From the very beginning, the importance of shared stories, which connect us and regulate the social relations of our species, is undeniable. Noah Harari goes further, arguing that the stories we share are the real reason why we are moving rapidly from an ordinary primate at the bottom of the food chain to the top.

Although the stories differ between societies for various reasons such as geography, belief, lifestyle, and different time periods, there is one among them that we can truly call the common literary heritage of all humanity: the Deluge, Noah’s Flood, or whatever name it is given, wherever it is found.

The narrative is briefly as follows:

 The coming great flood is whispered to the hero by a greater mind. The greater mind asks the hero to build a ship that will save not only human beings from his immediate circle but also other living species. The Flood ravages the world with all its wrath, just as the greater mind describes it, and life comes to an end. The ship, however, survives the flood, and the creatures that come out of it start life again wherever it docks or runs ashore.

The vehicle described as a ship differs from region to region due to the nature of the myth. It is described as a box in some places, a raft, a ship, a canoe, or a tree stump with its top closed.

The hero is also known by different names. Called Noah by the Semitic religions, the hero is known as Ziusudra, Atra-Hasis, Deucalion, Yima, Manu, the Supreme Wise, and follows the same scenario across the Mediterranean, almost throughout Africa, India, Tibet, the Far East, Oceania, and finally the Americas, albeit with different interpretations.

Other elements in the scenario also vary, likely due to geography, belief, lifestyle, etc. The identity of the higher power that informs the hero of the impending disaster, the duration of the Flood, the list of animals on the ship, and the animals that the hero sends from the ship in the hope of finding dry land after the Flood all differ regionally. For example, after the Flood ends, the animals that the hero sends from the ship in the hope of finding land become crows in Central Asia and South America, while they become vultures in Mexico. In North America, the hero sends rats instead.

When scientists correlated Mesopotamian and Asia-Minor Flood myths, and even many other narratives worldwide, they were convinced that these narratives were not an autochthonous tradition but spread from a single source.

While historians and archaeologists attempted to match ancient finds with the texts of the Torah, some other scientists tried to prove that such a worldwide disaster would not be possible.

ZI.U.SUD.RA;

As an art project, Zi.u.sud.ra does not associate this myth with religious belief systems nor explore its social and/or psychological implications, such as the Jungian collective unconscious.

The project is based on a myth, an epic, or a narrative, which is essentially a literary text. Its aim is to visually reimagine the design of the ship in which the hero takes place, in this century, with a clearer narrative.

While the narratives spread all over the world are central to this project and roughly correlated, it may seem that the human hero is the main character. However, in reality, the leading role is played by the ship that saves the hero along with the others who are rescued.

Certain attention-seeking populist historians and adventurers, who attempt to reconstruct or prove the existence or wreckage of the ship designs described in detail in ancient texts, including the Torah, have been excluded from the scope of the project.

Since the stories that were not written down changed through oral tradition and were influenced by dominant foreign cultures, they could not serve as the basis for this project. Therefore, Sumerian tablets were defined as the only remaining intact remnants. That’s why the project was named Zi.u.sud.ra, after the hero in the Sumerian myth.

While the images of the Sumerian cylindrical prints on baked clay may initially seem like exciting motifs for the project, the more important aspect is that the Sumerians invented writing for the first time in history and transferred this myth onto clay tablets. This is likely the earliest version of the story.

In the detailed story of the great flood, which is told in the cuneiform tablets dating back 6500 years and found in the excavations of the great library in the city of Nineveh, located in present-day Iraq, the part that described the ship was unfortunately destroyed, and no other copy of the tablet was found.

This disappointment also triggers the artist’s imagination and serves as the main driving force behind the project.

PROJECT

Believing that the Flood existed and took place, the artist attempts to reshape this myth, which has been passed down from generation to generation, as previous generations did before him; this time with the mindset, possibilities, and perceptions of the twenty-first century. Firstly, he asks the following questions:

_What kind of flood was it that caused the heavens to explode and water to gush out from the ground?

_When and how did it happen?

_Was it the fifth time the world was disappearing?

_How long would it last?

_What kind of disaster would this ship withstand? Would it float or fly?

_What kind of ship was it that would save the hero, his family, and pairs of all living creatures?

_What could it have looked like?

We know nothing…

Since we cannot adapt the various ship descriptions that have been altered through oral tradition by previous civilizations to this century, we have no choice but to use our own imagination and creativity, just as they did.

Let’s begin…

First and foremost, this rescue vehicle mentioned in all stories must be a floating, ship-like object. That is the common ingredient found in all myths.

As it has been designed and elaborated upon throughout generations by our species, the ship’s design should reflect our species’ characteristics.

The ship’s capacity should be such that it can protect and sustain all species, including Homo sapiens.

Starting from the end, how should we envision a space that can contain all living things? Where can we draw the boundaries of this field that will encompass all species, including humans?

In order for all species to coexist in the same place, they must be on top of each other, next to each other, within each other.

Could this metaphorical place described in stories contain the DNA of all living things? It’s highly possible. For example, in the Persian version of the story, it mentions the collection of seeds from birds, cows, and horses instead…

A living rescue ship that holds the DNA of all living species, just like us who carry the imprints of our past within our cells, resembling a small mobile zoo. It is akin to our planet that accommodates all species and could be described as a living creature traveling through the vastness of space.

It should be a creature that emerges from the ground after enduring numerous hardships and begins life anew while it melts, rots, and vanishes.

Since this creature is mentioned in a myth created by our species, it is a human-like story, thus it must be vertebrate, with a spine design inspired by the human spine.

As this creature is referred to as a ship, its design should resemble a ship as well. The protrusions running down its spine should resemble a boat’s keel more than a fin.

Lastly, this living design should be transparent.

Just like myths, stories, and legends.

It exists, yet it does not.

It is transparent, revealing its back. We can reach out and touch it, but we cannot grasp it.

Perhaps it once existed, but it never truly did.

Here it is – please welcome:

Zİ.U.SUD.RA;

Or, in today’s terms:

LIFE OF EXTENDED DAYS