Home Assistant offers four different installation methods. We recommendusing Home Assistant Operating System. Other methods are available forexperienced users for their specific needs, for example, running HomeAssistant in a virtualized environment (e.g. Proxmox), or on top of anexisting operating system (e.g. Windows, macOS, Linux):

Note that while these installation methods may provide somefeatures for advanced users, they may also have some major limitations.For example, add-ons and other important Home Assistant features may not be available.

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Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The genre incorporates a broad range of everyday and natural materials, which are often chosen for their "evocative" qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created, appealing to qualities evident in a three-dimensional immersive medium. Artistic collectives such as the Exhibition Lab at New York's American Museum of Natural History created environments to showcase the natural world in as realistic a medium as possible. Likewise, Walt Disney Imagineering employed a similar philosophy when designing the multiple immersive spaces for Disneyland in 1955. Since its acceptance as a separate discipline, a number of institutions focusing on Installation art were created. These included the Mattress Factory, Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI, among others.

Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Schwitters' Merz art objects, rather than more traditional craft based sculpture. The "intention" of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form. Early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow.Wolf Vostell shows his installation 6 TV D-coll/age in 1963[3] at the Smolin Gallery in New York.

Essentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a "neutral" wall or displaying isolated objects (literally) on a pedestal. This may leave space and time as its only dimensional constants, implying dissolution of the line between "art" and "life"; Kaprow noted that "if we bypass 'art' and take nature itself as a model or point of departure, we may be able to devise a different kind of art... out of the sensory stuff of ordinary life".

The conscious act of artistically addressing all the senses with regard to a total experience made a resounding debut in 1849 when Richard Wagner conceived of a Gesamtkunstwerk, or an operatic work for the stage that drew inspiration from ancient Greek theater in its inclusion of all the major art forms: painting, writing, music, etc. (Britannica). In devising operatic works to commandeer the audience's senses, Wagner left nothing unobserved: architecture, ambience, and even the audience itself were considered and manipulated in order to achieve a state of total artistic immersion. In the book "Themes in Contemporary Art", it is suggested that "installations in the 1980s and 1990s were increasingly characterized by networks of operations involving the interaction among complex architectural settings, environmental sites and extensive use of everyday objects in ordinary contexts. With the advent of video in 1965, a concurrent strand of installation evolved through the use of new and ever-changing technologies, and what had been simple video installations expanded to include complex interactive, multimedia and virtual reality environments".

In "Art and Objecthood", Michael Fried derisively labels art that acknowledges the viewer as "theatrical" (Fried 45). There is a strong parallel between installation and theater: both play to a viewer who is expected to be at once immersed in the sensory/narrative experience that surrounds him and maintain a degree of self-identity as a viewer. The traditional theater-goer does not forget that they have come in from outside to sit and take in a created experience; a trademark of installation art has been the curious and eager viewer, still aware that they are in an exhibition setting and tentatively exploring the novel universe of the installation.

The artist and critic Ilya Kabakov mentions this essential phenomenon in the introduction to his lectures "On the "Total" Installation": "[One] is simultaneously both a 'victim' and a viewer, who on the one hand surveys and evaluates the installation, and on the other, follows those associations, recollections which arise in him[;] he is overcome by the intense atmosphere of the total illusion". Here installation art bestows an unprecedented importance on the observer's inclusion in that which he observes. The expectations and social habits that the viewer brings with him into the space of the installation will remain with him as he enters, to be either applied or negated once he has taken in the new environment. What is common to nearly all installation art is a consideration of the experience in toto and the problems it may present, namely the constant conflict between disinterested criticism and sympathetic involvement. Television and video offer somewhat immersive experiences, but their unrelenting control over the rhythm of passing time and the arrangement of images precludes an intimately personal viewing experience. Ultimately, the only things a viewer can be assured of when experiencing the work are his own thoughts and preconceptions and the basic rules of space and time. All else may be molded by the artist's hands.

The central importance of the subjective point of view when experiencing installation art, points toward a disregard for traditional Platonic image theory. In effect, the entire installation adopts the character of the simulacrum or flawed statue: it neglects any ideal form in favor of optimizing its direct appearance to the observer. Installation art operates fully within the realm of sensory perception, in a sense "installing" the viewer into an artificial system with an appeal to his subjective perception as its ultimate goal.

An interactive installation frequently involves the audience acting on the work of art or the piece responding to users' activity.[4] There are several kinds of interactive installations that artists produce, these include web-based installations (e.g., Telegarden), gallery-based installations, digital-based installations, electronic-based installations, mobile-based installations, etc. Interactive installations appeared mostly at end of the 1980s (Legible City by Jeffrey Shaw, La plume by Edmond Couchot, Michel Bret...) and became a genre during the 1990s, when artists became particularly interested in using the participation of the audiences to activate and reveal the meaning of the installation.

With the improvement of technology over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past.[5] The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on the reaction to the audiences' movement when looking at the installations. By using virtual reality as a medium, immersive virtual reality art is probably the most deeply interactive form of art.[6] By allowing the spectator to "visit" the representation, the artist creates "situations to live" vs "spectacle to watch".[7]

WordPress is well-known for its ease of installation. Under most circumstances, installing WordPress is a very simple process and takes less than five minutes to complete. Many web hosts now offer tools (e.g. Fantastico) to automatically install WordPress for you. However, if you wish to install WordPress yourself, the following guide will help.

The following screenshots show how the installation progresses. Notice that in entering the details screen, you enter your site title, your desired user name, your choice of a password (twice), and your e-mail address. Also displayed is a check-box asking if you would like your blog to appear in search engines like Google and DuckDuckGo. Leave the box unchecked if you would like your blog to be visible to everyone, including search engines, and check the box if you want to block search engines, but allow normal visitors. Note all this information can be changed later in your Administration Screen.

The following are some of the most common installation problems. For more information and troubleshooting for problems with your WordPress installation, check out FAQ Installation and FAQ Troubleshooting.

Check to make sure that your configuration of your web-server is correct and that the MySQL plugin is getting loaded correctly by your web-server program. Sometimes this issue requires everything in the path all the way from the web-server down to the MySQL installation to be checked and verified to be fully operational. Incorrect configuration files or settings are often the cause of this issue.

The following are quick installation steps in a single copy and paste group based on whether you use 64-bit Linux or Linux ARM that provide a basic installation. For guided instructions, see the steps that follow.

To update your current installation of the AWS CLI, add your existing symlink and installer information to construct the install command using the --bin-dir, --install-dir, and --update parameters. The following command block uses an example symlink of /usr/local/bin and example installer location of /usr/local/aws-cli. 589ccfa754

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