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Computer software (or simply software) refers to one or more computer programs held in the storage of a computer for some purpose. Program software performs the function of the program it implements, either by directly providing instructions to the computer hardware or by serving as input to another piece of software. The term software was first used in this sense by John W. Tukey in 1957; colloquially, the term is often used to mean application software. In computer science and software engineering, computer software is all information processed by computer system, programs and data. Computer software is so called in contrast to computer hardware, which is the physical substrate which stores and executes (or "runs") the software. For other uses of the word software see Software (disambiguation). System and application software Computer science divides software into two major classes: system software and application software. System software helps run the computer hardware and computer system. It includes operating systems, OEM NFS warez device drivers, programming tools, servers, windowing systems, utilities and more.
Application software allows a user to accomplish one or more specific tasks. Typical applications include office suites, business software, educational software, databases and computer games. Most application software has a graphical user interface (GUI). Users see three layers of software Users often see things differently than programmers. People who use modern general purpose computers (as opposed to embedded systems) usually see three layers of software performing a variety of tasks: platform, application, and user software. Platform software Platform includes the basic input-output system (often described as firmware rather than software), device drivers, an operating system, and typically a graphical user interface which, in total, allow a user to interact with the computer and its peripherals (associated equipment). Platform software often comes bundled with the computer, and users may not realize that it exists or that they have a choice to use different platform software. Application software Applications are what most people think of when they think of software. Typical examples include office suites and video games. Application software is often purchased separately from computer hardware. Sometimes applications are bundled with the computer, but that does not change the fact that they run as independent applications. Applications are almost always independent programs from the operating system, though they are often tailored for specific platforms. Most users think of compilers, databases, and other "system software" as applications.
Landscape Alternatively, the genesis of the western concept of landscape is tied to the discovery of linear perspective and map-making. It is not true, however, that understandings of landscape, even within western culture, are necessarily formed around concepts of untouched nature or which locate the observer (as in the trope of the painted landscape) outside of the picture, the landscape itself. For many people, the dense mesh of city buildings is their landscape and their art may reflect this. For others, human intervention in the natural world may be seen as the ideal environment and "visual pleasure" may be brought about by views of cleared tracts of land juxtaposed with threatening wilderness. The actual word "Landscape" is derived from the Dutch, "Landschap" or German "'Landschaft' meaning a sheaf, a patch of cultivated ground, something small-scale that corresponded to a peasant's perception, a mere fragment of a feudal estate, an inset in a Breugel landscape. This usage had gone out of vogue by the eleventh century, replaced by words that corresponded to the larger political spaces of those with power - territoire, pays, domain. And then in the seventeenth and eighteenth centuries it re-emerged, tightly tied to a particular 'way of seeing', a particular experience, whether in pictures, extolling nature or landscaping an estate." (B. Bender in Landscape: Politics and Perspectives 1995:2) Through tracing the history of the term we come to see that even within the realm of art, it is tied to politics and power of conceptual organization, ownership and perspective. That landscape painting as form of representation was established in 15th century Italy and Flanders was due to new politics of vision. In fact, landscape, be it used to describe a genre of painting or the world we locate ourselves within, is never empty, never just a 'vista'. And, equally as significantly, never only experienced visually.
Depictions of nudityIn 19th-century Europe, it was common to have two paintings of the same subject for the same place on the wall. Depending on which guests were visiting, one or the other was shown. The depiction of nudity in art has generally conformed - at least to some extent - to social standards for public nudity; in cultures where nudity was accepted, nude figures in painting and sculpture were as well. However, some cultures have tolerated artistic nudity more than actual nudity, with a different set of standards of what is acceptable. As social attitudes about artistic nudity have changed, this has sometimes led to conflict over art that no longer conforms to prevailing standards. For example, the Roman Catholic Church once organized the so-called fig-leaf campaign to cover nudity in art, starting from the works of Renaissance artist Michelangelo. The nude has become an enduring genre of representational art, especially painting, sculpture, and photography. It depicts people without clothes on, usually with stylistic and staging conventions that distinguish the artistic elements (such as innocence, or similar theatrical/artistic elements) of being nude with the more provocative state of being naked. A nude figure is one, such as a goddess or a man in ancient Greece, for whom the lack of clothing is its usual condition, so that there is no sexual suggestiveness presumed. A naked figure is one, such as a contemporary prostitute or a businessman, who usually wears clothing, such that their lack of it in this scene implies sexual activity or suggestiveness. The latter were rare in European art from the Medieval period until the latter half of the 1800s; in the interim, a work featuring an unclothed woman would routinely identify her as "Venus" or another Greco-Roman goddess, to justify her exposure.