departs from a cumulative research into imaginaries of the end of the world, tracing eschatological practices from ancient civilizations to contemporary crises. Rather than treating apocalypse as a singular, distant event, the project shifts toward self-eschatologies: intimate, embodied, and situated endings that unfold in everyday life. Through interviews, position mapping, video performance, and a speculative script, we explore how multiple ends coexist: personal, ecological, political, and temporal. Fragments that create a collectivce narration of endings reoriented to what meigth still start or end rather then finite moments.