from The happy place

This was a mighty fine weekend. There’ve been some great findings on the flea market I forgot to write about earlier amidst the excitement of me finding the coffee filters.

I found a 2:1 sound system with a powerful subwoofer for the PC for a mere €10. That’s a bargain if I ever seen one.

So yeah that’s just one example of how lucky I am.

I am a very complex figure, however; for even though I am very lucky (apparently) and stable like a fortress, and generally very content with everything, there is a compartment of my brain with a special room.

That room is often inhabited by some or other festering anxiety; if it’s not some fatal or nonfatal disease I worry about, it’s some other things I shall not name here for fear of summoning them back up there again.

I don’t really know how to deal with this; fixing and handling the individual worries just vacants the room and lets the next one in.

Maybe I love life too much, and cling to it too hard, suffocating somehow something something, not sure.

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from Nerd for Hire

V. Castro 141 pages Creature Publishing (2021) 

Tl;dr summary: Teenage girl gets possessed by sin-eating Aztec goddess

Read this if you like: Mesoamerican mythology, folk tales and fairy tales, spiritual horror

See the book on Bookshop

Goddess of Filth is a coming-of-age horror story, and the way it weaves these two genres together is I think the most compelling part of this book. The general gist of the book is that a group of recent high school graduates have a séance and accidentally summon Tlazoltéotl, the titular goddess. One of the friends, Fernanda, is possessed by the goddess. Her best friend who was conducting the séance, Lourdes, takes the lead on helping Fernanda get un-possessed, and serves as the book’s main narrator.

A lot of the themes and tropes that are played with in the course of this plot movements are familiar, but with a twist that makes them surprising and exciting for the reader. Possession is a fairly common horror trope, for instance, but rarely treated quite this way. That it’s an ancient Aztec goddess, for one thing—that’s not a mythology that’s often referenced in a horror context. The relationship between Fernanda and Tlazoltéotl is also approached more from the coming-of-age side. The goddess ends up serving as a kind of mentor figure, helping Fernanda learn her own power and achieve self-acceptance. The expected thing would be that the possessing demon or spirit is the antagonist of the story, but in Goddess of Filth that role is shifted to the creepy priest, Father Moreno, who becomes increasingly disturbing and evil as the characters learn more about Tlazoltéotl, and she shifts from a source of fear to a source of curiosity. 

The reveal of information was very well-controlled throughout this book. I felt like there was just the right amount of detail about the mythology. A part of me was wishing that the reader got to see more of Tlazoltéotl’s story, but on the other hand, omitting the details of that keeps the focus more firmly Lourdes, Fernanda, and the other present-day characters, which ultimately was the right decision for the story. The story maintains high tension and has excellent pacing from beginning to end, and Castro’s restraint with the mythological details that she included helped to build that. I also appreciated the slow build of Father Moreno’s thread, which added a nice little extra twist to ratchet up the tension at the end.  

I wasn’t sure at first how I felt about the use of point-of-view in this book, but I think I’ve decided I like how fluid it is. The third-person perspectives are necessary to tell this story—there are too many moving parts at the end for it to be accomplished with just a first-person viewpoint, and using third-person for Fernanda’s perspective when she’s possessed makes sense. A lot of writers probably would have kept Lourdes’ perspective in a close-third, too, but giving it a first-person closeness does a lot for building Lourdes’ character and voice that would’ve been difficult to achieve otherwise. The reader cares instantly about both Lourdes and Fernanda because we see that initial moment of possession completely through Lourdes’ eyes.

I will admit I was a bit jarred by the switch to third-person at the start of chapter two, or rather by the switch back to 1st-person within the chapter. I think this was primarily because it’s something I’m not used to. Most of the times I’ve seen 1st and 3rd POVs used in the same book they’re more separate and regimented, where in Goddess of Filth the shifts are very fluid. Once I got the feel for what was happening, the transitions felt seamless, and it suits the overall feel of the book.

My only minor quibble with this book is that some of the characters felt a bit peripheral. That initial group of five friends felt like it could have been just 3, or even just Fernanda and Lourdes, without losing anything from the story. There were times that another friend’s name was said and I had to stop and check back to even remember who she was. With a book this short, there just wasn’t any extra pagespace to round them out into full characters, and it left them feeling just kind of...there.

Like I said, though, that’s a very minor critique in what is overall an entertaining and well-constructed book. I’d definitely recommend it for anyone who likes Mesoamerican mythology or character-driven horror, and it’s also worth a study for folks who like exploring unique ways of using point-of-view.

See similar posts:

#BookReviews #Horror #Mythology

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from Elias

For pretty much the first quarter century of my life I've been focused more or less on (the joy of) understanding things and how they work.

Maybe this direction of my curiosity resulted from traumatic experiences of change while I was a young kid.

Very often I had the urge to disassemble things to get a glimpse into their inside. When I won a doll at a raffle in kindergarten, I was curious how it automatically closed its eyes when oriented horizontally and how it made a sound when pressed on the belly.

In my teenage years, it was often my curiosity that drove me to disassemble something that was broken rather than the ability to fix it. However, my focus on the material world also led me into the worldview of materialistic determinism and nihilism, which sometimes felt very frustrating.

A big achievement in my mid-twenties was that I dared to leave the confining comfort of this worldview and eventually realized that mind and matter are two sides of one world and looking at both of them rather than just one of them makes a lot more sense.

Another big achievement was to get to the bottom of the scientific materialistic view and to gain better understanding of the physical structure of life and how the universe, the earth and life on it may have evolved.

While attempting to map out the entirety of the academic disciplines in a gigantic concept map inside a wiki, I found a major blind spot in our academic disciplines.

All of them were fundamentally looking outwards, at natural systems like the Earth, organisms, cells, molecules and atoms (Natural Sciences), at logical systems like Mathematics or computer programs (Formal Sciences), at human behaviour and societies (Social Sciences) and at our applications of for our knowledge, for example in Medicine and Engineering (Applied Sciences).

All of academic disciplines focus on things as objects of our perception, but none of them focus on the individual perceived inwardly.

This was a major epiphany to me, but it still took quite some time for me to process it. In the same year as I discovered this truth (2018) I fell in love with a woman who was insecure and unavailable – just like me – and I didn't recognize this truth until much later, after getting pretty hurt in the process.

In many areas of my life I still find comfort in the well-known process of understanding things outside of myself.

When I bought my car two years ago I read all the manuals I could get my hands on to understand the internal workings of all the hydraulics and mechanics. And the choice for exactly this car was also based on my fascination for exactly this.

Even in my work until today, I still use this drive of curiosity to understand a problem and find creative solutions.

Besides these external achievements – buying my first car and for the first time applying my strengths at work – I've had a few internal achievements that were pretty big.

In the last two years I managed to release emotions I had not allowed myself to feel for a long time. And I learned that feeling emotions and learning what they want to tell us is a lot healthier than avoiding feeling them in the first place.

I also, at least sometimes, found access to a very profound and unconditional joy, a feeling that left me feeling like I'm lacking nothing, and that everything is perfect in this moment just as it is.

From this place of perfect contentment I also realized how much love I have to give and that I would actually be okay with committing to a partner and sharing life in the long term. It was not easy to realize this at the same time as I had to let go of one potential long term partner.

It was almost equally challenging to then fully accept her when she came back to me. A year later I am very grateful that I managed to overcome all resistance that I was still holding against change, especially change that would lead to my life becoming entangled with that of someone else.

I can safely say that deciding to do so has only changed my life for the better and at this moment I am employed in a work that I enjoy and look forward to meet my partner again after being separated from her for almost a month.

In half a year we expect her to give birth to our child, which again, will impose a change to our lives that will challenge my own feelings regarding change, but also bring a whole bunch of new experiences into our lives.

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from The Home Altar

Pen & Pencil Art Cards held in Mint tins

Prayer doesn’t always look like words. Meditation doesn’t always look like soaking in something made by another person. Sometimes, the act of prayer is the spiritual practice of creating without judgment purely to express wonder and devotion. I had the good fortune to enjoy an incredible continuing education session this past week with Liza Hyatt, an art therapist and spiritual director. She reminded us of the power of arts and creativity to unlock our capacity to heal and to grow.

That session was very much in my mind when I gathered up the supplies for making a little portable Stations of the Cross, a devotional practice begun by Franciscans after they became the custodians of the Christian pilgrimage sites in the Holy Land. These artistic renderings of the Passion were meant to be an imaginative journey through Jerusalem during Jesus’ final hours. We were hosting my niece and it was time for some family art making, and I specifically chose to open myself to this particular project.

The fact that many Christians are observing Lent, that I just had a wonderful class on trauma healing through art, and that we were collectively taking time to create, are all kind of incidental to the project I chose.

I say this to offer encouragement, sometimes our creativity needs to be free play, with no objective in mind. Other times, it helps to have an end in mind to help spur our acts of creative mindful presence and contemplative awareness.

I have had the pens for at least a year. The colored pencils have been in my study for even longer. The artist cards are at least five years old. I bought the tins online almost three years ago. Inspiration doesn’t always lead directly into action, or even proper contemplation. Don’t despair of the prayer tools you have thoughtfully assembled and yet haven’t touched.

It’s true that they may need to be given away as a part of the spiritual housekeeping during this season. It’s also possible that they are ready to be transformed now, and therefore you’re being invited to pick them up and play. Discipline should bring peace and anchored energy, not be another source of dysregulating stress.

So it was that I began my journey along the little pocket pilgrimage. Many years after I imagined it. A few years after I gathered the supplies. At a time when it was the moment to be fully present to the beautiful dance that is making, even when the corners are wonky. or the tins need fussing to balance, or it seems that the work needs one more stroke, and then one more.

I’ve been so encouraged by this practice, that I look forward to slowly working my way through the set throughout this season. I can feel myself longing for the focus and the gentleness I experience while working on each piece.

I hope that you find ways to incorporate creativity and expression into your practice. Not as a commodity, or a product, but as the work of your body that brings more joy into the world, whether that comes through making or through some sort of embodied performance.


Take a moment to find something you have made (or a photograph/recording if it no longer exists).

Sit quietly and savor the goodness of bringing something into the world, whether witnessed by many, or only by you and the Divine.

Try to remember the sensations, emotions, thoughts that accompanied that moment of creation.

Savor those as well, and sit with them for as long as they last.

Offer a prayer of gratitude for your creativity before you leave this space.

Breathe deep, and be mindful of opportunities for creativity that come to you in the week ahead.


from StoryGator

Hold my stakes

This week, George was again very lively and active. I could end the narrative with A project of mine ended and calling it a “rough landing” would be quite the understatement but then I play directly in George's hands. You see, it was indeed a “rough landing” but mainly for myself and of course George. And since this is the hub of the wheel, let's have a look on both sides.

So for George and myself:

  • I didn't start on time
  • I basically didn't start at all
  • And without written proof I probably haven't even finished

  • I didn't plan enough
  • I didn't plan at all
  • Even if, my plans aren't good anyway

Each of those two and similar trains of thoughts ultimately spirals down the pit. And the vicious clever communicator that he is, George uses the word “even” at the end of the spiral. The word “even” adds futility to injury. “You didn't do X but even if you had, the outcome wouldn't have been better!”

Why calling this manoeuvre vicious clever? Adding futility to injury removes insult. Who's to blame if the race was a lost cause from the beginning? “Better listen to me next time!” Well no, George, you gaslighting little imp!

Let's instead listen to the stakeholders and their views

  • “The project finished as 'success”
  • (Meaning the project finished)
  • (And was considered a success)!

  • “The audience is grateful for my efforts”
  • (As above, take a short breath at grateful)
  • (And at efforts)

George hates taking those short breaths at individual positive words (he's a restless and relentless one) and instead urges me to point out to you all that the audience couldn't grasp the entirety of the project, unable to even decide between success and failure, and is therefore incapable of judgement and praise.

And here I take another short breath looking into George's restless and relentlessly expecting face. So he gets a reply. “Now that is your case? That the stakeholders I wanted to make happy can't even (Yes, I'm trying to use the very same word against him) decide how difficult it is to make them happy and therefore when they end up being happy they aren't qualified to acknowledge their happiness and the fact. that. they. are. happy ???”

< Silence >

George, get lost! Yes, I didn't start on time. Yes, I didn't plan as much and as effectively as I could. And yet I made it to the finish line. Sweaty, barely breathing, and incredibly hungry. My jeans are stained, my shirt is torn and I'm in desperate need of a shave. But I made it to the finish line.

That's not a failure, it's a starting point for the next run. And I better work on my smile for a less sweaty photo finish.

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from FrexelNinja's Blog

It’s been around 4 days since I’ve worked on FrexBox, the box server. So far I have solely been working on getting the generation of the boxes to work using our own system. I have made quite a bit of progress, with a ton of extra features on top.

One of the problems I had with existing solutions is, they didn’t offer the level of customizability and efficiency which I aspire to integrate into many of the systems behind FrexBox. Sure, there are plugins which are made for Prison servers that offer generating boxes like CataMines, and many servers use this, but I wanted more.

The Interface

I love integrating GUI interfaces into my projects, that’s why I have worked on one for managing the boxes for my server. This menu lists all of the existing boxes which have been created.

What are boxes you may ask? They’re regions in which a composition of materials spawn inside of a cube

Viewing all boxes

Each box we create appears in the list using the block that is the base material, defaults to stone. I will talk about base materials later.

Some details such as the id, name and timer are shown when hovering over the box. It’s also clickable which opens up the box management panel, more on that soon.

In the bottom right is the button for creating a new box, this opens up a chat input screen where we can type in the id and name of the box. ID’s must be unique as they are used to create bounding boxes.

Viewing a box

This is the panel for managing a box. From here you can change the location, regen timer, how and when it’s spawned, the compositions, and more.

Changing Location

I included the ability to change the location for any box, and by doing this it will move the box to the new location. This is done similarly to the WorldEdit wand, but instead a blaze rod which needs two positions for each corner of the box.

After a new location has been set, the box will either spawn there directly, or be moved from an old location. This is useful when you want to test different locations for a box, without having to redefine it again in the new location.

Spawn Box

This handles how the box is spawned. You don’t always want a box to appear in a world, especially if it’s only for testing purposes, or perhaps events.. So this allows you to despawn it without destroying it, simply removing the physical box from the world. Similarly, you can spawn it again by left clicking.

By middle clicking, this initiates a regen of the blocks within the box. You can either regen as normal, or do a force regen. I will talk about why there is two different options for this later, but there is good reason.

Regen Timer

The regen timer for a box dictates how long in seconds until the box should regenerate its blocks. This can be changed to anything through a chat prompt.

Lock Status

Locking a box would not allow anybody to mine any of the blocks within it. I haven’t gotten around to implement this yet, but I have a pretty good idea how I can go about doing it.

Renaming Box

This simply allows you to rename the box, which is useful if you change your mind. The name will show up in different locations, primarily in front of the mine as a hologram, and in the menus. ID’s and names are different, because then we can have mines with the same name, maybe for testing purposes.

Deleting Box

Of course we need to be able to delete a mine if it’s no longer in use. This will handle deleting of all data about the mine, and remove it from the world. This action is irreversible.

Modifying Compositions

Compositions are arguably the most important feature for a box. This tells it which blocks should generate within the box, and at which rates. This is where we handle that, and it’s the subject for the next section.

Viewing Compositions

This is the composition section, and it’s where you can view all of the blocks which make up a box. Each block will appear here, allowing with some options for each one. You can change the spawn rates, view box info and compositions, and add new ones under the Modify Compositions panel.

Spawn rates changes how frequently blocks appear in the box’s generation. So a value of 10 means that it has a 10% chance of spawning on the given block being generated. All blocks have a chance of spawning, before resulting to the base block. If any value is 100%, the base block won’t be spawned.

Any new blocks added to the composition will be defaulted to having a spawn rate of 10%. This can be modified of course by clicking on the block to change the values.

Viewing Composition Editor

The composition editor allows you to pick and choose the blocks which generate within the box.

The bar at the top of the GUI is all of the current blocks within the composition. Any you add will appear here. You can add more than the 7 spaces, and arrows will appear either side to scroll the list.

The central menu is all of the blocks you can add, and they are all categorized, from stones, ores, to miscellaneous. You can change the category by clicking on the brewing stand icon at the bottom. This allows you to quickly find the blocks you want to add. The arrows either side are for pages, as you can’t display every block in such a limited space.

The numbers at the top of the GUI indicate how many you have in your composition currently, and how many blocks are within the category. All is the default category, showing all available solid blocks.

I think were done talking about the interface, so lets show some actual boxes in action, and talk a bit about how they work, and the approach I took.

The Boxes

This is our box, generated with no composition. When there is no composition, a base block is used instead. This defaults to stone. A base block is used when no other block could be chosen to spawn.

Box Floor

Boxes have a floor, which is the ground the box sits upon. On many servers, they use bedrock to indicate that you can’t mine below the box, the same concept is applied here. The floor generates under where the box does.

The unique thing about this box system is it remembers which blocks used to be where the floor is. So when you delete or despawn the box, the blocks which used to be there will be returned. This allows you to change the boxes location or delete it without needing to fix the hole it made when creating the floor.

Blocks Remember

Each block in a box knows which box it belongs to. This approach allows us to track which block was broken in which box, without having to check if it was broken in a box first by location. We also use this system to only regenerate blocks which belong to the box. This way, we can add blocks inside of the box which aren’t affected by the regeneration, and won’t be replaced.

You’re probably thinking how the block stores this data. Well we use a custom nbt tag applied onto the block which has the box’s id as the value. The only thing which needs to be checked, is the blocks themselves.


Now lets add some composition.

As you can see, I have added some blocks from within the composition panel showed earlier. Forcing a regen now generates the blocks from the composition. As you remember, each block added defaults to a 10% spawn rate.

If we increase this number to lets say, cobblestone = 40%, and mossy cobblestone = 30%, we get something like this.

As you can see, there’s a more higher rate for the blocks to appear.

Block Determination

So how are these blocks chosen, and when does it default to the base block.

What we do is add all of the blocks into a list, then one by one we run its chance of spawning, and if it missed its changed, it will carry on down the list. This way, all blocks in a composition have a chance of spawning. Until all blocks fail their chance, and it instead choses the base block, which is stone.

This may not be true RNG for the blocks, but it has good enough results.

Future Plans

There is still a lot to add to this whole system, most notably loot tables per block, with multi preset support.

  • Loot Tables
  • Custom Base Blocks
  • Trim Generation
  • Locking & Unlocking
  • Support Custom Block Textures from Oraxen
  • Holograms
  • Player Teleportation when Regenerating
  • MongoDB Saving & Caching of Box Data

Well that’s all from me this session, still a lot to do and I plan on having some kind of alpha release in 2 months. Until then, it’s back to working on the core systems and mechanics.


from ego echo

De maan is vol en de regenboog ziet dubbel. En met osmosewater kun je je ramen streeploos schoon krijgen.

Met de wind vliegen bladeren en vogels mee naar het zuiden of waar dan ook. Zolang het maar naar daar is.

Berichten hangen in de lucht die alle wolken drijft en de buien driftig laat vallen. We zijn amper geland op fluisterafstand en boeken alvast de volgende vakantie. Nu kan het nog.

De wereld in de hens met oude en nieuwe dictaturen in oost zuid en noord en straks opnieuw een doldwaze wortel met peroxidehaar in het westen. Je kunt alles doen wat een denkbeeldige hogere macht je ooit verbood en er gewoon mee weg blijven komen. Als je maar stinkend geld hebt, allemachtig veel.

Gewetenloze salvo's gieren door de woestijn en over de zee. Mensen die niks meer te verliezen hebben behalve hun leven, hun trots en hun ijdele hoop dobberen koud rond en maken water. Het fort in zicht met overtrekkende vogels in tegengestelde richting naar de warmte. Commerciële maanlanders doorboren en beschadigen voor de zoveelste keer haar weerloze oppervlak en de regenboog spant zich voor de gein nog maar een keer in.

In het water schijnt de zon.

#waanvandedag #gedicht


from reisekladde

Vor 100 Jahren, 1924, wurde „Der Zauberberg“ veröffentlicht.

5 Jahre zuvor, 1919, notiert Thomas Mann in seinem Tagebuch, dass er die Arbeiten (wieder) aufnimmt.

Es ist Ostern. Sein Sohn Michael wird geboren. Frau und Werk liegen also in den Geburtswehen.

Inspiriert wurde er zu diesem Roman durch einen Kuraufenthalt seiner Frau in Davos vor dem ersten Weltkrieg. Von diesem Aufenthalt schrieb sie ihm in vielen Briefen detailliert von dem Alltag aus der Heilanstalt. Thomas Mann war dann auch selbst 3 Wochen dort zu Besuch und hatte zunächst die Idee, darüber eine kurze Novelle zu schreiben.

100 Jahre später ist es für die kalte Jahreszeit ein lauer Abend in den Gassen der historischen Hansestadt nahe des Buddenbrookhauses. Wenig später sitzen wir in einer Ringvorlesung und lauschen den Vorträgen und musikalischen Klängen zum „Magic Mountain“, dem vielleicht bekanntesten Werk deutscher Literatur.

Was verzaubert so am Buch? Diese Mischung aus Medizin, Zeit, Musik und Nervosität am Vorabend des großen Krieges?

Oder der Bildungsroman, der von der Entwicklung des jungen Hans Castorp erzählt und gleichzeitig der Transformation des älteren Thomas Mann zu einem Demokraten dient.

Eine Studentin fragt am Ende des Abends: „Welchen Bezug hat der Roman zu der aktuellen Bewegung, auf die Straße zu gehen, um für die Demokratie zu kämpfen?“

Vielleicht ist genau das die Antwort: selbst Thomas Mann, einem älteren deutschnational geprägten Herren, ist der Wandel in eine neue Zeit möglich.

„Nicht jedem passiert jede Geschichte.“

heißt es im Vorwort.

Wie wahr, wie tröstlich, wie typisch, wie inspirierend!

Ich freue mich auf weitere „Visiten der Gegenwart“, wie die Ringvorlesung überschrieben ist. Die Vorträge werden im Nachgang auch online zur Verfügung gestellt.

Hier der Zauberberg in aller Kürze im YouTube Kanal „Sommers Weltliteratur to Go“ des Reclam Verlages.

Weiterlesen... Discuss...

from Roscoe's Quick Notes

The plan for today: work on the back yard, cutting grass before things heat up this afternoon (we're supposed to see mid 80s); then following another Texas Rangers Spring Training Game.

Yeah. I think I can handle that.

posted Sunday, Feb 25, 2024 at 10:07 AM #QNFEB2024


from chaosorc

She opened the social media app to a conversation with her mother.

I'll be up in two weeks on Saturday at around noon, are we still on for coffee?

Hello? Are my messages coming through?

They said they were delivered but didn't display the date that they were read or received. The social media app had mom's status as just, Sent on Wednesday.

She could not remember sending the messages. One of them said, Seen. The people she frequently chatted with said, Active 47m ago, or Active yesterday.

She scrolled up. Her mother had written a paragraph thanking her. Her father had been out of touch suddenly and this was before anyone knew about the virus.

He is being so considerate and says he wants to have regular dates again. He said he has been working on himself and I can tell looking at him that he's had short nights and has been going to the gym. He was wearing sweats. He's so sweet when he takes care of himself.

I'll be up in two weeks on Saturday at around noon, are we still on for coffee?

Hello? Are my messages coming through?

I left a voicemail is everything OK?

This is getting kind of scary I will be there Saturday

On the road traffic had been backed up, which was rather normal for a Saturday but people walked the streets now and looked despondent. Radio stations played music that didn't match the genres. Nostalgia bled through, the DJ said it was another Wednesday but this one is a bit lower than the last. A sad classic rock song played, this was the rhythm and blues channel. The song was about a man crying and looking into the rain-soaked night while people walked by making their own new, happy memories on the street outside.

She looked at her messages with Carter and thought about how much of herself was given to him. Time that she would never remember. The conversations about their child, pictures they shared and descriptions of vacations and events that were no longer hers to recall.

Mom, what are you doing?


Do you think you'll ever remember?

Do you remember your own father?

He looked at the action figures on the table, the greasy empty plate. He picked up his napkin and rubbed at his nose.

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from Telmina's notes










カット霜降りステーキ70gとハンバーグ @肉の万世秋葉原本店4階洋食店(2024年2月25日撮影)

パリパリ抹茶サンデー @肉の万世秋葉原本店(2024年2月25日撮影)













#2024年 #2024年2月 #2024年2月26日 #肉の万世 #東京 #千代田 #秋葉原 #食事 #JR #JR東日本 #255系 #新宿さざなみ



The world today The world I knew as a kid even a teenager is gone it does not exist anymore. The value of family, friends and yes our relationship with the lord has depleted. The people who fought are long forgotten by those who take being an American for granted. Being an American citizen is not represented by a skin color or language. Being an American is to be free to build invent grow to evolve into new eras. The time we live in there are many people who do not want this. They want sheltered individuals who can not choose for themselves too rely solely upon them. Remember what has been accomplished by regular people trying to make the world better not just attending to their own agenda. We are divided as a country and lied too often. They created a world with no love not religion and not unity. Debates on social media drive the narrative we fall into the trap daily. Oh and if you’re wondering who I am? Well I’m a no one just was taught to observe listen and asses any situation and draw a conclusion and this my friend well that’s my conclusion.



Recently, I've tried to work with the new <dialiog /> Element in React.js. I like how minimal the API and the React.js code is. For simple pop-ups and modals, it works great. I have some doubt when it gets more complex, for example if you add a prev or next button, but it should be realizable.

The styling is done quite well. In basic CSS, you can target the open dialog with dialog[open] {} and the background with dialog[open]::backdrop {}. Everything else are just usual HTML Elements.

Browser Support

Image of Table, which shows in which desktop browsers the element is supported.

The <dialog /> Element is supported in all relevant browsers.

Image of Table, which shows in which mobile browsers the element is supported.

Same for all relevant mobile browsers.



Here is my minimal version of the implementation for Next.js with Tailwind CSS:

"use client";

import { useRef } from "react";

import { P } from "@/components/ui";
import { Image } from "@/components/image";

type Props = {
  children: string;
  image: {
    src: string;
    alt: string;
    width: number;
    height: number;

export function GalleryItem({ children, image }: Props): JSX.Element {
  const ref = useRef<HTMLDialogElement>(null);

  function openModal() {

  function closeModal() {

  return (
      <div className="h-64 shadow shadow-black cursor-pointer overflow-hidden rounded-xl">
          className="w-full h-full align-middle object-cover ease-linear duration-300 sm:hover:scale-125"
        className="focus:outline-none focus:ring focus:ring-neutral-500 rounded-xl backdrop:bg-neutral-800 backdrop:bg-opacity-85"
          className="w-full h-full"
        <div className="absolute bottom-0 h-1/3 w-full bg-gradient-to-t from-neutral-800 p-4 flex items-end">
          <P className=" text-white p-0">{children}</P>

9/100 of #100DaysToOffload

#development #react #javascript #typescript #tailwind

Weiterlesen... Discuss...

from An Open Letter

I slept 5 hours had no caffeine today, and have been hanging out the entire day non-stop. Since waking up, until right now. Maybe it's understandable that I'm feeling the way I do. I am happy I think.


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