COVID-19 has crowned1 a number of other disasters (wildfires in Australia, Desert Locusts in Kenya, an imminent WWIII merging Iran and the US), causing panic to click into place and horror to become our global predicament, making us realize that we live in the illusion of the permanence of things, of mastery, and of immortality. People’s turning to social media for trans-local news on COVID-19 has stirred great ire in the world. This led to the proliferation of dark images that (...) associate the viral catastrophe with the end as we know it. To problematize the idea of the apocalypse (or the end) this paper speaks of three moments of survival in human existence: the beneath, the behind and the beyond. We argue that the apocalyptic nature of the pandemic and its global horrorism are part of a congeries of apocalyptic simulations that have always been part of the narrative with which we try to define ourexistence on earth. This paper masks itself against perfunctory examinations of the term apocalypse, and offers instead an understanding that runs along the lines of its Greek etymological sense as apokalyptein (revelation). It offers what Foucault calls an ontology of the present, that interrogates the history of COVID -19 with an emphasis neither on its origin nor on its telos. As beyondists, the COVID-19 catastrophe has revealed to us that 1) we have ‘access to knowledge beyond knowledge’ (see Gumpert Citation2012), and therefore that 2) our modern predicament is not very modern. The end, (not) to be sure, has been lived and relived in the boundary between reality and simulation. After all, the end of something comprises the beginning (in reverse) of that which “endeth”, throwing the beyond, behind and beneath in the Ferris wheel of epistemological and existential entanglement. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.