LEADER 04715nam 2200637 a 450 001 9911102668603321 005 20251117004919.0 010 $a92-2-123484-3 035 $a(CKB)2670000000018822 035 $a(EBL)529939 035 $a(OCoLC)635291214 035 $a(SSID)ssj0000458816 035 $a(PQKBManifestationID)12191890 035 $a(PQKBTitleCode)TC0000458816 035 $a(PQKBWorkID)10440785 035 $a(PQKB)10814856 035 $a(MiAaPQ)EBC529939 035 $a(Au-PeEL)EBL529939 035 $a(CaPaEBR)ebr10512061 035 $a(EXLCZ)992670000000018822 100 $a19930922d1992 uf 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aIntroduction to work study /$fedited by George Kanawaty 205 $a4th (rev.) ed. 210 $aGeneva $cInternational Labour Office$dc1992 215 $a1 online resource (541 pages) 300 $aDescription based upon print version of record. 311 08$a92-2-107108-1 320 $aIncludes bibliographical references (p. 503-505) and index. 327 $a8. Noise and vibration; 7. Conclusion; 3. Work study and maintenance; 7. Scales of rating; 5. Computerized measurement systems; 11. Maximum recommended spacing for industrial-type units; 47. A simple study sheet; 86. A simplified illustration of Kanban movement; 87. Work measurement; Tables; 1. Properties of various industrial floor surfaces; 2. Recommended minimum values of illumination for various classes of visual task; 3. Recommended maximum lighting intensity ratios 327 $a4. Duration of continuous noise exposure which should not be exceeded to ensure the prevention of occupational deafness amongst the majority of workers 5. Control of working climate; 6. Pareto analysis - step 1; 7. Pareto analysis - step 2; 8. The most commonly used method study charts and diagrams; 9. Classification of movements; 10. Critical path method: Normal and crash times and costs for performingactivities; 88. Proportional distribution of ""heads"" and ""tails"" (100 tosses of five coins at a time) 327 $a11. Proportional distribution of ""heads"" and ""tails"" (100 tosses of five coins at a time)90. Curve of normal distribution; 91. Nomogram for determining number of observations; 12. Table of random numbers; 13. Determining the sequence of time for random observations; 93. Work sampling record sheet showing machine utilization and distribution of idle time; 94. Work sampling record sheet showing distribution of time on ten elements of work performed by a group of four workers; 14. Rated work sampling recording sheet; 95. A decimal-minute stop-watch; 96. Time study boards 327 $a97. An electronic stop-watch 98. An electronic study board; 99. General-purpose time study top sheet; 100. Continuation sheet for general-purpose time study (front); 101. Simple type of short cycle study form; 102. Short cycle study form (front); 103. Short cycle study form (back); 104. Study summary sheet; 105. Analysis of studies sheet; 15. Number of recommended cycles for time study; 106. Distribution of times taken by workers to perform a given job; 16. Specimen performance distribution; 107. Effect of ineffective time on performance 327 $a108. Effect of payment-by-results incentive on the time taken to perform an operation 17. Examples of various rates of working on the principal rating scales; 109. Effect of extension on the time of an element; 110. A graphical method of selecting basic time; 111. An example of a study summary sheet produced using electronic capture devices; 112. Cumulative average basic times for a constant element; 113. Allowances; 114. How the standard time for a simple manual job is made up; 115. Explanatory diagram of machine time; 116. Result of method study on milling operation 327 $a117. Milling operation: Improved method 330 $aThis book describes the basic techniques of work study as practised in many parts of the world, has been widely recognized as the best available introduction to the subject for work study practitioners, teachers and students. 606 $aWork measurement 606 $aMethods engineering 606 $aProduction management 615 0$aWork measurement. 615 0$aMethods engineering. 615 0$aProduction management. 676 $a658.5/42 701 $aKanawaty$b George$01989415 712 02$aInternational Labour Office. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911102668603321 996 $aIntroduction to work study$94765683 997 $aUNINA LEADER 04732oam 22006854a 450 001 9911107320803321 005 20240501012010.0 010 $a1-4798-2298-1 024 7 $a10.18574/9781479822980 035 $a(CKB)3710000001009654 035 $a(StDuBDS)EDZ0001719024 035 $a(DE-B1597)547478 035 $a(DE-B1597)9781479822980 035 $a(MdBmJHUP)muse87015 035 $a(MiAaPQ)EBC4500672 035 $a(OCoLC)967981967 035 $a(EXLCZ)993710000001009654 100 $a20180911d2017 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 00$aCreativity without Law$eChallenging the Assumptions of Intellectual Property /$fKate Darling [edit.]; Aaron Perzanowski [edit.] 205 $a1st ed. 210 1$aNew York, N.Y.$cNew York University Press$d2017 210 3$aBaltimore, Md. :$cProject MUSE,$d2021 210 4$dİ2017 215 $a1 online resource 300 $aPreviously issued in print: 2017. 311 0 $a1-4798-4193-5 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tIntroduction --$t1. Norms-based intellectual property systems: the case of French chefs --$t2. An IP lawyer walks into a bar: observations on creativity in cocktails --$t3. Derogatory to professional character?: the evolution of physician anti-patenting norms --$t4. Owning the body: creative norms in the tattoo industry --$t5. Painting on walls: street art without copyright? --$t6. Subcultural change and dynamic norms: revisiting roller derby?s master roster --$t7. Architecture and morality: transformative works, transforming fans --$t8. Internet pornography without intellectual property: a study of the online adult entertainment industry --$t9. Nollywood: pirates and Nigerian cinema --$tConclusion: Some positive thoughts about ip?s negative space --$tAbout the contributors --$tIndex 330 $aBehind the scenes of the many artists and innovators flourishing beyond the bounds of intellectual property laws Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation. This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses?sensitive to their particular cultural, competitive, and technological circumstances?to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules. Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system. 606 $aIndustrial and intellectual property$3(BE-AnANE)a::347.77:1 606 $aEconomic production$3(BE-AnANE)a::338.3:1 610 $aMarket. 610 $aMedicine. 610 $acopyright. 610 $acreativity. 610 $aeconomics. 610 $aincentives. 610 $ainnovation. 610 $ainnovations. 610 $alaw. 610 $amarketplace. 610 $apiracy. 610 $asubculture. 610 $atrademark. 615 4$aIndustrial and intellectual property 615 4$aEconomic production 676 $a346.048 702 $aPerzanowski$b Aaron$4edt 702 $aDarling$b Kate$4edt 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9911107320803321 996 $aCreativity without Law$94753301 997 $aUNINA