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Uğur Karataş

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Simülasyon TerkSimülasyon Terk
The king figureThe king figure
GearsGears
Skeletal structuresSkeletal structures
Scene opening frame: golden gateScene opening frame: golden gate
Scene opening frame: silhouetted crowdScene opening frame: silhouetted crowd
Scene opening frame: pile of goldScene opening frame: pile of gold
From the production processFrom the production process
Work

Simülasyon Terk

A short video on humanity eating its own tail; a narrative that rebels against what the world has lived through during and after the pandemic and tries to draw attention to it.

Year
December 2025
Type
Video
Technique
AI-assisted production, stop-motion aesthetic
Size
Vertical video, 1080 × 1920
Duration
75 s
Production time
3.5 days
Music
Lalalar, “Simülasyon Terk”
Tools
Image generation models (frames), Kling (motion), After Effects (colour and editing)

@gurugurs (external link) · Watch on Instagram (external link)

This work came out of a restlessness that had been stuck inside me for a long time. Israel and Gaza, Russia and Ukraine. Forest fires and interventions that fell short. The one who suffered the birth pains of the new order set up after Covid was always the ordinary person. The system is built on grinding people down; as the middle class disappears, capital gathers in one hand. I wanted to tell the squeeze between the disasters already here and the ones on the way.

The simulation that has to be abandoned is humanity’s own destructive nature and this order built on profit. The greed that turns us into a snake eating its own tail and drags us toward bigger disasters.

That I made the work with artificial intelligence is also part of this. AI was trained on the accumulated signs of humanity’s attempts to imitate nature and reality; that is, it was made from us. But it began producing signs of a wholly different kind, with no original: something that came out of us yet does not resemble us. The order I criticise is like this too. It says it produces prosperity, but what it produces has no counterpart.

I made it in December 2025 with the tools of that day: I generated the frames with image generation models and the motion with Kling; I did the colour grading and editing in After Effects and intervened by hand in some scenes. I designed every frame myself and built the story myself; after hundreds of image and framing trials, turning some scenes into video was a real struggle.

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