Öz

Fragment: ז

[Cansu Çamlıbel @cansucamlibel]

As a journalist who has covered diplomacy and foreign affairs for years and lived in Washington and Brussels as an accredited journalist to all official institutions (including NATO itself, the EU and the UN), I did not apply to cover the NATO summit in Türkiye.
Because I was certain that the Turkish government would provide NATO with an accreditation list and would not want journalists like me there. We are talking about a government which decline to grant press cards to many Turkish journalists because they see them as “dissidents”.
What is surprising is not the request itself, but the fact that NATO complied without hesitation. Pathetic!
@NATOpress @NATO

[Öz @OphidianCorpse]

@Nicolam777

[Öz @OphidianCorpse]

https://t.co/edufC1tSLO

[Öz @OphidianCorpse]

@turingcop https://t.co/9zDsZguk09

[Archaeology & Art @archaeologyart]

Cum Patientia, that is, with patience.

This early 17th-century emblem tells us that patience isn't just about waiting, but about preserving a bond in the face of hardship (depicted by fire).

I took the image from an emblem in the third volume of Jacob Typot’s book, published between 1601 and 1603. The work was part of early modern Europe's culture of reflecting on symbols, mottos, and moral ideas.

The serpent ring (usually called the ouroboros today) is associated with the ideas of cycles, continuity, and a closed bond in ancient and early modern symbolic language.

Here, it isn't just decorative. It's the philosophical framework of the scene.

The ouroboros encloses the hands and the fire in a closed loop. This tells us that patience isn't a one-time response. In other words, a person returns to the same test of patience over and over again.

Early modern emblem books generally worked with three elements: a short motto, an image, and an explanatory text.

The phrase 'Cum Patientia' is also familiar in the world of Christian Latin texts. In the Vulgate, Ephesians 4:2 mentions humility, gentleness, and patience together: cum patientia.

[Öz @OphidianCorpse]

https://t.co/Qjizg3EkLb

[neoltitude @ctrlcreep]

Synesthetics can tell when they are gazing into a mirror, because the sounds of the colors are played backwards

[Enchanted Booklet @dreamerbook]

“The Downfall” (Der Untergang) by Alfred Kubin, 1903.

[Öz @OphidianCorpse]

“There is nothing to do
There is nowhere to go
There is nothing to be
There is no one to know…”

[L'event @allllevent]

eighteenth wavelength, movement: one

https://t.co/Qmmv3zRSZ9

[Öz @OphidianCorpse]

https://t.co/uAJyelLOgZ

[Öz @OphidianCorpse]

“Why do we all know so much? And why do we feel the unbearable urge to tell each other that we know so much? It’s as if we are burdened by the question of what to do with thought, by our brains, by the very weight of the organ…” E.T.

[franck besançon🩸Artbook available! @f_intothevoid]

Apocalypse Siren

[David John Roden @turingcop]

Repossession: a meta-movie about the cursed impossibility of repeating Zuwlawski's auratic original that contradicts itself by citing each frame.

[Öz @OphidianCorpse]

“To see was terrifying, and to stop seeing tore me apart from my forehead to my throat.” Maurice Blanchot

https://t.co/e5yhK1lYTv

[L'event @allllevent]

sixteenth wavelength

https://t.co/dWiaMN8bNx

[Öz @OphidianCorpse]

A new song from #KanaKana by @ovuncdan titled “İstek”, actually a poem by Sabahattin Ali… A proper choice as lyrics for a song… Calm but deep demeanor…

“ Yanıyor beynimin kanı,
Bilmem nerelere gitsem?
İçime sığmayan canı
Hangi rüzgara eş etsem?”

https://t.co/9F36S43yqp

[Öz @OphidianCorpse]

A.L.O.N.E.

https://t.co/gDhpGk714G

[franck besançon🩸Artbook available! @f_intothevoid]

Bishop of Knots.

[Öz @OphidianCorpse]

Weaving (through) the waves…

#VersesfromtheUnderlands

[Öz @OphidianCorpse]

This makes more sense after reading the interview with Dehn Sora in NoEvDia’s ‘Words As Weapons’…

David Eugene Edwards - Sun of Manes

https://t.co/X3vvxazmrQ