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Play time warp song when mage time warps6/24/2023 ![]() We’ve also added a new talent “Concentrated Power” which gives more purpose to your Clearcasting and Arcane Explosion while in AoE heavy fights. This talent should give a much-needed way to both send out some consistent AoE damage while also giving a steady stream of Arcane Charge generation when fighting large packs. Orb Barrage now gives your Arcane Barrage a chance per Arcane Charge spent to hurl an Arcane Orb at your target. We’ve reworked Orb Barrage capstone talent into something a little more consistent and likely familiar to Legion Arcane players. To combat this, we’ve shifted a few things baseline most notably Arcane Barrage and Clearcasting and updated the pathing on a few talents. Arcane also has a few talents that offer a variety of utility but felt inaccessible based on their position on the tree, pathing in the tree, or lack of points after filling out their chosen build. Going into Fractures in Time, we want to focus on giving Arcane Mages a more consistent way to deal AoE damage without having to rely on Touch of the Magi or Radiant Spark windows where quick mob deaths or movement can greatly hinder their performance. ![]() The other two talents are a choice node for Mass Invisibility and Mass Barrier which as the names imply allow you to cast Invisibility on your nearby allies or cast your Specialization’s Barrier on up to 3 nearby allies. Ice Cold is a talent that modifies your Ice Block so you are able to cast while it is active, but you are no longer immune to damage and instead take greatly reduced damage for a shorter duration. We have 3 new capstones available which offer a different variety of gameplay choices based on the content you might be running. The goal here with the new structure is to offer a little more flexibility within the class tree and feeling less mandatory to pick up both Shifting Power and Time Anomaly/Temporal Warp choice node. The tree is now structured to offer 3 capstones with the center capstone (Time Anomaly/Temporal Warp) offering the only throughput and the left and right capstones offering different utility or survivability for you to consider based on the content you might be running. The difference in damage throughput and utility/survivability at the capstone level has proven to be somewhat problematic for Mage and their ability to feel free to customize their tree as they see fit. At the moment, Mage’s capstones have a wide variety of power that offer different levels of throughput or survivability and utility. The total number of capstones has been reduced from 5 to 3. While the overall structure of the class tree has changed, we’ve made a few key adjustments that should allow for a little more customization when spec’ing into your class tree. While we expect it to be a large adjustment at first, we’re confident that this will be an overall boon for Mages in the future. ![]() By removing Rune of Power we’re able to shift more of the Mage’s damage into their abilities baseline while also leaving us room to further amplify their big cooldowns (Arcane Surge, Combustion, and Icy Veins) if necessary. In Raid, Mythic+, and PvP, having a player commit to a small space for 12 seconds is a large ask and one that just doesn’t feel fun to play around, as frequent as Rune of Power is. Fighting within a Rune of Power is almost mandatory to maximize your damage as a Mage and any sort of mechanic that forces you out of it for a prolonged period of time ends up feeling incredibly punishing to your overall throughput. While the decision to remove Rune of Power wasn’t easy, we feel it is best for the long-term health of the class. We’re removing Rune of Power from the class tree and shifting some of its loss power directly into all Mage abilities that deal damage. We’ll highlight some of those larger changes below. In Fractures in Time, we’re making a few changes such as making some abilities baseline, removing Rune of Power, a slightly new tree layout, and adding 3 new capstone abilities to replace Shifting Power and Meteor. This is due to the nature of their current capstones and how impactful and important they are to the overall rotation for each of the specs. The current Mage class tree has a variety of talents which offer a variety of utility and survivability talents options, but with its current layout, a lot of that choice feels difficult to navigate. Below, we’ll cover some high-level changes as well as our plans moving forward. We’re also working on changes for Fire and Frost in future PTR builds. In the Fractures in Time PTR, we have some updates coming to both the Class and Arcane talent trees. Adobe flash player 20216/24/2023 Still, the Projector may give you a little extra time to view SWF files, especially if you want to implement a conversion plan like the one described by Paul Wilson. Since the January 12 plan to block Flash content seems to pertain to the Flash Player plugin (for web browsers), the Flash Player Projector shouldn’t be affected – although it will no longer be supported. I’ve downloaded Adobe Flash Player Projector, which enables me play Flash content on my computer (by entering the URL where the SWF file is located, or browsing to a SWF file on my computer). So what happens if you need to view a SWF after January 12? On January 12, 2021, Adobe will block Flash content from running Flash Player. If you’ve read the full announcement from Adobe, you know that although support for Flash ends after today (December 31, 2020), another important date is just around the corner. In either case, having the ‘old’ module gives me a better idea of my clients’ perspective.Īnd in the case of one client, who didn’t have any of the original graphics or build files for their Flash module, I relied heavily on the SWF file (which only played in IE11) as a model for rebuilding complicated graphics and arcade-style learning games. Sure, some clients may want to update some content or graphics, while others want a complete overhaul. This is a concern for me, because when I’m working on updating or rebuilding modules, I like to take a look at what was done in the past as part of my analysis. ![]() So what do you do when a client asks you to take a look at a module, but you can’t find a browser to view it on? While this work has kept me quite busy this year, I know that there is still old Flash content out there that has yet to be converted. ![]() If you are working on converting or rebuilding Flash e-learning modules, then you know that today, December 31, 2020, is the end of life for support for Adobe Flash Player. Matlab filter designer tool6/24/2023 The location of the following two configuration files (copied to user space) can be checked via the tab Files -> About: Installation from PyPI works the usual way, required libraries are installed automatically if missing: As pyfda is a pure Python project (no binaries, no compilation required), you can install pyfda using one of the following options: pip There is only one version of pyfda for all supported operating systems, Python and Qt versions. Unless running a binary, you need to have a working Python installation on your computer, preferrably including the libraries listed above. xlwt and / or XlsxWriter for exporting filter coefficients as *.xls(x) files.docutils for rich text in documentation.The following libraries are required and automatically installed by pip when missing. All operating systems - there should be no OS specific requirements.Some Linux distros have built-in flatpak support, for others it's easy to install with e.g. For details, see INSTALLATION.md.Ī flatpak (Linux only) for pyfda is available on Flathub. No additionaly software / libraries need to be installed. The binaries don't modify the system (except for two ASCII configuration files and a log file), they self-extract to a temporary directory that is automatically deleted when pyfda is terminated (except when it crashes). ![]() Binaries / BundlesĬurrently, binaries (created with pyInstaller) are provided for 64 bit Windows and for OS X. ![]() Pyfda source code ist distributed under a permissive MIT license, binaries / bundles come with a GPLv3 license due to bundled components with stricter licenses. Fixpoint filter implementations (for some filter types) can be simulated and tested for overflow and quantization behaviour in the time and frequency domain. Pyfda is a tool written in Python / Qt for analyzing and designing discrete time filters with a user-friendly GUI. Becoming an iconographer6/24/2023 ![]() He is the curator of The Mount Athos Art Archives, which functions under the auspices of Simonos Petra Monastery and deals with contemporary artistic production related to the Holy Mountain. Alongside painting Kampanis also engages in art historical academic research, which has led him to book editing and curating exhibitions. A major recurring theme of his work has been Mount Athos, which in 2010 became the focus of a major retrospective in the Byzantine Museum, in Athens. The subject matter of his work is broad, encompassing landscape, still life, figuration, and also the exploration of materials and the painting process itself. In 1984 he participated in the 15th Biennale of Alexandria. He has exhibited widely in both one man and group exhibitions in Greece and abroad. ![]() He is mainly a painter but also works with printmaking, book illustration and church murals. Kampanis was born in Athens in 1955 and studied painting in London where he lived until 1980. Markos Kampanis, The Last Supper Table, 2005. In short, for Kampanis the inherent principles of painting (harmony, rhythm, color, value, line and form, etc.) can serve as a bridge across historical and cultural realms. For him there is no conflict or contradiction, but a complementary dialogue between parallel histories of painting, Byzantine and Modern, that serves to fertilize and fuel his creative oeuvre. At times traces of these pictorial elements might appear organically in his iconography, or conversely, his uncontrived command of iconographic principles might occasionally appear in his non-liturgical work. He has thoroughly integrated within himself a whole gamut of 20 th-century painting techniques and styles: realism, impressionism, post-impressionism, expressionist, “primitivism”, abstraction, pop, etc. Thus in Kampanis we simultaneously find the rudiments of Modern painting and the iconographic Tradition converging seamlessly. That is, his “innovation,” is not to be confused with “modernist” or anti-traditional subversion, but is rather to be understood as a penetrating and creative interpretation, of the timeless pictorial principles that tie together the best icon painting throughout the centuries. Hence, as the curators of his major retrospective “Painting in Athos 1990-2008” have put it, “…Markos Kampanis is one of the innovators of our ecclesiastical painting based firmly on the tradition, he doesn’t imitate it but he creates a personal painting style.” There is no question that Kampanis is an iconographer who treats Tradition not so much as a thing of the past, but rather as an ever-renewing living reality, ever present, palpable and accessible today, as it was for the ancient masters. But what makes him even more interesting and relevant for us is the fact that he is not just a contemporary painter but also an iconographer of considerable creative potency. Markos Kampanis comes to mind as a refreshing example of an artist that had done just that. To pull off such a feat of artistic independence might seem untenable, almost a recipe for career suicide, but I would rather call it a heroic sacrifice. In this scenario the brave ones go against the grain and define their own terms independently, without pandering to the establishment. So it is understandable how an artist, seeking a niche within the cutthroat competitive world of contemporary art, would feel the pressure or compelled to conform to the demands of the main stream gallery market and its dogmatic, postmodern critical discourse. Ironically, although the avant-garde might have shattered the stifling shackles of the Academy, it has now itself become another form of restrictive academy, forming an inextricable ideological component of our galleries and museum institutions. We often forget that our contemporary art, although the offspring of the 20th century revolutionary avant-garde, has its own set of artistic dogmas, its form of “orthodoxy”, so to speak. A Matter of ‘Ethos’: An Interview with the Painter Markos Kampanis |