Artykuły w czasopismach na temat „Construction industry – Safety regulations – Great Britain”

Problem statement. Architecture near rivers and other bodies of water reflects the artistic and stylistic features of cities. Modern surface architecture has been devided in two large groups and includes a large number of typological units. The first group is large hydraulic structures (canals, dams, locks, bridges). The second group are the buildings and structures with social and housing functions. Despite the different purposes, the objects of this group have a common structural scheme, which is represented by two components: a floating base and a superstructure [1]. Today buildings on water are very popular all over the world. The main reasons for this are overpopulation of the territory, high taxes on land and others. Such buildings are popular in Germany, the Netherlands, Great Britain, the United States of America, Venice, France, India, the Czech Republic and others. In Ukraine, the construction of buildings on water is promising and may become popular for the following reasons: rather short term of order implementation; long service life (up to 50 years); a large number of mooring places; closeness to nature; privacy of rest and others [2]. Due to the fact that the process of erecting buildings on water is quite complicated and covers several branches of production at once, consideration of the issue of ensuring safe working conditions is relevant and necessary. Also, this issue has its own specifics associated with the selection of workers and ensuring safety when working on water. Purpose of the article is an analysis of the state of safety and organization of safe working conditions during the erection of modern buildings on the water. Conclusions. 1. Fatal injury rates in the construction industry have consistently exceeded those in the mechanical engineering industry in recent years. At the same time, the indicators of fatal injuries in recent years have a tendency to increase and constancy in both industries. 2. The percentage of the main causes of occupational accidents is almost constant. The influence of the main hazardous production factors associated with the construction of buildings on water, for the most part, leads to the occurrence of accidents. 3. Drawing up recommendations for the safe implementation of consistently all stages of the construction of buildings on water is an important issue of our time, since such construction has great development prospects in our country.

Abstract Background: Peaceful use of nuclear energy is of great significance for ensuring energy security, reducing greenhouse gas emissions, and achieving sustainable development environmental-friendly. Nuclear safety is the premise and foundation for the development of civil nuclear power industry. As a country with the largest scale of nuclear power plants under construction, preventing accidents properly is the best way to ensure nuclear safety. However, under the background of environmental protection nowadays, China has only officially implemented two laws related to nuclear safety - the Law on Prevention and Control of Radioactive Pollution and Nuclear Safety Law. It cannot fully meet the needs of nuclear safety supervision in China. Methods: To highlight the problems in the current legal system pertaining to nuclear safety, a legislation study is used to analyze the current content of related legislation and regulations. Comparative methodology is also adopted in this paper to analyze the legislative and administrative experience of other countries with or without nuclear power industry and summarize the problems in the current legal system in China. Result: Currently, the development of nuclear safety law system reflects the historical process of the development and application of nuclear technology in China. China’s nuclear safety-related legislation closely fits the strategy of China’s nuclear technology development and application under the background of environmental protection. Even though, there are still deficiencies about China’s nuclear safety legal system now, for example: the atomic energy law is still absent in China, so pertaining measures must be taken to develop and improve the nuclear safety legal system in China as for not only promoting the development of nuclear industry but also avoiding radioactive pollution incidents and protecting environment. Moreover, there is a conflict between the concept of “nuclear safety” in the Nuclear Safety Law and its content.

Despite of the remarkable improvement in terms of health and safety in the construction sector through the implementation of a variety of regulations across the world, till health and safety issues are increasing rapidly. Meanwhile, Health and safety issues on construction sites are still significant in terms of a consistent high number of work-related illnesses and injuries in the construction to recent statistics from the Health and Safety Executive (HSE). Interest is growing on to support the designer to take care of health and safety from the design stage in building construction with regards to techno-commercial aspect. This is a fact that, design influences to a great extent the nature of these hazards that are in building construction. Meaning that the hazards need to be eliminated or minimized at the designing stage. “Safe design”denotesthat in the hazard be identified and risks are assessed early in the design process to minimize or eliminate the injury risks during the lifecycle of the project. Based on an extensive review of the causes of work-related illnesses and injuries in building construction including mining production, this paper identifies a set of technical issues relating to building design. By presenting a new evidence-based health and safety analysis, abbreviated to EHSA approach for designers (architects and engineers) to use towards safer design for construction thereby, reducing work-related injuries and illnesses on site and decrease the economic losses. The research into EHSA is intended to evaluate an innovative way to facilitate evidence-based learning in building design with the collection and use of data and information accumulated from professional knowledge about fatalities and accidents along with best practices and innovations in field of health safety management that have proven to be effective for the construction industry. Through an experimental case study, this conference paper will demonstrate how the EHSA approach can help in effectively supporting health and safety improvement at the design stage. The paper is anticipated to contribute significantly to existing body of knowledge by introducing a new framework in safer building design by providing an innovative approach with an evidence-based experimental case study to innovate future practice while also leveraging the findings for improvement in health and safety management.

Introduction. The article focuses on the problems and prospects of building information modelling (BIM) technologies development in the construction industry of the country, valid development strategies, BIM technologies implementation and influence in the construction industry. It has been proved that creation of a digital twin of a construction facility at the design stage ensures its efficient management at the construction as well as operational stages. By studying BIM technologies legal regulation framework the possibilities of their use by the construction organisations have been outlined. The stages of the capital construction facilities life cycle have been defined, the categories of companies using BIM technologies in designing and construction practices have been specified. The aim of the study is to identify the problems hindering implementation of information modeling technologies in the construction industry of the Russian Federation and to propose solutions through automation of all processes at different stages of the capital construction facility life cycle.Materials and Methods. There are plenty of factors directly and indirectly affecting the time period of BIM implementation in the construction industry: the role of the state, the existing construction philosophy and many others. Considerable progress can be observed in the Scandinavian countries, in Netherlands, Germany, Singapore, France. The leading positions belong to the USA and Great Britain. But even in these countries it would be wrong to speak about complete implementation of BIM in the construction industry. In the Russian Federation the UK experience of BIM technologies implementation in the construction industry is used. For the UK authorities the main outcome of the information technologies implementation is maximum transparency of budget spending and control of construction costs. Therefore, all state construction projects are executed using the information modeling technologies. Russia has partly adopted the foreign countries experience in its construction industry – according to the Government Regulation No. 331 the design of all capital buildings and structures under the federal and regional orders must be carried out using an information model; and the package of materials to be included into an information model and general rules for its formation are regulated by the Russian Federation Government Regulation No. 1431, put into effect earlier.Results. In the Russian Federation the implementation of BIM technologies in the construction industry is regulated by the following regulatory documents: the Urban Planning Code of the Russian Federation, the Russian Federation Government Regulations, National Standards of the Russian Federation (GOST) and Codes of Practices (SP), Methodological Guidelines and Requirements for the State Expert Appraisal of Design Documentation and assessment of the information model. One should refer to the regulatory documents available on the official websites such as websites of the National Association of Organisations in the field of Information Modelling Technology (NOTIM), National Designers and Surveyors Association (NOPRIZ), as well as the Ministry of Construction, Housing and Utilities of the Russian Federation (Minstroy of Russia). On the whole BIM technologies in Russia are underdeveloped. BIM technologies are practically not used at the stages of construction and operation.Discussion and Conclusions. Building information modeling is more than just a new way of designing. This is a fundamentally different view on the facility life cycle management (building, installation of equipment, operation and maintenance and repairs). BIM technologies implementation in the construction sector is a long and controversial process. Sufficient time is required to optimise and set up the information technologies application in all areas of construction and operation. This work resulted in working through and finding solutions to the main problems of implementing the information modeling in construction: as follows from the foreign countries experience the acceleration of BIM technologies implementation in Russia should begin with strengthening the legislative framework via drawing up the national standards and technical regulations upon the initiative of the Ministry of Construction, Housing and Utilities of the Russian Federation.

The improvement of the macro-level accident situation in the Chinese construction industry is currently an urgent task for the government due to the high accident rate. This study intends to use improved principal component analysis to explore the accident situations in the Chinese construction industry from a multi-dimensional perspective, aiming at providing targeted direction on the improvement of the accident situation for the government. Six composite indicators that can quantify the accident situation are firstly selected based on a wide review of the literature and interviews with safety experts, with the original data collected from China institutions. The classical principal component analysis is then improved to examine the correlations between indicators, and further to evaluate accident situations in China provinces. Finally, the features of accident situations are explored and analyzed from a multi-dimensional perspective. The findings show that the improved principal component analysis can retain more dispersion degree information of the original data. Meanwhile, three principal components including the accident frequency, trend, and severity were extracted to quantify the accident situation, and a hierarchical indicator system for the comprehensive evaluation of the accident situation was constructed to deeper understand multi-dimensional characteristics of China’s accident situations. Furthermore, there exist great regional differences of accident situations in Chinese provinces. From the overall perspective, the accident situation shows a declining trend from the western backward region to the highly developed eastern coastal region. This study provides a multi-dimensional perspective for the government to formulate safety regulations and improve the accident situation.

Japan was struck by a massive earthquake that triggered a tsunami in March 2011, which led to a severe nuclear accident at the Fukushima Daiichi Nuclear Power Plant of the Tokyo Electric Power Company. Now, more than 10 years later, it is widely acknowledged that the civil nuclear industry is of great importance in reducing greenhouse gas emissions, improving natural environmental quality, and safeguarding national energy security. Nanomaterials and nanotechnologies, which have gained wide consideration in recent years, have shown a wide variety of application potentials in the future nuclear energy system. Thus, China has been developing its civil nuclear industry throughout the years, despite the nuclear accident in Fukushima, Japan. As a result, China is currently one of the countries with the most nuclear power plants. However, due to the potential radioactive risk, the public has an instinctive fear of civil nuclear development. To alleviate the public’s antinuclear sentiment, the Nuclear Safety Law was formally implemented in 2018, and Measures for Disclosure of Nuclear Safety Information were issued by the Ministry of Ecology and Environment of China in 2020, both stipulating that the public has the right to obtain information about nuclear safety and be involved in related activities. The purpose of such legislation is to eliminate the public’s doubts and phobia about the development of the civil nuclear industry. However, challenges still exist. Although such suggestions have been proposed, such as information disclosure and social involvement should begin as early as the siting of such nuclear facilities, mechanisms to provide sufficient compensation to the public living near nuclear facilities should be established, and these suggestions still have not been applied in the law of China and either not been practiced exactly so far. So, even though all the suggestions have strong feasibility themselves under today’s circumstances in China, it is not easy to judge the effectiveness of these suggestions until they are fully practiced. It is the biggest problem of existing works in this paper. To highlight the serious problems in information disclosure and public involvement in the siting and construction of civil nuclear facilities, several case studies were investigated as the major methodology in this research. Moreover, a legislation study was used to analyze the current content of related legislation and regulations. A qualitative methodology was also adopted to summarize the legal problems surrounding information disclosure and social involvement during the siting and construction of civil nuclear facilities. Information disclosure and public participation still face several obstacles in China, even though laws and regulations guarantee people the right to access available information and take part in pertinent decision-making. This is particularly true when it comes to the siting and construction of civil nuclear facilities. Thus, in the last several years, several antinuclear incidents have been initiated by the public due to a lack of information and mechanisms to participate. According to the examined cases, information disclosure and public involvement are still not sufficient during the siting of nuclear facilities. A relevant compensation mechanism for people living around nuclear facilities has not been established, and public education on basic nuclear safety is lacking. Therefore, public involvement cannot be completely realized. To ensure information disclosure and public involvement in civil nuclear facilities, this article proposes that information disclosure and social involvement begin as early as the siting of such facilities. Furthermore, operators of nuclear facilities and local governments should establish mechanisms to provide sufficient preventive compensation to the public living near nuclear facilities and attempt to popularize the science of nuclear safety to avoid public misunderstanding.

The rail infrastructure controller in Great Britain recognised that more work was required to allow a robust and consistent demonstration that appropriate health and safety risk assessments are being undertaken throughout each stage of the contracting process. In response to this requirement, the authors were engaged to assist the rail infrastructure client with the development of a new risk-based contractor management and assurance process. Bowtie diagrams were selected as a key component of this process to represent: Key safety risks associated with rail construction projects; Potential causes and consequences of unwanted events; Good practice in risk barriers/controls. To test the suitability of Bowties for risk communication to contractors, three key hazards were identified for Bowtie analysis. These and the specific top events selected were as follows: Hazard: Working at height – from scaffold, ladders, mobile elevating working platforms, mobile towers or ledges; Top event: Falls from height – to surface; Hazard: Working in vicinity of uninsulated conductors and supply points; Top event: Contact with live/charged equipment >60 V; Hazard: Working on or near the line; Top event: Personnel in path of oncoming train. A one-day Bowtie development workshop was held for each of the hazards selected. These were attended by client personnel with the required knowledge and expertise of the hazard and associated barrier measures, ensuring the necessary levels of input and consultation. Feedback to date on the Bowtie approach has been positive, both within the client and contractor organisations. Bowties provide a method of communicating the client’s expectations about levels of protection to infrastructure project contractors and address the following key requirements: Allow contractors to understand risk management requirements in detail and to price jobs accordingly; Enable identification of gaps in the barrier of key risks and facilitate implementation of best practice; Can be used by the client as a project safety assurance tool to check the risk management measures in place against those defined in the Bowtie; Demonstrate to the regulator that the client is communicating a clear ‘safety story’ throughout a project. This paper describes the Bowtie development process in accordance with Ten Golden Rules including how human factors can be incorporated in a systematic and meaningful way. It will demonstrate how the Bowties developed within this project represent in a clear and accessible manner what constitutes industry best practice with regard to controlling important safety risks in construction projects.

Aim: The aim of this publication is to present the most important aspects concerning the conditions for evacuation of people with various types of disabilities – from mobility problems, to reduced perception in the event of a threat, and to indicate the most important challenges both in terms of legal regulations, as well as organizational and technological conditions for ensuring effective evacuation of disabled people. Introduction: People with disabilities are a group that requires special consideration when planning evacuation from public utility facilities, because many of these people – depending on the type and degree of their dysfunction – will not be able to evacuate from the danger zone on their own. The inspection carried out in 2019 by the Delegation of the Supreme Audit Office in Poznań confirmed the need to adapt the applicable legal regulations in this regard (in practice, fire safety instructions, evacuation plans, staff training and equipping facilities with adequate equipment supporting the evacuation of people with disabilities) [1]. In addition to legal and technological aspects, a very important factor in the effective evacuation of disabled people are organizational solutions adopted in a given facility, which should take into account the individual specificity (cubature) and functions of a given facility. Methodology: As part of the research process, theoretical research was used, such as: analysis of literature and legal documents, synthesis, general- ization, inference, comparison and analogy. During the research, national and foreign sources (from the United States and Great Britain) were analyzed. The selection of individual countries was guided by the level of development of the solutions adopted in these countries dedicated to supporting the evacuation of disabled people in a situation of threat to their life or health, as well as the availability of data sources. Conclusions: The presented analysis of the conditions for the evacuation of people with disabilities from public utility buildings shows the challenges that both the legislator and managers of facilities in the country face in this area, as well as the emergency services. The latter – similarly to people with disabilities – are the systemic beneficiaries of the desired changes in the area of law and tactics of rescue operations, from the moment of alerting about an event in the facility where there are people who are unable to evacuate themselves. Introducing good practices, verified in other countries, into common application, should significantly improve rescue operations. The expected effect will be to shorten the time of providing help to all people unable to evacuate themselves in an emergency – regardless of their number, as well as the type and specificity of the public facility in which the life or health threatening situation occurred. Keywords: evacuation of disabled people, public utility buildings, intelligent construction, modelling and computer simulations, individual evacuation plan Type of article: review article

The article addresses the problem of providing Soviet children with toys and toys production in the USSR in the 1940s. On the basis of modern historiographical material, situation in the “toy” industry of the 1940s is reflected. When presenting the material, a large number of interesting and valuable examples is given, as well as fragments from memoirs of the “children of war.” All these materials mention that toys of the difficult 1940s were mostly homemade. There was an acute shortage of factory-made toys and there were problems with their quality and high cost. Throughout the 1940s (and even in the wartime), Soviet leadership attempted repeatedly to solve these problems. Lack of toys for Soviet children was recognized by the authorities as a problem demanding urgent solution. Drawing on unique archival material of the Gorky region, which is being introduced into scientific use, the article narrates of the competition organized in 1947-48 by the Scientific Research Institute of Toys and aimed at development of new samples of toys and games, improvement of their quality, and launch of their mass production. According to the typology of toys cited in the competition regulations, there were 16 categories of toys for children of all ages, ranging from dolls and balls to a variety of construction kits, cardboard games, and educational materials. The main criteria were complete safety, possibility of mass and, preferably, inexpensive production from local materials, and compliance with educational tasks set by the state. Soviet citizens, enterprises and artels, children’s institutions were invited to participate in the competition; there were prizes amounting to 120,000 rubles or more. Given the realities of 1947, this seems an important marker of the state’s attention to organization of children’s leisure and education, which was deemed an integral component of combatting child homelessness and neglect. The article identifies main trends in solving the problem of toy shortage in the second half of the 1940s. It is to complete the picture of everyday life and consequences of the Great Patriotic War.

The issue of the journal begins with an article on French sinology. French sinology takes a special place in the history of the sinological studies development. It was France that became the first country where the transformation of missionary sinology, which was common among a limited circle of researchers (mainly in a religious sphere), into the academic scientific discipline, which had already been taught and studied at a professional level in academic institutions, occurred. The Parisian type of sinology used to dominate the entire world for a long time, including such powerful centers of Chinese studies as Germany, Great Britain, the USA, and China itself. In order to form a complete picture of sinology development in France, the authors singled out and analyzed three historical periods covering the entire history of Chinese studies development, starting from its birth and flourishment to the process of stagnation. Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. In the article by Oksana Hudoshnyk and Oleksandr P. Krupskyi, offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to this day. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. The next paper assesses the topicality of Vernadsky's concept of the noosphere, coined over almost twenty years starting in the early 20th century. Emphasizing the uniqueness of Vernadsky's concept of the noosphere as the transformation of the biosphere by a man using reason, we concentrate on the assessment of the utopian or realistic nature of his vision of the future of humanity. Based on the philosophical case-studies analysis, it identifies the ideological roots of the noosphere concept, the development of views on the concept in time, the role of reason and scientific thinking, the opinions of its supporters and critics, and Moiseev's related concept of co-evolution. Lectures de Potentia Restitutiva or Of Spring: Explaining the Power of Springing Bodies (1678) is an important book for the history of science. This book is better known for Hooke’s presentation of the law that bears his name. In the article by Isadora Monteiro, seeks to study the Lectures de Potentia Restitutiva once again to better understand Hooke’s thoughts about the rule which bears his name and his conception of gravity, which the author considered a force. Here Hooke’s definitions of body and motion will be presented, as well as his actual objective when he formulated the so-called Hooke’s Law. As we will see, Hooke intended to create a “philosophical scale” to measure the gravitational attraction between bodies. By considering his previous publications, such as An attempt to prove the motion of the Earth from Observations or Micrographia: or some Physiological Descriptions of Minute Bodies, or even unpublished works such as On the inflection of a direct motion into a curve by supervening Attractive principle, it becomes clear that Hooke was already opening a path toward an understanding of gravity before Newton’s Principia (1687) were published. By taking into account the controversy between Isaac Newton and Robert Hooke, we also intend to strengthen the idea that Hooke was an indispensable contributor to the elaboration of a law of universal gravitation. In 1915, the first occupational therapy school was founded by Jane Addams at Hull House (Chicago, USA). In that process, Addams inspired the first generation of occupational therapists, especially Eleanor Clarke Slagle. Thus, in the article by Rodolfo Morrisonseeks to highlight the contribution of Jane Addams to the development of Occupational Therapy through an in-depth bibliographic review, from primary sources. The next article presents the results of a study of the features of biographical and prosopographic materials about famous mathematicians and natural scientists, published in one of the most authoritative journals “Bulletin of Experimental Physics and Elementary Mathematics”, which was published in Kyiv and Odesa during 1886–1917. In fact, the journal was an unofficial periodical printed branch of the Mathematical Department of the Novorossiysk Society of Naturalists. The aim of the next research is to study the policy efforts conducted by the Indonesian government since the beginning of independence in 1945 to present, in advancing science and technology and innovation. A content analysis approach is employed to identify each stipulated regulation in Indonesia in the form of Laws, Government Regulations, Presidential Regulations, Presidential Decrees, and Presidential Instructions. There are 78 regulations in the field of science and technology and innovation that are analyzed. The results of the analysis are described based on the emergence of regulations and institutional implications generated as part of the ecosystem. In the article by Ihor Annienkov, based on the problem-chronological, comparative-historical, historiographical, and source-research methods, as well as the method of actualization, identifies the extent of borrowing foreign design and technological solutions in the Ukrainian Soviet Socialist Republic for projecting electrical machines in the second half of the 1930s, as well as the reasons for the absence of unambiguous information in historiography regarding the existence of this phenomenon in the republic at this chronological stage. The publication provides a general assessment of the quality of scientific support for the processes of creating electrical machines, establishes the ways of fulfilling the scientific-technical borrowings that were studiedand the dynamics of their development, analyzes their role in the growth of the technical level of products of the Ukrainian electrical machine-building branch. In the article by Mykola Ruban and Andrii Fomin, attempts to investigate the historical circumstances of the mastering and development of the industrial production of rolling stock in Ukraine from 1991 to 2021. In the course of the scientific development of the proposed research, materials from mass-circulation newspapers, industry publications of railway transport, as well as technical studies of employees of manufacturing plants were used. The next discusses the conditions and prerequisites for choosing the location of the plant; considers the stage of the establishment (foundation) of the plant; examines the stage of plant construction and equipping it with technological facilities in detail; analyzes the development and establishment of the plant between 1897 and 1914. A brief analysis of locomotive designs produced by the Kharkiv Locomotive Plant from 1897 to 1914 has been made. The article shows the significance of Consultative Congresses of Traction Engineers for the development of railway machinery both at Kharkiv Locomotive Plant and for the entire railway industry. The purpose of next study is to highlight the peculiarities of the development of the Russian aviation industry during the First World War. The focus is on analyzing production programs and matching their quantitative and qualitative parameters to war requirements. Production plans of leading Russian aviation factories as well as qualitative and quantitative parameters of products have been analyzed in the article.

Construction industry has always been beset with injuries and fatalities happened resulting from overlooking pertinent safety rules and regulations. In this regard, Building Information Modeling (BIM) has recently grabbed many practitioners’ attention as a fruitful panacea in order to improve the safety issues of projects. Despite the fact that some studies have been conducted with regard to the usefulness of utilizing BIM in construction projects so as to minimize the accidents occurred in this sector, it is a great moot why there has not been any comprehensive review research scrutinizing the use of BIM in eliminating the safety hazards based on the past undertaken studies. Thus, the authors of this research have aimed at investigating in a great detail how the adoption of BIM in construction projects can bring about significant advantages. From the observations emerged, this conclusion can be drawn that BIM operation in construction industry, particularly prior to the construction stage, would considerably diminish the occurrence of accidents pertaining to safety matters emanating from improving the practitioners’ perception of projects through modeling the diverse safety equipment, and foremost, identifying the potential hazards that may contribute to serious injuries.

Novel foods are defined as food and food ingredients that have not been used to any significant extent in a particular country. This paper offers a brief overview of the current novel food legislation in European Union, Great Britain, USA, Australia and New Zealand, Canada and China. Prior to sale, food business operators (manufacturers or importers) are required, under different regulations and procedures, to submit information to Food Safety Authority about the product in question for a safety assessment. The approaches and specific information used to assess the safety of novel foods are outlined in national Guidelines. Generally, applicant should provide a detailed description of the novel food (identity of the novel food, production process, compositional data, proposed uses and use levels and anticipated intake of the novel food, history of use of the novel food and/or of its source, absorption, distribution, metabolism and excretion, nutritional information, toxicological information and allergenicity) for the safety assessment and market approval of a novel food.

Construction is one of the oldest and major industries in the world that makes substantial contribution to the national economy and provides employment to a great number of individuals. In the early part of year 2020, COVID-19 pandemic arises that has turned into a worldwide catastrophe, evolving at high speed and scale. The impacts on the construction industry have been sudden and wide-ranging. This outbreak changes the usual daily activity and ‘The New Normal’ is introduced. Construction companies are moving forward, with strict regulations that end up as the new normal for the industry. This study explored the adaption to this new normal in Nueva Ecija, Philippines and seeks out if there’s a relationship between adaption to new safety protocols and the category also the number of workers in a company. Survey was done for data collection. SPSS 25 software was used for data analysis. Result reveals that although the percentage of adaption to new normal is great, still there are areas that needs improvement. In addition, the company’s category and the number manpower does indeed has correlation on the adaption to new normal. This study is essential to ensure responsible, healthy, safe operations, and serve as protection of workers.

This paper focuses on the discussion of the impact of IM-SmartSAFETY courseware on foreign workers in the construction industry. This courseware was developed as an alternative media of information delivery in bilingual multimedia and two directional teaching aids for foreign workers in Health and Safety Induction Course (HSIC). The study discovered that the IM-SmartSAFETY courseware have contributed a great impact and meets the needs of the foreign workers on construction sites as well as one of the mechanism to help tackle the language problem. The study was conducted quantitative research methods supported by qualitative research is found a parallel in terms of data acquisition which is seen IM-SmartSAFETY courseware has helped meet the needs of foreign workers regarding personal protective equipment (PPE) in terms of knowledge about the types and uses of PPE, safety regulations related to PPE, proper wear of PPE and the effect of the proper usage of PPE which include safety helmets, safety boots, protective clothing or safety jackets, ear protection, eye and face protection, safety belts, protective glove and protective breathing after using the courseware. The findings also exhibits that the overall of helpfulness of courseware also found that language issues have been resolved. In fact, the acquisition of knowledge foreign workers on safety at construction sites and the way of delivery information by the trainers to foreign workers have been enhanced while reducing the rate of accidents on construction sites and increase foreign workers awareness about the hazard and improve occupational safety of foreign workers in Malaysia.

The need to implement the principles of social responsibility of business arose in 1970 in the USA and Great Britain as a result of the requirements of the public regarding the necessity to ensure compliance with the following conditions: social protection and prevention of discrimination of hired workers; responsible choice of business partners; guarantee of quality and safety of products; careful attitude of business to society and ecology; compliance with the norms of openness and transparency of business conduct; taking into account public interests in making strategic business decisions. The norms and principles of social responsibility of business are established by the International Standard ISO 26000:2010. Principles and norms of social responsibility of business are aimed at regulation of the following issues: organizational management; human rights; labor relations; environment; good business practices; social and economic development of society. In the current situation, the time of companies that are focused on maximizing their current profits has passed, modern business should be oriented toward long-term development prospects with clear adherence to the norms and principles of social responsibility and transition in the digital economy. In accordance with the requirements of Directive 2014/95/EU, since 2018, large companies have to reflect non-financial indicators in annual reports, at that, having the right to choose which recommendations to follow – International, EU or national norms. In the world practice it is accepted to distinguish several models of social responsibility of business: european, british, american, asian and african. The development of social responsibility of business in Ukraine began in 2000 years, to achieve systemic and qualitative changes in 2008 an expert organization has been established on public institutions in Kyiv «Development of corporate social responsibility». In 2010-2011, the working group of the Committee on Industry and Regulatory Policy and Entrepreneurship of the Verkhovna Rada of Ukraine the concept of the national strategy of social responsibility of business has been developed. The need to ensure the cyber-stability of management and production business processes, the need to provide a remote business environment, The transition to the Internet of things has become an incentive to move business to the digital square economy. The process of forming social responsibility under the conditions of business deditalization has an impact external and internal factors, some of which pose threats. Conduct business in the context of ensuring social responsibility rules and regulations creates additional value of the company and competitive advantages.

In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars, came up against the constraints of the industry which inevitably led to a forfeiting of authenticity, a loss of creative control, increased exploitation, and unequal remuneration. This work will consider how working in the music industry is not always a dream come true and can instead be viewed as a proverbial nightmare. Living the DreamIn his book Dreams, Carl Gustav Jung discusses how that which is experienced in sleep, speaks of a person’s wishes: that which might be desired in reality but may not actually happen. In his earlier work, The Interpretation of Dreams, Freud argued that the dream is representative of fulfilling a repressed wish. However, the creative industries suggest that a dream need not be a repressed wish; it can become a reality. Jon Bon Jovi believes that his success in the music industry has surpassed his wildest dreams (Atkinson). Jennifer Lopez considers the fact that she held big dreams, had a focussed passion, and strong aspirations the reason why she pursued a creative career that took her out of the Bronx (Thomas). In a Twitter post from 23 April 2018, Bruno Mars declared that he “use [sic] to dream of this shit,” in referring to a picture of him performing for a sold out arena, while in 2019 Shawn Mendes informed his 24.4 million Twitter followers that his “life is a dream”. These are but a few examples of successful music industry artists who are seeing their ‘wishes’ come true and living the American Dream.Endemic to the American culture (and a characteristic of the identity of the country) is the “American Dream”. It centres on “a land in which life should be better and richer and fuller for every man, with opportunity for each according to his ability and achievement” (Adams, 404). Although initially used to describe having a nice house, money, stability and a reasonable standard of living, the American Dream has since evolved to what the scholar Florida believes is the new ‘aspiration of people’: doing work that is enjoyable and relies on human creativity. At its core, the original American Dream required striving to meet individual goals, and was promoted as possible for anyone regardless of their cultural, socio-economic and political background (Samuel), because it encourages the celebrating of the self and personal uniqueness (Gamson). Florida’s conceptualisation of the New American dream, however, tends to emphasise obtaining success, fame and fortune in what Neff, Wissinger, and Zukin (310) consider “hot”, “creative” industries where “the jobs are cool”.Whether old or new, the American Dream has perpetuated and reinforced celebrity culture, with many of the young generation reporting that fame and fortune were their priorities, as they sought to emulate the success of their famous role models (Florida). The rag to riches stories of iconic recording artists can inevitably glorify and make appealing the struggle that permits achieving one’s dream, with celebrities offering young, aspiring creative people a means of identification for helping them to aspire to meet their dreams (Florida; Samuel). For example, a young Demi Lovato spoke of how she idolised and looked up to singer Beyonce Knowles, describing Knowles as a role model because of the way she carries herself (Tishgart). Similarly, American Idol winner Kelly Clarkson cited Aretha Franklin as her musical inspiration and the reason that she sings from a place deep within (Nilles). It is unsurprising then, that popular media has tended to portray artists working in the creative industries and being paid to follow their passions as “a much-vaunted career dream” (Duffy and Wissinger, 4656). Movies such as A Star Is Born (2018), The Coal Miner’s Daughter (1980), Dreamgirls (2006), Begin Again (2013) and La La Land (2016) exalt the perception that creativity, talent, sacrifice and determination will mean dreams come true (Nicolaou). In concert with the American dream is the drive among creative people pursuing creative success to achieve their dreams because of the perceived autonomy they will gain, the chance of self-actualisation and social rewards, and the opportunity to fulfil intrinsic motivations (Amabile; Auger and Woodman; Cohen). For these workers, the love of creation and the happiness that accompanies new discoveries (Csikszentmihalyi) can offset the tight budgets and timelines, precarious labour (Blair, Grey, and Randle; Hesmondhalgh and Baker), uncertain demand (Caves; Shultz), sacrifice of personal relationships (Eikhof and Haunschild), the demand for high quality products (Gil & Spiller), and the tense relationships with administrators (Bilton) which are known to plague these industries. In some cases, young, up and coming creative people overlook these pitfalls, instead romanticising creative careers as ideal and worthwhile. They willingly take on roles and cede control to big corporations to “realize their passions [and] uncover their personal talent” (Bill, 50). Of course, as Ursell argues in discussing television employees, such idealisation can mean creatives, especially those who are young and unfamiliar with the constraints of the industry, end up immersed in and victims of the “vampiric” industry that exploits workers (816). They are socialised towards believing, in this case, that the record label is a necessary component to obtain fame and fortune and whether willing or unwilling, creative workers become complicit in their own exploitation (Cohen). Loss of Control and No CompensationThe music industry itself has been considered by some to typify the cultural industries (Chambers). Popular music has potency in that it is perceived as speaking a universal language (Burnett), engaging the emotions and thoughts of listeners, and assisting in their identity construction (Burnett; Gardikiotis and Baltzis). Given the place of music within society, it is not surprising that in 2018, the global music industry was worth US$19.1billion (IFPI). The music industry is necessarily underpinned by a commercial agenda. At present, six major recording companies exist and between them, they own between 70-80 per cent of the recordings produced globally (Konsor). They also act as gatekeepers, setting trends by defining what and who is worth following and listening to (Csikszentmihalyi; Jones, Anand, and Alvarez). In essence, to be successful in the music industry is to be affiliated with a record label. This is because the highly competitive nature and cluttered environment makes it harder to gain traction in the market without worthwhile representation (Moiso and Rockman). In the 2012 documentary about Thirty Seconds to Mars, Artifact, front man Jared Leto even questions whether it is possible to have “success without a label”. The recording company, he determines, “deal with the crappy jobs”. In a financially uncertain industry that makes money from subjective or experience-based goods (Caves), having a label affords an artist access to “economic capital for production and promotion” that enables “wider recognition” of creative work (Scott, 239). With the support of a record label, creative entrepreneurs are given the chance to be promoted and distributed in the creative marketplace (Scott; Shultz). To have a record label, then, is to be perceived as legitimate and credible (Shultz).However, the commercial music industry is just that, commercial. Accordingly, the desire to make money can see the intrinsic desires of musicians forfeited in favour of standardised products and a lack of remuneration for artists (Negus). To see this standardisation in practice, one need not look further than those contestants appearing on shows such as American Idol or The Voice. Nowhere is the standardisation of the music industry more evident than in Holmes’s 2004 article on Pop Idol. Pop Idol first aired in Britain from 2001-2003 and paved the way for a slew of similar shows around the world such as Australia’s Popstars Live in 2004 and the global Idol phenomena. According to Holmes, audiences are divested of the illusion of talent and stardom when they witness the obvious manufacturing of musical talent. The contestants receive training, are dressed according to a prescribed image, and the show emphasises those melodramatic moments that are commercially enticing to audiences. Her sentiments suggest these shows emphasise the artifice of the music industry by undermining artistic authenticity in favour of generating celebrities. The standardisation is typified in the post Idol careers of Kelly Clarkson and Adam Lambert. Kelly Clarkson parted with the recording company RCA when her manager and producer Clive Davis told her that her album My December (2007) was “not commercial enough” and that Clarkson, who had written most of the songs, was a “shitty writer… who should just shut up and sing” (Nied). Adam Lambert left RCA because they wanted him to make a full length 80s album comprised of covers. Lambert commented that, “while there are lots of great songs from that decade, my heart is simply not in doing a covers album” (Lee). In these instances, winning the show and signing contracts led to both Clarkson and Lambert forfeiting a degree of creative control over their work in favour of formulaic songs that ultimately left both artists unsatisfied. The standardisation and lack of remuneration is notable when signing recording artists to 360° contracts. These 360° contracts have become commonplace in the music industry (Gulchardaz, Bach, and Penin) and see both the material and immaterial labour (such as personal identities) of recording artists become controlled by record labels (Stahl and Meier). These labels determine the aesthetics of the musicians as well as where and how frequently they tour. Furthermore, the labels become owners of any intellectual property generated by an artist during the tenure of the contract (Sanders; Stahl and Meier). For example, in their documentary Show Em What You’re Made Of (2015), the Backstreet Boys lament their affiliation with manager Lou Pearlman. Not only did Pearlman manufacture the group in a way that prevented creative exploration by the members (Sanders), but he withheld profits to the point that the Backstreet Boys had to sue Pearlman in order to gain access to money they deserved. In 2002 the members of the Backstreet Boys had stated that “it wasn’t our destinies that we had to worry about in the past, it was our souls” (Sanders, 541). They were not writing their own music, which came across in the documentary Show Em What You’re Made Of when singer Howie Dorough demanded that if they were to collaborate as a group again in 2013, that everything was to be produced, managed and created by the five group members. Such a demand speaks to creative individuals being tied to their work both personally and emotionally (Bain). The angst encountered by music artists also signals the identity dissonance and conflict felt when they are betraying their true or authentic creative selves (Ashforth and Mael; Ashforth and Humphrey). Performing and abiding by the rules and regulations of others led to frustration because the members felt they were “being passed off as something we aren’t” (Sanders 539). The Backstreet Boys were not the only musicians who were intensely controlled and not adequately compensated by Pearlman. In the documentary The Boy Band Con: The Lou Pearlman Story 2019, Lance Bass of N*Sync and recording artist Aaron Carter admitted that the experience of working with Pearlman became a nightmare when they too, were receiving cheques that were so small that Bass describes them as making his heart sink. For these groups, the dream of making music was undone by contracts that stifled creativity and paid a pittance.In a similar vein, Thirty Seconds to Mars sought to cut ties with their record label when they felt that they were not being adequately compensated for their work. In retaliation EMI issued Mars with a US$30 million lawsuit for breach of contract. The tense renegotiations that followed took a toll on the creative drive of the group. At one point in the documentary Artifact (2012), Leto claims “I can’t sing it right now… You couldn’t pay me all the money in the world to sing this song the way it needs to be sung right now. I’m not ready”. The contract subordination (Phillips; Stahl and Meier) that had led to the need to renegotiate financial terms came at not only a financial cost to the band, but also a physical and emotional one. The negativity impacted the development of the songs for the new album. To make music requires evoking necessary and appropriate emotions in the recording studio (Wood, Duffy, and Smith), so Leto being unable to deliver the song proved problematic. Essentially, the stress of the lawsuit and negotiations damaged the motivation of the band (Amabile; Elsbach and Hargadon; Hallowell) and interfered with their creative approach, which could have produced standardised and poor quality work (Farr and Ford). The dream of making music was almost lost because of the EMI lawsuit. Young creatives often lack bargaining power when entering into contracts with corporations, which can prove disadvantaging when it comes to retaining control over their lives (Phillips; Stahl and Meier). Singer Demi Lovato’s big break came in the 2008 Disney film Camp Rock. As her then manager Phil McIntyre states in the documentary Simply Complicated (2017), Camp Rock was “perceived as the vehicle to becoming a superstar … overnight she became a household name”. However, as “authentic and believable” as Lovato’s edginess appeared, the speed with which her success came took a toll on Lovato. The pressure she experienced having to tour, write songs that were approved by others, star in Disney channel shows and movies, and look a certain way, became too much and to compensate, Lovato engaged in regular drug use to feel free. Accordingly, she developed a hybrid identity to ensure that the squeaky clean image required by the moral clauses of her contract, was not tarnished by her out-of-control lifestyle. The nightmare came from becoming famous at a young age and not being able to handle the expectations that accompanied it, coupled with a stringent contract that exploited her creative talent. Lovato’s is not a unique story. Research has found that musicians are more inclined than those in other workforces to use psychotherapy and psychotropic drugs (Vaag, Bjørngaard, and Bjerkeset) and that fame and money can provide musicians more opportunities to take risks, including drug-use that leads to mortality (Bellis, Hughes, Sharples, Hennell, and Hardcastle). For Lovato, living the dream at a young age ultimately became overwhelming with drugs her only means of escape. AuthenticityThe challenges then for music artists is that the dream of pursuing music can come at the cost of a musician’s authentic self. According to Hughes, “to be authentic is to be in some sense real and true to something ... It is not simply an imitation, but it is sincere, real, true, and original expression of its creator, and is believable or credible representations or example of what it appears to be” (190). For Nick Jonas of the Jonas Brothers, being in the spotlight and abiding by the demands of Disney was “non-stop” and prevented his personal and musical growth (Chasing Happiness). As Kevin Jonas put it, Nick “wanted the Jonas Brothers to be no more”. The extensive promotion that accompanies success and fame, which is designed to drive celebrity culture and financial motivations (Currid-Halkett and Scott; King), can lead to cynical performances and dissatisfaction (Hughes) if the identity work of the creative creates a disjoin between their perceived self and aspirational self (Beech, Gilmore, Cochrane, and Greig). Promoting the band (and having to film a television show and movies he was not invested in all because of contractual obligations) impacted on Nick’s authentic self to the point that the Jonas Brothers made him feel deeply upset and anxious. For Nick, being stifled creatively led to feeling inauthentic, thereby resulting in the demise of the band as his only recourse.In her documentary Gaga: Five Foot Two (2017), Lady Gaga discusses the extent she had to go to maintain a sense of authenticity in response to producer control. As she puts it, “when producers wanted me to be sexy, I always put some absurd spin on it, that made me feel like I was still in control”. Her words reaffirm the perception amongst scholars (Currid-Halkett and Scott; King; Meyers) that in playing the information game, industry leaders will construct an artist’s persona in ways that are most beneficial for, in this case, the record label. That will mean, for example, establishing a coherent life story for musicians that endears them to audiences and engaging recording artists in co-branding opportunities to raise their profile and to legitimise them in the marketplace. Such behaviour can potentially influence the preferences and purchases of audiences and fans, can create favourability, originality and clarity around artists (Loroz and Braig), and can establish competitive advantage that leads to producers being able to charge higher prices for the artists’ work (Hernando and Campo). But what impact does that have on the musician? Lady Gaga could not continue living someone else’s dream. She found herself needing to make changes in order to avoid quitting music altogether. As Gaga told a class of university students at the Emotion Revolution Summit hosted by Yale University:I don’t like being used to make people money. It feels sad when I am overworked and that I have just become a money-making machine and that my passion and creativity take a backseat. That makes me unhappy.According to Eikof and Haunschild, economic necessity can threaten creative motivation. Gaga’s reaction to the commercial demands of the music industry signal an identity conflict because her desire to create, clashed with the need to be commercial, with the outcome imposing “inconsistent demands upon” her (Ashforth and Mael, 29). Therefore, to reduce what could be considered feelings of dissonance and inconsistency (Ashforth and Mael; Ashforth and Humphrey) Gaga started saying “no” to prevent further loss of her identity and sense of authentic self. Taking back control could be seen as a means of reorienting her dream and overcoming what had become dissatisfaction with the commercial processes of the music industry. ConclusionsFor many creatives working in the creative industries – and specifically the music industry – is constructed as a dream come true; the working conditions and expectations experienced by recording artists are far from liberating and instead can become nightmares to which they want to escape. The case studies above, although likely ‘constructed’ retellings of the unfortunate circumstances encountered working in the music industry, nevertheless offer an inside account that contradicts the prevailing ideology that pursuing creative passions leads to a dream career (Florida; Samuel). If anything, the case studies explored above involving 30 Seconds to Mars, the Jonas Brothers, Lady Gaga, Kelly Clarkson, Adam Lambert and the Backstreet Boys, acknowledge what many scholars writing in the creative industries have already identified; that exploitation, subordination, identity conflict and loss of control are the unspoken or lesser known consequences of pursuing the creative dream. That said, the conundrum for creatives is that for success in the industry big “creative” businesses, such as recording labels, are still considered necessary in order to break into the market and to have prolonged success. This is simply because their resources far exceed those at the disposal of independent and up-and-coming creative entrepreneurs. Therefore, it can be argued that this friction of need between creative industry business versus artists will be on-going leading to more of these ‘dream to nightmare’ stories. The struggle will continue manifesting in the relationship between business and artist for long as the recording artists fight for greater equality, independence of creativity and respect for their work, image and identities. 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“A bunch of faggots for watching men hug each other in tights.”For the past five Marches, World Wrestling Entertainment (WWE) has produced an awards show which honours its aged former performers, such as Jimmy “Superfly” Snuka and Ricky “The Dragon” Steamboat, as pro-wrestling Legends. This awards show, according to WWE, is ‘an elegant, emotional, star-studded event that recognizes the in-ring achievements of the inductees and offers historical insights into this century-old sports-entertainment attraction’ (WWE.com, n.p.). In an episodic storyline leading up to the 2009 awards, however, the real-life personal shortcomings of these Legends have been brought to light, and subsequently mocked in one-on-one interview segments with WWE’s Superstar of the Year 2008, the dastardly Chris Jericho. Jericho caps off these tirades by physically assaulting the Legends with handy stage props. Significantly, the performances of Jericho and his victims have garnered positive attention not only from mass audiences unaware of backstage happenings in WWE, but also from the informed community of pro-wrestling fans over at the nihilistic humour website SomethingAwful. During Jericho’s assault on the Legend Jimmy “Superfly” Snuka at the March 02 WWE Raw event, a WWE-themed forum thread on SomethingAwful logged over sixty posts all reiterating variations of ‘gently caress me Jericho is amazing’ (Jerusalem, n.p.). This is despite the community’s passive-aggressive and ironically jaded official line that they indeed are ‘a bunch of faggots for watching men hug each other in tights. Thank you for not telling us this several times’ (HulkaMatt, n.p.). Why were these normally cynical fans of WWE enthusiastically expressing their love for the Jericho-Legends feud? In order to answer this question, this paper argues that the feud articulates not only the ideal of the “giving wrestler”, but also Roland Barthes’s version of jouissance. Consuming and commenting on WWE texts within the SomethingAwful community is further argued to be a performative ritual in which informed wrestling fans distance themselves from audiences they perceive as uncritical and ill-informed cultural dupes. The feud, then, allows the SomethingAwful fans to perform enthusiasm on two interconnected levels: they are not only able to ironically cheer on Jericho’s morally reprehensible actions, but also to genuinely appreciate the present-day in-ring efforts of the Legends. The Passion of the SuperflyTo properly contextualise this paper, though, the fact that “pro wrestling is fake” needs to be reiterated. Each match is a choreographed sequence of moves. Victory does not result from landing more damaging bodyslams than one's opponent, but is instead predetermined by scriptwriters—among whom wrestlers are typically not numbered—backstage. In the 1950s, Roland Barthes thus commented that pro wrestling ‘is not a sport, it is a spectacle’ (Mythologies 13). Yet, pro wrestling remains popular because this theatricality allows for the display of spectacular excesses of passion—here Barthes not only means “an intensity of emotion”, but refers to the physically tortured heroes of medieval passion plays as well—giving it an advantage over the legitimate sport of amateur wrestling. ‘It is obvious that at such a pitch, it no longer matters whether the passion is genuine or not. What the public wants is the image of passion, not passion itself’ (Mythologies 16). This observation still holds true in today’s WWE. On one hand, the SomethingAwful fans go ‘gently caress Jericho, [Superfly] will MURDER you’ (Jerusalem, n.p.) in disapproval of Jericho’s on-screen actions. In the same thread, though, they simultaneously fret over him being slightly injured from an off-screen real life accident. ‘Jericho looks busted up on his forehead. Dang’ (Carney, n.p.).However, Barthes’s observations, while seminal, are not the be-all and end-all of pro wrestling scholarship. The industry has undergone a significant number of changes since the 1950s. Speeches and interview segments are now seen as essential tools for furthering storylines. Correspondingly, they are given ample TV time. At over ten minutes, the Jericho-“Superfly” confrontation from the March 02 Raw is longer than both the matches following it, and a fifteen minute conversation between two top wrestlers capstones these two matches. Henry Jenkins has thus argued that pro wrestling is a male-targeted melodrama. Its ‘writers emphasize many traits that [legitimate sports such as] football share with melodrama-the clear opposition between characters, the sharp alignment of audience identification, abrupt shifts in fortune, and an emotionally satisfying resolution’ (Jenkins, “Never Trust a Snake” 81). Unlike football, though, the predetermined nature of pro wrestling means that its events can be ‘staged to ensure maximum emotional impact and a satisfying climax’ (Jenkins, “Never Trust a Snake” 81). Further, Jenkins notes that shouting is preferred over tears as an outlet for male affect. It ‘embodies externalised emotion; it is aggressive and noisy. Women cry from a position of emotional (and often social) vulnerability; men shout from a position of physical and social strength (however illusory)’ (Jenkins, “Never Trust a Snake” 80). Pro wrestling is seen to encourage this outlet for affect by offering its viewers spectacles of male physical prowess to either castigate or cheer. Jericho’s assault of the Legends, coupled with his half-screaming, half-shouting taunts of “‘Hall of Famer’? ‘Hall of Famer’ of what? You’re a has-been! Just like all the rest!” could be read to fit within this paradigm as well. Smarts vs. MarksWWE has repeatedly highlighted its scripted nature in recent years. During a 2007 CNN interview, for instance, WWE Chairman Vince McMahon constantly refers to his product as “entertainment” and laughingly agrees that “it’s all story” when discussing his on-screen interactions with his long-lost midget “son” (Griffin, n.p.). These overt acknowledgments that WWE is a highly choreographed melodrama have boosted the growth of a fan demographic referred to the "smart" in pro-wrestling argot. This “smart” fan is a figure for whom the fabricated nature of pro-wrestling necessitates an engagement with the WWE spectacle at a different level from mass audiences. The “smart” not only ‘follow[s] the WWE not just to see the shows, but to keep track of what “the Fed[eration]” is doing’ (McBride and Bird 170) with regards to off-camera events, but also 'has knowledge of the inner-workings of the wrestling business’ (PWTorch, n.p.). One of the few “GOLD”-rated threads on the SomethingAwful smart forums, accordingly, is titled “WWE News and Other Top Stories, The Insider Thread”, and has nearly 400 000 views and over 1000 posts. As a result, the smarts are in a subject position of relative insider-ness. They consume the WWE spectacle at a deeper level—one which functions roughly like an apparatus of capture for the critical/cynical affect mobilised around the binary of ‘real’ and ‘fake’—yet ultimately remain captured by the spectacle through their autodidact enthusiasm for knowledge which uncovers its inner workings.By contrast, there is the category of the “mark” fan. These “marks” are individuals who remain credulous in their reception of WWE programming. As cuteygrl08 writes regarding a recent WWE storyline involving brotherly envy:I LOVE JEFF HARDY!!!! i cried when i heard his brother say all the crap about him!! kinda weird but i love him and this video is soooo good!! JEFF hardy loves his fans and his fans love him no matter what he does i'll always love JEFF HARDY!!!!!!!!!!! (n.p.)This unstinting faith in the on-screen spectacle is understandable insofar as WWE programming trades upon powerful visual markers of authenticity—nearly-bare bodies, sweat, pained facial expressions­—and complements them with the adrenaline-producing beats of thrash metal and hard rock. Yet, smarts look down upon marks like cuteygrl08, seeing them as Frankfurt School-era hypnotised sots for whom the WWE spectacle is ‘the common ground of the deceived gaze and of false consciousness’ (Debord 117), and additionally as victims of a larger media industry which specialises in mass deception (Horkheimer and Adorno 41). As Lawrence McBride and Elizabeth Bird observe:Marks appear to believe in the authenticity of the competition—Smarts see them as the stereotypical dupes imagined by wrestling critics. Smarts approach the genre of wrestling as would-be insiders, while Marks root unreflexively for the most popular faces. Smart fans possess truly incredible amounts of knowledge about the history of wrestling, including wrestler’s real names and career histories, how various promotions began and folded, who won every Wrestlemania ever. Smart fan informants defined a Mark specifically as someone who responds to wrestling in the way intended by the people who write the storylines (the bookers), describing Marks with statements such as “Kids are Marks.” or “We were all Marks when we were kids.” Smarts view Marks with scorn. (169)Perhaps feeding on the antagonistic binaries drawn by WWE programming, there exists an “us vs them” binary in smart fan communities. Previous research has shown that fan communities often rigidly police the boundaries of “good taste”, and use negatively constructed differences as a means of identity construction (Fiske 448; Jenkins, “Get a Life!” 432; Theodoropoulou 321). This ritual Othering is especially important when supporting the WWE. Smarts are aware that they are fans of a product denigrated by non-fans as ‘trash TV’ (McKinley, n.p.). As Matt Hills finds, fandom is a mode of performative consumption. It is ‘an identity which is (dis)claimed, and which performs cultural work’ (Hills xi). Belonging to the SomethingAwful smart community, thus, exerts its own pressures on the individual smart. There, the smart must perform ‘audiencehood, knowing that other fans will act as a readership for speculation, observation, and commentaries’ (Hills 177). Wrestling, then, is not just to be watched passively. It must be analysed, and critically dissected with reference to the encyclopaedic knowledge treasured by the smart community. Mark commentary has to be pilloried, for despite all the ironic disaffection characterising their posts, the smarts display mark-like behaviour by watching and purchasing WWE programming under their own volition. A near-existential dread is hence articulated when smarts become aware of points where the boundaries between smart and mark overlap, that ‘the creatures that lurk the internet ...carry some of the same interests that we do’ (rottingtrashcan, n.p.). Any commonalities between smarts and marks must thus be disavowed as a surface resemblance: afterall, creatures are simply unthinking appetites, not smart epicures. We’re better than those plebs; in fact, we’re nothing like them any more. Yet, in one of the few forms of direct address in the glossary of smart newsletter PWTorch, to “mark out” is ‘to enthusiastically be into [a storyline] or match as if you [emphasis added] were “a mark”; to suspend one's disbelief for the sake of enjoying to a greater extent a match or [a storyline]’ (PWTorch, n.p.). The existence of the term “marking out” in a smart glossary points to an enjoyably liminal privileged position between that of defensively ironic critic and that of credulous dupe, one where smarts can stop their performance of cooler-than-thou fatigue and enthusiastically believe that there is nothing more to WWE than spontaneous alarms and excursions. The bodily reactions of the Legends in response to Jericho's physical assault helps foster this willing naiveté. These reactions are a distressing break from the generic visual conventions set forth by preceding decades of professional wrestling. As Barthes argues, wrestling is as much concerned with images of spectacular suffering as with narratives of amazing triumphs:the wrestler who suffers in a hold which is reputedly cruel (an arm- lock, a twisted leg) offers an excessive portrayal of Suffering; like a primitive Pieta, he exhibits for all to see his face, exaggeratedly contorted by an intolerable affliction. It is obvious, of course, that in wrestling reserve would be out of place, since it is opposed to the voluntary ostentation of the spectacle, to this Exhibition of Suffering which is the very aim of the fight. (17)Barthes was writing of the primitively filmed wrestling matches of the 1950s notable for their static camera shots. However, WWE wrestlers yet follow this theatrical aesthetic. In the match immediately following Jericho’s bullying of Superfly, Kane considerately jumps the last two feet into a ringside turnbuckle after Mike Knox pushes him into its general vicinity. Kane grunts at the impact while the camera cuts to a low-angled shot of his back—all the better to magnify the visual of the 150 kg Knox now using his bulk to squash Kane. Whenever Jericho himself traps his opponent in his “Walls of Jericho” submission manoeuvre, both their faces are rictuses of passion. His opponent clutches for the safety of the ring ropes, shaking his head in heroic determination. Audiences see Jericho tighten his grip, his own head shaking in villainous purpose. But the Legends do not gyrate around the set when hit. Instead, they invariably slump to the ground, motionless except for weakly spasming to the rhythm of Jericho’s subsequent attacks. This atypical reaction forces audiences—smart and mark alike—to re-evaluate any assumptions that the event constitutes a typical WWE beatdown. Overblown theatricality gives way to a scene which seems more related to everyday experiences with pain: Here's an old man being beaten and whipped by a strong, young man. He's not moving. Not like other wrestlers do. I wonder... The battered bodies of these Legends are then framed in high angle camera shots, making them look ever so much more vulnerable than they were prior to Jericho’s assault. Hence the smart statements gushing that ‘gently caress me Jericho is amazing’ (Jerusalem, n.p.) and that Jericho’s actions have garnered a ‘rear end in a top hat chant [from the crowd]. It has been FOREVER since I heard one of those. I love Chris Jericho’ (Burrito, n.p.).Jouissance and “Marking Out”This uninhibited “marking out” by normally cynical smarts brings to mind Barthes's observation that texts are able to provoke two different kinds of enjoyment in their readers. On one hand, there is the text which provides pleasure born from familiarity. It ‘contents, fills, grants euphoria; [it is] the text that comes from culture and does not break with it, is linked to a comfortable practice of reading’ (Barthes, Image-Music-Text 14). The Knox-Kane match engendered such a been-there-done-that-it's-ok-I-guess overall reaction from smarts. For every ‘Mike Knox throwing Mysterio at Kane was fantastic’ (Burrito, n.p.), there is an ‘Ahahaha jesus Knox [sic] that was the shittiest Hurracanrana sell ever’ (Axisillian, n.p.), and a ‘Hit the beard [sic] it is Knox's weakpoint’ (Eurotrash, n.p.). The pleasant genericity of the match enables and necessitates that these smarts maintain their tactic of ironic posturing. They are able to armchair critique Knox for making his opponent's spinning Hurracanrana throw look painless. Yet they are also allowed to reiterate their camp affection for Knox's large and bushy beard, which remains grotesque even when divorced from a WWE universe that celebrates sculpted physiques.By contrast, Barthes praises the text of rapturous jouissance. It is one where an orgasmic intensity of pleasure is born from the unravelling of its audience’s assumptions, moving them away from their comfort zone. It is a text which ‘imposes a stage of loss, [a] text that discomforts (perhaps to the point of boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to crisis his relation with language’ (Barthes, Image-Music-Text 14). In addition to the atypical physical reactions of the Legends, WWE cynically positions the Jericho-Legends segments during Raw events which also feature slick video montages highlighting the accomplishments of individual Legends. These montages—complete with an erudite and enthusiastic Voice-of-God narrator— introduce the long-retired Legends to marks unfamiliar with WWE's narrative continuity: “Ladies and gentlemen! Rrriiiicky “The Draaagon” Steeeeamboat!”. At the same time, they serve as a visually and aurally impressive highlight-reel-cum-nostalgic-celebration of each Legend's career accomplishments. Their authoritative narration is spliced to clips of past matches, and informs audiences that, for instance, Steamboat was ‘one of the first Superstars to combine technical skills with astounding aerial agility ... in a match widely regarded as one of the best in history, he captured the Intercontinental title from Randy Savage in front of a record-breaking 93 173 fans’ (“Raw #636”, WWE). Following the unassailably authentic video footage of past matches, other retired wrestlers speak candidly in non-WWE stages such as outdoor parks and their own homes about the Legend's strengths and contributions to the industry.The interesting thing about these didactic montages is not so much what they show —Legends mythologised into triumphant Titans — but rather, what they elide. While the Steamboat-centred package does reflect the smart consensus that his Intercontinental bout ‘was a technical classic, and to this day, is still considered one of the greatest matches of all-time’ (NPP, n.p.), it does not mention how Steamboat was treated poorly in the WWE. Despite coming to it as the widely-known World Champion of [the NWA] rival promotion, WWE producers ‘dressed Steamboat up as a dragon and even made him blow fire. ...To boot, he was never acknowledged as a World Champion and [kept losing] to the stars’ (NPP, n.p.). The montages, overtly endorsed by the gigantic WWE logo as they are, are ultimately pleasant illusions which rewrite inconvenient truths while glamorising pleasant memories.Jericho’s speeches, however, sharply break from this celebratory mode. He references Steamboat’s previous success in the NWA, ‘an organisation that according to this company never even existed’(“Raw #636”, WWE). He then castigates Steamboat for being a real-life sellout and alludes to Steamboat having personal problems unmentioned in the montage:It wasn't until you came to the WWE that you sold your soul to all of these parasites [everyone watching] that you became “The Dragon”. A glorified Karate Kid selling headbands and making poses. Feeding into stereotypes. And then you eventually came to the ring with a Komodo Dragon. Literally spitting fire like the circus freak you'd become. It was pathetic. But hey, it's all right as long as you're making a paycheck, right Steamboat? And then when you decided to retire, you ended up like all the rest. Down and out. Broken. Beaten down. Dysfunctional family ...You applied for a job working for the WWE, you got one working backstage, and now here you are. You see, Steamboat, you are a life-long sellout. And now, with the Hall of Fame induction, the loyal dog gets his bone. (WWE)Here, Jericho demonstrates an apparent unwillingness to follow the company line by not only acknowledging the NWA, but also by disrespecting a current WWE backstage authority. Yet, wrestlers having onscreen tangles with their bosses is the norm for WWE. The most famous storyline of the 1990s had “Stone Cold” Steve Austin and the WWE Chairman brutalising each other for months on end, and the fifteen minute verbal exchange mentioned earlier concerns one wrestler previously attacking the Raw General Manager. Rather, it is Jericho’s reinterpretation of Steamboat’s career trajectory which gives the storyline the intensely pleasurable uncertainty of jouissance. His confrontational speeches rupture the celebratory nostalgia of the montages, forcing smarts to apply extra-textual knowledge to them. This is especially relevant in Steamboat’s case. His montage was shown just prior to his meeting with Jericho, ensuring that his iconic status was fresh in the audience’s memory. Vera Dika’s findings on the conflict between memory and history in revisionist nostalgia films are important to remember here. The tension ‘that comes from the juxtaposition of the coded material against the historical context of the film itself ...encourages a new set of meanings to arise’ (Dika 91). Jericho cynically views the seemingly virtuous and heroic Steamboat as a corporate sycophant preying on fan goodwill to enrich his own selfish ends. This viewpoint, troublingly enough for smarts, is supported by their non-WWE-produced extra-textual knowledge, allowing for a meta-level melodrama to be played out. The speeches thus speak directly to smarts, simultaneously confounding and exceeding their expectations. The comfortingly pleasant memories of Steamboat’s “amazing aerial prowess” are de-emphasised, and he is further linked to the stereotypical juvenilia of the once-popular The Karate Kid. They articulate and capitalise upon whatever misgivings smarts may have regarding Steamboat’s real-life actions. Thus, to paraphrase Dika, ‘seen in this clash, [the Jericho-Legends feud] has the structure of irony, producing a feeling of nostalgia, but also of pathos, and registering the historical events as the cause of an irretrievable loss [of a Legend’s dignity]’ (91). “C’mon Legend! Live in the past!” taunts Jericho as he stuffs Superfly’s mouth with bananas and beats him amidst the wreckage of the exactingly reproduced cheap wooden set in the same way that “Rowdy” Roddy Piper did years ago (“RAW #637”, WWE). This literal dismantling of cherished memories results from WWE producers second-guessing the smarts, and providing these fans with an enjoyably uncomfortable jouissance that cleverly confounds the performance of a smart disaffection. “Marking out” —or its performance at least—results.The Giving WrestlerLastly, the general physical passivity of the Legends also ties into the ethos of the “giving wrestler” when combined with the celebratory montages. In a business where performed passion is integral to fan enjoyment, the “giving wrestler” is an important figure who, when hit by a high-risk move, will make his co-worker’s offense look convincing (McBride and Bird 173). He ‘will give his all in a performance to ensure a dual outcome: the match will be spectacular, benefiting the fans, and each wrestler will make his “opponent” look good, helping him “get over with the fans” (McBride and Bird 172). Unsurprisingly, this figure is appreciated by smarts, who ‘often form strong emotional attachments to those wrestlers who go to the greatest lengths to bear the burden of the performance’ (McBride and Bird 173). As described earlier, the understated reactions of the Legends make Jericho’s attacks paradoxically look as though they cause extreme pain. Yet, when this pathetic image of the Legends is combined with the hypermasculine images of them in their heyday, a tragedy with real-life referents is played out on-stage. In one of Jenkins’s ‘abrupt shifts of fortune’ (“Never Trust a Snake” 81), age has grounded these Legends. They can now believably be assaulted with impunity by someone that Steamboat dismisses as ‘a snotty brat wrestler of a kid[sic] ...a hypocrite’ (“Raw #636”, WWE), and even in this, they apparently give their all to make Jericho look viciously “good”, thus exceeding the high expectations of smarts. As an appreciative thread title on SomethingAwful states, ‘WWE Discussion is the RICKY STEAMBOAT OWN [wins] ZONE for 02/23/09’ (HulkaMatt, n.p.) ConclusionThe Jericho-Legends feud culminated the day after the Hall of Fame ceremony, at the WWE’s flagship Wrestlemania event. Actor Mickey Rourke humiliated Jericho for the honour of the Legends, flattening the cocky braggart with a single punch. The maximum degree of moral order possible was thus temporarily restored to an episodic narrative centred around unprovoked acts of violence. Ultimately though, it is important to note the three strategies that WWE used The Legends were scripted to respond feebly to Jericho’s physical assault, slick recap montages were copiously deployed, and Jericho himself was allowed candid metatextual references to incidents that WWE producers normally like to pretend have “never even existed”. All these strategies were impressive in their own right, and they eventually served to reinforce each other. 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