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0/0 = undefined A labyrinth of ideas, A diary of curiosities Bot: @contactzero_bot

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๐Ÿ“ˆ Analytical overview of Telegram channel 0/0

Channel 0/0 (@error0error) in the Arabic language segment is an active participant. Currently, the community unites 10 590 subscribers, ranking 8 758 in the Religion & Spirituality category and 7 263 in the Saudi Arabia region.

๐Ÿ“Š Audience metrics and dynamics

Since its creation on ะฝะตะฒั–ะดะพะผะพ, the project has demonstrated rapid growth, gathering an audience of 10 590 subscribers.

According to the latest data from 30 June, 2026, the channel demonstrates stable activity. Although there has been a change in the number of participants by 230 over the last 30 days and by 18 over the last 24 hours, overall reach remains high.

  • Verification status: Not verified
  • Engagement rate (ER): The average audience engagement rate is 16.53%. Within the first 24 hours after publication, content typically collects 6.82% reactions from the total number of subscribers.
  • Post reach: On average, each post receives 1 749 views. Within the first day, a publication typically gains 722 views.
  • Reactions and interaction: The audience actively supports content: the average number of reactions per post is 0.
  • Thematic interests: Content is focused on key topics such as ู…ูุดูŽุงุนูŽุฑูŽุฉ, ุฑูŽุฌูู„, ุธูู„ู‘, ู†ูุณูŽุงุกูŽุฉ, ุงูุจู†.

๐Ÿ“ Description and content policy

The author describes the resource as a platform for expressing subjective opinions:
โ€œ0/0 = undefined A labyrinth of ideas, A diary of curiosities Bot: @contactzero_botโ€

Thanks to the high frequency of updates (latest data received on 01 July, 2026), the channel maintains relevance and a high level of publication reach. Analytics show that the audience actively interacts with content, making it an important point of influence in the Religion & Spirituality category.

10 590
Subscribers
+1824 hours
+477 days
+23030 days
Posts Archive
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ูˆุนู†ุฏูƒ Operation timber sycamore ู‡ุงูŠ ุฅุฏุงุฑุฉ ุฃูˆุจุงู…ุง ุฏุนู…ุช ุจูŠู‡ุง ุงู„ุซูˆุงุฑ ุงู„ุณูˆุฑูŠูŠู† ุจุงู„ุณู„ุงุญ ูˆุงู„ุชุฏุฑูŠุจ. ุจุงู„ุบู„ุทุŒ ุงู„ุณู„ุงุญ ุงู†ุชุดุฑ ุจุงู„ุฃุณูˆุงู‚ ุงู„ุณูˆุฏุงุก ู…ุงู„ ุงู„ุดุฑู‚ ุงู„ุฃูˆุณุท ูˆุณุจุญุงู† ุงู„ู„ู‡ ูˆุตู„ ู„ุฏุงุนุด ูˆุฌู…ุงุนุชู‡ู…. ุจุนุฏูŠู† ุฅุฏุงุฑุฉ ุชุฑุงู…ุจ ู„ุบุช ุงู„ุนู…ู„ูŠุฉ ูˆุฑุฉ ู…ุง ุฎุณุฑูˆุง ูƒูˆู…ุฉ ูู„ูˆุณ.

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ู…ุง ุนุฏุง ุณูˆุงู„ูู‡ู… ุจุฃู…ูŠุฑูƒุง ุงู„ุฌู†ูˆุจูŠุฉ: ู…ุณูˆูŠู‡ุง ู…ุซู„ ู‚ุทุนุฉ ุงู„ุฃุฑุถ ุงู„ูุงุฑุบุฉ ุงู„ู„ูŠ ุจุตู ุจูŠุชูƒู… (ู‡ูŠ ู…ูˆ ู…ุงู„ุชูƒุŒ ุจุณ ุงู†ุช ู…ุนุชุจุฑู‡ุง ูƒุฃู†ู…ุง ู…ุงู„ุชูƒ)

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ุนู„ู‰ ุฐูƒุฑ ุงู„ุนู…ู„ูŠุงุช ุงู„ุฃู…ูŠุฑูƒูŠุฉุŒ ุฌุงู†ุช ุนุฏู‡ู… ุนู…ู„ูŠุฉ ุซุงู†ูŠุฉ ุจุงู„ุชุนุงูˆู† ูˆูŠุฉ ุจุฑูŠุทุงู†ูŠุง ุณู…ูˆู‡ุง operation Ajax ุณู‚ู‘ุทูˆุง ุจูŠู‡ุง ุฑุฆูŠุณ ุฅูŠุฑุงู† ุจุณู†ุฉ 1953 ูˆุฒุงุฏูˆุง ู…ู† ู†ููˆุฐ ุงู„ุดุงู‡ ุงู„ู…ุฏุนูˆู… ุบุฑุจูŠู‹ุง.

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ุงู„ุฃู…ูŠุฑูƒุงู† ุฏุนู…ูˆุง ุงู„ู…ุฌุงู‡ุฏูŠู† ุงู„ุฃูุบุงู† ู…ู† ุณู†ุฉ 1979 ุฃุนุชู‚ุฏ ู„ุญุฏ 1992ุŒ ุจุนู…ู„ูŠุฉ ุณู…ูˆู‡ุง Operation Cyclone. ุงู„ููƒุฑุฉ ุฌุงู†ุช ู„ุฅุถุนุงู ุชุฃุซูŠุฑ ุงู„ุฑูˆุณ ุงู„ุณูˆููŠูŠุช ุจูˆุณุท ุขุณูŠุง.

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ุฑูˆู†ุงู„ุฏ ุฑูŠุบุงู†ุŒ ุฑุฆูŠุณ ุงู„ูˆู„ุงูŠุงุช ุงู„ู…ุชุญุฏุฉุŒ ู…ุน ุงู„ู…ุฌุงู‡ุฏูŠู† ุงู„ุฃูุบุงู†
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ุฑูˆู†ุงู„ุฏ ุฑูŠุบุงู†ุŒ ุฑุฆูŠุณ ุงู„ูˆู„ุงูŠุงุช ุงู„ู…ุชุญุฏุฉุŒ ู…ุน ุงู„ู…ุฌุงู‡ุฏูŠู† ุงู„ุฃูุบุงู†

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Is it possible, I wonder, to study a bird so closely, to observe and catalogue its peculiarities in such minute detail, that it becomes invisible? Is it possible that while fastidiously calibrating the span of its wings or the length of its tarsus, we somehow lose sight of its poetry? โ€” Watchmen

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ูˆู„ูƒู†ู‘ ุฃูŠู‘ูˆุจ ุฅู†ู’ ุตุงุญูŽ ุตุงุญ ู„ูƒูŽ ุงู„ุญูŽู…ุฏุŒ ุฅู†ู‘ ุงู„ุฑุฒุงูŠุง ู†ูŽุฏู‰ู‹ ูˆุฅู†ู‘ ุงู„ุฌูุฑุงุญูŽ ู‡ูŽุฏุงูŠุง ุงู„ุญูŽุจูŠุจ ุฃุถู…ู‘ู ุฅู„ู‰ ุงู„ุตูŽุฏุฑู ุจุงู‚ุงุชูู‡ุง ู‡ุฏุงูŠุงูƒูŽ ููŠ ุฎุงููู‚ูŠ ู„ุง ุชูŽุบูŠุจ ู‡ูŽุฏุงูŠุงูƒูŽ ู…ูŽู‚ุจูˆู„ุฉูŒ... ู‡ุงุชูู‡ุง ุฃุดูุฏู‘ู ุฌูุฑุงุญููŠ ูˆุฃู‡ุชููู ุจุงู„ุนุงุฆูุฏูŠู†: ุฃู„ุง ูุงู†ุธูุฑูˆุง ูˆุงุญุณูุฏูˆู†ูŠ ูู‡ูฐุฐููŠ ู‡ูŽุฏุงูŠุง ุญูŽุจูŠุจูŠ ูˆุฅู†ู’ ู…ูŽุณู‘ูŽุชู ุงู„ู†ุงุฑู ุญูŽุฑู‘ูŽ ุงู„ุฌูŽุจูŠู† ุชูˆู‡ู‘ูŽู…ุชูู‡ุง ู‚ูุจู„ุฉู‹ ู…ูู†ูƒูŽ ู…ูŽุฌุจูˆู„ุฉู‹ ู…ูู† ู„ูŽู‡ูŠุจ โ€” ุณููุฑ ุฃูŠูˆุจ ู„ู€ ุจุฏุฑ ุดุงูƒุฑ ุงู„ุณูŠุงุจ

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I am a brother to dragons, and a companion to owls. โ€ข My skin is black upon me, and my bones are burned with heat. โ€ข My harp also isย turnedย to mourning, and my organ into the voice of them that weep. [Job 30]

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โ€ข ุงูู†ู’ู‚ูŽู„ูŽุจูŽุชู’ ุนูŽู„ูŽูŠู‘ูŽ ุงู„ุฃูŽู‡ู’ูˆูŽุงู„. ุทูŽุฑูŽุฏูŽุชู’ ูƒูŽุงู„ุฑู‘ููŠุญู ู†ูุนู’ู…ูŽุชููŠุŒ ููŽุนูŽุจูŽุฑูŽุชู’ ูƒูŽุงู„ุณู‘ูŽุญูŽุงุจู ุณูŽุนูŽุงุฏูŽุชููŠ. โ€ข ููŽุงู„ุขู†ูŽ ุงู†ู’ู‡ูŽุงู„ูŽุชู’ ู†ูŽูู’ุณููŠ ุนูŽู„ูŽูŠู‘ูŽุŒ ูˆูŽุฃูŽุฎูŽุฐูŽุชู’ู†ููŠ ุฃูŽูŠู‘ูŽุงู…ู ุงู„ู’ู…ูŽุฐูŽู„ู‘ูŽุฉู. โ€ข ุงู„ู„ู‘ูŽูŠู’ู„ูŽ ูŠูŽู†ู’ุฎูŽุฑู ุนูุธูŽุงู…ููŠ ูููŠู‘ูŽุŒ ูˆูŽุนูุฑูˆู‚ููŠ ู„ุงูŽ ุชูŽู‡ู’ุฌูŽุนู. โ€ข ุฅูู„ูŽูŠู’ูƒูŽ ุฃูŽุตู’ุฑูุฎู ููŽู…ูŽุง ุชูŽุณู’ุชูŽุฌููŠุจู ู„ููŠ. ุฃูŽู‚ููˆู…ู ููŽู…ูŽุง ุชูŽู†ู’ุชูŽุจูู‡ู ุฅูู„ูŽูŠู‘ูŽ. โ€ข ุตูุฑุชูŽ ุจุงู„ุฌูŽูุงุกู ุชูุนุงู…ูู„ูู†ูŠุŒ ูˆุจูู‚ูุฏู’ุฑูŽุฉู ูŠูŽุฏููƒูŽ ุชูŽุถู’ุทูŽู‡ูุฏูู†ููŠ. โ€ข ุตูุฑู’ุชู ุฃูŽุฎู‹ุง ู„ูู„ุฐู‘ูุฆูŽุงุจูุŒ ูˆูŽุตูŽุงุญูุจู‹ุง ู„ูุฑูุฆูŽุงู„ู ุงู„ุจูˆู…. โ€ข ุญูŽุฑูุดูŽ ุฌูู„ู’ุฏููŠ ุนูŽู„ูŽูŠู‘ูŽ ูˆูŽุนูุธูŽุงู…ููŠ ุงุญู’ุชูŽุฑูŽู‚ูŽุช ู…ูู†ูŽ ุงู„ู’ุญูŽุฑูŽุงุฑูŽุฉู ูููŠู‘ูŽ. โ€ข ุตูŽุงุฑูŽ ุนููˆุฏููŠ ู„ูู„ู†ู‘ูŽูˆู’ุญูุŒ ูˆูŽู…ูุฒู’ู…ูŽุงุฑููŠ ู„ูู„ุจููƒุงุก. [ุงู„ูƒุชุงุจ ุงู„ู…ู‚ุฏุณุŒ ุณููุฑ ุฃูŠูˆุจ 30]

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When Wittgenstein was once discussing his favourite novel, The Brothers Karamazov, with Maurice Drury, Drury said that he found the character of Father Zossima impressive. Of Zossima, Dostoevsky writes: "It was said that... he had absorbed so many secrets, sorrows, and avowals into his soul that in the end he had acquired so fine a perception that he could tell at the first glance from the face of a stranger what he had come for, what he wanted and what kind of torment racked his conscience." "Yes," said Wittgenstein, "there really have been people like that, who could see directly into the souls of other people and advise them."

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When Wittgenstein was once discussing his favourite novel, The Brothers Karamazov, with Maurice Drury, Drury said that he found the character of Father Zossima impressive. Of Zossima, Dostoevsky writes: "It was said that... he had absorbed so many secrets, sorrows, and avowals into his soul that in the end he had acquired so fine a perception that he could tell at the first glance from the face of a stranger what he had come for, what he wanted and what kind of torment racked his conscience." "Yes," said Wittgenstein, "there really have been people like that, who could see directly into the souls of other people and advise them."

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He's the guy who painted the famous "Wanderer above the sea of fog"

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By Caspar David Friedrich

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photo content
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ูƒูŽูู‰ ุจุงู„ู…ูŽุฑุกู ุฅุซู…ู‹ุง ุฃู†ู’ ูŠุถูŠู‘ุน ู…ูŽู† ูŠูŽุนูˆู„ โ€” ุงู„ู†ุจูŠ ู…ุญู…ุฏ (ุต)

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ุฐูƒุฑู†ูŠ ุจู‡ุงูŠ
ุฐูƒุฑู†ูŠ ุจู‡ุงูŠ

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During World War II, Henry Beecher and his colleagues at Harvard Medical School made a fundamental observation. In the first systematic study of its kind, they found that soldiers suffering from severe battle wounds often experienced little or no pain. Indeed, many of the wounded expressed surprise at this odd dissociation. Beecher, an anesthesiologist, concluded that the perception of pain depends on its context. For instance, the pain of an injured soldier on the battlefield would presumably be mitigated by the imagined benefits of being removed from danger, whereas a similar injury in a domestic setting would present quite a different set of circumstances that could exacerbate the pain (loss of work, financial liability, and so on).