Amazon’s decision to remove the option to download copies of purchased books is concerning. For many consumers, owning a product that has been fully paid for signifies an unbreakable right. The removal undermines the sense of ownership and reliability that buyers expect, limiting access to their personal digital libraries completely.
IPTCInfo
February 16, 2025
I initially encountered an issue where every time I saved an image's
metadata using IPTCInfo3, a duplicate backup file (with a tilde at the
end) was created, cluttering my directory. To resolve this, I installed the
latest version of IPTCInfo3 directly from GitHub, which includes an
overwrite option. I then updated my code in my application to call: ipt
c_ info. save (options=[ "overwrite" ]). That change successfully
prevented the creation of the unwanted backup file.
Monica Bellucci
February 16, 2025
This photograph, taken in the mid-1990s, features the famous Italian fashion model.
Civilistjävel! Följd
February 15, 2025
Beautifully elusive ghost dubs from Civilistjävel! burst forth with a compelling new LP that arcs from Pole-inspired vapors to crystalline ambient textures, culminating in a closing track featuring cult chamber pop artist Thomas Bush — all new from Fergus Jones' burgeoning FELT label. Following the success of Brödföda (2024) and Jones' solo debut for Numbers, the seven-part suite Följd reliably guides devoted listeners into intimate, imaginary synth landscapes that evoke an uncanny isolationist pastoralism and reflective introspection, echoing traditions from Cluster to Enno Velthuys, Ø, and more obscure Swedish synth influences.
In addition to a farewell piece featuring collaborative vocals by Thomas Bush, the album spotlights Tomas Bodén's rapid, improvisational synth play. His approach gently navigates a realm of softly expansive, aerated analog textures and spongy sub-bass frequencies, crafting what is now recognized as a distinctive signature sound. From the opening strokes to Bush's quietly yearning vocals, Civilistjävel!'s subdued yet melodious instrumental lyricism guides listeners through moments reminiscent of Mika Vainio's classic Kantamoinen, unfolding with frosted-pane synth gazes, a breathtaking 10-minute centerpiece of melting drum machines and synth wooze, perfectly measured dubbed acid in XVII, and an iridescent, blissful escape in XVIII.
