This project is not so much about the nuclear explosion itself as it is about an attempt at bodily contact with an abstract catastrophe. I explore how the human body fits into a pre-scripted scenario of apocalypse — one defined by instructions, diagrams, and protocols developed in the mid-twentieth century.By reconstructing poses from government manuals of the 1950s–80s, which illustrate the “correct” bodily responses to a nuclear strike, I place a figure — dressed in black trousers and a white shirt — into real, liminal spaces. These scenes are both anonymous and unsettling. The protocols I follow now seem absurd, yet their underlying logic — survival through correct physical positioning — remains strangely familiar.My goal is not to document but to create a visual simulacrum: an image of a catastrophe that cannot truly be reconstructed. Like an archaeologist in Pompeii casting voids left by vanished bodies, I form a plaster mould from theoretical shapes — bodily instructions, fear, hope, futility. It is a portrait of the final gesture before an ending that never comes.