types of neoplasms in radium-dial painters, underground hardrock miners, atomic bomb survivors, radiotherapy patients and experimentally irradiated laboratory animals (Upton 1986; NAS 1990).

The benign and malignant growths induced by irradiation characteristically take years or decades to appear and exhibit no known features by which they can be distinguished from those produced by other causes. With few exceptions, moreover, their induction has been detectable only after relatively large dose equivalents (0.5 Sv), and it has varied with the type of neoplasm as well as the age and sex of those exposed (NAS 1990).

Mechanisms. The molecular mechanisms of radiation carcinogenesis remain to be elucidated in detail, but in laboratory animals and cultured cells the carcinogenic effects of radiation have been observed to include initiating effects, promoting effects, and effects on the progression of neoplasia, depending on the experimental conditions in question (NAS 1990). The effects also appear to involve the activation of oncogenes and/or the inactivation or loss of tumor-suppressor genes in many, if not all, instances. In addition, the carcinogenic effects of radiation resemble those of chemical carcinogens in being similarly modifiable by hormones, nutritional variables and other modifying factors (NAS 1990). It is noteworthy, moreover, that the effects of radiation may be additive, synergistic or mutually antagonistic with those of chemical carcinogens, depending on the specific chemicals and exposure conditions in question (UNSCEAR 1982 and 1986).

Dose-effect relationship. Existing data do not suffice to describe the dose-incidence relationship unambiguously for any type of neoplasm or to define how long after irradiation the risk of the growth may remain elevated in an exposed population. Any risks attributable to low-level irradiation can, therefore, be estimated only by extrapolation, based on models incorporating assumptions about such parameters (NAS 1990). Of various dose-effect models that have been used to estimate the risks of low-level irradiation, the one that has been judged to provide the best fit to the available data is of the form:

where R0 denotes the age-specific background risk of death from a specific type of cancer, D the radiation dose, f(D) a function of dose that is linear-quadratic for leukaemia and linear for some other types of cancer, and g(b) is a risk function dependent on other parameters, such as sex, age at exposure and time after exposure (NAS 1990).

Non-threshold models of this type have been applied to epidemiological data from the Japanese atomic-bomb survivors and other irradiated populations to derive estimates of the lifetime risks of different forms of radiation-induced cancer (for example, table 4). Such estimates must be interpreted with caution, however, in attempting to predict the risks of cancer attributable to small doses or doses that are accumulated over weeks, months or years, since experiments with laboratory animals have shown the carcinogenic potency of x rays and gamma rays to be reduced by as much as an order of magnitude when the exposure is greatly prolonged. In fact, as has been emphasized elsewhere (NAS 1990), the available data do not exclude the possibility that there may be a threshold in the millisievert (mSv) dose equivalent range, below which radiation may lack carcinogenicity.

Table 4. Estimated lifetime risks of cancer attributable to 0.1 Sv rapid irradiation

Type or site of cancer

Excess cancer deaths per 100,000

 

(No.)

(%)*

Stomach

110

18

Lung

85

3

Colon

85

5

Leukaemia (excluding CLL)

50

10

Urinary bladder

30

5

Oesophagus

30

10

Breast

20

1

Liver

15

8

Gonads

10

2

Thyroid

8

8

Osteosarcoma

5

5

Skin

2

2

Remainder

50

1

Total

500

2

* Percentage increase in “background” expectation for a non-irradiated population.

Source: ICRP 1991.

It is also noteworthy that the estimates tabulated are based on population averages and are not necessarily applicable to any given individual; that is, susceptibility to certain types of cancer (for example, cancers of the thyroid and breast) is substantially higher in children than in adults, and susceptibility to certain cancers is also increased in association with some hereditary disorders, such as retinoblastoma and the nevoid basal cell carcinoma syndrome (UNSCEAR 1988, 1994; NAS 1990). Such differences in susceptibility notwithstanding, population-based estimates have been proposed for use in compensation cases as a basis for gauging the probability that a cancer arising in a previously irradiated person may have been caused by the exposure in question (NIH 1985).

Low-dose risk assessment. Epidemiological studies to ascertain whether the risks of cancer from low-level exposure to radiation actually vary with dose in the manner predicted by the above estimates have been inconclusive thus far. Populations residing in areas of elevated natural background radiation levels manifest no definitely attributable increases in cancer rates (NAS 1990; UNSCEAR 1994); conversely, a few studies have even suggested an inverse relationship between background radiation levels and cancer rates, which has been interpreted by some observers as evidence for the existence of beneficial (or hormetic) effects of low-level irradiation, in keeping with the adaptive responses of certain cellular systems (UNSCEAR 1994). The inverse relationship is of questionable significance, however, since it has not persisted after controlling for the effects of confounding variables (NAS 1990). Likewise in today’s radiation workers—except for certain cohorts of underground hardrock miners (NAS 1994; Lubin, Boice and Edling 1994)—the rates of cancers other than leukaemia are no longer detectably increased (UNSCEAR 1994), thanks to advances in radiation protection; furthermore, the rates of leukaemia in such workers are consistent with the estimates tabulated above (IARC 1994). In summary, therefore, the data available at present are consistent with the estimates tabulated above (table 4), which imply that less than 3% of cancers in the general population are attributable to natural background radiation (NAS 1990; IARC 1994), although up to 10% of lung cancers may be attributable to indoor radon (NAS 1990; Lubin, Boice and Edling 1994).

High levels of radioactive fallout from a thermonuclear weapons test at Bikini in 1954 have been observed to cause a dose-dependent increase in the frequency of thyroid cancer in Marshall Islanders who received large doses to the thyroid gland in childhood (Robbins and Adams 1989). Similarly, children living in areas of Belarus and the Ukraine contaminated by radionuclides released from the Chernobyl accident have been reported to show an increased incidence of thyroid cancer (Prisyazhuik, Pjatak and Buzanov 1991; Kasakov, Demidchik and Astakhova 1992), but the findings are at variance with those of the International Chernobyl Project, which found no excess of benign or malignant thyroid nodules in children living in the more heavily contaminated areas around Chernobyl (Mettler, Williamson and Royal 1992). The basis for the discrepancy, and whether the reported excesses may have resulted from heightened surveillance alone, remain to be determined. In this connection, it is noteworthy that children of south-western Utah and Nevada who were exposed to fallout from nuclear weapons tests in Nevada during the 1950s have shown increase in the frequency of any type of thyroid cancer (Kerber et al. 1993), and the prevalence of acute leukaemia appears to have been elevated in such children dying between 1952 and 1957, the period of greatest exposure to fallout (Stevens et al. 1990).

The possibility that excesses of leukaemia among children residing in the vicinity of nuclear plants in the United Kingdom may have been caused by radioactivity released from the plants has also been suggested. The releases, however, are estimated to have increased the total radiation dose to such children by less than 2%, from which it is inferred that other explanations are more likely (Doll, Evans and Darby 1994). An ineffective aetiology for the observed clusters of leukaemia is implied by the existence of comparable excesses of childhood leukaemia at sites in the UK that lack nuclear facilities but otherwise resemble nuclear sites in having similarly experienced large influxes of population in recent times (Kinlen 1988; Doll, Evans and Darby 1994). Another hypothesis—namely, that the leukaemias in question may have been caused by occupational irradiation of the fathers of the affected children—also has been suggested by the results of a case-control study (Gardner et al. 1990), but this hypothesis is generally discounted for reasons that are discussed in the section to follow.

Heritable Effects

Heritable effects of irradiation, although well documented in other organisms, have yet to be observed in humans. For example, intensive study of more than 76,000 children of the Japanese atomic-bomb survivors, carried out over four decades, has failed to disclose any heritable effects of radiation in this population, as measured by untoward pregnancy outcomes, neonatal deaths, malignancies, balanced chromosomal rearrangements, sex-chromosome aneuploidy, alterations of serum or erythrocyte protein phenotypes, changes in sex ratio or disturbances in growth and development (Neel, Schull and Awa 1990). Consequently, estimates of the risks of heritable effects of radiation must rely heavily on extrapolation from findings in the laboratory mouse and other experimental animals (NAS 1990; UNSCEAR 1993).

From the available experimental and epidemiological data, it is inferred that the dose required to double the rate of heritable mutations in human germ cells must be at least 1.0 Sv (NAS 1990; UNSCEAR 1993). On this basis, it is estimated that less than 1% of all genetically determined diseases in the human population can be attributed to natural background irradiation (table 5).

Table 5. Estimated frequencies of heritable disorders attributable to natural background ionizing irradiation

Type of disorder

Natural prevalence
(per million live births)

Contribution from natural background
radiation
1 (per million live births)2

   

First generation

Equilibrium
generations
3

Autosomal
dominant

180,000

20-100

300

X-linked

400

<1

<15

Recessive

2,500

<1

very slow increase

Chromosomal

4,400

<20

very slow increase

Congenital
defects

20,000-30,000

30

30-300

Other disorders of complex aetiology:

Heart disease

600,000

not estimated4

not estimated4

Cancer

300,000

not estimated4

not estimated4

Selected others

300,000

not estimated4

not estimated4

1 Equivalent to » 1 mSv per year, or » 30 mSv per generation (30 years).

2 Values rounded.

3 After hundreds of generations, the addition of unfavorable radiation-induced mutations eventually becomes balanced by their loss from the population, resulting in a genetic "equilibrium".

4 Quantitative risk estimates are lacking because of uncertainty about the mutational component of the disease(s) indicated.

Source: National Research Council 1990.

The hypothesis that the excess of leukaemia and non-Hodgkin’s lymphoma in young people residing in the village of Seascale resulted from heritable oncogenic effects caused by the occupational irradiation of the children’s fathers at the Sellafield nuclear installation has been suggested by the results of a case-control study (Gardner et al. 1990), as noted above. Arguments against this hypothesis, however, are:

  1. the lack of any comparable excess in larger numbers of children born outside Seascale to fathers who had received similar, or even larger, occupational doses at the same nuclear plant (Wakeford et al. 1994a)
  2. the lack of similar excesses in French (Hill and LaPlanche 1990), Canadian (McLaughlin et al. 1993) or Scottish (Kinlen, Clarke and Balkwill 1993) children born to fathers with comparable occupational exposures
  3. the lack of excesses in the children of atomic-bomb survivors (Yoshimoto et al. 1990)
  4. the lack of excesses in US counties containing nuclear plants (Jablon, Hrubec and Boice 1991)
  5. the fact that the frequency of radiation-induced mutations implied by the interpretation is far higher than established rates (Wakeford et al. 1994b).

 

On balance, therefore, the available data fail to support the paternal gonadal irradiation hypothesis (Doll, Evans and Darby 1994; Little, Charles and Wakeford 1995).

Effects of Prenatal Irradiation

Radiosensitivity is relatively high throughout prenatal life, but the effects of a given dose vary markedly, depending on the developmental stage of the embryo or foetus at the time of exposure (UNSCEAR 1986). During the pre-implantation period, the embryo is most susceptible to killing by irradiation, while during critical stages in organogenesis it is susceptible to the induction of malformations and other disturbances of development (table 6). The latter effects are dramatically exemplified by the dose-dependent increase in the frequency of severe mental retardation (figure 6) and the dose-dependent decrease in IQ test scores in atomic-bomb survivors who were exposed between the eighth and fifteenth weeks (and, to a lesser extent, between the sixteenth and twenty-fifth weeks) (UNSCEAR 1986 and 1993).

Table 6. Major developmental abnormalities produced by prenatal irradiation

Brain

Anencephaly

Porencephaly

Microcephaly*

Encephalocoele

Mongolism*

Reduced medulla

Cerebral atrophy

Mental retardation*

Neuroblastoma

Narrow aqueduct

Hydrocephalus*

Dilatation of ventricles*

Spinal cord anomalies*

Cranial nerve anomalies

 

Eyes

Anophthalmia

Microphthalmia*

Microcornia*

Coloboma*

Deformed iris

Absence of lens

Absence of retina

Open eyelids

Strabismus*

Nystagmus*

Retinoblastoma

Hypermetropia

Glaucoma

Cataract*

Blindness

Chorioretinitis*

Partial albinism

Ankyloblepharon

Skeleton

General stunting

Reduced size of skull

Skull deformities*

Head ossification defects*

Vaulted cranium

Narrow head

Cranial blisters

Cleft palate*

Funnel chest

Dislocation of hip

Spina bifida

Deformed tail

Deformed feet

Club foot*

Digital anomalies*

Calcaneo valgus

Odontogenesis imperfecta*

Tibial exostosis

Amelanogenesis*

Scleratomal necrosis

 

Miscellaneous

Situs inversus

Hydronephrosis

Hydroureter

Hydrocoele

Absence of kidney

Gonadal anomalies*

Congenital heart disease

Facial deformities

Pituitary disturbances

Deformities of ears

Motor disturbances

Dermatomal necrosis

Myotomal necrosis

Abnormalities in skinpigmentation

 

* These abnormalities have been observed in humans exposed prenatally to large doses of radiation and have, therefore, been tentatively attributed to irradiation.

Source: Brill and Forgotson 1964.

Susceptibility to the carcinogenic effects of radiation also appears to be relatively high throughout the prenatal period, judging from the association between childhood cancer (including leukaemia) and prenatal exposure to diagnostic x rays reported in case-control studies (NAS 1990). The results of such studies imply that prenatal irradiation may cause a 4,000% per Sv increase in the risk of leukaemia and other childhood cancers (UNSCEAR 1986; NAS 1990), which is a far larger increase than is attributable to postnatal irradiation (UNSCEAR 1988; NAS 1990). Although, paradoxically, no excess of childhood cancer was recorded in A-bomb survivors irradiated prenatally (Yoshimoto et al. 1990), as noted above, there were too few such survivors to exclude an excess of the magnitude in question.

Figure 6. The frequency of severe mental retardation in relation to radiation dose in prenatally irradiated atomic bomb survivors    

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Summary and Conclusions

The adverse effects of ionizing radiation on human health are widely diverse, ranging from rapidly fatal injuries to cancers, birth defects, and hereditary disorders that appear months, years or decades later. The nature, frequency and severity of effects depend on the quality of the radiation in question as well as on the dose and conditions of exposure. Most such effects require relatively high levels of exposure and are, therefore, encountered only in accident victims, radiotherapy patients, or other heavily irradiated persons. The genotoxic and carcinogenic effects of ionizing radiation, by contrast, are presumed to increase in frequency as linear non-threshold functions of the dose; hence, although the existence of thresholds for these effects cannot be excluded, their frequency is assumed to increase with any level of exposure. For most effects of radiation, the sensitivity of exposed cells varies with their rate of proliferation and inversely with their degree of differentiation, the embryo and growing child being especially vulnerable to injury.

 

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Thursday, 24 March 2011 19:13

Singers

The term singer applies to any person whose career, avocation or livelihood relies heavily on the use of his or her voice in a musical context rather than ordinary speech. Unlike percussionists, pianists or violinists, the singer is the instrument. Hence, the well-being of a singer depends not only on the health of his or her larynx (where the sound originates) or vocal tract (where the sound is modified), but also on proper functioning and maximal coordination of most mind and body systems.

Of the many styles of singing documented throughout the world, some reflect a unique liturgical, cultural, linguistic, ethnic or geo-political heritage, while others are more universal in nature. Among the common styles of singing in the United States and Western world are: traditional classical (including oratorio, opera, art songs and so on), barbershop, jazz, musical theatre (Broadway), choral, gospel, folk, country (and western), popular, rhythm and blues, rock ’n’ roll (including heavy metal, alternative rock and so on) and others. Each style of delivery has its typical settings, patterns, habits and associated risk factors.

Vocal Problems

Unlike non-singers, who may not be significantly hindered by vocal problems, for the classical singer, the effect of subtle vocal impairment can be devastating. Even within that category of trained singers, vocal impairment is much more debilitating for the higher voice classifications (sopranos and tenors) than for lower classifications (mezzo sopranos, altos, baritones and basses). On the other hand, some vocal performers (pop, gospel or rock, for example) go to great lengths to achieve a unique trademark and enhance their marketability by inducing vocal pathologies which often yield a breathy, husky, muffled diplophonic (simultaneous multiple pitches) quality. Owing, in part, to their impairment, they tend to sing with great effort, struggling particularly to produce the high notes. To many listeners, this struggle adds a dramatic effect, as if the singer is sacrificing his or her self while engaging in the artistic process.

The prevalence of occupation-related injuries in general, and voice disorders in particular, among singers is not well documented in the literature. This author estimates that on the average, between 10 and 20% of singers in the United States sustain some form of chronic voice disorder. However, the incidence of vocal injury varies significantly with many factors. Because many singers must adhere to specific artistic/aesthetic criteria, performance practices, popular (consumer) demands, financial constraints and social pressures, they often stretch their vocal capabilities and endurance to the limits. Furthermore, singers generally tend to deny, trivialize or ignore warning signs and even diagnoses of vocal injury (Bastian, Keidar and Verdolini-Marston 1990).

The most common problems among singers are benign mucosal disorders. The mucosa is the outer layer, or cover, of the vocal folds (commonly called vocal cords) (Zeitels 1995). Acute problems can include laryngitis and transient vocal fold swelling (oedema). Chronic mucosal lesions include vocal fold swellings, nodules (“calluses”), polyps, cysts, sub-mucosal haemorrhage (bleeding), capillary ectasia (widening), chronic laryngitis, leukoplakia (white spots or patches), mucosal tears and glottic sulci (deep furrows in the tissue). Although these disorders can be exacerbated by smoking and excessive alcohol consumption, it is important to note that these benign mucosal lesions are typically related to the amount and manner of voice use, and are the product of vibratory trauma (Bastian 1993).

Causes of Vocal Problems

In looking at the causes of vocal problems in singers, one should distinguish between intrinsic and extrinsic factors. Intrinsic factors are those related to personality, vocal behaviour (including speaking) on and off stage, vocal technique, and intake habits (primarily if substance abuse, improper medication, malnutrition and/or dehydration is involved). Extrinsic factors are related to environmental pollutants, allergies and so on. Based on clinical experience, intrinsic factors tend to be most important.

Vocal injury is usually a cumulative process of misuse and/or overuse during the singer’s productive (performance-related) and/or non-productive (domestic, social) activities. It is difficult to ascertain how much of the damage is attributable directly to the former versus the latter. Performance risk factors can include unreasonably long dress rehearsals requiring full-voice singing, performing with an upper-respiratory infection in the absence of a replacement and excessive singing. Most vocalists are advised not to sing for more than about 1.5 hours (net) per day. Unfortunately, many singers do not respect the limitations of their apparatus. Some tend to get caught up in the exploratory excitement of new technical skills, new means of artistic expression, new repertoire and so on, and practice 4, 5 or 6 hours daily. Even worse is the beating of the voice into shape when distress signals of injury (such as loss of high notes, inability to sing softly, breathy delay in sound initiation, unstable vibrato and increased phonatory effort) are manifested. The culpability of vocal overtaxing is shared with other taskmasters such as the booking agent who squeezes multiple performances into an impossible time frame, and the recording agent who leases the studio for 12 consecutive hours during which the singer is expected to record a complete CD sound track from start to finish.

Although every singer may encounter acute episodes of voice problems at some point in his or her career, it is generally believed that those singers who are musically literate and can adjust the musical score to their voice limitations, and those who have had proper voice training, are less likely to encounter severe problems of a chronic nature than their untrained peers, who often learn their repertoire by rote, repeatedly imitating or singing along with demo tapes or recordings of other performers. In doing so, they frequently sing in a key, range or style unsuitable for their voices. Singers who lend themselves to periodic tutelage and maintenance by proficient voice experts are less likely to resort to faulty compensatory vocal manoeuvres if confronted by physical impairment, and are more inclined to establish a reasonable balance between artistic demands and vocal longevity. A good teacher is aware of the normal (expected) capabilities of each instrument, can usually distinguish between technical and physical limitations, and often is the first to detect warning signs of vocal impairment.

Sound amplification can also create problems for singers. Many rock groups, for example, amplify not only the singer, but the entire band. When the noise level interferes with auditory feedback, the singer is often unaware that he or she is singing too loudly and using faulty technique. This may contribute significantly to the development and exacerbation of vocal pathology.

Non-performance factors can also be important. Singers must realize that they do not have separate laryngeal mechanisms for singing and speaking. Although most professional singers spend much more time talking than singing, speaking technique is commonly discarded or rejected, which can adversely affect their singing.

Many of today’s singers must travel regularly from one performance venue to another, on trains, tour buses or airplanes. Ongoing touring requires not only psychological adaptation, but also physical adjustments on many levels. In order for singers to function optimally, they must receive adequate quality and quantity of sleep. Radical rapid changes in time zones causes jet lag, which forces singers to remain awake and alert when their internal clock is cueing various body systems to shut down for sleep, and conversely, to sleep when their brain systems are aroused to plan and execute normal daytime activities. Such interruption may result in a host of debilitating symptoms, including chronic insomnia, headaches, sluggishness, dizziness, irritability and forgetfulness (Monk 1994). Aberrant sleep patterns are also a common problem among those singers who perform late at night. These abnormal sleep patterns are all too often mismanaged with alcohol or recreational, prescription or over-the-counter (OTC) drugs (most of which adversely affect the voice). Frequent and/or prolonged confinement to a closed cabin of a motor vehicle, train or aircraft may create additional problems. Inhalation of poorly filtered (often recycled), contaminated, dehumidified (dry) air (Feder 1984), according to many singers, can cause respiratory discomfort, tracheitis, bronchitis or laryngitis that may linger on for hours or even days following a trip.

Owing to environmental instability and hectic scheduling, many singers develop erratic, unhealthful eating habits. In addition to reliance on restaurant food and unpredictable changes in meal times, many singers eat the main meal of the day after their performance, usually late at night. Particularly for the overweight singer, and especially if spicy, greasy or acidic foods, alcohol or coffee were consumed, lying down soon after having filled the stomach is likely to result in gastroesophageal reflux. Reflux is the retrograde flow of acids from the stomach up the oesophagus and into the throat and larynx. The resulting symptoms can be devastating to the singer. Eating disorders are quite common among singers. In the operatic and classical realm, overeating and obesity are quite common. In the musical theatre and pop domain, particularly among young females, reportedly one-fifth of all singers have encountered some form of eating disorder, such as anorexia or bulimia. The latter involves various purging methods, of which vomiting is thought to be particularly hazardous to the voice.

A detrimental factor to voice production is exposure to pollutants, such as formaldehyde, solvents, paints and dusts, and allergens, such as tree, grass or weed pollens, dust, mould spores, animal danders and perfumes (Sataloff 1996). Such exposure may occur on and off stage. In their work milieu, singers can be exposed to these and other pollutants associated with vocal symptoms, including cigarette smoke and theatrical smoke and fog effects. Singers use a greater percentage of their vital capacity than ordinary speakers. Furthermore, during intense aerobic activity (such as dancing), the number of breathing cycles per minute increases, and mouth breathing prevails. This results in the inhalation of larger amounts of cigarette smoke and fogs during performances.

Treatment of Vocal Problems

Two major issues in the treatment of vocal problems of singers are self-medication and improper treatment by physicians who are not knowledgeable about the voice and its problems. Sataloff (1991, 1995) surveyed the potential side effects associated with medications commonly used by singers. Whether recreational, prescription, over the counter or food supplements, most drugs are likely to have some effect on phonatory function. In an attempt to control “allergies”, “phlegm” or “sinus congestion”, the self-medicating singer will ultimately ingest something that will damage the vocal system. Likewise, the physician who keeps prescribing steroids to reduce chronic inflammation caused by abusive vocal habits and ignores the underlying causes will eventually hurt the singer. Vocal dysfunction resulting from poorly indicated or ill-performed phonosurgery has been documented (Bastian 1996). To avoid injuries secondary to treatment, singers are advised to know their instruments, and consult only with health care professionals who understand and have experience and expertise managing the vocal problems of singers, and who possess the patience to educate and empower singers.

 

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Thursday, 24 March 2011 18:50

Introduction

Ionizing radiation is everywhere. It arrives from outer space as cosmic rays. It is in the air as emissions from radioactive radon and its progeny. Naturally occurring radioactive isotopes enter and remain in all living things. It is inescapable. Indeed, all species on this planet evolved in the presence of ionizing radiation. While humans exposed to small doses of radiation may not immediately show any apparent biological effects, there is no doubt that ionizing radiation, when given in sufficient amounts, can cause harm. These effects are well known both in kind and in degree.

While ionizing radiation can cause harm, it also has many beneficial uses. Radioactive uranium generates electricity in nuclear power plants in many countries. In medicine, x rays produce radiographs for diagnosis of internal injuries and diseases. Nuclear medicine physicians use radioactive material as tracers to form detailed images of internal structures and to study metabolism. Therapeutic radiopharmaceuticals are available to treat disorders such as hyperthyroidism and cancer. Radiotherapy physicians use gamma rays, pion beams, electron beams, neutrons and other types of radiation to treat cancer. Engineers use radioactive material in oil well logging operations and in soil moisture density gauges. Industrial radiographers use x rays in quality control to look at internal structures of manufactured devices. Exit signs in buildings and aircraft contain radioactive tritium to make them glow in the dark in the event of a power failure. Many smoke detectors in homes and commercial buildings contain radioactive americium.

These many uses of ionizing radiation and radioactive materials enhance the quality of life and help society in many ways. The benefits of each use must always be compared with the risks. The risks may be to workers directly involved in applying the radiation or radioactive material, to the public, to future generations and to the environment or to any combination of these. Beyond political and economic considerations, benefits must always outweigh risks when ionizing radiation is involved.

Ionizing Radiation

Ionizing radiation consists of particles, including photons, which cause the separation of electrons from atoms and molecules. However, some types of radiation of relatively low energy, such as ultraviolet light, can also cause ionization under certain circumstances. To distinguish these types of radiation from radiation that always causes ionization, an arbitrary lower energy limit for ionizing radiation usually is set around 10 kiloelectron volts (keV).

Directly ionizing radiation consists of charged particles. Such particles include energetic electrons (sometimes called negatrons), positrons, protons, alpha particles, charged mesons, muons and heavy ions (ionized atoms). This type of ionizing radiation interacts with matter primarily through the Coulomb force, repelling or attracting electrons from atoms and molecules by virtue of their charges.

Indirectly ionizing radiation consists of uncharged particles. The most common kinds of indirectly ionizing radiation are photons above 10 keV (x rays and gamma rays) and all neutrons.

X-ray and gamma-ray photons interact with matter and cause ionization in at least three different ways:

    1. Lower-energy photons interact mostly via the photoelectric effect, in which the photon gives all of its energy to an electron, which then leaves the atom or molecule. The photon disappears.
    2. Intermediate-energy photons mostly interact through the Compton effect, in which the photon and an electron essentially collide as particles. The photon continues in a new direction with reduced energy while the released electron goes off with the remainder of the incoming energy (less the electron’s binding energy to the atom or molecule).
    3. Pair production is possible only for photons with energy in excess of 1.02 MeV. (However, near 1.02 MeV, the Compton effect still dominates. Pair production dominates at higher energies.) The photon disappears and an electron-positron pair appears in its place (this occurs only in the vicinity of a nucleus because of conservation of momentum and energy considerations). The total kinetic energy of the electron-positron pair is equal to the energy of the photon less the sum of the rest-mass energies of the electron and positron (1.02 MeV). These energetic electrons and positrons then proceed as directly ionizing radiation. As it loses kinetic energy, a positron will eventually encounter an electron, and the particles will annihilate each other. Two (usually) 0.511 MeV photons are then emitted from the annihilation site at 180 degrees from each other.

         

        a given photon any of these can occur, except that pair production is possible only for photons with energy greater than 1.022 MeV. The energy of the photon and the material with which it interacts determine which interaction is the most likely to occur.

        Figure 1 shows the regions in which each type of photon interaction dominates as a function of photon energy and atomic number of absorber.

        Figure 1. Relative importance of the three principal interactions of photons in matter

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        The most common neutron interactions with matter are inelastic collisions, neutron capture (or activation) and fission. All of these are interactions with nuclei. A nucleus colliding inelastically with a neutron is left at a higher energy level. It can release this energy in the form of a gamma ray or by emitting a beta particle, or both. In neutron capture, an affected nucleus may absorb the neutron and eject energy as gamma or x rays or beta particles, or both. The secondary particles then cause ionization as discussed above. In fission, a heavy nucleus absorbs the neutron and splits into two lighter nuclei that are almost always radioactive.

        Quantities, Units and Related Definitions

        The International Commission on Radiation Units and Measurements (ICRU) develops internationally accepted formal definitions of quantities and units of radiation and radioactivity. The International Commission on Radiological Protection (ICRP) also sets standards for definition and use of various quantities and units used in radiation safety. A description of some quantities, units and definitions commonly used in radiation safety follows.

        Absorbed dose. This is the fundamental dosimetric quantity for ionizing radiation. Basically, it is the energy ionizing radiation imparts to matter per unit mass. Formally,

        where D is the absorbed dose, de is the mean energy imparted to matter of mass dm. Absorbed dose has units of joules per kilogram (J kg–1). The special name for the unit of absorbed dose is the gray (Gy).

        Activity. This quantity represents the number of nuclear transformations from a given nuclear energy state per unit time. Formally,

        where A is the activity, dN is the expectation value of the number of spontaneous nuclear transitions from the given energy state in the time interval dt. It is related to the number of radioactive nuclei N by:

        where l is the decay constant. Activity has units of inverse seconds (s–1). The special name for the unit of activity is the becquerel (Bq).

        Decay constant (l). This quantity represents the probability per unit time that a nuclear transformation will occur for a given radionuclide. The decay constant has units of inverse seconds (s–1). It is related to the half-life t½ of a radionuclide by:

        The decay constant l is related to the mean lifetime, t, of a radionuclide by:

        The time dependence of activity A(t) and of the number of radioactive nuclei N(t) can be expressed by and  respectively.

        Deterministic biological effect. This is a biological effect caused by ionizing radiation and whose probability of occurrence is zero at small absorbed doses but will increase steeply to unity (100%) above some level of absorbed dose (the threshold). Cataract induction is an example of a stochastic biological effect.

        Effective dose. The effective dose E is the sum of the weighted equivalent doses in all the tissues and organs of the body. It is a radiation safety quantity, so its use is not appropriate for large absorbed doses delivered in a relatively short period of time. It is given by:

        where w T is the tissue weighting factor and HT is the equivalent dose for tissue T. Effective dose has units of J kg–1. The special name for the unit of effective dose is the sievert (Sv).

        Equivalent dose. The equivalent dose HT is the absorbed dose averaged over a tissue or organ (rather than at a point) and weighted for the radiation quality that is of interest. It is a radiation safety quantity, so its use is not appropriate for large absorbed doses delivered in a relatively short period of time. The equivalent dose is given by:

        where DT,R is the absorbed dose averaged over the tissue or organ T due to radiation R and w R
        is the radiation weighting factor. Equivalent dose has units of J kg–1. The special name for the unit of equivalent dose is the sievert (Sv).

        Half-life. This quantity is the amount of time required for the activity of a radionuclide sample to reduce by a factor of one-half. Equivalently, it is the amount of time required for a given number of nuclei in a given radioactive state to reduce by a factor of one-half. It has fundamental units of seconds (s), but is also commonly expressed in hours, days and years. For a given radionuclide, half-life t½ is related to the decay constant l by:

        Linear energy transfer. This quantity is the energy a charged particle imparts to matter per unit length as it traverses the matter. Formally,

        where L is the linear energy transfer (also called linear collision stopping power) and de is the mean energy lost by the particle in traversing a distance dl. Linear energy transfer (LET) has units of J m–1.

        Mean lifetime. This quantity is the average time a nuclear state will survive before it undergoes a transformation to a lower energy state by emitting ionizing radiation. It has fundamental units of seconds (s), but may also be expressed in hours, days or years. It is related to the decay constant by:

        where t is the mean lifetime and l is the decay constant for a given nuclide in a given energy state.

        Radiation weighting factor. This is a number w R that, for a given type and energy of radiation R, is representative of values of the relative biological effectiveness of that radiation in inducing stochastic effects at low doses. The values of w R are related to linear energy transfer (LET) and are given in table 1. Figure 2 (overleaf) shows the relationship between w R and LET for neutrons.

        Table 1. Radiation weighting factors wR

        Type and energy range

        wR 1

        Photons, all energies

        1

        Electrons and muons, all energies2

        1

        Neutrons, energy 10 keV

        5

        10 keV to 100 keV

        10

        >100 keV to 2 MeV

        20

        >2 MeV to 20 MeV

        10

        >20 MeV

        5

        Protons, other than recoil protons, energy >2 MeV

        5

        Alpha particles, fission fragments, heavy nuclei

        20

        1 All values relate to the radiation incident on the body or, for internal sources, emitted from the source.

        2 Excluding Auger electrons emitted from nuclei bound to DNA.

        Relative biological effectiveness (RBE). The RBE of one type of radiation compared with another is the inverse ratio of the absorbed doses producing the same degree of a defined biological end point.

        Figure 2. Radiation weighting factors for neutrons (the smooth curve is to be treated  as an approximation)

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        Stochastic biological effect. This is a biological effect caused by ionizing radiation whose probability of occurrence increases with increasing absorbed dose, probably with no threshold, but whose severity is independent of absorbed dose. Cancer is an example of a stochastic biological effect.

        Tissue weighting factor w T. This represents the contribution of tissue or organ T to the total detriment due to all of the stochastic effects resulting from uniform irradiation of the whole body. It is used because the probability of stochastic effects due to an equivalent dose depends on the tissue or organ irradiated. A uniform equivalent dose over the whole body should give an effective dose numerically equal to the sum of effective doses for all tissues and organs of the body. Therefore, the sum of all tissue weighting factors is normalized to unity. Table 2 gives values for tissue weighting factors.

        Table 2. Tissue weighting factors wT

        Tissue or organ

        wT 1

        Gonads

        0.20

        Bone marrow (red)

        0.12

        Colon

        0.12

        Lung

        0.12

        Stomach

        0.12

        Bladder

        0.05

        Breast

        0.05

        Liver

        0.05

        Oesophagus

        0.05

        Thyroid

        0.05

        Skin

        0.01

        Bone surface

        0.01

        Remainder

        0.052, 3

        1 The values have been developed from a reference population of equal numbers of both sexes and a wide range of ages. In the definition of effective dose they apply to workers, to the whole population, and to either sex.

        2 For purposes of calculation, the remainder is composed of the following additional tissues and organs: adrenals, brain, upper large intestine, small intestine, kidneys, muscle, pancreas, spleen, thymus and uterus. The list includes organs that are likely to be selectively irradiated. Some organs in the list are known to be susceptible to cancer induction.

        3 In those exceptional cases in which a single one of the remainder tissues or organs receives an equivalent dose in excess of the highest dose in any of the twelve organs for which a weighting factor is specified, a weighting factor of 0.025 should be applied to that tissue or organ and a weighting factor of 0.025 to the average dose in the rest of the remainder as defined above.

         

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        Thursday, 24 March 2011 18:34

        Passive Fire Protection Measures

        Confining Fires by Compartmentation

        Building and site planning

        Fire safety engineering work should begin early in the design phase because the fire safety requirements influence the layout and design of the building considerably. In this way, the designer can incorporate fire safety features into the building much better and more economically. The overall approach includes consideration of both interior building functions and layout, as well as exterior site planning. Prescriptive code requirements are more and more replaced by functionally based requirements, which means there is an increased demand for experts in this field. From the beginning of the construction project, the building designer therefore should contact fire experts to elucidate the following actions:

        • to describe the fire problem specific to the building
        • to describe different alternatives to obtain the required fire safety level
        • to analyse system choice regarding technical solutions and economy
        • to create presumptions for technical optimized system choices.

         

        The architect must utilize a given site in designing the building and adapt the functional and engineering considerations to the particular site conditions that are present. In a similar manner, the architect should consider site features in arriving at decisions on fire protection. A particular set of site characteristics may significantly influence the type of active and passive protection suggested by the fire consultant. Design features should consider the local fire-fighting resources that are available and the time to reach the building. The fire service cannot and should not be expected to provide complete protection for building occupants and property; it must be assisted by both active and passive building fire defences, to provide reasonable safety from the effects of fire. Briefly, the operations may be broadly grouped as rescue, fire control and property conservation. The first priority of any fire-fighting operation is to ensure that all occupants are out of the building before critical conditions occur.

        Structural design based on classification or calculation

        A well-established means of codifying fire protection and fire safety requirements for buildings is to classify them by types of construction, based upon the materials used for the structural elements and the degree of fire resistance afforded by each element. Classification can be based on furnace tests in accordance with ISO 834 (fire exposure is characterized by the standard temperature-time curve), combination of test and calculation or by calculation. These procedures will identify the standard fire resistance (the ability to fulfil required functions during 30, 60, 90 minutes, etc.) of a structural load-bearing and/or separating member. Classification (especially when based on tests) is a simplified and conservative method and is more and more replaced by functionally based calculation methods taking into account the effect of fully developed natural fires. However, fire tests will always be required, but they can be designed in a more optimal way and be combined with computer simulations. In that procedure, the number of tests can be reduced considerably. Usually, in the fire test procedures, load-bearing structural elements are loaded to 100% of the design load, but in real life the load utilization factor is most often less than that. Acceptance criteria are specific for the construction or element tested. Standard fire resistance is the measured time the member can withstand the fire without failure.

        Optimum fire engineering design, balanced against anticipated fire severity, is the objective of structural and fire protection requirements in modern performance-based codes. These have opened the way for fire engineering design by calculation with prediction of the temperature and structural effect due to a complete fire process (heating and subsequent cooling is considered) in a compartment. Calculations based on natural fires mean that the structural elements (important for the stability of the building) and the whole structure are not allowed to collapse during the entire fire process, including cool down.

        Comprehensive research has been performed during the past 30 years. Various computer models have been developed. These models utilize basic research on mechanical and thermal properties of materials at elevated temperatures. Some computer models are validated against a vast number of experimental data, and a good prediction of structural behaviour in fire is obtained.

        Compartmentation

        A fire compartment is a space within a building extending over one or several floors which is enclosed by separating members such that the fire spread beyond the compartment is prevented during the relevant fire exposure. Compartmentation is important in preventing the fire to spread into too large spaces or into the whole building. People and property outside the fire compartment can be protected by the fact that the fire is extinguished or burns out by itself or by the delaying effect of the separating members on the spread of fire and smoke until the occupants are rescued to a place of safety.

        The fire resistance required by a compartment depends upon its intended purpose and on the expected fire. Either the separating members enclosing the compartment shall resist the maximum expected fire or contain the fire until occupants are evacuated. The load-bearing elements in the compartment must always resist the complete fire process or be classified to a certain resistance measured in terms of periods of time, which is equal or longer than the requirement of the separating members.

        Structural integrity during a fire

        The requirement for maintaining structural integrity during a fire is the avoidance of structural collapse and the ability of the separating members to prevent ignition and flame spread into adjacent spaces. There are different approaches to provide the design for fire resistance. They are classifications based on standard fire-resistance test as in ISO 834, combination of test and calculation or solely calculation and the performance-based procedure computer prediction based on real fire exposure.

        Interior finish

        Interior finish is the material that forms the exposed interior surface of walls, ceilings and floor. There are many types of interior finish materials such as plaster, gypsum, wood and plastics. They serve several functions. Some functions of the interior material are acoustical and insulational, as well as protective against wear and abrasion.

        Interior finish is related to fire in four different ways. It can affect the rate of fire build-up to flashover conditions, contribute to fire extension by flame spread, increase the heat release by adding fuel and produce smoke and toxic gases. Materials that exhibit high rates of flame spread, contribute fuel to a fire or produce hazardous quantities of smoke and toxic gases would be undesirable.

        Smoke movement

        In building fires, smoke often moves to locations remote from the fire space. Stairwells and elevator shafts can become smoke-logged, thereby blocking evacuation and inhibiting fire-fighting. Today, smoke is recognized as the major killer in fire situations (see figure 1).

        Figure 1. The production of smoke from a fire.

        FIR040F1

        The driving forces of smoke movement include naturally occurring stack effect, buoyancy of combustion gases, the wind effect, fan-powered ventilation systems and the elevator piston effect.

        When it is cold outside, there is an upward movement of air within building shafts. Air in the building has a buoyant force because it is warmer and therefore less dense than outside air. The buoyant force causes air to rise within building shafts. This phenomenon is known as the stack effect. The pressure difference from the shaft to the outside, which causes smoke movement, is illustrated below:

        where

        = the pressure difference from the shaft to the outside

        g = acceleration of gravity

        = absolute atmospheric pressure

        R = gas constant of air

        = absolute temperature of outside air

        = absolute temperature of air inside the shaft

        z = elevation

        High-temperature smoke from a fire has a buoyancy force due to its reduced density. The equation for buoyancy of combustion gases is similar to the equation for the stack effect.

        In addition to buoyancy, the energy released by a fire can cause smoke movement due to expansion. Air will flow into the fire compartment, and hot smoke will be distributed in the compartment. Neglecting the added mass of the fuel, the ratio of volumetric flows can simply be expressed as a ratio of absolute temperature.

        Wind has a pronounced effect on smoke movement. The elevator piston effect should not be neglected. When an elevator car moves in a shaft, transient pressures are produced.

        Heating, ventilating and air conditioning (HVAC) systems transport smoke during building fires. When a fire starts in an unoccupied portion of a building, the HVAC system can transport smoke to another occupied space. The HVAC system should be designed so that either the fans are shut down or the system transfers into a special smoke control mode operation.

        Smoke movement can be managed by use of one or more of the following mechanisms: compartmentation, dilution, air flow, pressurization or buoyancy.

        Evacuation of Occupants

        Egress design

        Egress design should be based upon an evaluation of a building’s total fire protection system (see figure 2).

        Figure 2. Principles of exit safety.

        FIR040F2

        People evacuating from a burning building are influenced by a number of impressions during their escape. The occupants have to make several decisions during the escape in order to make the right choices in each situation. These reactions can differ widely, depending upon the physical and mental capabilities and conditions of building occupants.

        The building will also influence the decisions made by the occupants by its escape routes, guidance signs and other installed safety systems. The spread of fire and smoke will have the strongest impact on how the occupants make their decisions. The smoke will limit the visibility in the building and create a non-tenable environment to the evacuating persons. Radiation from fire and flames creates large spaces that cannot be used for evacuation, which increases the risk.

        In designing means of egress one first needs a familiarity with the reaction of people in fire emergencies. Patterns of movement of people must be understood.

        The three stages of evacuation time are notification time, reaction time and time to evacuate. The notification time is related to whether there is a fire alarm system in the building or if the occupant is able to understand the situation or how the building is divided into compartments. The reaction time depends on the occupant’s ability to make decisions, the properties of the fire (such as the amount of heat and smoke) and how the building’s egress system is planned. Finally, the time to evacuate depends on where in the building crowds are formed and how people move in various situations.

        In specific buildings with mobile occupants, for example, studies have shown certain reproducible flow characteristics from persons exiting the buildings. These predictable flow characteristics have fostered computer simulations and modelling to aid the egress design process.

        The evacuation travel distances are related to the fire hazard of the contents. The higher the hazard, the shorter the travel distance to an exit.

        A safe exit from a building requires a safe path of escape from the fire environment. Hence, there must be a number of properly designed means of egress of adequate capacity. There should be at least one alternative means of egress considering that fire, smoke and the characteristics of occupants and so on may prevent use of one means of egress. The means of egress must be protected against fire, heat and smoke during the egress time. Thus, it is necessary to have building codes that consider the passive protection, according to evacuation and of course to fire protection. A building must manage the critical situations, which are given in the codes concerning evacuation. For example, in the Swedish Building Codes, the smoke layer must not reach below

        1.6 + 0.1H (H is the total compartment height), maximum radiation 10 kW/m2 of short duration, and the temperature in the breathing air must not exceed 80 °C.

        An effective evacuation can take place if a fire is discovered early and the occupants are alerted promptly with a detection and alarm system. A proper mark of the means of egress surely facilitates the evacuation. There is also a need for organization and drill of evacuation procedures.

        Human behaviour during fires

        How one reacts during a fire is related to the role assumed, previous experience, education and personality; the perceived threat of the fire situation; the physical characteristics and means of egress available within the structure; and the actions of others who are sharing the experience. Detailed interviews and studies over 30 years have established that instances of non-adaptive, or panic, behaviour are rare events that occur under specific conditions. Most behaviour in fires is determined by information analysis, resulting in cooperative and altruistic actions.

        Human behaviour is found to pass through a number of identified stages, with the possibility of various routes from one stage to the next. In summary, the fire is seen as having three general stages:

        1. The individual receives initial cues and investigates or misinterprets these initial cues.
        2. Once the fire is apparent, the individual will try to obtain further information, contact others or leave.
        3. The individual will thereafter deal with the fire, interact with others or escape.

         

        Pre-fire activity is an important factor. If a person is engaged in a well-known activity, for example eating a meal in a restaurant, the implications for subsequent behaviour are considerable.

        Cue reception may be a function of pre-fire activity. There is a tendency for gender differences, with females more likely to be recipient of noises and odours, though the effect is only slight. There are role differences in initial responses to the cue. In domestic fires, if the female receives the cue and investigates, the male, when told, is likely to “have a look” and delay further actions. In larger establishments, the cue may be an alarm warning. Information may come from others and has been found to be inadequate for effective behaviour.

        Individuals may or may not have realized that there is a fire. An understanding of their behaviour must take account of whether they have defined their situation correctly.

        When the fire has been defined, the “prepare” stage occurs. The particular type of occupancy is likely to have a great influence on exactly how this stage develops. The “prepare” stage includes in chronological order “instruct”, “explore” and “withdraw”.

        The “act” stage, which is the final stage, depends upon role, occupancy, and earlier behaviour and experience. It may be possible for early evacuation or effective fire-fighting to occur.

        Building transportation systems

        Building transportation systems must be considered during the design stage and should be integrated with the whole building’s fire protection system. The hazards associated with these systems must be included in any pre-fire planning and fire protection survey.

        Building transportation systems, such as elevators and escalators, make high-rise buildings feasible. Elevator shafts can contribute to the spread of smoke and fire. On the other hand, an elevator is a necessary tool for fire-fighting operations in high-rise buildings.

        Transportation systems may contribute to dangerous and complicated fire safety problems because an enclosed elevator shaft acts as a chimney or flue because of the stack effect of hot smoke and gases from fire. This generally results in the movement of smoke and combustion products from lower to upper levels of the building.

        High-rise buildings present new and different problems to fire-suppression forces, including the use of elevators during emergencies. Elevators are unsafe in a fire for several reasons:

        1. Persons may push a corridor button and have to wait for an elevator that may never respond, losing valuable escape time.
        2. Elevators do not prioritize car and corridor calls, and one of the calls may be at the fire floor.
        3. Elevators cannot start until the lift and shaft doors are closed, and panic could lead to overcrowding of an elevator and the blockage of the doors, which would thus prevent closing.
        4. The power can fail during a fire at any time, thus leading to entrapment. (See figure 3)

         

        Figure 3. An example of a pictographic warning message for elevator use.

        FIR040F3

        Fire drills and occupant training

        A proper mark of the means of egress facilitates the evacuation, but it does not ensure life safety during fire. Exit drills are necessary to make an orderly escape. They are specially required in schools, board and care facilities and industries with high hazard. Employee drills are required, for example, in hotel and large business occupancies. Exit drills should be conducted to avoid confusion and ensure the evacuation of all occupants.

        All employees should be assigned to check for availability, to count occupants when they are outside the fire area, to search for stragglers and to control re-entry. They should also recognize the evacuation signal and know the exit route they are to follow. Primary and alternative routes should be established, and all employees should be trained to use either route. After each exit drill, a meeting of responsible managers should be held to evaluate the success of the drill and to solve any kind of problem that could have occurred.

         

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