The Sensory Deprivation Tank – A Time Machine

The article is devoted to reengineering of technological processes - a method of their qualitative transformation on an innovative basis, which in turn assumes the availability of tools that make it possible to establish the economic efficiency and technical capability of such transformations of construction production, to identify the effect of their implementation. In this regard, the problem of forming a parametric model of reengineering of construction technological processes, which involves four enlarged groups of indicators that reflect the quantitative and qualitative characteristics of the processes: materials used, working time, machine time, spatial organization, is considered. It is established that parameters can have either an absolute (physical, cost) or relative (point, percentage) expression and also make their own decomposition. The practical significance of the provisions given in the article is determined by the development of methods of technical rationing, which leads to a reduction in the cost and duration of construction.

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Literature in Our Time, or, Loving Literature to Bits

CounterText ◽

10.3366/count.2015.0019 ◽

2015 ◽

Vol 1 (2) ◽

pp. 232-269 ◽

Cited By ~ 7

Author(s):

Ivan Callus

Keyword(s):

Literary Criticism ◽

Jacques Derrida ◽

Anthony Trollope ◽

Don Quixote ◽

Time Machine ◽

Paul Auster ◽

Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

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