The installation was conceived as a circular time capsule. Semi-transparent gauze surfaces formed a ring of projection around the audience, creating a 360° field where past and present coexist.

Cinematic sequences interpreted research on Göbeklitepe as visual hypotheses: stylized hunting scenes, ritual gatherings, and early architectures appeared as layered compositions rather than literal reconstructions. Alienated live-action footage and motion graphics worked together to keep the imagery suggestive, inviting interpretation.

Sound design supported the visual language with rhythmic, vocal, and environmental textures that hinted at ritual and gathering without fixing a single narrative.

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Over eight minutes, visitors stood inside a ring of moving images and sound that treated Göbeklitepe as a living question rather than a closed chapter of history. The sequence moved from open landscapes to denser scenes of human activity, building toward moments that suggested revelation and shared ritual.

Instead of being told what to think, guests were immersed in an atmosphere where early belief, community, and environment were visibly entangled. The installation formed the experiential centerpiece of a two-hour session that combined lectures, music, and live performance, giving participants a common emotional reference point for later discussion.

Göbeklitepe, dating back over 11,600 years, challenges the usual story that cities and agriculture came first and religion later. The task was to communicate this disruptive idea to an international WEF audience in a way that was both accessible and thought-provoking.

The installation had to condense complex archaeological and cultural-historical research into a short, emotional experience that fits into a dense program of talks, performances, and debates.