Fast AVI MPEG Joiner - join several AVI or MPEG files into bigger one.|||||| Fast AVI MPEG Joiner Fast AVI MPEG Joiner is an easy-to-use tool for joining several AVI or MPEG files into bigger one. Because the program does not recompress the video files, the audio and video of the output video file do not have any quality loss. And the joining speed is extremely fast. Fast AVI MPEG Joiner only can join the video files of the same type. Only the video files, which have same resolution, video codec and audio parameters, can be joined. Latest Version. Introduction Splitting, trimming and joining video files can be done losslessly and very fast if you use good tools. Why not simply use Windows Movie Maker? I hear you ask. Well, one of my friends just tried using Windows Movie Maker to remove ads from one of his TV recordings: after setting up the editing operations, it took another 30 minutes to process the file. And even then the result was not so great. So, I showed him how to do the job losslessly in less than a minute using a good standalone trimmer. Good quality free splitters, trimmers and joiners can usually perform their tasks more efficiently than an all purpose video editor and without the need to re-encode your source videos. They're generally quicker and easier to use for any of these basic video editing tasks: • Splitting—to chop a video into smaller pieces so as to extract or copy specific scenes or to upload to the Internet (to YouTube, for example). Each of the split files can be played back. • Trimming—to cut out unwanted sections, such as ads in a TV recording. • Joining—to merge video files together. This only works when the video files have a similar format (same resolution, bitrate, etc). If you have ever downloaded a long video in smaller parts (such as video01.wmv, video02.wmv, video03.wmv), a joiner will put the pieces back together again in no time. Some of the splitters, trimmers and joiners reviewed here are much lighter than all purpose video editors and have the advantage of carrying the same you have in your source video files. Although a full video editor has the advantage of convenience, in some cases it may take more time and produce poor quality output as a result of lossy re-encoding or inappropriate settings. When recommending the free software in this category, we take into consideration the following basic requirements: • Ease of use: convenient and precise selections, cutting out or trimming choices, keyboard shortcuts. • Performance: fast and accurate results without re-encoding videos unnecessarily. • Input formats: the more the better. Some freeware only accept one or two formats when others accept many more. • Features: some tools specialize in one job, others may allow you to split, join or trim videos within a single program. Rated Products. Selection for videos to join could be easier, output name could use the input name instead of 'out.asf' by default. Other Video Cutters and Joiners • is a useful tool to join multiple video clips of: avi, mpeg, mov, wmv, Flash Video (flv), mp4 and 3gp together into one large movie. Jun 11, 2015. Free Video Cutter Joiner has support for most of the popular formats; AVI, MPEG, MP4, WMV, 3GP and FLV. The application is easy to use and has a simple, standard interface. What is really noticeable about this application is the speed. Free Video Cutter Joiner can cut a 100 MB file in approximately ten. The frame size is predetermined by the software. Re-encoding is often required. • easily joins various video files and outputs to: avi, wmv, mov, mp4 and other file formats based on your selected multimedia device. Re-encoding is needed with frame size following the first video file you add. • is quality software to convert multimedia files from one format to another with codecs of your choice suitable for your computer, mobile devices or uploading to the Internet. Trimming and joining functions are included while re-encoding is applied. •, good software for converting multimedia files from one format to another. It has options for cutting or joining videos but the process is slow as a result of re-encoding. •, split: mp4, 3gp, wmv, mov, avi / divx, mpeg, flv, mkv, vob / mpeg2 files with same quality, preset or custom settings. •, cutting mpeg files and transport streams at keyframe level. Supported output formats: mp4, mov, avi, divx and dv. Required QuickTime or QuickTime Alternative. • •, trim avi and mkv files, easy to use, no encoding/decoding processes, no video/audio degradation and out of sync problem. •, for joining vob files. •, combines the functionality of both video splitter (cutter, trimmer), video joiner (for joining multimedia files with exactly the same formats), without the need to re-encode video or audio streams. Only supports avi and wmv files in the current Lite version. •, remove segments of a video clip and save the rest, without recompressing. Video not scaled to windows on playback. •, incorporated SPG video splitter, joiner and other modules. • • •, MP4Box UI, joining and splitting, includes other tools such as mux and extract streams. No video preview. Tested and not recommended: • splits large avi, divx, mpeg or wmv / asf file into video clips as claimed. Outputing a small file in error when tested. • joins avi, mpg, rm, wmv / asf and other popular audio files into one file. Experienced errors in joining avi files on testing. Related Products and Links You might want to check out these articles too: • • • • • Editor This software review is in need of an editor. Please help edit and improve this article. Please rate this article. I'm not sure if Avidemux is the best video joiner but I have to say that it is not easy to use. It has help information which left me even more confused. In order to understand how to join video files, I had to read this web page: Avidemux did however help me to understand the problem that other video joiners were having. Without knowing it, I was attempting to join video with different aspect ratios. I found that other video joiners would squeeze or stretch one of the videos to make it have the same aspect ratio as the other video. Avidemux would simply refuse to join the files saying they are not the same size. Ideally, a video joiner should provide the user with an option to either put black bars on the sides or top and bottom as needed, or to crop one of the videos. If there is only one option, it would be to add black bars. Stretching or squeezing the video is completely unacceptable. I tried joining 3 videos of the same aspect ratio with Avidemux and it joined them. Unfortunately when I opened the output video file with my video player, I could not advance the video by moving the slider to the right. The video would just freeze up and not advance. I was play it back at normal speed but nothing else. • or to post comments. Seamlessly join several videos with ease? Now, a perfect video joiner is coming to help you combine the multiple video clips into one movie file. By Xilisoft AVI MPEG Joiner, you can join multiple videos as one file with the support of comprehensive video formats like AVI, MPEG, H.264/AVC, WMV, DivX, MP4, RM, MOV, ASF, etc. With Xilisoft AVI MPEG Joiner, you can take the vacation, wedding and the family videos collected, and combine them into a single movie file creatively. Also if necessary, Xilisoft AVI MPEG Joiner can rearrange the order of video files to make your creation free without any limitation. Moreover, the user-friendly and easy-to-use interface of the AVI/MP4/MPEG video joiner lets you preview video files easily. • Join video files in the same or different formats • Support not only AVI, MPEG, but other popular video formats • Add different formats for one file and join them.
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CS6 (6.0) / April 23, 2012 ( 2012-04-23) Development status Discontinued and Website Adobe Encore (previously Adobe Encore DVD) is a software tool produced by and targeted at professional. Video and audio resources may be used in their current format for development, allowing the user to them to video and audio upon project completion. DVD menus can be created and edited in using special layering techniques. Adobe Encore does not support writing to a Blu-ray Disc using 2.0. Encore is bundled with CS6. Adobe Encore CS6 was the last release. Jan 5, 2015 - 9 min - Uploaded by Stan ArthurIt seems that a lot people learning to use Premiere Pro CC still want to make DVDs. While Premiere Pro CC has moved to the Creative Cloud, Encore has now been discontinued. Contents • • • • Licensing [ ] All forms of Adobe Encore use a proprietary licensing system from its developer,. Versions 1.0 and 1.5 required a separate license fee (rather than making 1.5 available as a free update). Version 3, also known as CS3, was sold only in bundle with Premiere CS3. Encore CS4, CS5, CS5.5 and CS6 were only sold in the Premiere Pro CS4, CS5, CS5.5 and CS6 bundles, respectively. Adobe CC subscribers have access to Adobe Encore CS6, however Adobe Encore is not included with Premiere Pro CC. See also [ ] • • References [ ]. Authoring a Simple Looping DVD This tutorial covers the process of authoring a DVD with Adobe Encore. This tutorial covers the process of authoring a DVD. The DVD video disc has a resolution of 720x480 pixels and can include surround sound or stereo sound. They can be encoded at 23.976 or 29.97 FPS. A BluRay disc can be authored to have a resolution of 1920x1080, 1280x720 or 720x480. If you are encoding HD video for an installation - Blu-ray is the way to go. They can be encoded at 23.976 or 29.97 FPS. If you are making a disc for a grant or screening application, a DVD may be required. You will need a 'DVD-r' disc. These can be purchased from the computing connection. A good deal is to buy - these can be printed on with an inkjet printer. Programming the Disc You should start with the highest quality source that you have. ProRes on the mac, or an Quicktime in the Animation codec is best. Import your movie - File-> import as asset. Click on the footage in the Encore project window and go to Timeline-> New Timeline. In the properties window on the right, you will see the properties for the timeline. Click and drag the 'pick-whip' next to End action to the timeline - to program that timeline to loop. If you are looping a short clip many times - and you want the looping to be seamless - it would be better to drag it down to the timeline many times until you have about 10 minutes of material on the single timeline (then loop that timeline). Click in the empty gray area of the project window below your movie and timeline. Set the properties of your disc in the property window off to the right as follows. This will define a name for the disc and by specifying the first play you will make a disc that automatically plays your track when you insert it into a player. Specify the title button to the same as first play, this way you will avoid an error that sometimes occurs in the burning process. In the Project tab - click on your movie clip and go to File-> Transcode Settings. A window will pop up - click on 'Edit Quality Presets'. Now click OK. The transcode settings will specify how the video is compressed. If you have additional clips in the project, you will need to click on them as well and specify the transcode settings in the properties window. It is nice to have a preset in this case so you can apply consistent settings across a project. Transcoding and Burning the Disc Now Save the project (File->Save) Click on the 'Build' tab in the top left window of the screen. There are two ways to build - you can either build a disc image or a disc. A disc image is a file that you or someone else can burn to a DVD at a later date to make a videodisc. If you select disc - you will build a disc right now. Click on Check Project - this will pop up a window - click start- it will be ok if you have done everything correctly. Then close that pop-up - and click build. You will not be able to build if your DVD burner is not plugged in and turned on. The burning will take a while because the video will need to first be compressed - then the files will be burned to the disc. You should test your disc to make sure the video is working properly. If you have trouble at this stage - one tip is to burn a disc image to the hard drive - then load that into this window and then burn the image to the disc. This has solved errors for me in the past. Check Your DVD on a conventional Player and on Apples DVD player. Adobe Encore CS6 Serial Number Crack Full Version Pulling from the Adobe FAQ, end-of-life means that the “Adobe Encore CS6 version will be the final release of this product.” Adobe makes their motivation clear: “The trend in the video and broadcast industry is moving away from physical media distribution. The future is in cloud and streaming content. Therefore we are focusing more on products that deliver to streaming services.” As a site dedicated to online video production, we can’t argue with that assessment; and given that Apple stopped developing DVD Studio Pro with the 4.0 release in 2005, it’s hard to take issue with Adobe’s decision. Regarding future updates to Encore, Adobe states, “Adobe Encore CS6 is supported on Microsoft® Windows® 7 with Service Pack 1 (64 bit) and Mac OS X v10.6.8 or v10.7. Please note that Adobe Encore CS6 support for future operating system updates or new hardware platforms will not be provided.” So, there will be no more improvements, and sometime in the future, an OS update will break Encore and Adobe won’t fix it. Where does that leave us? Well, sometime, down the road, you’ll need to choose another DVD/Blu-ray authoring program to serve your clients who demand physical media deliverables. But not today, so I’ll leave the discussion of which authoring program is best for another day. For those needing help in the short term, Sony Creative Software, with multiple DVD and Blu-ray options, is a good place to start. If you attempt to back-door the process, and try to import a Premiere Pro CC sequence from within Adobe Encore CS6, the import will stall and the sequences won’t appear (Figure 3, below). You won’t get an error message; the import will just hang as shown in Figure 3. For the sake of clarity, I’ll note that both Dynamic Link from Premiere Pro CS6 to Adobe Encore CS6 works fine, and you can still import a sequence from a Premiere Pro CS6 project in Adobe Encore CS6. The only alternative for Premiere Pro CC optical disc producers is to export your content from Premiere Pro CC/Adobe Media Encoder as a separate file and import those into Encore. As before, all chapter markers inserted in Premiere Pro CC will appear in Adobe Encore CS6. Latin America PowerPoint Map • 1. Map of Latin America Mexico, Central America, South America, Caribbean • Quick Tips on Customizing your Maps You can select and pull apart the states and territories You can re-color your map by selecting the map or part of the map. Go to Format tab and change the Shape Fill and Shape Outline to your choice. You can group or ungroup the map. To Ungroup, select and right click then Group > Ungroup To Group, select more than one part of the map, right click and go to Group > Group To open the Selection Pane, go to the Home tab. Under the editing group click on the little arrow under “Select” and click on Selection Pane. You will now see the names of each province/ state/ district/ county. New political maps of India are now needed, as the state of Orissa has officially changed the English spelling of its name to “Odisha.” The new name, however, does not imply a change in pronunciation. As the, “ the name Orissa is closer to the actual Oriya pronunciation of the name, whereas Odisha is an intentionally archaising transcription.” Although the change became official in November 2011, few maps of India show the now-official spelling. I have therefore made a new map of Indian states to reflect this change, which is posted here. As with many other GeoCurrents maps, it was constructed in Keynote (the Apple version of PowerPoint), and thus can easily be manipulated. Sometime next month, GeoCurrents will make this map, and a number of others, freely available in both Keynote and PowerPoint formats. Users can then easily change the color schemes, the place names, and so on, for all such maps. These maps can also be used for a variety of teaching exercises. In the second map posted here, for example, I have simply left the state names in place while scattering the state shapes; in Keynote, one can reassemble this map by dragging the shapes back to their proper places. New political maps of India are now needed, as the state of Orissa has officially changed the English spelling of its name to “Odisha.” The new name, howev. Coloring Map of South America. Color in this map to learn the countries of South America. South America Coloring Map of countries. Click to get a larger printable version of map. The Map of Latin America Template in PowerPoint format includes two slides, that is, the Latin America map with outline and Latin America political map. Firstly, our Latin America outline map free templates have major cities on it, which are Bogota, Brasilia, Buenos Aires, Mexico City, and Panama City. Secondly, there are. Anonymous (attributed to Edmund Burke), The history of the war in America, between Great Britain and her colonies from its commencement to the end of the year 1778, Vol.I. Brazil map, Capital Braslia, South American Country, bordered by Boliva, Paraguay, Uraguay, Columbia, and Venezeula, printable, royalty free, jpg format. Editable powerpoint maps for presentations, usa,world, countries, county, states. Do You Need an Editable Version of the These Maps? We have editable PowerPoint. Such a “jig-saw puzzle” approach to cartography can be an effective way for students to learn basic geography. After making the political map of India, I decided that I might as well use it to illustrate recent socio-economic indicators for the country, up-dating an earlier (2010) GeoCurrents Atlas of Indian Development based on. Today’s post includes two new maps of basic economic patterns; more maps will be forthcoming later in the week. In the first map, the same “developmental divide” discussed in the is still readily apparent. The north-central zone, including the Hindi-speaking heartland, still lags behind the rest of the country, and Bihar still stands in the bottom slot. India’s west and the south, meanwhile, still tend to score above the national average. This map does differ in several regards, however, from earlier depictions of Indian per capita GDP by state. Punjab, for example, is now only moderately above the national average (74,606 rupees per person in Punjab, versus 61,564 for India as a whole); when I first began teaching world geography in the late 1980s, Punjab was well above the national average. Punjab’s lagging position is probably related to the fact that its economy is still heavily agricultural. Substantial economic gains, on the other hand, have been made in such states as Tamil Nadu in the far south and Sikkim and Arunachal Pradesh in the northeast. As we shall see in later posts, Tamil Nadu’s advances in social development have been even more striking. The relatively high levels of economic output in the Himalayan states of Himachal Pradesh and Uttarkhand are also noteworthy, as these states are similar in many regard to neighboring Nepal, which is noted for its extremely low level of economic output. (The s Nepal’s per capita GDP at US $1,300, as opposed to US $3,900 for India as a whole.) The patterns seen on the next map, which shows the expansion of state-level Gross Domestic Product from 2005 to 2011, are less familiar. Here we can see that deeply impoverished Bihar has actually been experiencing rapid growth in recent years, easily besting neighboring poor states and even out-performing the southern states that contain most of India’s major high-tech centers. Whether Bihar’s remarkable turn-around can be sustained, of course, remains to be seen. Certainly the state’s continued low ranking in regard to social indicators (to be examined later in the week) does not inspire much confidence. As can also be seen on this map, western India’s industrial states of Gujarat and Maharashtra continue to forge ahead. This pattern may even be intensifying; preliminary reports for 2011 show Gujarat as having achieved a remarkable 20.79 percent rate of economic growth for the year (2011 figures for Maharashtra are not yet available). Gujarat’s rapid economic growth has political significance at the national level, as the state’s Chief Minister,, is now. Modi first gained national attention as an arch Hindu-nationalist accused of complicity in deadly anti-Muslim rioting in 2002. In recent years, he has toned down his a rhetoric, and is instead basing his campaign on economic issues. By all accounts, Modi is utterly devoted to enhancing his state’s economic growth. Critics contend, however, that Gujarat has not exhibited the same level of progress on the social front. India’s most rapid economic growth in recent years, however, has occurred in several of its small, mountainous states of the far north. Some of the economic figures for these areas stagger the imagination. Sikkim, for example, supposedly saw a 48.21 percent expansion of its GDP in 2010 alone. Is such a rate of growth even possible? The credits tourism development, particularly that related to casinos and other forms of gambling, although it also mentions road-building, specifically the opening of pass in July 2006, which connects India to Tibet. I suspect, however, that dam-building and electricity export to the rest on India are also major factors. Certainly Arunachal Pradesh in the far northeast, which China claims under the name “South Tibet,” has seen an in recent years. Many more dams are also slated for constructing here and elsewhere in the mountainous parts of India. Environmental opposition, however, is mounting, and some significant dam projects have recently been cancelled. In 2012, for example, Sikkim announced that it was for four new hydropower projects on the Teesta River. Considering India’s growing thirst for power, and the fact that it is burning ever-larger quantities of coal, such hydro projects are perhaps best viewed as environmentally ambiguous. To all who are questioning depiction of Map of India in this article. The one shown here is the correct map as some portion is taken over by Pakistan and some by China. Please be real. Control’s part of land depicted in the map shown in the article. Just for the heck of it we could include Pakistan and China as a Indian territory in ‘Over Version’ of Map of India however that does not change the ground reality. Don’t believe me, just travel to the part of India which is omitted by the author and included by you guys. Peace ? Yes, I’m an INDIAN and a Hindu to be specific in case you need to know!! There are a of different code ciphers for different things in gaming, like message encryption and secrete lettering between senders. One of the most simple of ciphers is a number Cipher that consists of the letters of the alphabet being coded each by number a-1, b-2, and so on. The (-) indicates letter to letter. The (,) is the space between each word. 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From 'zero,' it came to mean 'any numeral' (early 15c.), then (first in French and Italian) 'secret way of writing; coded message' (a sense first attested in English 1520s), because early codes often substituted numbers for letters. Meaning 'the key to a cipher or secret writing' is by 1885, short for cipher key (by 1835). Figurative sense of 'something or someone of no value, consequence, or power' is from 1570s. Cipher also cypher (sī′fər) n. The mathematical symbol (0) denoting absence of quantity; zero. An Arabic numeral or figure; a number. One having no. 3d home for Mr. Anil Ahuja by 3d home Manish Ingle. Status: Under Construction My Role: full project design, Construction and supervision. Tip: Download: MrArchitect 3D Removal Tool (Tested Malware & Virus Free by McAfee?) Are you having problems uninstalling MrArchitect 3D from your computer? 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Oct 10, 2016. Post with 42 votes and 825 views. Tagged with Creativity; Shared by YouMealyMouthedCrotchPheasant. Roger Dean - Some Desktop Wallpaper. Define depiction. Depiction synonyms, depiction pronunciation, depiction translation, English dictionary definition of depiction. Depicted, depicting, depicts 1. To represent in a picture or sculpture: Each page's border has designs that depict forest animals. Definition of depiction - the action of depicting something, especially in a work of art. This article includes a, but its sources remain unclear because it has insufficient. Please help to this article by more precise citations. (July 2009) () Depiction is reference conveyed through pictures. Basically a picture refers to its object through a non-linguistic two-dimensional scheme. A picture is not writing or notation. A depictive two-dimensional scheme is called a and may be constructed according to where they are usually divided between projections (orthogonal and various oblique angles) and perspectives (according to number of vanishing points). Pictures are made with various materials and techniques, such as painting, drawing, or prints (including photography and movies) mosaics, tapestries, stained glass, and collages of unusual and disparate elements. Occasionally, picture-like features may be recognised in simple inkblots, accidental stains, peculiar clouds or a glimpse of the moon, but these are special cases, and it is controversial whether they count as genuine instances of depiction. Similarly, sculpture and theatrical performances are sometimes said to depict, but this requires a broad understanding of 'depict', as simply designating a form of representation that is not linguistic or notational. The bulk of studies of depiction however deal only with pictures. While sculpture and performance clearly represent or refer, they do not strictly picture their objects. Objects pictured may be factual or fictional, literal or metaphorical, realistic or idealised and in various combination. Idealised depiction is also termed schematic or stylised and extends to icons, diagrams and maps. Classes or styles of picture may abstract their objects by degrees, conversely, establish degrees of the concrete (usually called, a little confusingly, figuration or figurative, since the 'figurative' is then often quite literal). Stylisation can lead to the fully abstract picture, where reference is only to conditions for a picture plane – a severe exercise in self-reference and ultimately a sub-set of pattern. But just how pictures function remains controversial. Philosophers, art historians and critics, perceptual psychologists and other researchers in the arts and social sciences have contributed to the debate and many of the most influential contributions have been interdisciplinary. Some key positions are briefly surveyed below. Contents • • • • • • • • • • • • • • • • Resemblance [ ] Traditionally, depiction is distinguished from denotative meaning by the presence of a element or resemblance. A picture resembles its object in a way a word or sound does not. Resemblance is no guarantee of depiction, obviously. Two pens may resemble one another but do not therefore depict each other. To say a picture resembles its object especially is only to say that its object is that which it especially resembles; which strictly begins with the picture itself. Indeed, since everything resembles something in some way, mere resemblance as a distinguishing trait is trivial. Moreover, depiction is no guarantee of resemblance to an object. A picture of a dragon does not resemble an actual dragon. So resemblance is not enough. Theories have tried either to set further conditions to the kind of resemblance necessary, or sought ways in which a notational system might allow such resemblance. It is widely believed that the problem with a resemblance theory of depiction is that resemblance is a symmetrical relation between terms (necessarily, if x resembles y, then y resembles x) while in contrast depiction is at best a non-symmetrical relation (it is not necessary that, if x depicts y, y depicts x). If this is right, then depiction and resemblance cannot be identified, and a resemblance theory of depiction is forced to offer a more complicated explanation, for example by relying on experienced resemblance instead, which clearly is an asymmetrical notion (that you experience x as resembling y does not mean you also experience y as resembling x). Others have argued, however, that the concept of resemblance is not exclusively a relational notion, and so that the initial problem is merely apparent. In art history, the history of actual attempts to achieve resemblance in depictions is usually covered under the terms ', ', or '. Illusion [ ] The most famous and elaborate case for resemblance modified by reference, is made by art historian. Resemblance in pictures is taken to involve illusion. Instincts in are said to be triggered or alerted by pictures, even when we are rarely deceived. The eye supposedly cannot resist finding resemblances that accord with illusion. Resemblance is thus narrowed to something like the seeds of illusion. Against the one-way relation of reference Gombrich argues for a weaker or labile relation, inherited from. Pictures are thus both more primitive and powerful than stricter reference. But whether a picture can deceive a little while it represents as much seems gravely compromised. Claims for innate dispositions in sight are also contested. Gombrich appeals to an array of psychological research from, R. Gregory, John M. Kennedy, Konrad Lorenz, Ulric Neisser and others in arguing for an 'optical' basis to perspective, in particular (see also. Subsequent cross-cultural studies in depictive competence and related studies in child-development and vision impairment are inconclusive at best. Gombrich's convictions have important implications for his popular history of art, for treatment and priorities there. In a later study by John Willats (1997) on the variety and development of picture planes, Gombrich's views on the greater realism of perspective underpin many crucial findings. Dual invariants [ ] A more frankly behaviouristic view is taken by the perceptual psychologist, partly in response to Gombrich. Gibson treats visual perception as the eye registering necessary information for behaviour in a given environment. The information is filtered from light rays that meet the retina. The light is called the stimulus energy or sensation. The information consists of underlying patterns or 'invariants' for vital features to the environment. Gibson's view of depiction concerns the re-presentation of these invariants. In the case of illusions or trompe l'oeil, the picture also conveys the stimulus energy, but generally the experience is of perceiving two sets of invariants, one for the picture surface, another for the object pictured. He pointedly rejects any seeds of illusion or substitution and allows that a picture represents when two sets of invariants are displayed. But invariants tell us little more than that the resemblance is visible, dual invariants only that the terms of reference are the same as those for resemblance Seeing-in [ ] A similar duality is proposed by the philosopher of art. He calls it 'twofoldness'. Our experience of the picture surface is called the 'configurational' aspect, and our experience of the object depicted the 'recognitional'. Wollheim's main claim is that we are simultaneously aware of both the surface and the depicted object. The concept of twofoldness has been very influential in contemporary analytic aesthetics, especially in the writings of and of. Again, illusion is forestalled by the prominence of the picture surface where an object is depicted. Yet the object depicted quite simply is the picture surface under one reading, the surface indifferent to picture, another. The two are hardly compatible or simultaneous. Nor do they ensure a reference relation. Wollheim introduces the concept of 'seeing-in' to qualify depictive resemblance. Seeing-in is a psychological disposition to detect a resemblance between certain surfaces, such as inkblots or accidental stains, etc. And three-dimensional objects. The eye is not deceived, but finds or projects some resemblance to the surface. This is not quite depiction, since the resemblance is only incidental to the surface. The surface does not strictly refer to such objects. Seeing-in is a necessary condition to depiction, and sufficient when in accordance with the maker's intentions, where these are clear from certain features to a picture. But seeing-in cannot really say in what way such surfaces resemble objects either, only specify where they perhaps first occur. Wollheim's account of how a resemblance is agreed or modified, whereby maker and user anticipate each other's roles, does not really explain how a resemblance refers, but rather when an agreed resemblance obtains. Other psychological resources [ ] The appeal to broader psychological factors in qualifying depictive resemblance is echoed in the theories of philosophers such as Robert Hopkins, Flint Schier and. They enlist 'experience', 'recognition' and 'imagination' respectively. Each provides additional factors to an understanding or interpretation of pictorial reference, although none can explain how a picture resembles an object (if indeed it does), nor how this resemblance is then also a reference. For example, Schier returns to the contrast with language to try to identify a crucial difference in depictive competence. Understanding a pictorial style does not depend upon learning a vocabulary and syntax. Once grasped, a style allows the recognition of any object known to the user. Of course recognition allows a great deal more than that – books teaching children to read often introduce them to many exotic creatures such as a kangaroo or armadillo through illustrations. Many fictions and caricatures are promptly recognised without prior acquaintance of either a particular style or the object in question. So competence cannot rely on a simple index or synonymy for objects and styles. Schier's conclusion that lack of syntax and semantics in reference then qualifies as depiction, leaves dance, architecture, animation, sculpture and music all sharing the same mode of reference. This perhaps points as much to limitations in a linguistic model. Notation [ ] Reversing orthodoxy, the philosopher starts from reference and attempts to assimilate resemblance. He denies resemblance as either necessary or sufficient condition for depiction but surprisingly, allows that it arises and fluctuates as a matter of usage or familiarity. For Goodman, a picture denotes. Denotation is divided between description, covering writing and extending to more discursive notation including music and dance scores, to depiction at greatest remove. However, a word does not grow to resemble its object, no matter how familiar or preferred. To explain how a pictorial notation does, Goodman proposes an analogue system, consisting of undifferentiated characters, a density of syntax and semantics and relative repleteness of syntax. These requirements taken in combination mean that a one-way reference running from picture to object encounters a problem. If its semantics is undifferentiated, then the relation flows back from object to picture. Depiction can acquire resemblance but must surrender reference. This is a point tacitly acknowledged by Goodman, conceding firstly that density is the antithesis of notation and later that lack of differentiation may actually permit resemblance. A denotation without notation lacks sense. Nevertheless, Goodman's framework is revisited by philosopher John Kulvicki and interestingly applied by art historian James Elkins to an array of hybrid artefacts, combining picture, pattern and notation. Pictorial semiotics [ ] Pictorial aims for just the kind of integration of depiction with notation undertaken by Goodman, but fails to identify his requirements for syntax and semantics. It seeks to apply the model of structural linguistics, to reveal core meanings and permutations for pictures of all kinds, but stalls in identifying constituent elements of reference, or as semioticians prefer, 'signification'. Similarly, they accept resemblance although call it 'iconicity' (after, 1931–58) and are uncomfortable in qualifying its role. Older practitioners, such as and variously shift analysis to underlying 'connotations' for an object depicted or concentrate on description of purported content at the expense of more medium-specific meaning. Essentially they establish a more general. A later adherent, Göran Sonesson, rejects Goodman's terms for syntax and semantics as alien to linguistics, no more than an ideal and turns instead to the findings of perceptual psychologists, such as J. Freeman and David Marr in order to detect underlying structure. Sonesson accepts 'seeing-in', although prefers Edmund Husserl's version. Resemblance is again grounded in optics or the visible, although this does not exclude writing nor reconcile resemblance with reference. Discussion tends to be restricted to the function of outlines in schemes for depth. Deixis [ ] The art historian persists with a linguistic model and advances a detail of parsing and tense, '. He rejects resemblance and illusion as incompatible with the ambiguities and interpretation available to pictures and is also critical of the inflexible nature of structuralist analysis. Deixis is taken as the rhetoric of the narrator, indicating the presence of the speaker in a discourse, a bodily or physical aspect as well as an explicit temporal dimension. In depiction this translates as a difference between 'The ' where deixis is absent and 'The Glance' where it is present. Where present, details to materials indicate how long and in what way the depiction was made, where absent, a telling suppression or prolonging of the act. The distinction attempts to account for the 'plastic' or medium-specific qualities absent from earlier semiotic analyses and somewhat approximates the 'indexic' aspect to. Deixis offers a more elaborate account of the picture surface and broad differences to expression and application but cannot qualify resemblance. Iconography [ ] Lastly, iconography is the study of pictorial content, mainly in art, and would seem to ignore the question of how to concentrate upon what. But iconography's findings take a rather recondite view of content, are often based on subtle literary, historical and cultural allusion and highlight a sharp difference in terms of resemblance, optical accuracy or intuitive illusion. Resemblance is hardly direct or spontaneous for the iconographer, reference rarely to the literal or singular. Visual perception here is subject to reflection and research, the object as much reference as referent. The distinguished art historian allowed three levels to iconography. The first is 'natural' content, the object recognised or resembling without context, on a second level, a modifying historical and cultural context and at a third, deeper level, a fundamental structure or ideology (called iconology). He even ascribed the use of perspective a deep social meaning (1927). However more recently, a natural or neutral level tends to be abandoned as mythical. The cultural scholar looks to ideology to determine resemblance and depiction as acknowledgement of shifts in relations there, albeit by an unspecified scheme or notation. Iconography points to differences in scope for a theory of depiction. Where stylistics and a basic object is nominated, resemblance is prominent, but where more elaborate objects are encountered, or terms for nature denied, simple perception or notation flounder. The difference corresponds somewhat to the division in philosophy between the analytic and continental. Other issues [ ] Dozens of factors influence depictions and how they are represented. These include the equipment used to create the depiction, the creator’s intent, vantage point, mobility, proximity, publication format, among others, and, when dealing wth human subjects, their potential desire for impression management. Other debates about the nature of depiction include the relationship between seeing something in a picture and seeing face to face, whether depictive representation is, how understanding novel depictions is possible, the and value of depiction and the nature of in pictorial. See also [ ] • • • Further reading [ ] Books [ ] • Barthes Roland (1969), Elements of semiology (Paris, 1967) translated by Annette Lavers and Colin Smith, (London: Cape). • Bryson Norman (1983) Vision and Painting: The Logic of The Gaze, (New Haven and London: Yale University Press). • Eco Umberto (1980), A Theory of Semiotics (Milan 1976) (Bloomington: Indiana University Press). • Elkins James (1999), The Domain of Images (Ithaca and London: Cornell University Press). (eds.) (1985), Visual Order: The Nature and Development of Pictorial Representation (Cambridge, Cambridge University Press). • Gombrich E. (1989–95), The Story Of Art (15th ed. London: Phaidon Press). • Gombrich E. (1960), Art and Illusion (Oxford: Phaidon Press). • Gombrich E. (1963), Meditations on a Hobbyhorse (Oxford: Phaidon Press). • Gombrich E. (1982), The Image and the Eye (Oxford and New York: Phaidon Press). • Goodman, Nelson (1968), Languages of Art: An Approach to a Theory of Symbols (Indianapolis and New York: The Bobbs-Merrill Company, Inc.). • Goodman Nelson and Elgin Catherine Z. (1988), Reconceptions in Philosophy (London and New York, Routledge) • Gregory R. (1970) The Intelligent Eye (London: Weidenfield and Nicholson). • Hopkins, Robert (1998), Picture, Image, and Experience (Cambridge: Cambridge University Press). • Husserl, Edmund (1928), Zur Phänomenologie des inneren Zeitbewusstseins. (Republished in Husserliana X, The Hague: Nijhoff, 1966). • Husserl, Edmund (1980), Phantasie, Bildbewusstsein, Erinnerung, Husserliana XXIII. (The Hague: Nijhoff). • Hyman, John (2006), The Objective Eye: Colour, Form and Reality in the Theory of Art (Chicago and London: The University of Chicago Press). • Kulvicki, John (2006), On Images: Their structure and content (Oxford: Oxford University Press). • Lopes, Dominic (1996), Understanding Pictures (Oxford: Clarendon Press). • Lopes, Dominic (2005), Sight and Sensibility: Evaluating Pictures (Oxford: Clarendon Press). • Maynard, Patrick (1997), The Engine of Visualization: Thinking Through Photography (Ithaca: Cornell University Press). • Maynard, Patrick (2005), Drawing Distinctions: The Varieties of Graphic Expression (Ithaca: Cornell University Press). • Mitchell, W. (1980), The Language of Images (Chicago and London: University of Chicago Press). • Mitchell, W. (1986), Iconology: Image, Text, Ideology, (Chicago and London: University Of Chicago Press). • Mitchell, W. (1994), Picture Theory (Chicago and London: University Of Chicago Press). • Novitz, David (1977), Pictures and their Use in Communication (The Hague: Martinus Nijhoff). • Panofsky, Erwin (1955) Meaning in the Visual Arts (New York: Doubleday). • Peirce, Charles Sanders - (1931–58), Collected Papers I-VIII. Hartshorne, C, Weiss, P, & Burks, A, (eds.). (Cambridge MA: Harvard University Press). • Podro, Michael (1998), Depiction, (New Haven and London: Yale University Press). • Schier, Flint (1986), Deeper Into Pictures (Cambridge: Cambridge University Press). • Sonesson, Göran (1989), Pictorial Concepts: Inquiries into the semiotic heritage and its relevance for the analysis of the visual world. (Lund: Aris/Lund University Press). • Walton, Kendall (1990), Mimesis as Make-believe (Cambridge, Mass.: Harvard University Press). • Willats, John (1997), Art and Representation: New Principles In The Analysis Of Pictures (Princeton, N.J: Princeton University Press). • Wollheim, Richard (1987), Painting as an Art (London: Thames and Hudson). Articles [ ] • Abell, Catharine (2005a), 'Pictorial Implicature', The Journal of Aesthetics and Art Criticism, 63(1): 55-66. • Abell, Catharine (2005b), 'Against Depictive Conventionalism', The American Philosophical Quarterly, 42(3): 185-197. • Abell, Catharine (2005), 'On Outlining the Shape of Depiction', Ratio, 18(1): 27-38. • Abell, Catharine (2005), 'McIntosh's Unrealistic Picture of Peacocke and Hopkins on Realistic Pictures', British Journal of Aesthetics, 45(1): 64-68. • Bennett, John (1971), 'Depiction and Convention?' , The Monist 58: 255-68. • Budd, Malcolm (1992), 'On Looking at a Picture', in Robert Hopkins and Anthony Savile (eds.), Psychoanalysis, Mind, and Art (Oxford: Blackwell). • Budd, Malcolm (1993), 'How Pictures Look' in Dudley Knowles and John Skorupski (eds.), Virtue and Taste (Oxford: Blackwell). • Bach, Kent (1970), 'Part of What a Picture Is', British Journal of Aesthetics, 10: 119-137. (1972), 'How Do Pictures Represent', in Black, Gombrich and Hochburg, Art, Perception, and Reality (Baltimore, Md.). • Carrier, David (1971), 'A Reading of Goodman on Representation?' , The Monist 58: 269-84. • Carrol, Noel (1994), 'Visual Metaphor' in Jaakko Hintikka (ed.), Aspects of Metaphor (Kluwer Publishers), 189-218; reprinted in Noel Carrol (2001), Beyond Aesthetics (Cambridge: Cambridge University Press). • Dilworth, John (2002), 'Three Depictive Views Defended', The British Journal of Aesthetics, 42(3): 259-278. • Dilworth, John (2002), 'Varieties of Visual Representation', Canadian Journal of Philosophy, 32(2): 183-205. • Dilworth, John (2003), 'Medium, Subject Matter and Representation', The Southern Journal of Philosophy, 41(1): 45-62. • Dilworth, John (2003), 'Pictorial Orientation Matters', The British Journal of Aesthetics 43(1): 39-56. • Dilworth, John (2005), 'Resemblance, Restriction and Content-Bearing Features', The Journal of Aesthetics and Art Criticism 63(1): 67-70. • Dilworth, John (2005), 'The Perception of Representational Content', British Journal of Aesthetics, 45(4): 388-411. • Freeman, N. H., (1986) How should a cube be drawn? British Journal of Developmental Psychology, 4, 317-322. • Freeman, N. Evans, D., and Willats, J. (1988) Symposium overview: the computational approach to projection drawing-systems. (Budapest, Paper given at Third European Conference on Developmental Psychology, • – (1978), 'The Ecological approach To Visual Perception In Pictures', Leonardo, 11, p. 231. • Hopkins, Robert (1994), 'Resemblance and Misrepresentation', Mind, 103(412): 421-238. • Hopkins, Robert (1995), 'Explaining Depiction', Philosophical Review, 104(3): • Hopkins, Robert (1997), 'Pictures and Beauty', Proceedings of the Aristotelian Society, XCVII: 177-194. • Hopkins, Robert (1997), 'El Greco's Eyesight: Interpreting Pictures and the Psychology of Vision', Philosophical Quarterly, 47(189): 441-458. • Hopkins, Robert (2000), 'Touching Pictures' British Journal of Aesthetics 40: 149-67. • Hopkins, Robert (2003), 'What Makes Representational Painting Truly Visual? Proceedings of the Aristotelian Society Supplementary, LXXVII: 149-167. • Hopkins, Robert (2003), 'Pictures, Phenomenology and Cognitive Science', The Monist, 86. • Hopkins, Robert (2005), 'What Is Pictorial Representation', in Mathew Kieran (ed.), Contemporary Debates in the Philosophy of Art (Oxford: Blackwell). (1974), 'The Logical Structure of Pictorial Representation', Theoria 2: 76-109. • Hyman, John (2000), 'Pictorial Art and Visual Experience', British Journal of Aesthetics 40:2 1-45. • Kennedy, J. (1975), 'Outline picture perception by the Songe of Papua', Perception, 4, 391-406. • Kjorup, Soren (1971), 'George Inness and the Battle at Hastings or Doing Things With Pictures', The Monist 58: 217-36. • Kulvicki, John (2003), 'Image Structure', The Journal of Aesthetics and Art Criticism, 61(4): 323-39. • Lehrer, Keith (2004), 'Representation in Painting and Consciousness', Philosophical Studies, 117(1); 1-14. (1963) 'Spatial representation in drawing as a correlate of development and a basis for picture preference'. Journal of Genetic Psychology, 102, 95-107. • Lopes, Dominic (1997), 'Art Media and the Sense Modalities: Tactile Pictures', Philosophical Quarterly, 47(189): 425-440. • Lopes, Dominic (2004), 'Directive Pictures', The Journal of Aesthetics and Art Criticism, 62(2): 189-96. • Lopes, Dominic (2005), Sight and Sensibility: Evaluating Pictures (Oxford: Clarendon Press). (1987), 'Three-dimensional object recognition from single two-dimensional images', Artificial Intelligence, 31, 355 – 395. • Malinas, Gary (1991), 'A Semantics for Pictures', Canadian Journal of Philosophy, 21(3): 275-298. • Manns, James W. (1971), 'Representation, Relativism and Resemblance', British Journal of Aesthetics 11: 281-7). • Marr, David (1977), 'Analysis of occluding outline', Proceedings of the Royal Society of London, Series B 197 441-475. • Marr, David (1978), 'Representing visual information: a computational approach.' In Computer Vision, A. Hanson and E. Riseman (eds.) Academic Press, New York and London, pp. 61–80. • Maynard, Patrick (1972), 'Depiction, Vision and Convention', American Philosophical Quarterly, 9: 243-50. • McIntosh, Gavin (2003), 'Depiction Unexplained: Peacocke and Hopkins on Pictorial Representation', The British Journal of Aesthetics, 43(3):279-288. • Nanay, Bence (2004), 'Taking Twofoldness Seriously: Walton on Imagination and Depiction', Journal of Aesthetics and Art Criticism, 62(3): 285-9. • Nanay, Bence (2005), 'Is Twofoldness Necessary for Representational Seeing?' , British Journal of Aesthetics 45(3): 263-272. • Neander, Karen (1987), 'Pictorial Representation: A Matter of Resemblance', British Journal of Aesthetics, 27(3): 213-26. • Newall, Michael (2003), 'A Restriction for Pictures and Some Consequences for a Theory of Depiction', Journal of Aesthetics and Art Criticism, 61: 381-94. • Nicholas, A. And Kennedy, J. (1992), 'Drawing development from similarity of features to direction', Child Development, 63, 227-241. • Novitz, David (1975), 'Picturing', Journal of Aesthetics and Art Criticism, 34: 144-55. • Panofsky, Erwin (1924-5), 'Die Perspective als Symbolische Form' in Vortrage der Bibliotek Warburg. • Pateman, Trevor (1980), 'How to do Things with Images: An Essay on the Pragmatics of Advertising', Theory and Society, 9(4): 603-622. • Pateman, Trevor (1983), 'How is Understanding an Advertisement Possible?' In Howard Davis and Paul Walton (eds.), Language, Image, Media (London: Blackwell). • Pateman, Trevor (1986), 'Translucent and Transparent Icons', British Journal of Aesthetics, 26: 380-2. • Peacocke, Christopher (1987), Depiction, The Philosophical Review, 96: 383-410. • Ross, Stephanie (1971), 'Caricature', The Monist 58: 285-93. • Savile, Anthony (1986) 'Imagination and Pictorial Understanding', Aristotelian Society Supplementary Volume 60: 19-44. • Sartwell, Crispin (1991), 'Natural Generativity and Imitation', British Journal of Aesthetics, 31: 58-67. • Schier, Flint (1993) 'Van Gogh's Boots: The Claims of Representation' in Dudley Knowles and John Skorupski (eds.) Virtue and Taste (Oxford: Blackwell). • Scholz, Oliver (2000), 'A Solid Sense of Syntax', Erkenntnis, 52: 199-212. • Sonesson, Göran (2001), 'Iconicity strikes back: the third generation – or why Eco is still wrong'. VISIO 9: 3-4. • Sonesson, Göran (Revised August 2006), 'Current issues in pictorial semiotics. Lecture three: From the Critique of the Iconicity Critique to Pictorality'. Third conference of a series published online at the Semiotics Institute Online. January 2006. • Sorenson, Roy (2002), 'The Art of the Impossible' in Tamar Szabo Gendler and John Hawthorne (eds.), Conceivability and Possibility (Oxford: Clarendon Press). • Soszynski, Marek (2006), 'How Do Pictures Represent?' , Philosophy Now, 57: 20-21. • Walton, Kendall (1971), 'Are Representations Symbols?' , The Monist 58: 236-254. • Walton, Kendall (1974), 'Transparent Pictures: On the Nature of Photographic Realism', Critical Inquiry, 11(2): 246-277. • Walton, Kendall (1992), 'Seeing-In and Seeing Fictionally', in James Hopkins and Anthony Savile (eds.), Mind, Psychoanalysis, and Art: Essays for Richard Wollheim, (Oxford: Blackwell), 281–291. • Walton, Kendall (1993), 'Make-Believe, and its Role in Pictorial Representation and the Acquisition of Knowledge', Philosophic Exchange 23: 81–95. • Walton, Kendall (1997), 'On Pictures and Photographs: Objections Answered', in Richard Allen and Murray Smith (eds.), Film Theory and Philosophy (Oxford: Oxford University Press) 60-75. • Walton, Kendall (2002), 'Depiction, Perception, and Imagination: Responses to Richard Wollheim', Journal of Aesthetics and Art Criticism 60(1): 27-35. • Wilkerson, T. (1991), 'Pictorial Representation: A defense of the Aspect Theory', Midwest Studies in Philosophy, 16: 152-166. And Wilson, M. (1977) 'An iconoclastic view of the imagery sources in the drawings of young people', Art Education, 30(1), 4-6. • Wollheim, Richard (1990), 'A Note on Mimesis as Make-Believe', Philosophy and Phenomenological Research, 51(2): 401-6. • Wollheim, Richard (1998), 'Pictorial Representation', Journal of Aesthetics and Art Criticism 56: 217-26. • Wolsterstorff, Nicholas (1991a), 'Two Approaches to Representation – And Then a Third', Midwest Studies in Philosophy, 16: 167-199. References [ ]. Robert Hopkins (1998), 'Picture, Image, Experience' (Cambridge: Cambridge University Press) p. Hopkins (1998), Christopher Peacocke (1987) 'Depiction', in Philosophical Review 96(3):383-410. • John Hyman (2012), 'Depiction', in Royal Institute of Philosophy Supplement 71:129-150. • Gombrich, E. (1960) Art and Illusion (Oxford: Phaidon Press). • Gombrich, E. (1963) Meditations on a Hobbyhorse (Oxford, Phaidon Press). • Gombrich, E. The Image and the Eye (Oxford and New York: Phaidon Press). • Gombrich, E. (1960): pp 80-98, (1982): pp 278–297. • Gombrich, E. (1995), The Story Of Art 16th ed. (London: Phaidon Press). • Willats, John, (1997), Art and Representation: New Principles In The Analysis Of Pictures (Princeton, N.J: Princeton University Press.) • Gombrich (1995), pp. • Gibson, James J., 'The Ecological approach to Visual Perception in Pictures' Leonardo, 1978, 11, p.231. • Wollheim, Richard (1987), Painting as an Art (London: Thames and Hudson) pp 46-7, 72-5. • Lopes, Dominic (2005), Sight and Sensibility: Evaluating Pictures (Oxford: Clarendon Press). • Nanay, Bence (2005), 'Is Twofoldness Necessary for Representational Seeing?' , British Journal of Aesthetics 45(3): 263-272. • Wollheim (1987), pp. • Hopkins, Robert (1998), Picture, Image, and Experience (Cambridge: Cambridge University Press). • Schier, Flint (1986), Deeper Into Pictures (Cambridge: Cambridge University Press). • Walton, Kendall (1990), Mimesis as Make-believe (Cambridge, Mass.: Harvard University Press). • Ross, Stephanie (1971), 'Caricature', The Monist 58: pp 285-93. • Goodman, Nelson (1968), Languages of Art: An Approach to a Theory of Symbols (Indianapolis and New York: The Bobbs-Merrill Company, Inc.). • Goodman (1968), pp. • Goodman (1968), p. 160. • Goodman, Nelson and Elgin, Catherine Z, (1988) Reconceptions in Philosophy (London and New York: Routledge) p. • Kulvicki, John (2006), On Images: Their structure and content (Oxford: Oxford University Press). • Elkins, James (1999), The Domain of Images (Ithaca and London: Cornell University Press). • Peirce, Charles Sanders - (1931-58), Collected Papers I-VIII. Hartshorne, C, Weiss, P, & Burks, A, (eds.) (Cambridge MA: Harvard University Press). • Barthes, Roland (1969), Elements of semiology (Paris, 1967) translated by Annette Lavers and Colin Smith, (London: Cape). • Eco, Umberto (1980), A Theory of Semiotics (Milan 1976) (Bloomington: Indiana University Press). • Sonesson, Göran (1989), Pictorial Concepts: Inquiries into the semiotic heritage and its relevance for the analysis of the visual world. (Lund: Aris/Lund University Press). • Sonesson, Göran (2001), 'Iconicity strikes back: the third generation – or why Eco is still wrong'. VISIO 9: 3-4. • Kennedy, John M. (1974) The Psychology of Picture Perception (San Francisco, Jossey-Bass). • Freeman, N. (eds.) (1985), Visual Order: The Nature and Development of Pictorial Representation (Cambridge, Cambridge University Press). • Freeman, N. H., Evans, D., and Willats, J. (1988) Symposium overview: the computational approach to projection drawing-systems. (Budapest, Paper given at Third European Conference on Developmental Psychology). • Marr, David (1977), 'Analysis of occluding outline', Proceedings of the Royal Society of London, Series B 197 441-475. • Marr, David (1978), 'Representing visual information: a computational approach.' In Computer Vision, A. Hanson and E. Riseman (eds.) Academic Press, New York and London, pp. • Sonesson, Göran (Revised August 2006), 'Current issues in pictorial semiotics. Lecture three: From the Critique of the Iconicity Critique to Pictorality'. Third conference of a series published online at the Semiotics Institute Online. January 2006. • Husserl, Edmund (1928), Zur Phänomenologie des inneren Zeitbewusstseins. (Republished in Husserliana X, The Hague: Nijhoff, 1966). • Husserl, Edmund (1980), Phantasie, Bildbewusstsein, Erinnerung, Husserliana XXIII. (The Hague: Nijhoff). • Bryson, Norman (1983) Vision and Painting: The Logic of The Gaz, (New Haven and London: Yale University Press). • Panofsky, Erwin (1955) Meaning in the Visual Arts (New York: Doubleday). • Mitchell, W. (1980), The Language of Images (Chicago and London: University of Chicago Press). • Mitchell, W. (1986), Iconology: Image, Text, Ideology, (Chicago and London: University Of Chicago Press). • Mitchell, W. (1994), Picture Theory (Chicago and London: University Of Chicago Press). • Thomson, T. J.; Greenwood, Keith (2016-03-08).. Journalism Practice. 0 (0): 1–20... External links [ ] •. If you depict someone or something, you show what that person or thing is like—either in some kind of image (such as a drawing, painting, photograph, or movie), or with words. What results from your efforts to depict that person or thing can be called a depiction. The noun depiction is included at this entry without a definition because its meaning can be easily understood from the definition of the verb—it's the act of, or an instance of, depicting something or someone—but some examples of depiction in a sentence might be helpful: The depiction of the battle in the painting is not historically correct. I think the novel is a good depiction of a typical modern American marriage. Many were moved by the film's depictions of animals helping people. The author's depiction of the practice as uncommon is problematic; it's done by millions of people throughout the world every day. The essay is an honest depiction of life in the city. The book is fascinating in its depiction of the country's early history. . the big brother InstallAnywhere is a Java-based software tool by Flexera Software for the creation of multi-platform environments. It was initially released in direct competition with InstallShield, the well-knonwn and reliable veteran among Windows installation tools. Following the takeover of the software segment of Macrovision, InstallAnywhere has now become the central installation tool at Flexera. The multi-platform installer is currently available in version 2011. As a command line-based server installation tool, it is under constant development and is not aimed specifically at end users; instead, it mainly targets the market for high-end users. InstallAnywhere is consequently available in two editions: Standard and Enterprise. The focus of the Standard edition lies on less complex mainstream applications, which are quickly generated without much programming effort. The Enterprise edition, on the other hand, is used mainly for the creation of server-based installations. It allows the team-based creation of native packages for popular platforms (Windows, Linux, Mac OS X, Solaris, AIX, HP-UX, IBM). The Enterprise edition is characterised by its enhanced merge capability for installations, its implementation option for external resource bundles, and an advanced installation logging feature. A complete list of features, i.e. A comparison list of the two editions is available on the Flexera website. Both editions can be expanded with a collaboration license, which is available either as a node-locked (named) single workstation license or as a 10-license pack, whereby the collaboration pack includes the additional integration in Eclipse or Microsoft Visual Studio in the bundle. Custom agreements with customer service are also optionally available. No special license is currently envisaged for the tool for the integration in OpenSource projects. Detailed Analysis of InstallAnywhere Central Delivery Management The optional implementation in a central delivery management is not a native component of the InstallAnywhere software bundle, not even in the expansion with the collaboration pack. The generated installer package must therefore be integrated in a central software repository, including appropriate scripts and expansions. External property sets can, however, be managed by way of an internal interface. Assessment result: Requirement not fulfilled! Parameter Management InstallAnywhere provides an option to read external property sets from specific directories via the integrated AdvancedDesigner, which can then overwrite any internally pre-populated variables. For that purpose, a specific plug-in - the PropertiesFileReader - must be defined. The path for the property file, and whether and how properties should be replaced, can be configured during the formulation of the definition. Here, just like in the rest of the system, property in property substitution can be used for accessing compiled paths. Additionally, an ignore list can be created for the system to reject unused variables, or those that are not to be replaced. The developer has access to several options for defining variables via actions during the pre-install step (e.g. InstallAnywhere is the multiplatform. Easily create enterprise-ready virtual. (Premier with Virtualization and Cloud Edition) *Requires InstallAnywhere Premier. InstallAnywhere Standard Edition Download - give software developer a quick and easy way to author professional installation. InstallAnywhere is the multiplatform installation solution of choice to reduce software development time and simplify virtualization. InstallShield Express Borland Limited Edition Operation. InstallAnywhere Enterprise. The purpose of this property is to stop InstallAnywhere if it is working. (Premier with Virtualization and Cloud and Premier Editions); ENHANCED Build Docker Images from Any InstallAnywhere Project – Increase your deployment options and simplify installation development by automatically creating both Docker images and traditional multiplatform installers from a single InstallAnywhere. The actions ‘Set InstallAnywhere Variable’). Various operations for checking the configured variables are made available via the option to define rules. The pre-install actions - specifically the ‘Execute’ actions - also allow other implementations for the creation, configuration or manipulation of a property file before installation. Database files can be read and created here as well. Assessment result: Requirement fulfilled! In this area, the software is very powerful and can fulfil all desired requirements completely. Parameter Replacement Individual or sets of properties can be configured in the AdvancedDesigner via the action ‘Set InstallAnywhere Variable’, which is available as single variable and multiple variable option. Here too, users have the option of defining a variety of rules to check the configured variables as described above under parameter management. For more information please read the requirements for ‘parameter management’. Assessment result: Requirement fulfilled! Just like under parameter management, InstallAnywhere can take full advantage of its designer here, and offers various options to fulfil the task at hand. Optional Configuration Files InstallAnywhere offers extensive actions via the AdvancedDesigner for the overwriting of existing parameters at the final deployment step during installation on the server. The actions ‘Execute ANT Script’ and ‘Execute Custom Code’, with which individual scripts or Java classes can be initiated, into which the relevant task can be swapped out deserve special mention here. Another option here would be to initiate the PropertiesFileReader plug-in (see requirements for parameter management and parameter replacement), and to utilise a rule for checking whether a file to read exists, and to execute that read as needed. These actions can be implemented as part of pre- and post-install steps. Assessment result: Requirement fulfilled! Optional configuration files can be implemented without any problem. A script-generated replacement mechanism is available at the time of deployment. Component-Based Deployment InstallAnywhere offers the possibility to display a selection of install sets, features and components during the installation process, which can be selected during the installation. A 3-step alignment can be implemented here, i.e. Depending on the InstallSet, features can be selected, which will then contain a component list. The creation of that list is fixed at the time of deployment and cannot be generated dynamically, as at this point only rules and no actions can be defined. A component can be connected with a variable to be read at run time by way of rules making it a mechanism to select or deselect the installation automatically. The reading of a pre-configured filter is not supported. An automated deployment can therefore not just be implemented with an orchestrated component list. Assessment result: Requirement partly fulfilled! It is generally possible to select or deselect individual components of the installation package. It soon becomes apparent, however, that InstallAnywhere is not designed for automatic operation, and is focused instead on graphic user guidance with components that have been pre-configured at build time. Central Build Platform A central build platform is not provided as InstallAnywhere can generate very finely tuned installation packages via AdvancedDesigner, but has nothing to do with their management. An implementation in a fully automated environment is available via the console mode. The relevant wrapper scripts for starting from within a pre-installed artefact repository (e.g. Nexus) must, however, be created by the user. Assessment result: Requirement not fulfilled! A central build platform is neither contained in InstallAnywhere, nor is one supported via programming functions of the tools. Snapshot Build Platform Due to its alignment with ready-made deployment packages, no support is envisaged for a snapshot build platform, which would in any case not be an easy feat. For the tool to be used as a central input interface between vendor and client in Enterprise environments with automatic integration in software repositories, some of the features will have to be developed by the user himself. It is therefore not feasible to provide a vendor with a process for checking the build capability in the target system. This functionality must be developed separately around the relevant deployment packages. A basic startup of the packages via the console mode of InstallAnywhere is, however, available. Assessment result: Requirement not fulfilled! An externally accessible test environment is not provided. Management of Internal Dependencies Internal dependencies of the individual installation component (see also component-based deployment) can be achieved via the modelling of installation tree structures by organising the install sets, features and components. Static definitions of optional installation paths via checkboxes will allow a specification of which install set will be used for selecting individual features and components during installation. Another step towards the management of internal dependencies can be achieved by setting rules within the organisation of the individual components. As shown in the image, not only individual directories can be called up here; more complex tasks, including the call-up and assessment of individual Java classes are available via ‘Evaluate Custom Rule’. These Java classes must implement the method evaluateRule(). Virtually any call-up can be realised via this powerful tool. Assessment result: Requirement fulfilled! Intervention options for the call-up of internal dependencies are provided and can be implemented in various ways. Generally, the mapping via a static pre-configuration of ‘installation tree structures’ may be a bit cumbersome and will require some practice. Platform Independence The AdvancedDesigner in InstallAnywhere allows the provisioning of a central project file for the implementation of installation packages on a wide variety of platforms. Compatible platforms are Mac OS X, Windows, Unix, and System i. Prerequisite is, however, that a separate installation package is created for each platform. Alternatively, a plain Java installation would also be feasible. The premise here is, however, that the entire project is provided as Java-based, as it is not possible to package just any content in a Java installation package. The result of this strategy of platform-specific installation packages is that one package cannot be forwarded from one platform to the next (exception: plain Java projects), which means that the heterogeneous server environments of large corporations cannot be provisioned appropriately across all test and production instances. Assessment result: Requirement partly fulfilled! Self-Contained Package InstallAnywhere generates - as do all comparable products - a self-contained package containing all components needed for the installation. As already explained in detail above, InstallAnywhere allows the generation of installations (project file-based) for a wide variety of platforms. This methodology has resulted in a significant reduction of development time for individual platforms and minimises vulnerability, as individual project files don’t have to be aligned with each other. Assessment result: Requirement fulfilled! Cluster Capability An explicit function for the implementation of replication scripts, or a service for replications across application server landscapes is not provided in InstallAnywhere. As a result, software replication must be carried out by the relevant application server with its basic installation. This might not always be feasible or even mappable in complex server landscapes and across several application servers and must where required be done via self-implemented distribution scripts. The call-up of these distribution scripts, however, can be modelled easily from within the AdvancedDesigner. To this end, an action can be inserted in a downstream post-installation step, which will then call up an Ant script or a separate code fragment. Assessment result: Requirement partly fulfilled! Since there is no provision for an implicit cluster-based distribution, and distribution must be achieved separately by way of an action, a verification of that distribution may pose some difficulty and may possibly have to be self-developed. Plug-in Capability InstallAnywhere’s plug-in capability can basically be attested in two ways. Via the general way of implementing actions and the embedded call-up of code fragments, or via Ant scripts. InstallAnywhere has, however, another internal method to embed and call-up self-written plug-ins or plug-ins from third party providers in the installation package. The call-up of these plug-ins also occurs via ‘Add Action.’ - but via a special tab containing only components that follow the specified path for internal InstallAnywhere plug-ins, thus expanding the class CustomCodeAction from the package com.zerog.ia.api.pub.*. The bandwidth of the plug-ins offered on the Flexera website for direct download spans from AbortInstallAction to WaitForProcessExit, and encompasses not just generally implementable actions, but also actions for special environments and special implementation criteria. With the option to run any code directly via actions, and with the in-built plug-in mechanism, which can fall back on a broad spectrum of CustomCodeActions, powerful tools are provided here, which cover virtually any requirement at this point very well indeed. Assessment result: Requirement fulfilled! Integration in Superordinate Workflow Like other tools, InstallAnywhere defines its core competence in the best possible provision of installation packages. Specific tools, e.g. For the processing of externally controlled workflows, are not provided. All platform packages do, however, offer a console and a silent mode, via which the relevant package can be initiated. This mechanism initiates the finished installation package and therefore allows - in quite rudimentary form - a workflow implementation. Assessment result: Requirement not fulfilled! The requirement is assessed as not fulfilled, as a call-up may be generally possible via the console mode, but the creator of the installation package is left with the entire implementation of the processing/response of the incoming signals. Automated Pre- and Post-Install Tests The automation of pre- and post-build tests can be realised via the definition of actions in InstallAnywhere. Since InstallAnywhere offers starting points for the implementation or pre- and post-installation interventions from within the AdvancedDesigner, implementations are relatively easy and user interface-controlled. So-called action groups could be formed to improve ease of use, which would have several subordinate actions. These action groups could then be assigned topic-related names to clearly cluster various topic areas. Direct call-ups of individual test classes and/or individual command lines for tests of the environment or the implementation of test scripts are easily implemented via this mechanism and the embedded logic. This toolbox provides all the options for the creation of test instances a developer could ever need. It also offers complete decision freedom in terms of how the test call-up should be implemented. Assessment result: Requirement fulfilled! Based of the great variety of embedding options for test call-ups in the installation, the developer has the broadest possible freedom to implement even the most complex test plans in the various installation steps. Overview of the Analysis Results InstallAnywhere by Flexera overall leaves a very positive impression. In particular the ever-present AdvancedDesigner, which allows easy implementations for even the most complex projects via its clear and user-friendly graphic interface, is very convincing. The logical subdivision into project-relevant settings and the organisation of the project, as well as the subdivision of installation steps in pre-installation, installation, and post-installation, round off the picture for this highly intuitive tool. The continuously surfacing interplay of properties and the omnipresent actions and rules allow a relatively painless implementation of a variety of installation requirements. Specifically the actions and the options for self-developed expansions and integrations of custom actions by third party providers embedded therein, make the performance spectrum of this tool virtually endless. With increasing complexity of an installation project, however, a certain lack of clarity may arise in terms of what requirements are implemented in which tabs, as no complete overview of the installation and the completed adjustments is available. In conclusion it can be said that InstallAnywhere primarily serves the segment for standalone installation packages. The tool is perfectly suited for that purpose. Also the multi-platform package creation capability, controlled by a central project file, is a clear plus in terms of the implementability of InstallAnywhere. The analysis does, however, also show that the tools do not allow ‘looking beyond one’s own nose’, meaning that an implementation in fully integrated environments is simply not supported. In particular the missing integration in central build and management platforms, the only very rudimentary platform independence, and the comparatively weak support for cluster environments must be mentioned here. For an implementation in fully automated Enterprise environments with their high requirements in terms of platform independence and seamless integration in pre-defined systems and environments, we can only recommend this tool with reservations. Particulars of InstallAnywhere: • Link to website: • Link to Blogs, white papers etc.: • License costs: Single workplaceversion from €4019 to InstallAnywhere Cloud Pack Edition €6696 Collaboration Packs: 1-Pack + €359, 10-Pack €3039 • Integration in Eclipse or Microsoft Visual Studio available. Reference for avato`s integration approach: • avato Whitepaper: • avato notes: • avato notes: Do you have any further questions? Contact: Contact detail Date: October 2012 Author: Andreas Fränkle Contact: © 2012 avato consulting. • and later • and later •.3 and later • • • • 10 and later • 18 and later • 9 and later Available in English Website InstallAnywhere is a for creating or, for multiple platforms. It can also be used to create for Linux platforms using an existing. InstallAnywhere was originally made by Zero G Software until it was acquired by in mid-June 2005. With Macrovision's sale of their software group InstallAnywhere is now owned and supported by Acresso Software. There are two editions of the software, Premier and Professional. With InstallAnywhere 2012 release onward, there is an additional Cloud Pack available for creating Virtual Appliances. In October 2009 Acresso Software announced its name change to. History [ ] InstallAnywhere's main competitor was MP (MultiPlatform). However, as Macrovision acquired both InstallShield and InstallAnywhere, it stopped the development of InstallShield MP and encouraged its users to migrate to InstallAnywhere 8. Similarly, there was an InstallAnywhere version that competed with InstallShield, called InstallAnywhere.NET (Windows only) based on a product acquisition from ActiveInstall. Again, Macrovision announced its right after the Zero G acquisition, and encouraged InstallAnywhere.NET users to migrate to. See also [ ]. I am trying to uninstall an application which is using InstallAnywhere. Buy Auto FX Software AutoEye Gen 1 (Download) features Visual Effect Enhancement Solution, Created for One-Click Automation. Review Auto FX Software Photo Software, Photo & Web Software. OFFICIAL B&H $1,000.00 GIFT CARD DASH SWEEPSTAKE RULES NO PURCHASE IS NECESSARY TO ENTER OR WIN. The B & H $1,000.00 Gift Card Dash (the 'Sweepstakes') is void where prohibited by law and is sponsored by B&H Foto & Electronics Corp., 440 Ninth Avenue, New York, NY 10001 ('Sponsor'). It is not sponsored or endorsed by Facebook or Twitter in any way. Entry Period/Methods of Entry. The Sweepstakes will run from on or about December 4, 2017 until on or about December 31, 2017 (the 'Entry Period'). Entries received outside the Entry Period are void. Enter the Sweepstakes via either one of the following methods. 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Entries owned by a third party, or the use of any trademarks, service marks, logos, brands, or products owned by a third party are not acceptable for entry into the Sweepstakes. Limit 1 entry per person, per day. Winner Selection/Prizes/Odds. The B&H Social Team will randomly select a winner from among all eligible entries every Monday during the Entry Period, for a total four (4) winners (each a 'Winner'). Each Winner will receive a B&H Gift Card pre-valued in the amount of $1,000.00. No cash or other substitutions will be offered. Winner selection is in the sole and absolute discretion of the B&H Social Team. Any taxes are the sole responsibility of the winner. Winners will be notified and receive their prize at the email address associated with the account to which their Entry was posted or the email account provided with a mail-in entry. The odds of winning depend on the number of eligible entries received. Identity of Winners/Eligible Participants. Winners will be identified by the email account associated with the Facebook or Twitter account from which their Entry was submitted or the email account provided with a mail-in entry. An email account holder shall mean the natural person assigned to such email account by the internet access or online service provider or other organization responsible for assigning email addresses for the domain associated with such email account. Any issues regarding the identity of a Winner shall be resolved by Sponsor in its sole discretion. The Sweepstakes is only open to residents of the United States that are at least eighteen (18) years of age on their entry date and is not open to employees of Sponsor, their immediate family, any person domiciled with such employees, or any affiliates or subsidiaries of Sponsor. Entry Ownership/Entrant Agreements. Entrants retain full ownership and copyrights to their Submission. However, by entering the Sweepstakes entrants grant Sponsor permission to use their Entries for promotional purposes on their respective social media channels with proper credit. This AutoEye Gen 1 software download from Auto FX Software is an automated visual effect enhancement solution that allows you to improve digital images by rebuilding color, detail, sharpness, and image vibrancy--resulting in superb clarity and color fidelity. It also works on digital scans of print images. Adjustments allow you to restore realistic depth of field and create various other effects, such as grainy, artistic looks. Improvements to the software's code allow the program to handle images over 7000 pixels with greater stability. Auto FX designed AutoEye Gen 1 for one-click automation. It does not use standard curves and histograms to adjust images on a global basis within the RGB or CMYK color parameters, but rather, utilizes alternate methods intended to make digital image enhancements easier to achieve. The patented IVIT (Intelligent Visual Imaging Technologies) are designed to analyze the pixels in your photo and determine the best enhancement solution and method to bring out the color and sharpness that will make the photo look great. Quickly and effectively sharpen and rebuild the details lost in your digital images. The software also includes a selection of instant preset effects, which help you combine multiple effects and creative techniques together more quickly. You can also design your own presets and save them for later. Benefit from a simple interface that's user-friendly whether you're a novice or an expert, with easy-to-use master controls. Each slider and control has full-length tool-tips for reference, as well. The software doesn't require any special skills or techniques for use. AutoEye Gen 1 works well as a stand-alone program or a plug-in filter accessible under the filters menu in Adobe Photoshop, and is also compatible with Photoshop Elements, Corel Draw and Corel Paintshop Pro. It can run on Mac and Windows operating systems. Grain Controls Grain Controls add grain, or noise, to images to create desired effects, such as film imitation, a nostalgic look and feel, washed-out colors, or other artistic touches. Sensor size, pixel density, exposure time and shadow all play a role in determining the amount of grain/noise that can show up in digital images. Rebuild Color Effects Rebuild Color effects can be used to even color tones and balance in your images. Adjust the Over/Under Exposure to correct overly whitened and washed-out or excessively darkened and unclear images. Draw out details lost due to too much or too little light at time of image capture, and sharpen fine details for a crisp, polished finish. Rebuild Detail Effects Use Rebuild Detail to sharpen the finest details of your images, bringing out the perfect balance of blacks, colors, textures, patterns and more. Greater sharpness and clarity can also help restore realistic depth of field. Point to the general direction of the area of interest in the image, then pan to pinpoint it, make adjustments, and crop your perfect frame. Handling High-Res Images Improvements to the software's code allow the program to handle images over 7000 pixels with greater stability. Ease of Use Designed for one-click automation. Does not use standard curves and histograms to adjust images on a global basis within the RGB or CMYK color parameters, but rather, utilizes alternate methods intended to make digital image enhancements easier to achieve. Avoid jumping from one dialog menu to another and then back again, trying to search for the right combination and order of adjustments to perfect your shots. Intelligent Visual Imaging Technologies Patented IVIT (Intelligent Visual Imaging Technologies) are designed to analyze the pixels in your photo and determine the best enhancement solution and method to bring out the color and sharpness that will make the photo look great. Quickly and effectively sharpen and rebuild the details lost in your digital images. Presets Includes a selection of instant preset effects, which help you combine multiple effects and creative techniques together more quickly. You can also design your own presets and save them for later. Click 'Select Preset' and you are there. The roll-over before/after preset controls display examples of how the effect will look after it's been applied. Customized User Created Presets can feature just one effect or several stacked together. Enjoy a wide array of options for creativity and control. Interface and Controls Simple interface with easy-to-use master controls. Each slider and control has full-length tool-tips for reference. Simply hold your mouse over an item and instantly see a description of its function appear. Integration with other Software Works well as a plug-in filter accessible under the filters menu in Adobe Photoshop. Saving in Adobe Photoshop format as a plug-in will export the effect layers into a single transparent layer in an Adobe Photoshop native document. AutoEye Gen 1 is also compatible with Photoshop Elements, Corel Draw and Corel Paintshop Pro. OS Compatibility Runs on Mac and Windows operating systems. Review of Auto FX Software's AutoEye 2.0 AutoEye is a plugin for Adobe Photoshop as well as a stand-alone application. It's purpose is to take images, especially digital ones, and automatically improve them by 'rebuilding color detail, sharpness, and image vibrancy.' It supports Adobe Actions and Layers; it supports.psd,.tif,.bmp,.jpg,.gif,.png file formats. It is optimized for single or dual processor machines on both the Mac and Windows platforms and is optimized for G4s and runs 100% native in OS X. The system requirements from the manufacturer are: 'AutoEye 2.0 works as both a plug-in and as a stand alone application for Windows 98/NT/2000/ME/XP/Vista or on any G3 or G4 Macintosh system running OS 9 - OS X (including leopard).' 'AutoEye 2.0 supports Adobe Photoshop 4.0 - CS3, Photoshop Elements 1.0 and higher, Corel Paint Shop Pro 7.0 and higher and Corel Photo Paint 9.0 and higher as well as Corel Draw 9.0 and higher.' I am testing it on a PC using Windows XP and Photoshop CS3. I, also, installed it on my laptop with Vista Ultimate. First let's look at the interface. The colors of the interface can be changed. Notice the circlular button icon with the dots in it. You can save every change you make by clicking on a dot. This gives you the opportunity to go back to different versions. There are three major control panels on the interface: Enhancement, Color, and Creative. When you open the interface, the Automatically Enhance is checked and the Enhance Strength is set to 0. These settings don't have to be used automatically. You can uncheck the automatic feature and make corrections manually. These are some of the same features as found in Photoshop, but they are placed together for easier access. Especially if you are new to image editing, it can be a help. Also, this program comes as a stand-alone as well as a plugin. You get both when you purchase the product. There is also a set of presets available for applying to the image. I did most of my testing with Automatically Enhanced checked because to me that is the basic purpose of the program. I found out two things that are of prime importance. When you have a well exposed picture, Automatically Enhanced will turn the blue, be it sky or water to a blue-purple. However, AutoEye 2 works very well with poorly exposed images, images with bad color casts, etc. When you have a really badly exposed picture, Automatically Enhanced does wonders. If you add to the Auto part minor enhancements such as Brightness from the Color Panel and other minor changes, you can correct your images very well. So I have set up the review to show how it works on well exposed pictures and poorly exposed pictures. I took a number of the latter, which will first be discussed. Poorly Exposed Pictures This image was very underexposed on purpose. Automatically Enhanced Plus means that I have added other features of AutoEye 2 such as brightness. This image was overexposed on purpose. To the original photo I added a magenta cast to see how well it would be removed. I manipulated the Automatic Enhancement features but did not use any of the other controls. To the original photo below I added a yellow cast and tried different techniques to remove it. I was easily able with minimum experimentation to remove the yellow cast. As you can see, one can apply a number of adjustments together. Below is a useless image in its original state. I worked very quickly with various controls to get the two modified results. Even more could have been done, but this shows how it is possible to change a useless image into one that is decent. It is easy to see the capabilities of AutoEye 2 when working with poor photos. However, as I stated, when I worked with good photos - well exposed and with no casts, I had other results. Of course, these 'good' photos needed very little tweaking or none at all. Well Exposed Pictures I tested the well exposed pictures in Vista as well to see if maybe there wouldbe a difference. The results were the same. I found that when Automatically Enhanced was checked, all my images, especially of the sky and water had a blue-purple look. The image below shows the original, an automatic variation, and a modification to the automatic variation. The original image was the most accurate, but the grass in the modified image looks the 'zippiest'. The next test was with a portrait where the face was too red. I wanted to see if the red would be automatically desaturated. The opposite happened. Also, if the Automatically Enhanced is checked, it will change a neutral gray to a blue-purple. I, then, took the original into Adobe Photoshop Elements 6 to see how its automatic features would work. If I used only the Auto Smart Fix, I got a slightly bluish tone. If I used all the automatic controls, it returned to the original but brighter. The siding on the house was gray. Lastly, I took the original and in Photoshop CS3 applied curves to lighten it and then desaturated the red. That looked best of all. To make sure that these results were accurate, I printed both the original and modified version using my Epson Stylus Photo R2400 and Photoshop CS3 settings for the printing. The print and the images on the screen were in unison. The last Auto Control I tested was changing the Enhance Strength. Changing it did change the blue-purple haze. Raising it to 1 eliminated some of the color change but increased the sharpness too much. At a larger size, the mountains looked too sharp against the sky. The program can, also, be used to create interesting effects. For example, under the Creative panel, I can choose Tonal and then either the composite of the RGB channels or individual channels. In the example below I chose Harden details. While the program supports layers, it does not support selections. If you just work with a selection in a layer, once you exit the program, the background of that layer is no longer transparent. You can work on any layer in your Photoshop Layer's palette, but you need that layer not to have transparent areas if you don't want them to turn white. Below are some examples where I manipulated the Tonal Range, Color Channel, and Grain using the Creative Panel. To sum up my findings: if your photo looks good, don't use Automatic Enhancement tools anywhere. If you want to fix it, disable Automatic Enhancement and use the other two panels - Color and Creative. You can get some interesting effects and change your image that way. On poorly exposed photos or those with casts, AutoEye 2 can turn them into useable or very good photos depending on how poor the original was. You can use the Automatic Enhancement and, then, if you wish, add other enhancements to the image by combining tools from the other panels. A can be downloaded from the Auto FX site. I always recommend that.The full version of AutoEye2 costs $129 and the upgrade from 1 costs $79. This same link will give you more information on this product. More detailed information can be obtained from the. There are many good plugins available from Auto FX and many examples of how they can be used on the site under programs. In addition, you can become a member of Auto FX and download textures and fonts. For reviews of other Auto FX Software products go to the following URL's. From Offers professional designers a new way to make photos look their very best by reclaiming lost color and detail in any photo. When you convert your photos to CMYK and your colors turn flat and lifeless, use AutoEye to regain what you have lost. If you have an under exposed photo or a photo with details in dark areas, use AutoEye to bring out the hidden detail without blowing out the highlights in your images. Utilizes patented I.V.I.T. (Intelligent Visual Imaging Technology). Improves professional scans from the highest end scanners on the market. Automatic batch processing makes handling lots of images a snap. Scanned images from printed material automatically. Works in any program that supports Photoshop plug-ins including PaintShop Pro, Corel PhotoPaint and Draw, Photoshop 3, 4 & 5 + others. |
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