Rupture of the distal biceps tendon represents only 3% of biceps rapture events compared to 97% at the proximal origin.

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There are points of possible rupture (and rapture), and of entry, into the processes and linkages of each medium.

If Rashid helps us to contextualize violence and fear in the present day, being evoked in Nameera's shots of slaughtering chicken, then there is sufficient room for rapture. ('On the wall of the city, the shadow of the ghost/afraid of the unsaid moment that has not yet arrived/afraid of the awareness of the coming of that moment /afraid already')*.

It would be misleading to assume that these works can only be viewed as mere points of rapture or rupture, therefore with a premise like this not only does the curatorial thrust demand scrutiny, but also how it is critiqued.

The personal is also seen as political: Sumbul lists political upheavals such as in Egypt and the 'raptures/ruptures' within events from February, 2011 ('Hosni Mubarak stepping down as rapture')*, to June, 2011 ('1000 injured in protest as charge against Interior Minister of killing protestors-delayed rupture')*.

These strange moments of 'rapture' are disrupted by a disturbing sound track, negating the poetic harmony of the visual.

The word "rapture" crops up in poems and reviews of poetry more and more often, and recently, it seems, the sense of the word has changed to connote something separate from its original meaning: to be carried away, if not transformed, is the goal of speakers in work by several contemporary poets: for some of these, rapture signifies an escape from the ordinary and implies an ecstacy derived from a turning from this world; for others it suggests a kind of Dickinsonian marvellousness within the ordinary.

Though all of these Rapture poets move toward a spiritual "awakening," they are also drawn to a sensuality expressive of a "shadow" self: historically we've identified this sensual/spiritual approach with writers who reach out toward a humanistic eschatology.

Language in such poetry, as Tony Hoagland, coining the term "the poetry of rapture" in his astute remarks on Susan Mitchell's work, often borders on glossalalia, and one suspects the act of making such language--such sounds--is a form of self-intoxication.

The poetry of rapture embraces categorical confusion; it desires to lose control and enter vertical movement, to lose balance and escape from time and the self.