The spread of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) resulted in an extraordinary global public health crisis. In early 2020, Cyprus, among other European countries, was affected by the SARS-CoV-2 epidemic and adopted lockdown measures in March 2020 to limit the initial outbreak on the island. In this study, we performed a comprehensive retrospective molecular epidemiological analysis (genetic, phylogenetic, phylodynamic and phylogeographic analyses) of SARS-CoV-2 isolates in Cyprus from April 2020 to January 2021, covering the first ten months of the SARS-CoV-2 infection epidemic on the island. The primary aim of this study was to assess the transmissibility of SARS-CoV-2 lineages in Cyprus. Whole SARS-CoV-2 genomic sequences were generated from 596 clinical samples (nasopharyngeal swabs) obtained from community-based diagnostic testing centers and hospitalized patients. The phylogenetic analyses revealed a total of 34 different lineages in Cyprus, with B.1.258, B.1.1.29, B.1.177, B.1.2, B.1 and B.1.1.7 (designated a Variant of Concern 202012/01, VOC) being the most prevalent lineages on the island during the study period. Phylodynamic analysis showed a highly dynamic epidemic of SARS-CoV-2 infection, with three consecutive surges characterized by specific lineages (B.1.1.29 from April to June 2020; B.1.258 from September 2020 to January 2021; and B.1.1.7 from December 2020 to January 2021). Genetic analysis of whole SARS-CoV-2 genomic sequences of the aforementioned lineages revealed the presence of mutations within the S protein (L18F, ΔH69/V70, S898F, ΔY144, S162G, A222V, N439K, N501Y, A570D, D614G, P681H, S982A and D1118H) that confer higher transmissibility and/or antibody escape (immune evasion) upon the virus. Phylogeographic analysis indicated that the majority of imports and exports were to and from the United Kingdom (UK), although many other regions/countries were identified (southeastern Asia, southern Europe, eastern Europe, Germany, Italy, Brazil, Chile, the USA, Denmark, the Czech Republic, Slovenia, Finland, Switzerland and Pakistan). Taken together, these findings demonstrate that the SARS-CoV-2 infection epidemic in Cyprus is being maintained by a continuous influx of lineages from many countries, resulting in the establishment of an ever-evolving and polyphyletic virus on the island.
This article reconsiders the videogame practice of speedrunning through a posthumanist lens. In “Fully Optimized: The (Post)human Art of Speedrunning” (Journal of Posthuman Studies 4(1) (2020): 5–24), Jonathan Hay identifies a gap in the literature on speedrunning and provides a timely response to the thinking of the gameplay practice. However, what Hay describes is at risk of being misinterpreted as a transhumanist position, due to its association with Nietzsche’s Apollonian notion of art. This article will expand Hay and Scully-Blaker’s definitions of speedrunning by identifying a third type: the parasitic speedrun. Moving beyond consideration of speedrunning that implicate a “mostly” human agency, the idea of the parasitic speedrun suggests that a videogame glitch, produced through cosmic “noise,” offers a space where technical objects and organic matter intersect in unexpected ways. The cosmic noise triggers a cascading effect that extends from the gaming console to the gamer. This event parasites the gamer to the extent that the speedrunning community calls their identity into question. This article proposes that a parasitic speedrun is posthuman, as it extends beyond the determinations of human intentionality and cannot be reduced to the binary logic of human and technology.
In this project the limitations of perspectival drawing are revised and reconsidered through a particular visual (dis)ability: keratoconus. Perspectival representation is based not only on a single and immobile eye, but also on an ‘able’ eye. The de-formation of keratoconic vision offers a new means to consider the perspectival drawing by extending beyond the limitations of its structure. The degenerative keratoconic eye thus calls attention to the intricate mechanism of sight and to the eye’s machinic functioning. By referring to Creative Evolution by Henri Bergson and The Large Glass by Marcel Duchamp it becomes possible to articulate the nuanced relations between the complexity of the eye as a complex structure and the simplicity of its unitary function. Through keratoconic vision, one experiences the formations and (de)formations of the visual image due to the eyes’ functioning and dysfunctioning. This then leads to the search for an alternative medium that is similar to such a nuanced embodied visual experience. The interval between the machinations of vision and the simplicity of its function is more closely resembled through the visual experience of the stereoscope. The digitization of the stereoscope further unfolds this notion of the durational interval that lies between the machinations of vision and their unitary function, increasingly veering towards the former. Emerging digital stereoscopic imaging begin to utilize feedback and interaction and thus produce new ways to imagine the complexity of the eye(s) and visuality more broadly.
An experimental installation project of my own making, the diplorasis, aims to re-think the human sensorium by considering the bodily perceptual boundaries that are induced by visual media processes. Within the installation space the participant will, unexpectedly, encounter stereoscopic projections of himself/herself from previous instances and multiple perspectives. The photographic cameras within the device that are attached to sensors have been programmed to capture different views of the moving participant, and then to digitally split (and in some cases manipulate) the images before sending them to screens that project the image for the participant’s view. These stereoscopic images induce an illusionistic three-dimensional projection of the subject. The reduplicated, projected, and three-dimensionally simulated self in the diplorasis begins to trigger a questioning of how the body is understood within visual media. During the visual experience one has a solipsistic perception of oneself. The participant views himself both from outside and inside his body. The out-of-body experience of observing oneself from the multiple points of view of another (as a simulated object) is somehow countered to the embodied operation of the physical binocular eyes. The uncanny closeness of a neutral image “out there” (e.g. of a house) evoked by the original stereoscopes is now subverted, as the digitization of the stereoscope allows for unexpected self projections of the viewer. The diplorasis brings to the fore a particular reading of a sensory body that veers between, on the one hand, a projected image generated by electronic information, and on the other, the embodied response to this projected spectral other. As electronic processes are changing the perceptual and cognitive limits of the body, how do these shift our understanding of inside/outside?
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