Avantes offers its proprietary software package, AvaSoft, for instrument control of AvaSpec spectrometers and Avantes accessories and to select user-definable data collection parameters. Data can be displayed and stored in multiple formats as well as exported into other data processing software.
AvaSoft offers several application-specific modules that can be added separately or as part of the AvaSoft-ALL upgrade. These modules allow users to add only what they require for advanced application-specific measurements beyond the capabilities supported in the Basic or Full software packages. These modules include Thin Film, Raman, Irradiance, Color, and Chemometry among others.
For customers that wish to develop their own controlling software for Avantes instruments, we offer a comprehensive software development kit for Windows, Linux, and Raspberry Pi.
See all Software OptionsThe fifth live-action adaptation of René Goscinny and Albert Uderzo’s iconic series, Asterix at the Olympic Games (Frédéric Forestier & Thomas Langmann, 2008), is a cinematic anomaly. With a budget of €78 million, it was one of the most expensive French films ever made. Its English dub, produced for international markets and home video, features a vocal cast that includes professional wrestler Triple H (as Asterix), former *NSYNC member Lance Bass (as an Egyptian messenger), and reality star Kathy Griffin. This paper asks: what happens when the irreverent spirit of Gaul meets the equally irreverent—but radically different—sensibility of early 2000s American pop culture?
The English dub of Asterix at the Olympic Games is a fascinating failure—but a failure that reveals the limits and possibilities of localisation. It demonstrates that a dub can be faithful to the tone (irreverent, fast-paced, self-mocking) while being unfaithful to the text . For a French viewer, Asterix fights the Roman Empire. For an English viewer of this dub, Asterix fights the earnestness of European cinema. It is a curio, a time capsule of 2008's obsession with WWE and reality TV, and perhaps the most accidentally postmodern entry in the entire Asterix franchise. asterix at the olympic games english dub
Contemporary reviews were brutal. The Guardian called it "a cultural car crash, albeit one you cannot look away from." DVD Talk noted that "Triple H sounds less like a Gaulish warrior and more like a man reading cue cards at a monster truck rally." The fifth live-action adaptation of René Goscinny and
Translation theorist Lawrence Venuti (1995) distinguishes between foreignisation (preserving the source text's cultural markers) and domestication (adapting the text to the target audience’s norms). Earlier English dubs of Asterix —such as Asterix the Gaul (1967) or The Twelve Tasks of Asterix (1976)—leaned toward foreignisation, retaining French character names, accents, and puns. This paper asks: what happens when the irreverent
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