Backtopoints ° Istanbul Based Artist Duo
İstanbul, Türkiye
Joined January 2020
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The Language of the Universe is Numbers, Its Soul is Geometry; Every Shape is a Silent Echo of our Endless Search for Meaning..
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Everything goes, everything comes back; eternally rolls the wheel of being. Everything dies, everything blooms again; eternally runs the year of being…
~ Ouroboros
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The Language of the Universe is Numbers, Its Soul is Geometry; Every Shape is a Silent Echo of our Endless Search for Meaning..
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Terrae Motus has been featured on CreativeApplications.Net (CAN), one of the most respected platforms at the intersection of art, media, and technology. We are grateful for the opportunity to share this work with the CAN community.
creativeapplications.net/mem…
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Deprem verileri yalnızca bilimsel analiz nesneleri midir?
Terrae Motus, Türkiye’nin 125 yıllık sismik hafızasını veri görselleştirme, sonifikasyon ve etkileşimli medya aracılığıyla deneyimsel bir alana dönüştürüyor.
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Death is my companion as I run madly through life with my whole body, my vitality. Life wraps death in all its enthusiasm and cascades, and death walks in the magnificent beauties of life. When that immeasurable being finds it rusted by death, the music stops and the sad song of that eternal companion begins.
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Luis Buñuel’s ‘Un Chien Andalou’ premiered in Paris on this day in 1929.
The surrealist film was a collaboration between Buñuel and Salvador Dalí, sparked by the perfect alignment of dreams the two artists had. The result was a unique cult classic: dreamlike, anti-narrative, and deeply provocative, and built entirely to shatter the norms of bourgeois logic and mainstream cinema at the time.
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430.000 deprem. 6,5 milyon veri noktası.
Türkiye'nin 125 yıllık sismik belleği: Terrae Motus.
Veri, yalnızca okunmak için değildir.
backtopoints.com/works/singl…
creativeapplications.net/mem…
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Hello :)
This is my new/last artwork
"Chromatic Erosion" 🌈
You can find it on @TransientLabs as 10 editions.
0.01 ETH per eds.
✨transient.xyz/mint/chromatic…
[ Terrae Motus ]
Terrae Motus is an interactive audiovisual installation that transforms large-scale earthquake data into a multi-sensory experience, bringing together scientific information, artistic interpretation, and public awareness within a unified digital environment. The project is based on a custom software system developed in OpenFrameworks, visualising more than 430,000 recorded earthquakes and 6.5 million data points between 1900-2025 from Türkiye and the surrounding region ++
Instead of presenting this data through conventional scientific graphs and maps, Terrae Motus reinterprets seismic information as a living, time-based audiovisual ecosystem. Each earthquake becomes a dynamic visual and sonic event, allowing visitors to perceive seismic activity not only as numerical facts but as patterns, rhythms, and intensities unfolding over time. By combining real scientific records with artistic abstraction, Terrae Motus questions how societies perceive natural disasters through data. It proposes that information is not merely something to be read, but something that can also be felt and experienced ++
In a country where earthquakes are part of everyday reality, the project seeks to build a reflective space—one that fosters awareness without sensationalism. Ultimately, Terrae Motus stands at the intersection of digital art, data visualization, and social memory. It demonstrates how creative technologies can transform complex datasets into meaningful public experiences, offering new ways to understand the relationship between humans, technology, and the dynamic planet we inhabit...
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[ Sensory ]
Sensory presents a fluid simulation subjected to an intentionally excessive and unnatural force, producing a sustained and forceful disturbance within the liquid body. The work focuses on the visual and kinetic intensity of this impact, amplifying the tension between control and instability. The simulated matter appears caught in a continuous state of pressure, where turbulence becomes both a visual phenomenon and a structural condition.
A secondary interface layer (HUD) is introduced as a constructed visual element. Rather than functioning as a generative system, this interface reframes the simulation by referencing the language of measurement, calculation, and monitoring. It evokes the presence of computational logic behind the image, suggesting systems of observation and control that traditionally govern digital environments.
By juxtaposing the raw, almost physical expressiveness of fluid dynamics with the abstract aesthetics of technical instrumentation, Sensory creates a layered perceptual experience. The viewer encounters not only the spectacle of motion, but also the symbolic framework through which such motion is interpreted. In this way, the work stages a dialogue between simulation as spectacle and simulation as calculation — between what is seen and what is implied, between visceral impact and analytical distance.