Ultra Ever Dry Review – You Can’t Get Wet

Ultra Ever Dry review is provided here in this article for the people who want to dry up their belongings as soon as possible. The producers of Ultra Ever Dry had prepared a hydrocarbons and water based coating that helps in repelling the liquid completely from any kind of surface.

All kinds of liquids including water, lubricants, refined oil, and any other kind of fluids can be vanished away completely with the help of this product that has been prepared using nanotechnology.

Ultra Ever Dry Promises

Ultra Ever Dry promises to improve bonding and reduce abrasion on the surfaces on which it is coated. This product is made by using proprietary nanotechnology that can protect the surfaces in a much better way as compared to the coatings made from earlier technologies which make it desirable to be coated on the surfaces that are needed to be retained for long time.

Main features of Ultra Ever Dry

Ultra Ever Dry is a coating that is made of combining water based super hydrophobic materials and hydrocarbon based oleo phobic materials giving a unique product that is known for its anti-wetting features all over the world. Its coating keeps the objects dry from water and/or any other liquid as it really repels them off.

Anti-corrosion feature of Ultra-Ever Dry protects the surfaces from the water and moisture contacting them due to the presence of super hydrophobic contents in its coating. The coating of this unique product also saves the objects from being contaminated due to dust, dirt, water and moisture containing radiations and bacteria in the environment due to its anti-contamination feature.

Other Benefits

Ultra-Ever Dry also saves the objects from the formation of ice on them due to its anti-icing feature as it repels the moisture completely. Many products fail to face water, moisture, oil and other liquids which also affect their working. It also helps in extending the life of the products on which this product is coated due to its life extending feature.

You can use it on your electric motor, your work gloves and other tools and equipment that usually come in contact with moisture or water to use them for longer period of time. When water or moisture or any other liquid that can attract dust, dirt and other contaminating matters does not contact any surface then it will naturally remain clean due to the coating of this fabulous anti-wetting product.

In this way Ultra Ever Dry review informs you that it not only preserves the objects efficiently but also helps in saving money which you have to spend when the things get damaged or distorted by coming in contact with water, moisture, oils and other liquids.

Sometimes people meet accidents due to getting wet like accidents in electrical appliances in kitchen. These accidents can be saved if you coat your appliances with Ultra-Ever Dry as its super hydrophobic coating will keep the water contents away from your electrical appliances which can help in avoiding kitchen accidents. Click here  for more details.

Similarly it can be used on various other locations to save the objects from the damages caused by its coming in contact with water, moisture, oils and other liquids.

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Tips To Choose The Best Interior Design Singapore Company

Immediately after investing a huge part of your income into buying your residence, it is now to the point in time of seeking a trusted interior design Singapore company from http://interiordesignsingapore.com . Except if you do have a lot of free time on your hand, have a creative thoughts and knows which you wish, or else you will need to search out a professional internal custom made to improve you layout your fantasy house.

When choosing an ID agency in Singapore, to examine the distinct packages these folks present and do not simply choose the least expensive bundle as you may remorse later. One crucial standards to consider be aware of should be the reputation of the ID company in question. Any inside style manufacturer with less compared to 5 years of knowledge will not be thought of at all.

You will also need to learn if an ID producer is competent to do renovation cum ID work on your precious home. An easy way to do is to check for pertinent certifications. In Singapore internal layout industry, respected inside design company should have RADAC accredited renovator and CaseTrust certifications. With these filter systems, you can conserve many time on choosing a good quality ID agency.

At one time you do have shortlisted a couple of respected Interior design Singapore companies, it is possible to after that proceed to get every one of them to do room preparing for the house. Doing so is a major phase where it is easy to get the ID to help you style the residence according to your choice on paper. The ID should generally help you to do area planning for the furnitures, TV consoles, dinning table & bed room layouts.

Most internal style producer in Singapore could do this for no cost and it must some normally requires abut 1-2 hours. Do not hurry in but consider the time to go through this important point in time slowly, preferably with the partner or everyone who will be staying with you in your house. At the end of the space preparing stage, you may be offered a proposal immediately. Do not generate any determination quickly even though their much inflated price is cheap, but offer your self sufficient time to go through the names and emails and ask inquiries before signing on the dotted line.

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Hiroki Azuma Criticism

This page provides an overlook of Hiroki Azuma’s various activities.

HIroki Azuma is a Japanese philosopher / critic. He was born in 1971 and started his writing career in 1993. He has so far published seven books, including Suntory-prize awarded “Sonzaironteki, Yubinteki” and Japanese pop culture analyzing “Dobutsuka-suru Postmodern”. Azuma is widely regarded as one of the most influential critic of Japanese otaku generation.

Azuma holds a Ph.D in Culture and Representation. He is an executive research fellow / professor at Center for Global Communications (GLOCOM) and a research fellow at Stanford Japan Center. He runs a laboratory at GLOCOM and promotes transdisciplinary research projects of informational society studies.

HIroki Azuma launched his writing career in 1993 as a literary critic with a postmodern style under the influence of Japanese leading critics, Kojin Karatani and Akira Asada. In the last half of 1990s, Azuma started applying his theoretical scopes to various pop phenomena, especially otaku / net / game culture, and became widely known as a critic who advocates Japanese new generation’s thoughts.

Azuma has published seven books, including “Sonzaironteki, Yubinteki [Ontological, Postal]” (1998, Shinchosha) which focuses on the meaning of Jacques Derrida’s oscillation between literature and philosophy, and “Dobutsuka-suru Postmodern [Animalizing Postmodernity]“(2001, Kodansha) that analyzes Japanese pop culture through postmodern approaches. His present interest is divided into two directions: one is toward the transformation of literary imagination under postmodernization / otaku-ization, and on the other hand the idea of liberty / freedom of humans living under the emergence of ubiquitous information society.

GLOCOM is a research center where Hiroki Azuma works as professor and executive research fellow. GLOCOM is directed by one of Japan’s most respected authorities on information society studies, Shumpei Kumon. Azuma organizes a laboratory there and conducts transdisciplinary studies of information society in collaborating with various activists and entrepreneurs outside academia, which refers to the “Mode 2 knowledge production” as in Michael Gibbons’s terminology. Azuma lab proposes a new basis of information society / postmodern society studies through connecting theoretical sociological analysis with lively observation of online reality and pop culture practices.

Hajougenron is a small non-profit and independent organization directed by Hiroki Azuma. Hajougenron was founded in 2003 and has published two books, one dvd-rom, and one periodical magazine. Hajougenron produces critical cross points of theoretical postmodern thoughts and pop otaku practices, especially its cutting edge of 2000s’ “Bishojo game” and “light novel” movements. Hajougenron’s publications are printed and circulated only independently but can be purchased in some otaku gatherings as the Comic Market (Comike), several bookstores in Tokyo, or through mail order at www.hajou.org/sales/ (please contact to edit@hajou.org if you need overseas shipping).

Azuma’s thesis deals with the thought of a French contemporary philosopher, Jacques Derrida. His point is; to decipher Derridian postal metaphors on the theoretical basis and to survey the philosophical/psychoanalytical possibilities of his rhetorical styles in 1970s. The thesis consists of four chapters; the first three are written to define a theoretical expanse of later Derridian thoughts (called “postal deconstruction”) and distinguish it from the earlier Derridian problematics, while the last is to investigate a broader range of the intersection between Freud and Heidegger, that is psychoanalysis and “Daseinsanalyse”, through Derridian concept of communication.

The content of the thesis is eventually the same as that of the published study as Sonzaironteki, Yubinteki , which wins the Suntory Prize.

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鼎談&忘年会 Year End Party

携帯から画像を送ってみたように、昨日、「波状言論」2月号用に宮台真司鈴木謙介両氏との鼎談を収録し、そのあとごく内輪だけの忘年会を行いました。

1枚目の写真は、左から西島大介さん、鈴木さん、宮台さんの3人。本当はこのとき宮台さんも携帯で写真を撮影していて、miyadai.comと僕のサイトでたがいにトラックバックを送りあおう、なんて話もしていたのですが、そちらの画像はアップされていないようですね。2枚目の写真は、左から、成宮観音(三坂千絵子)さん、斎藤環さん、そして前にいるのが「波状」編集部の前Q。斎藤さん妙にうれしそうだなあ。

ところで、そんな感じで忘年会も楽しく行われたわけですが、その前の鼎談もたいへん充実したものでした。鼎談、というよりも、僕と鈴木さんで行った 宮台さんへの共同インタビューといったほうがよいものでしたが、3時間以上話を聞きました。宮台さんのトークというと最近では政治的な戦略に基づいたメッ セージ(宮台さん言うところの「知識人としてのロールプレイ」)が目立ちますが、今回のインタビューは、時事的な話題ではなく(それはあちこちで読める し、そもそも波状言論の購読者には宮台さんの熱心な読者が多そうなので)、『サブカルチャー神話解体』からの10年を振り返って、人間としての宮台さんの 本音や立場を率直に語ってもらうという方向で行いました。自分で宣伝するのも何ですが、サブカルから政治へ、脱社会化の支援から再社会化の支援へと重点を 移してきた宮台氏の変化に正面から疑問をぶつけた、例のないインタビューになったと思います。後発世代の僕にとっても、たいへん勉強になりました。配信は 2月になります。例によって、莫大な分量になるでしょう。

お忙しいところ、ありがとうございました>宮台さん

I’ve sent pictures to mobile phones, yesterday, “wave speech” and included a three-way conversation with Messrs. K. Suzuki, Shinji 宮台 for February, a small inner ring made just after the year-end party.

On the first photo is from left to Mr. Daisuke Nishijima, Suzuki, Miya three third. If you are shooting photos with your phone and the third palace this time really, Aou send a trackback to each other on my site and miyadai.com, I was also talking Nantes, the image of there sounds like it is not up . 2nd photo, from left, Kannon Narumiya (Chieko Misaka) Mr., Ms. Saito ring, and before that a “wave” Q prior to the editorial. I Saito’s oddly joyful.

Incidentally, it is not fun and year-end party was like that was done, was also very fulfilling its previous three-way conversation. Three-way conversation, rather than, what was to be better and the third joint interview with Mr. Suzuki and the palace I went, I heard more than three hours. In recent years say talk of a third palace is a message based on the strategic and political (this is called the third palace “role play as human knowledge”) is noticeable, but this interview is not a topic of current events (it is around to read, and to subscribers of speech wave the first place so as not many avid reader of the third palace), “Dismantling myths subculture”

Looking back 10 years from a straight position and the real intention of the third house of a man get it done in the direction said. Even if I do you advertise yourself, from subculture to politics, bumped from the front to the change of his questions have one palace to move the emphasis from supporting the re-socialization of social support removal, in an unprecedented interview so it was. Subsequent generations also for me, study hard now. Delivery will be in February. As usual, will be immense quantity.

Busy place, thank you> Third Palace

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パトリシア・ピッチニーニ Patricia Piccinini

美術手帖での五十嵐氏との対談でもちらりと出てきた、オーストラリアの新鋭美術作家、パトリシア・ピッチニーニの個展を東京品川・原美術館まで見に 行きました。これはすばらしい! 生命倫理への問題提起がどうとか、気味が悪いとか何とかを通り越す独特の迫力があります。「Young Famlily」の人豚(と形容してよいのか?)の作り込まれた足や背中の表情など、ナマで見ないと分からないです。

僕はこの作家については図録以上の情報をもっていないのですが、1990年代のSF映画はCGだけではなくて特殊メーク的にもけっこうな進化を遂げ ているはずで(スタートレック・シリーズで有名なマイケル・ウエストモアとか)、この作家はそういうところにも影響を受けているのではないか、と感じまし た。これは当たっていないのかもしれないけど、そういうインパクトがあります。現代美術を敬遠されているかたでも、特殊メークに興味があるのならばぜひ。 実際の制作過程にも関心が湧きます。クレジットを見ると、ピッチニーニがひとりで作っているわけでもないようです。

原美術館のサイトはここ。 残念ながら、Flashをいたずらに多用したこのサイトはおそろしく見ずらいのですが、がんばってピッチニーニのページまで辿り着いてみてください (Hara Museum of Contemporary Art > Japanese > Exhibitions で行けると思います、おそらく)。前述したような人間と豚の中間の存在、皮膚だけ老年になった「アキラ」のような少年たち、不気味な細胞塊を抱える少女の 人形などががんがん出てきます。これはいいですよ。少なくとも、僕はこういうのはけっこう好きです。

書き忘れました。この作家の作品は、文字どおり、人間の「動物化」をテーマにしたものですね。「動ポモ」の動物化とは違うかもしれない——とは思い つつも、それがバイオテクノロジーの問題と関わるのであれば、どこかで繋がるのかもしれません。そういえば、フランシス・フクヤマの『人間の終わり』は けっこう面白い本です。これがバイテク批判です。フクヤマは思想界隈では評判が悪いけど、着眼点はいいひとだと思います。

In the interview came out and glanced at his notebook Igarashi art, cutting-edge artists from Australia, went to see the exhibition until the Hara Museum in Tokyo’s Shinagawa Patricia Piccinini. This is great! What complaints have to do with bioethics, there is a unique powerful creeps get past words to that effect. “Young Famlily” pig man (or may be described as?), Such as leg and back crafted look, and look at the raw and do not know.

I am about this writer I have no more information than catalog, SF film of the 1990s, only the CG you should have evolved a fairly even a special makeup without (Michael’s famous Star Trek series Toka, Waist Baltimore), I suspect that this writer has also affected such places, I felt. But maybe this is not hitting, there is such impact. Also how contemporary art has been reluctant, if you are interested in us special makeup.湧Kimasu also interested in the actual production process. Looking at the credits, nor are they make like to be alone Piccinini.

Hara Museum website here. Unfortunately, this site has a Flash-heavy naughty but looking at the extremely Rye, please try to follow arrived luck Piccinini page (Hara Museum of Contemporary Art> Japanese> I go in Exhibitions, perhaps). The presence of human and porcine intermediate as described above, the skin was just old age “Akira” as boys, come out and pounding the girl’s doll face spooky cell mass. I’m it. At least I’m in love like this is fine.

Forget writing. This artist’s work, literally, “human or animal” It is with the theme. “Pomo dynamic” and may be different animals – and even being thought, if it is involved with issues of biotechnology, it may lead somewhere. Speaking of which, Francis Fukuyama’s “end of man” is a pretty interesting book. This criticism is biotech. Fukuyama is a neighborhood I thought was a bad reputation, I think that people do 着眼 point.

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動物化についてのメモ

先日行われた北田暁大氏の講演会のレジュメ、およびメモを某所から入手。それだけで判断するのは軽率だが、どうやら僕の動物化論が話題になったのは間違いないようだ。光栄である。というか、ぜひ聴きに行きたかった。

ところで、動物化という言葉は、「最近若者がバカになってる」とかいったありがちのイメージ論ではなく、僕としては、いちおう、僕なりの(この「僕 なり」にたいへんな問題がある、というのは横におくとして)解釈に基づく思想的な文脈を押さえて提出している。『動物化するポストモダン』ではアレクサン ドル・コジェーヴ、「情報自由論」ではハンナ・アレントがその主な参照項だが、それだけではない。実はもうひとつ、僕にとってきわめて印象深い動物論とし て、ジャック・デリダのハイデガー批判(『精神について』収録)というのがあるのだ。そのむかし僕は、「想像界と動物的通路」というタイトルで学術論文を 東京大学出版会の論文集に寄せたことがあり(なんか遠いなあ……)、実は僕が「動物」という言葉を哲学的に使い始めたのはそれが始めてなのだった。『存在 論的……』にはまだ「動物」は出てこないはず。「情報自由論」に続く匿名性やネットワークからの切断の問題は、「誤配」という言葉で繰り返し出てくるのだ けど。

コジェーヴの「動物」は、近代=人間の時代の終焉後の消費社会に生きる人々を形容する言葉。アレントの「動物」も、また、actionやworkか ら阻害され、労働=消費の流通回路のなかに幽閉された人々を指している。ではデリダの「動物」と、コジェーヴやアレントの動物とのあいだにどんな関係があ るのか?

これはちょっと長くなりそうなので、それこそ波状言論の連載でときどき語ってみようかなどとも思うのだが、ひとことだけ言っておけば、そこでデリダ は、現存在=人間の哲学は、精緻になればなるほど、動物の観念を疎外していく、つまりは、動物の観念は否定神学の外部にある、と述べていたのである。人間 はハイデガーやラカンにつねに魅了されるが、動物は魅了されない。ポストモダンの消費社会は、そういう点でも動物的なのだ。そして、それは、バカになって いる、というのとは少し違う。

Resume the lecture by Mr. Kitada’s recent large-dawn, and get notes from somewhere. To judge, but it just careless, the animals were talking about my theory I doubt it looks like. Be honored. Or rather, to go to listen to us.

Incidentally, the word or animals, “I recently turned stupid young people” were likely not the theory of images of Toka, as I, Shameless, and I made (the “僕Nari” There are a lot of problems, and that Leaving aside the next) is holding the context presented, based on ideological interpretation. “Postmodern animal to do,” Alexander Kojevu, and “Freedom of Information Theory” section, but its primary reference in Hannah Arendt, but it is not. Another fact, very memorable for me as a theory of animal, Heidegger’s criticism of Jacques Derrida (“About” Mental included) that I have a. My past is that “animal passage and imagine the world” may 寄Seta the collection of scholarly papers in the University of Tokyo Press, titled (something I far …), but I actually “animal” philosophy of the word I started to use and it was the first time. “Ontological …” is still “animals” would not come out. “Freedom of Information Theory” Issues of anonymity and disconnect from the network followed the “miscarriage” but he repeated the word comes out.

Kojevu of “animal” is a word that people living in consumer society epithet after the end of the age of modern humans =. Arendt’s “animal” can also be excluded from work or action, pointing to people who were imprisoned in the distribution of consumption within the circuit = labor. In Derrida’s “animal” and what I relate to animals and between Arendt and Kojevu?

Since this is likely a long bit, but I think also for example let’s try talking sometimes in a series of speech wave-what then, if you put just say a word, Derrida So, the philosophy of human = present current, the more delicately , we alienated the idea of ​​animals, that is, the idea of ​​animals that are outside of negative theology, which had said. Humans have always be fascinated by Heidegger and Lacan, the animals are not attracted. Postmodern consumer society, but also in terms of such animal. And it has become a fool, and that’s a little different.

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ごあいさつ

を休止して約半月、ひそかにブログの立ち上げを模索していました。それとともに、サーバも慣れ親しんだリムネットから某所に移転しました。リムはい ろいろ多機能で気に入っていたのですが(さらに言えば僕が使っていたFTPサーバはasuka.t3.rim.or.jpという名前で、エヴァ直後にリム に加入した僕は何か運命のようなものを感じていたのですが)、ここなどで指摘されているとおりリムのサーバではMovableTypeを設置するのは無理らしい(!)ということで、これを機にサイトごと安いレンタルサーバに移転しました。これからはこちらをよろしくお願いします。

あと、このblogの運営方針ですが、横にも書いたとおりコメントは原則歓迎です。しかし、はてなでの経験で懲りたので、発言に関係ないコメントや 荒らしはさくさく削除する方針で行きます。また、出張などでメンテナンスが出来ない場合には、荒らし対策として、ブログのディレクトリ全体にパスをかけて いくかもしれません。それでも面倒くさくなってきたら、コメント欄の公開はやめて、トラックバックだけで運用することも考えています。ただ、トラックバッ クにしても削除することはありえますので、いずれにしろ完全にオープンなわけではありません。それに、MovableTypeだと、はてなと異なってエン トリーごとにコメントを受け付けたり受け付けなかったりできるので、そういうコントロールもしていくと思います。

僕が愛着のあったはてなからブログに移行しようと思ったのには、複数の理由があります。たとえばはてなのいいところとして、コメントが下にズラズラ 並ぶtDiaryの方式があります。あれはコミュニティ感の盛り上げには欠かせないのですが、しかし目立ちたいだけの無駄なコメントを呼び寄せるものでも ある。このMTではトップからコメントが見えないようになっている(「最近のコメント」欄もあえて作っていない)ので、そこは抑制されることでしょう。

もうひとつの理由は、トラックバックのシステムです。コメントは受け付けないけど、だれでもどこかで批判を書くことはできて、URLを送ることはで きるというのであれば、まあ「開かれている」と言えなくもない(ブログをもってないと反論できない、とか言われそうだけど、それならこのページそのものが PCもってないと閲覧できないわけでキリがない)。最初からトラックバックのみ受け付けるシステムで運営することも考えたのですが、それはさすがに寂しい ので、とりあえずコメントは受け付けます。とはいえ、今回はあまり頻繁にはレスを返さないかもしれません。そんなものなのだ、と思ってください。

というわけで、今後ともよろしくお願いします

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