Connecting with the ineffable in times of flattening
- Dr. Alessia Lupo Cecchet, La Montagna Addolorata [The Sorrowful Mountain]
- Alex Beth Schapiro, The Third That Remains: Rituals for Patients I Never Met
- Alexandre Sorokin, Noë / Red Cloud: An Apophatic Artistic Research Project
- Dr. Ally Zlatar, Worshipping The Porcelain Throne; Apophatic Autoethnography and Eating Disorders
- Asana Hues, The Significance of Insignificance
- Béatrice Machet, Paul Auster-apophatically-
- Bob Kalivac Carroll, Disruption and Apophasis: Ineffability and the Object Conundrum in Nonobjective Abstract Visual Art
- Caitlin Gilson and Carol Scott, A Conversation on Color: Poetry and Painting as Image, Glimpse, Moment
- Caitlin Mary Margarett Sørensdatter, The Fruits (Solastalgia in Skønvirke)
- Chandni Dhanesh Jeswani, What the City Refuses: Apophatic Cosmology and Structural Illegibility in Varanasi
- The Coven Collective: Chaelim Lim, Dima Mabsout, M. Maybee Salters, Nicole Sarmiento, and Tyler Rai, [Picking up shells amid a tsunami] 쓰나미가 밀려오는데, 조개나 줍고 있네.
- Daniel Martin and Dr. Marty Tomszak, Souls Moved by Intelligent Energies: Practice-Led Iconic Research and the Apophatic Theology of Pseudo-Dionysius the Areopagite
- Denise Gawley DMH MSN RN, Standing in the After
- Denise Gieseke, In the Movement of Dissolution
- Diana Rojas, Query v2; Subject to the Immaterial; Surveying the Messenger 1 & 2
- ELAWIATR, What Is Art – Apophatic Language in Fracture
- Eliza Swann, The eyeless mind
- Pr. émérite Emmanuel Gabellieri, L’expression et l’inexprimé
- Dr. Evgenii Matveev, Apophatic representation of Russia in Russian poetry
- Faizaan Ahab, Move
- Frank Smith, Les Films non exécutables
- Gabriel Figueroa, Chiesa
- Giulia Taurino, Ceci N’est Pas Une Archive: Negative Metadata and the Apophasis of Digital Records
- Dr. Gitanjaly Chhabra and Dr. Kathleen (Kaye) Hare, What Remains Unsaid: Apophatic Erasure in Academic Life and Luminous Edge of Absence
- Hamid Roslan, The Encounter
- iris yuting zeng, The Knot Before Language
- Ishita Dharap, Lossyness: Negotiations with what Routinely Escapes
- Jennifer Toriello, D. Litt., Held by What We Hold: Apophatic Weight and Embodied Practice in The Magic Hour
- Kaleb Ostraff, Touchpoints for the Ineffable
- Karin de Weille, Undone (spoken words)
- Keiran Dugan, Against Immediacy: Fictional Mediation and Apophatic Representation
- KPrevallet, Nothing Erased But Much Submerged
- Dr. Kythe Letitia Heller, S
- Dr. Laura McCullough, Compassionate Curiosity, Apophatic Storytelling, & the Healing Imagination: The Coordinates of Being
- Leslie N. Polk, peace, Colleague #2
- Dr. Lily Filson, The God in the Grotto: Renaissance Automata, Theurgy, and Apophatic Practice
- Marco Nieli, EKPHRASIS I, 121 ecphrastic carmina); EKPHRASIS II, 128 ecphrastic carmina in the 4 styles, with some haiku
- Martin Lenclos, Perception Is the First Creative Act: Toward an Apophatic Reading of Design for Nothing
- Martin Robb, Embracing the unknown: researching the hidden life and enigmatic art of Theodor Kern
- Mayson Taylor, 16 SHOWINGS Toward a Feminist Apophatic Art Practice
- Merel Thijs, On the colours of being: onto-teleological considerations on the artistic-creative process; With closed eyes open: portraits of the mind unwinding
- Mike Petrakis, Arteryficial Intelligence
- Nadine M. Kalin, What Is Withheld Does Not Lack: Waystop Pedagogy as Earth Scores in the Critical Zone
- Natalia Espinel and samantha shoppell, Un/wrapping Vulnerability
- Noelle Derksen, Apophasis and Trans Abstraction
- Radmila Djurica, Body in the Glitch
- Sarah Tarkany, Reticulated Silences
- Smita Sen, High Voltage: On The Heart, Defibrillation, and Competing Philosophies of Medicine
- Sophie Auger, third-image-archive.net
- Stephanie Smit (Giek), Soul Constellation Map — An Interactive Archive of Recurring Identities Across Time
- V.E. Haddad, the feeling when; Dream Commons
- Wayne Adams, Cloud of Unknowing
- William Franke, Desert and Sea: Apophatic Land/Sea Scapes
- Merel Visse
- William Franke
- Ryan Woodring
- Béatrice Machet
- Sarah Travis
- Enaiê Azambuja
- Sarah Tarkany
- Peter Kline
- Kythe Heller
- Cailtin Gilson
- Chelle Stearns
Smita Sen
High Voltage: On The Heart, Defibrillation, and Competing Philosophies of Medicine
What does it mean to defibrillate someone? What happens when we try to revive a heart that stops beating? In 2019, I watched doctors defibrillate my father. They pumped his chest with electricity to bring his heart back to a steady rhythm. The moment stayed with me, not only for its brute force, but also for its surreal, scientific audacity and spiritual impossibility. With defibrillation, it seemed as though medicine was attempting to reach into the seam between life and death. In this preliminary essay, I examine the nature of the heart as a life-giving organ, as an energy center in South Asian religions, and as the site of end-of-life electrical resuscitation — the last line between worlds. My investigation deals with two different histories of cardiac medicine and brings together a variety of archival material, academic literature, religious texts, and medical training documents. The article is broken into four main sections, moving from narrative medicine and personal reflection to historical analysis and critical inquiry. First is the Introduction, a reflection written after witnessing my father’s defibrillation. Power follows, offering a history of defibrillation in contemporary Western medicine. Third is Unstruck Sound, a comparative analysis of the Western and South Asian histories of cardiology and the perceived relationship between the heart and the soul. Last, but not least, is Thresholds, a meditation on critical questions that unravel our understanding of defibrillation, the Anahata chakra, and the heart itself. To illustrate concepts in this essay, I have included archival images and some of my original drawings. This essay, the first in a series, offers more questions than it does answers. In the spirit of apophatic studies, High Voltage steps into the loaded and complex landscape of end-of-life care, piecing together disparate histories and lived realities. This essay is a labor of love, navigating the abstract and unknowable as I try to make sense of what happened to my father’s heart when it was pumped with electricity.
Smita Sen is an artist working with sculpture, dance-based performance, and advanced technology to research the relationships between the body, memory, and medicine. Sen has had solo exhibitions at Recess (2021), the Brooklyn Public Library (2022), Drew University (2023) and the Museum of Contemporary Art, North Miami (2024-25), among others. Her work has been exhibited and performed at The Museum of Modern Art (MoMA), the Frost Art Museum, the Aspen Ideas Festival, the Knockdown Center, and Socrates Sculpture Park. Sen has been featured in the NYTimes, Frieze, The Observer, and Dance Magazine. Her work has been awarded support from institutions including NEW INC, the New Museum’s incubator; Recess; Oolite Arts; and the Miami-Dade County Department of Cultural Affairs. An educator, Sen teaches and designs emerging media programs for schools. Beyond the classroom, Sen leads the Manipura Care Network, a Miami-based nonprofit serving youth caregivers. When she is not making art or teaching, she is dancing and eating mangos. Sen is a graduate of Columbia University (2016).