The first reports of the acute and often fatal illness known as the “English Sweat” are from 1485 and its last known outbreak was in 1551. During this period, the Sweat produced only five epidemic waves. Except for one outbreak which spread to the northern part of the continent of Europe in 1529, the Sweat was confined almost exclusively to England, with only anecdotal reports of isolated infections in other parts of the British Isles. The Sweat was thus only a minor component in the panorama of infectious disease affecting mediaeval and early modern Europe. Nevertheless, it continues to fascinate both medical historians and modern infectious disease biologists – the latter group now often engaged in competing exercises in retrospective diagnosis. This paper seeks to explore the reasons for such enduring interest, using the Early English Books Online (EEBO) text corpus to analyse the various contexts in which the Sweat was discussed up to 1700. EEBO shows that references to the Sweat occur repeatedly in astrological and religious discourses, especially from the mid-17^th century onwards. Four salient examples are examined in detail. It is proposed that the cultural memory of the Sweat, in the 150 years following its disappearance, was kept disproportionately alive not so much by accounts of its alarming symptoms but more due to its metaphorical and illustrative utility in non-medical discourse.

Three decades have now passed since the first papers linking climate change to issues in human disease and healthcare. One of the most active topics in this area has been the implication of climate change events, particularly temperature and humidity fluctuations, in the northward spread of vector-borne viruses from more tropical regions into Europe and North America. However, some detailed studies of one such emerging disease, tick-borne encephalitis virus (TBEv), have called the connection into question, concentrating the debate on the investigation of precise mechanisms for the spread of viral disease. More recently, firmer statistical correlations have been made between climate variables, the presence of insect vectors and the prevalence of viral disease, particularly for West Nile Virus (WNV). These insights suggest avenues for mechanistic confirmation of the involvement of climate change in other diseases where the connection remains conjectural.

The term Bio-Art has entered common usage to describe the interaction between the arts and the biological sciences. Although Bio-Art implies that Bio-Music would be one of its obvious sub-disciplines, the latter term has been much less frequently used. Nevertheless, there has been no shortage of projects that have brought together music and the biological sciences. Most of these projects have allowed the biological data to dictate to a large extent the sound produced, for instance the translation of genome or protein sequences into musical phrases, and therefore may be regarded as process compositions. Here I describe a Bio-Music process composition that derives its biological input from a visual representation of the expression pattern of the gene fushi tarazu in the Drosophila embryo. An equivalent pattern is constructed from the Scambi portfolio of short electronic music fragments created by Henri Pousseur in the 1950s. This general form of the resulting electronic composition follows that of the fushi tarazu pattern, while satisfying the rules of the Scambi compositional framework devised by Pousseur. The range and flexibility of Scambi make it ideally suited to other Bio-Music projects wherever there is a requirement, or desire, to build larger sonic structures from small units.

COVID-19 is the first known coronavirus pandemic. Nevertheless, the seasonal circulation of the four milder coronaviruses of humans – OC43, NL63, 229E and HKU1 – raises the possibility that these viruses are the descendants of more ancient coronavirus pandemics. This proposal arises by analogy to the observed descent of seasonal influenza subtypes H2N2 (now extinct), H3N2 and H1H1 from the pandemic strains of 1957, 1968 and 2009, respectively. Recent historical revisionist speculation has focussed on the influenza pandemic of 1889-1892, based on molecular phylogenetic reconstructions that show the emergence of human coronavirus OC43 around that time, probably by zoonosis from cattle. If the “Russian influenza”, as The Times named it in early 1890, was not influenza but caused by a coronavirus, the origins of the other three milder human coronaviruses may also have left a residue of clinical evidence in the 19th century medical literature and popular press. In this paper, we search digitised 19th century British newspapers for evidence of previously unsuspected coronavirus pandemics. We conclude that there is little or no corpus linguistic signal in the UK national press for large-scale outbreaks of unidentified respiratory disease for the period 1785 to 1890.

The Needleman-Wunsch process is a classic tool in bioinformatics, being a dynamic programming algorithm that performs a pairwise alignment of two input biological sequences, either protein or nucleic acid. A distance matrix between the tokens used in the sequences is also required as input. The distance matrix is used to generate a positional pairwise similarity matrix between the input sequences, which is in turn used to generate a dynamic programming matrix. The best path through the dynamic programming matrix is navigated using a traceback procedure that maximises similarity, inserting gaps as necessary. Needleman-Wunsch can align both nucleic acids or proteins, which use alphabets of size 4 and 20 tokens respectively. It can also be applied to any other kind of sequence where distance matrices can be specified. Here, we apply it to chains of Pousseur’s Scambi electronic music fragments, of which there are 32, and which Pousseur categorised by their sonic properties, thus permitting the consecutive construction of distance, similarity and dynamic programming matrices. Traceback through the dynamic programming matrix thus produces contrapuntal duet compositions in which two Scambi chains are played in the maximally euphonious manner, providing also an illustration of the principles of biological sequence alignment in sound.