Questo progetto ha cercato di abituare i ragazzi alla pratica della raccolta differenziata : separando, in particolare, gli scarti della frutta e della verdura della nostra tavola si può ricavare il compost in un angolo all'aperto e all'ombra rendendo più piccola la montagna di rifiuti che produciamo giornalmente.
Questa pratica è stata ulteriormente sviluppata utilizzando il compost per allestire un piccolo orto didattico.
Durante lo svolgimento del lavoro manuale è stato inventato un personaggio: Serena Nellorto, la professoressa che li ha accompagnati in questa avventura e le hanno "tenuto" un diario che, scritto al computer è diventato multimediale con testi, disegni e foto.
L'ultima pagina del diario, però, è stato scritto da Serena Nellorto in persona perché, al termine del progetto, ha compreso che i ragazzi "ortolani" sono speciali per tanti motivi e uno in particolare è questo: sanno mantenere gli impegni e prendersi cura di ciò che è stato loro affidato .
DAL DIARIO DI SERENA NELLORTO
16 Maggio 2010
Oggi è la festa patronale di Voghera.
Abbiamo allestito uno stand della nostra scuola tutto dedicato all'orto: orto che riutilizza, orto in miniatura, orto in verticale, orto degli aromi, orto del gioco dell'oca, orto che coltiva LA PACE…
Nino si era assunto il compito di annaffiare e io sono venuta a controllare se ha mantenuto l'impegno: ebbene sì, l'ha fatto e non da solo: con altri compagni!
Le piantine qui hanno poca luce, ma almeno hanno acqua in abbondanza.
Ora i ragazzi rides are on their "extreme" will return Monday, shaky legs, telling of dizziness and feeling of emptiness in the stomach, in the meantime, in my heart I hope they have a life full of flower gardens and lush green gardens.
In Theatre, the analysis stage of the work identified in the environment most at risk for the safety of all personnel artistic, technical, and guest operating within it.
The goal is to focus on risk assessment and prevention and protection measures to be implemented, to manage and run the show, taking into account that the analysis must be separated from the normal risk assessment for the installation the specification:
The first is related to the safety of artists and all the technical staff and guests who enter the stage during the show. The second is related to been fitted where the rules of work are well defined.
• NOTE: The examples and procedures related to the Teatro Regio in Turin.
DECREE N ° 81/08 OF WORK AND RULES
get on stage, opens the door to a new world and particularly where, in some cases, the implementation of a performance, it can be dangerous due to artistic needs and direction that can expose the creative and technical staff, in this stage, the risk of bodily injury.
Theatre and above the stage, has particular characteristics that require special rules. There is currently no specific legislation on the security stage, but only the DPR 322, 20 March 1956 referring to the rules to prevent accidents in the filming.
goes without saying that, because of its specificity, the stage can not apply all the rules laid down in Legislative Decree No. 81/08, as amended with additional enacted Legislative Decree No. 106 of 03 August 2009.
Like the previous Decree 626/94, Decree No. 81/08 and also the next Dlgs106/09 apply in all public and private sectors and all types of risk, but does not contain specific references to the activities that take place on the stage of Italian theaters.
This involves, at times, derogate from the rules lavoro. Quello cui occorre meditare è la complessa questione delle deroghe, cioè il complesso delle disposizioni a carattere cogente che costituisce solo il livello minimo delle misure adottabili in presenza di rischi particolari ( livello al di sotto del quale si è nel reato).
PERCHE’ NON SI POSSONO APPLICARE TUTTE LE REGOLE
Perché alcune regole elementari di buona tecnica dicono :
• che non si può sostare sotto i carichi sospesi ( in palcoscenico abbiamo sulla testa migliaia di chili appesi ai tiri di scena che si muovono continuamente (quinte, fondali, americane, proiettori, elementi di scena, ecc.).
• quando un dislivello exceeds 100 to 200 cm. height from the floor, it is necessary to put the guardrails (sometimes on stage, for artistic reasons, it is not always possible to place guardrails). • The work area should be wide, well lit and free of obstacles (often on the scene working in low light conditions and in tight spaces). • bridges and lifting equipment are "equipment" to the scene and are not allowed to transport people because they are neither elevators nor elevator (it can happen that needs performing and / or director, bridges, wagons and / or lifting equipment, can be used to transport and / or lifting of people). • on stage is not smoke, use naked flames (in this case, the use of open flames in the representations may be allowed upon approval of the competent authorities, see Ministerial Decree 19 August 1996 Title V).
SAFETY MEASURES ALTERNATIVE
In the absence of specific technical standards, we have to apply the principle of equivalence of the level of protection that addresses the choices to "alternative", which, for those reasons, may not be necessarily technical, but rely significantly on the contribution of behavioral procedures.
Even then, in the case of preventive measures in search of "waiver" is the only application of the principles of the scalar security according to the priorities identified nell''art. 15, Section 3 of Decree No. 81: (when the elimination of risks is not possible, the risk itself must be minimized in relation to knowledge in light of technical progress.
There is zero risk, but there is risk acceptable.
It is imperative to: • Motivate case because of the non-applicability of the principle of order of priority (devices protection such as guardrails or other means, individual protection devices, etc...) • Detail the measures or the set of alternative measures adopted, emphasizing the real possibility of reaching a level of protection equivalent to that achieved with canonical measures. • Detailed operating procedures and conduct to be followed. • Acquire reasonable assurance of the possibility of applying it effectively. • Provide tight control measures - monitoring of correct and consistent application of that measure. • Maintain documented evidence of the whole process put in place. • Entering the stage is like stepping into a machine with moving parts where it is not always possible to protect areas potentially at risk!
is an excerpt of some articles of Dlgs81/08
• General protection measures: art. 15. • Risk assessment and date certain: art. 28. ee • Training information: art. 36. Railings • Security: Art. 126 and Title XVIII paragraph 2.1.5. • Do not stand under suspended loads: all. VI paragraph 3.1.5. • Requirements lifting systems and motion: all. Title V II. • Systems and control devices: all. V paragraph 2. • Maintenance and record maintenance systems: Article 15, Section Z - Title V comma11. • Protection against falling projectors or more: all. V, paragraph 3. • Control cables: all. VI paragraph 3.1.2.
specific risk
On stage, the situations at particular risk for safety of all personnel, certainly we must consider:
• The handling of the shooting scene (electrical or manual).
• The movement of the movable bridges.
• The movement of wagons (Electric or manual).
• Work on the attic.
essential condition to ensure safety to all staff and crew at this stage, in situations with specific risk, is to implement an effective organizational model for safe management of all plants in the mechanics of the scene (shots scene - bridges - Mobile Carts - etc.).
NB: is essential that the facilities of the mechanics of the scene, are subject to regular maintenance the outcome of which shall be provided on register.
DOCUMENT ON RISK ASSESSMENT IN SHOW
Unlike the risk assessment of work activities in this theater, where the specific risks are easily identified by the processes themselves, the risk assessment regarding the achievement of a performance, when it can not be identified in advance, should be implemented when the action happens on stage.
Very often potentially hazardous situations arise during testing or assembly techniques, according to the artistic demands that the director requires, however, these requirements may be changed several times in light of the comments and changes requested by the director himself during directing the show.
For this reason, in order to implement a proper hazard assessment and implementation of a comprehensive prevention and protection, the document on risk assessment for the show, should be a dynamic document that is "modulated" during the tests and adapts to each new situation to be mediated and agreed with the Director, the Director of Productions, the stage manager and the Head of Prevention.
CRITERIA ADOPTED FOR RISK ASSESSMENT
The risk assessment and security measures relating to the show should be done based on:
• April 9, 2008 Legislative Decree No. 81 (art. 15 to 28 - 36 - all. V - VII, etc.)..
• dell'allestimento analysis being presented with the director, the Director of Productions, the Head of the Prevention designer drafter.
• The type of progress made and the dangers of his access.
• Of the artistic needs and actions required in the scene by the Regia.
• The type of special effects (smoke, fog, flames on the scene, etc.)..
• handling of carts electric or manual, bridges or other masses in the presence of art on stage. • the emotional and psychological of artists in relation to their feelings when, on stage, in situations of potential danger.
security procedures
analysis of risks and preventive measures must be written on special forms of safety and includes:
• The first is related to the analysis of the show at the design stage in terms artistic, structural, plant and equipment; (at this stage is to be assessed, the situations of potential danger, identified alternative security solutions, eliminating, where possible, at source risk situations).
• The second is related to the analysis dell'allestimento on stages of assembly - disassembly, it is at this stage to be evaluated all the safety conditions required for the assembly of the stands, taking into account the weight of the items to be handled, facilities to be implemented, information, training of technical personnel performing work on the stage.
• The third is related to the analysis of the show, taking into account the special stage events and actions requested by the Director in the preparation of the performance (handling of wagons, bridges, shooting, special effects, special items of tooling, etc.). .
• In questa fase che devono essere valutate:
1 - le situazioni di potenziale pericolo che possono emergere durante le prove
tecniche e/o di assieme in palcoscenico e/o in sala Regia per tutto il personale
artistico e tecnico presente in scena.
2 - le misure di formazione informazione e le disposizioni da attuare, per la
sicurezza di tutto il personale artistico e tecnico che opera in palcoscenico.
• La quarta e ultima scheda è riferita all’analisi dello spettacolo prima della prova generale e/o prima della prima, al fine di verificare che non siano emerse nuove situazioni di pericolo.
L’esito della valutazione deve be signed:
• the Director of Productions by the Head of the Prevention, the Head of Services Stage, the stage manager, workers' representatives for safety and occupational physician.
• Where necessary the security document will be customized to have read and signed by artists, extras, technicians and stage if there are minors, their parents.
NB: • The document shall indicate the chronology of the dates which have been implemented security measures and prevention. • The "date certain" of the assessment is attested by the signing of the document part of the employer, the charge of prevention, the representative of employees for medical sicurezzae by competent authority (Article 18 paragraph c-Decree No. 106/09).
DUTIES OF THE DIRECTOR OF SCENE
the stage manager, in collaboration with the Director of Productions and Prevention Security Service Manager will: • Inform staff
artistic work on stage, in accordance with document security on the show.
• Work with the Head of Prevention and the Director of Productions for the drafting of the document in the security of the establishment its various stages.
• Manage the performance in respect of safety data sheets issued.
Productions • Report to the Directorate and the Head of Prevention, hazardous situations and / or special requests of the Director not provided during the preparation stages of the show in order to implement the necessary security measures.
• Any changes to security measures or any new scenic effect, required by the Director, likely to involve danger to persons, must be authorized by the Management Productions in order to make appropriate assessments and measures for its prevention.
BOARDS SAFETY ON THE SHOW
• The collection of key prevention and protection for the creative and technical staff working on the stage, refers exclusively to the management and conduct of the show, beginning the tests until the first leg on stage .
• The recipients, which are addressed to these boards are appointed and to warn the workers of its content and require compliance.
Allegato - 1 RELAZIONE TECNICA
MATERIALE SCENICO (Dm 19 agosto 1996 titolo2 comma 2.3.3).
- I materiali utilizzati per realizzare gli allestimenti, devono essere rispondenti al Titolo 2 comma 2.3.3 del Decreto Ministeriale 19 agosto 1996 ( vedi fascicolo prevenzione incendi in palcoscenico).
STRUTTURALE
Allegare ove occorra:
- ll progetto dell’allestimento, firmato da professionista iscritto all’albo, con i dati di calcolo della struttura, di passerelle, balconate, praticabili, ecc..
- Il peso dei vari elementi scenici da installare e movimentare in relazione alla portata della struttura di appoggio o di sostegno della soffitta, dei mezzi di sollevamento, dei carri, dei ponti, ecc..
- Le istruzioni per il corretto montaggio della struttura da parte del progettista.
- La verifica di avvenuto corretto montaggio secondo le istruzioni al fine di rispettare, dette istruzioni, nei successivi montaggi e cambi di scena during performances.
ELECTRICAL - Electrical service to the scene should be conducted in accordance with professional standards (IEC and the Ministerial Decree of January 22, 2008 No. 37 under Law 46/90).
NB: - The document to be produced is a dynamic document in that it needs to be updated as conditions change and security of mounting. - Mark on the card where not require design data and calculations.
Annex - 2 ORGANIZATION OF WORK SAFETY PROCEDURES
• Describe the work in all its parts and the means of intervention .. • Establish the team, the number and level of the people involved. • Identify what are the dangers to life and property safety measures to be implemented, provided the document on Risk Assessment Services Stage and safety data sheets. • Identify what are the DPI to be used according to the SDS. • Inform technicians of the type of work, how to run etc.. • Organize your work area (where necessary to segregate the area with barriers or other systems). • Consider lifting systems and methods of coupling elements in relation to the load. • Evaluate the loads of the various scenic elements to be processed and handled. • Identify the responsible for the execution of the work and the enforcement of security measures • recorded the outcome of the procedures identified.
• NB: Jobs that involve special risks not covered by existing safety data sheets or in general, must be reported to the head of the Prevention and the Director of Productions in order to make a new risk assessment with for preventive measures to be implemented.
GETTING AROUND STAGE
• Place a lot of attention at every stage of activities keeping in mind that requirements for scenic and artistic potential situations of risk are often different from one show to another.
• It is the responsibility of the Directorate of Scene, the Directorate was created in collaboration with the Head of Prevention, providing the right information about the dangers you might encounter and how to act on stage.
especially for the stage is recommended: •
to respect the prohibition signs and / or access to the stage during assembly, disassembly, or otherwise.
• to move with caution, especially in the presence of large masses of art and / or the scene when there are special circumstances (movement of tanks, elements of the scene, flames, etc.).
• to pay attention to the unevenness and the sudden signs put on the floor delineating the areas of danger.
• to pay attention to the use of special tooling elements (spears, swords, shields, torches, etc.)..
• to comply with the instructions given by the Directorate of Scene and / or fittings.
• for women, except for requirements stage: during the tests to avoid wearing shoes with high heels, shoes opened or read (sandals, slippers, etc.).
• at the end of the tests and / or performances leave the stage quietly. • Each
for its role is required, in accordance with art. 20 of Legislative Decree No. 81 April 9, 2008 (obligation of workers) to:
• comply with regular reporting to the management of situations which could create a hazard to persons or property.
• contribute to the improvement of safety performance. •
not do on its own initiative, any action which may endanger the safety of themselves and others. •
is important to "respect" the stage as a "place" of work, and especially not underestimate be aware that you are in a place potentially at risk.
ORDER OF THE MINISTER OF THE INTERIOR August 19, 1996
FIRE PREVENTION IN STAGE
INTRODUCTION
Unlike the Decree. 81 / 08 fire safety is regulated in Theaters from August 19, 1996 through a Ministerial Decree No. 149 that sets the rules as implement fire prevention, on how to do a layout and special effects (flame-free, gun shots, fireworks, etc.). .
essential requirements to ensure fire safety is that the structure of the theater or the premises allocated to them, they respond to what is stated in the Ministerial Decree No. 149 August 19, 1996 (approval of the technical rule of fire prevention for the design, construction and operation of entertainment venues and public entertainment).
NB: The examples described below are based on a Theatre Opera Concertistico
LEGISLATION FOR THE STAGE
• Title II paragraph 2.3.3: props. • Title V
paragraph 5.1: special provisions for the scene
• Title V paragraph 5.2.6.1: local service to the scene
props
Dm August 19, 1996 - Title 2 Article . 2.3.3.
To implement the above fixed and mobile (fifth, curtains and the like) may be the use of combustible materials of reaction to fire not exceed 2.
E 'possible use of class materials than 2 provided that effective measures are planned improvements to the general safety of the scene, as effective means of disposal of fumes subservient to the automatic fire detection systems and / or automatic shutdown.
normally today, the realization of an exhibition, is made using materials in the classroom for a canvas, backdrops, textured carpets, etc.. available on the market, and accompanied by certificate of conformity, while the creation of the armor is made using Cantinelle wood treated with fire retardant paint or armor steel or aluminum.
should take some time, however, that there is a continuous exchange of exhibitions between the various Italian and European theaters, productions that have often been made in years when there was a 'harmonization of laws to prevent fire from various Italian and European theaters , in which case the law comes to us allowing you to use also stands above the class as long as the two stages are equipped with the facilities given under two described above. All works carried out over the fire curtain, must instead be carried out strictly in zero class or a class accompanied by the relevant supporting documentation.
Alternatively, the reaction class Fire can be attributed to the artifact in treating wood with fire retardant paint specific to the type of wood used, with its supporting documentation.
of that fact must be disclosed in the test whose validity is limited to six months with the obligation not to carry out washing or other maintenance work that may adversely affect the reaction to fire.
In local scene integrated into the room, the materials must be prepared in the stage of reaction to fire no more than 1.
supporting documents. 1. statement of responsibility where it appears che il manufatto in legno è stato trattato con la vernice ignifuga tipo xxxx idonea per il tipo di legno utilizzato, nei modi e nella quantità previste dalla ditta fornitrice della vernice.
2. Certificato di conformità della ditta costruttrice della vernice.
3. Certificato di omologazione della vernice del Ministero dei Trasporti.
4. Documento di trasporto del prodotto.
DISPOSIZIONI PARTICOLARI PER LA SCENA
Titolo V comma 5.1:
• Le scene, sia del tipo separato che integrato rispetto alla sala, devono contenere unicamente gli scenari, gli spezzati e gli attrezzi necessari per lo spettacolo del giorno, che devono essere placed so as not to clutter up the steps and make available the equipment and fire trucks.
• Use representations of fireworks, flames and gunfire weapons, must be assessed by the competent authority and may not be authorized in the absence of security measures appropriate to the risks.
• ... ... ... ... ... ....
• Smoking is prohibited in the scene and its dependencies, except for requirements stage.
• Title V. paragraph 2.6.1: dressing rooms and dormitories.
• No installation even provisionally, from dressing is allowed in the scene itself, including under the stage, unless it is equipped with its output directed to a safe place and is a fire compartment class REI 120.
REGISTER OF FIRE SAFETY " • The title holder is required to record inspections, maintenance work on facilities and equipment designed to fire safety, described at section 6.18 of the DM on August 19 1996.
MAIN MEASURES RELATING TO FIRE PREVENTION EQUIPMENT
• The materials used to make the preparations must be consistent with the Dm 19 August 1996 (see above). • projectors scene, as a source of heat, must be installed at a safe distance from the seabed, scenes, or anything that may be a risk of ignition. • Power cables, extension cords, plugs must comply with standard "IEC" in force and must be of fire retardant. • The electrical installation made in a production must be made according to the rules of art (CEI Ministerial Decree No. 47 January 22, 2008 under Law 46/90). • Any electric machinery as a source of heat should have CE mark and be installed according to standards of good practice and away from items that can cause ignition. • Must be organized maintenance of the cables connecting the headlights, the scene of the machines, extension cords with its thorns, etc., (the false electrical contacts are the primary cause of a fire!). • Cables connecting plugs and extension cords must have adequate size for the load. • On stage and in any of the local theater to bet, smoking is prohibited. • Respect the smoking ban, the ban on open flames, the prohibition of storage of flammable liquids or gas cylinders in the hall. ... use in the representation of flames, firearm shots, etc., must be assessed by the competent authority and may not be authorized in the absence of appropriate security measures to risks (DM August 19, 1996 Title 5.1).
• If adjustments on the armor of aluminum and / or a metal construction, which require the use of flexible and / or electric welders, to implement all necessary security measures to prevent the emergence of a principle of fire and accurately: - coordinate the work according to the scheduling of assembly and / or evidence to avoid interference with other activities of the Theatre. - assist in the work of a fire fighting team with a fire extinguisher. - use of fire blankets or other systems capable of avoiding the spread of sparks and / or welding slag. - always be guaranteed as escape routes from the stage.
• At the end of each working day: - turn off unnecessary electrical use (lights, cars, etc...) - All the props, staging is not absolutely necessary, (Cantinelle, practicable, hips, etc..) Must be placed in special storage areas or in special spaces or recesses in the back stage side, so as not to obstruct passages, exits or prevent the closing of the doors and fire doors of the stage. - close the doors involved. - lower the fire curtain
SCENE IN FLAMES
use in the representation of flames, firearm shots, etc., must be assessed by the competent authority and can not be authorized in the absence of security measures appropriate to the risks (DM August 19, 1996 Title 5.1).
General prevention measures
• Preventive measures should be from time to time appropriate to the type of effect and the type of construction put in place. • After hearing the competent authorities, the management of open flames in the scene must be done in close collaboration with the Head of Prevention, the Department of scenes, and the Director of Productions and the Technical Director.
Information Activities Training
• The creative and technical staff working on the stage should be informed about the risks derived from the fire and emergency procedures to be implemented in case of danger.
Services Security • On stage, must be guaranteed (with a weekly program) assistance: • • Electric by a qualified engineer. • • Fire prevention officers by the fire company.
EXAMPLES OF FIRE ON STAGE 1st example
description of the scene • Use of candles or candles in the scene. • Use of torches carried on stage by artists and / or extras.
assessment risk • initial fire • The fire hazard for the costumes. • of burns of varying severity depending on the type of fire.
prevention • Assess the needs second stage: • Who, how, where and when lit candles, candle holders and / or torches. • Who, how, where and when it is turned off. • Where are they placed in the scene. • Ensure that in the immediate vicinity there are elements that can propagate flame. • Inform and educate the technical staff at turn on and off flames (note: at this stage must have an attendant with fire extinguisher suitable). • Educate artists about risks and how to behave on stage, especially if they wear fluffy costumes and highly flammable. • Notify the Fire Department of the Provincial Command of membership, serving for the show, the presence of flames in the scene.
For torches: • use of safety torches made of sheet metal with a spring return. (in case of loss or release of the spring, fall within the wick grip suffocating the flame). • To limit the spread flame, protect it with a wire mesh.
security measures • Provide adequate means of extinguishing (fire extinguishers - extinguishers water - hose reel - fire blankets). • Provide adequate security service for fire protection in accordance with the provisions of the Provincial Commission of the Supervisory Board or the Fire Department of command responsibility.
Example 2 "Clemenza di Tito" FIRE SCENE IN A CERTAIN SIGNIFICANCE
report submitted to the Competent Authority for obtaining prior authorization for the use of open flame of some significance at the show "La Clemenza di Tito" on stage at the Teatro Regio in Turin in May 2008.
TECHNICAL REPORT
• The effects will be built by recognized expert and authorized by the police of responsibility for the handling and use of products for the production of stage effects for flames.
DESCRIPTION OF THE SCENE AND EFFECT • The scene takes place at the end of Act One and the Capitol is on fire. • The scenic effect, it must represent a fire, a width of about six meters with a height of the flames of about one meter, seen from the windows of the Capitol. • The effect of duration of about 6:00 to 7:00 minutes, will be built in the back of the stage using a special "alcohol-based gel" that burns with fire regularly, it does not release toxic gases, and makes no residues or hot sparks. • The "gel" will be placed in a special stove, made of sheet metal and insulated from the stage. • The lighting of the flame is carried out behind the scenes, enabled by the expert using special remote-controlled igniters. • To switch off course from exhaustion fuel.
• Description of the fireplace hearth is composed by 4 metal tanks (90 x 20 x 5) placed on a special mobile cart that can be moved in case of danger.
• Risk assessment of fire • The fire hazard for the costumes. • of burns of varying severity depending on the type of fire.
PREVENTION MEASURES • Safety distance: • The home is isolated from the mobile cart with refractory bricks. • The mobile carriage is lined in turn by a plate metal • Near the fire there are dangerous elements that can spread the fire.
• Media • off the sides of the stage and positioned in the vicinity of the effect will be available: adequate portable fire extinguishers, wheeled fire extinguishers, hydrants and No. 2 fire blankets.
While this effect will be on stage:
team • Fire service in the Provincial Headquarters for the show, which will follow the effect on demand, from both sides of the stage. • Business of the team involved in the prevention of fires Teatro Regio, nel
numero indicato dalla Commissione Provinciale di Vigilanza, che sarà a
disposizione dei Vigili del Fuoco del Comando Provinciale.
• un elettricista della manutenzione con il compito di disattivare tensione a tutti i circuiti di scena in caso di emergenza
• Si trasmette quanto sopra per le opportune valutazioni al fine di ottenere la relativa autorizzazione e per predisporre le appropriate misure di sicurezza.
ATTIVITA’ DI FORMAZIONE INFORMAZIONE COMUNE
• Artisti e/o personale tecnico, devono essere informati sui pericoli per persone e cose derivati da fuoco, sulle misure di sicurezza individuate e su come behave in a scene. • During the testing stage, artists and technicians, following the teachings on how to behave on stage, according to the preventive measures identified by the Management and Technical Direction Productions and Prevention. • The outcome of the assessment and preventive measures implemented and information will be recorded on a special custom tab for information signed by the artists, extras, technicians and stage if there are children, parents.
Below is the press release ISPESL that with the new corrective action launched by the Government, will be absorbed by Inail. As the author of this blog would like to express my concern about this decision which is likely to slow down the process of accidents had decreased in recent years thanks to the excellent work that the ISPESL has done in relation to injury prevention. In several of my articles, I used the guidelines ISPESL having thus been able to grasp the importance and scope of the work done by the institute.
Before the release of ISPESL want to publish the concerns expressed by the editors of diary prevention
In no European country the reasons of the crisis have led to the dissolution of the research institutions that deal with health and safety at work. INRS France, UK HSE, the German and Northern European institutions are maintained if not strengthened. The Italian government has instead decided to take advantage of the crisis and disaster reduction in public spending to dissolve ISPESL, without a clear plan and discussed in appropriate fora on the possible transfer of skills available in a future Ispesl and mysterious place security on the part of Polo Inail. What is happening is very worrying in that it provides that the State delegates its powers in the field of research health and safety insurance agency Inail without there being a clear and transparent picture of who will do what. The good health of the people who work moves from protection based on the constitutional right to protection paradigm based on actuarial and insurance based on the logic of business conveniences and the right to health.
It appears that the regions have been consulted by the government on this act of suppression Ispesl: it takes into account the fact that SPSAL or Smpil Ispesl the regions used for the training of operators and second-level reference for consultancy scientific techniques.
We ask: what work will be transferred to an agency that will respond to logical different from those of health protection provided by Article 32 of the Constitution?
The passage of the search functions in health and safety at work to Inail is a return to a past bankruptcy: even before the 1978 Inail performed functions of research and advice to businesses through ENPI, a private organization was dissolved for failure of ' Inail decent way to manage aspects of prevention in health and safety at work. We
important to know the views of workers and the leadership of ISPESL, important structure for prevention in Italy, focus of relations with the structures and agencies of the European and global research on the prevention health and safety at work. The act of the government is once again the idea was that animates those who have the responsibility of government indifference and culpable ignorance of the wealth of knowledge that professionals Ispesl and other public research bodies are in Italy and around the world . A heritage in danger of being lost in this operation called pompous Polo Inail security sub domain. JOURNAL EDITOR
PREVENTION
Press Release:
ISPESL - INSTITUTE OF HEALTH AND SAFETY AT WORK
PRESS OFFICE Rome, May 26, 2010 PRESS RELEASE
ISPESL: l’Istituto non è un “ente inutile”, ma indispensabile per la sicurezza e la salute dei lavoratori italiani. Con il provvedimento del Governo si chiude l’unico Ente di ricerca del Paese. Nonostante il dimezzamento dei fondi, l’Ispesl è in grado di autofinanziarsi per più del 60% dello stanziamento concesso dallo Stato.
In relazione alle notizie di stampa si apprende che l’Ispesl (Istituto Superiore per la prevenzione e la sicurezza del Lavoro), unico Ente di ricerca del nostro Paese con vastissime competenze nel settore della prevenzione e della sicurezza dei lavoratori, nell’ambito della manovra finanziaria varata dal Consiglio dei Ministri del 25 maggio, risulterebbe deleted. We remain astonished by the news of the suppression and development of body useless for the Institute for Prevention and job security (ISS).
The label, which some attributed, institution of "useless body" is offensive to all workers, besides unfounded. ISPESL institution is not only useless, but the silence of his thirty years of daily work, through the commitment and sacrifice of the many professional (engineers, doctors, chemists, physicists, biologists, etc.) while the scarcity of resources, provides an irreplaceable contribution to knowledge, experience and training to the production system of our country in the sensitive area of \u200b\u200bhealth and safety of workers, providing know-how, assets in Italy, recognized and appreciated not only in science but from all national and international organizations of employers and trade unions. While fatal accidents per year decreased from 1600 to 1200 (to speak only of so-called dead white) this is due to all the countless initiatives Ispesl, fielded by his staff.
The year 2000 Body suffers a constant and steep reduction in funds halved in recent years, from 110 million to 58 million euro, as well as a drastic reduction staff reached retirement age (without the possibility of a physiological turn over to the hiring freeze), has never reduced its commitment to protecting the safety and health of workers. Nevertheless, the Institute has consistently used during these years to have the means and willingness to exert the most of their functions.
The Institute has, in fact, increased and extended all possible facilities that the law allows him to do, even managing to significantly increase its own revenues. The Institute is now self-financing (35 million euro) for more than 60% of the budget that comes from the state. And 'this can be considered a "useless institution"? who is committed and those who work on behalf of the Government and local authorities, for the areas of Taranto, Civitavecchia, Casale Monferrato, or for very serious problems Earthquake in Aquila, in Umbria? who spoke to the security of settlements in accident risk or more complex power plants? who faced national emergencies alongside regional and national institutions (accident Monte Bianco, G. vessel Montara, Gran Sasso, Tissen Krupa, hyperbaric chambers, etc. ...)?
and concluded that not only is not Ispesl "institution inutile”, ma che sia “utilissimo” per il nostro sistema produttivo che si finanzia per gran parte da solo. A questo punto sarebbe utile sapere in quale logica e con quali procedure sia stata disposta la “soppressione” dell’Ispesl con lo “scioglimento” nell’Inail. Aspettiamo una risposta. Il personale dell’Ispesl ce la chiede. Ce lo chiedono anche i lavoratori e i familiari delle vittime sul lavoro.
"You can not invest in the culture of suspicion everything and everyone. The culture of suspicion is not the antechamber of the truth. The culture of suspicion is the antechamber of Khomeini "
