被撤回的文章,英文版如下,please Share to your network.
The English version of Prof Yuen and Prof Lung's article is already available: 👇🏻
18 Mar 2020: David Christopher Lung, Yuen Kwok-yung: Pandemic Originated from Wuhan; Lesson from 17 Years Ago Forsaken
Winter of Jihai (2019), a virus began in Wuhan. Comes spring of Gengzi (2020), an epidemic broke out in Hubei. Within China, there were 80,000 confirmed cases, and 3,000 deaths. People were confined in their homes and the epidemic only began slowing down towards the end of the month, yet the virus had leaked to the world outside before it could be stopped. In March, it was a pandemic, only it was announced too late by the World Health Organization (WHO). Countries lacked measures and reserves, and the pandemic swept across the globe. Singapore, Hong Kong, Macau, and Taiwan were spared from the pandemic with continuous sprinkles of overseas imported cases and small groups, but have not yet fallen.
This pandemic came from a virus, shaped like a corona, hence named Coronavirus. Since 2015, WHO has avoided using names of people, places, animals, food, culture, occupation, etc., to name illnesses. For this one, the “year” was used for differentiation, COVID-19. In the naming of viruses, International Committee on Taxonomy of Viruses (ICTV) analyses only the genome sequencing meticulously and disregards the other aspects. Since the genome sequence of this Coronavirus was “not novel enough”, it belongs in the same sisterhood with the SARS Coronavirus, also known as SARS 2.0 (SARS-CoV-2). Local and international media call it the Wuhan Coronavirus or Wuhan Pneumonia, simple and straight-forward, which is not incorrect.
Much controversy has resulted in society regarding the name of this pandemic. In fact, the illness was named by WHO, while the virus was named by ICTV. Nicknames are conventional, as long as they are clear and understood. In scientific discussions or academic exchanges, COVID-19 or SARS-CoV-2 must be used. In daily public communications or media wordings, Wuhan Coronavirus or Wuhan Pneumonia are both conventional, easy to understand, and great for communication purposes.
The Pandemic of Gengzi, an Origin in Wuhan
Around 75% of the newly discovered infectious diseases originated from wild animals. Among the few that could infect mammals is the Coronavirus, whose ancestral virus originated from bats or avians. Both have the ability to fly thousands of miles to the place the virus was first discovered, therefore the naming of a virus would also include its place of origin. To investigate the origin of a virus, the correct and objective way is to isolate the virus from the animal host. Unfortunately, since Huanan Seafood Wholesale Market was eradicated early on, the wild animals in the market were already gone by the time researchers had arrived to collect samples. The identities of the natural host and the intermediate host became a mystery. According to the locals, the wild animals sold within the Market came from all over China, Southeast Asia, and Africa (smuggled) to be distributed from there. The ancestral virus of the Wuhan Coronavirus cannot be determined.
Using genome sequencing to determine its origin, a bat Coronavirus stand (RaTG13) was found to be extremely similar to the Wuhan Coronavirus, with a sequencing similarity of 96%, therefore it is believed to be the ancestral virus stand of this Wuhan Coronavirus. This particular virus strand was obtained and isolated from Yunnan bats (Rhinolophus sinicus), and bats are believed to be the natural host of this Wuhan Coronavirus. Epidemiology clearly indicated Huanan Seafood Wholesale Market as the amplification epicenter, where there was a huge possibility that the virus had cross-infected between the natural host and the intermediate host, and then mutated within the intermediate host to adapt to the human body, followed by human-to-human infections.
The identity of the intermediate host remains unknown, but genome sequencing indicated that the Spike Receptor-binding domain of the Wuhan Coronavirus has a 90% similarity to that of the pangolin Coronavirus strand. Although the pangolin could not be confirmed as the intermediate host, it is highly possible that this pangolin Coronavirus strand donated Spike Receptor-binding domain DNA (or even the entire sequence) to the bat Coronavirus strand. Though gene shuffling recombination, the novel Coronavirus was born.
Wild Animal Market, the Origin of Innumerable Viruses
The 2003 SARS virus originated from Heyuan, became an epidemic in Guangdong, and passed to Hong Kong. The SARS Coronavirus was found in civets, and China clearly banned the trading of wild animals afterward. 17 years on, the wild animal market has run amuck. The Chinese have outright forgotten the lessons from SARS and have allowed a live wild animal market to exist within the centre of a highly developed city, with wild animals being cooked and eaten in brought daylight – simply astonishing. The feces of the animals within a live wild animal market contain a large amount of germs and viruses. With a crowded environment, vile hygiene, and a mix of wild animal species, gene shuffling and mutation could easily occur in viruses, therefore these markets must be banned.
Reform of the wet markets should be a focus of epidemic prevention. The mainland Chinese and Hong Kong governments must quickly improve these environments by enhancing ventilation and pest control. Before the complete elimination of live-animal markets, animal feces must be well handled to minimise the chances of gene shuffling in viruses.
The online rumour that the virus originated from USA was absolutely groundless, delusional. Stop spreading the falsity before we expose ourselves to ridicule. To remain calm before a pandemic, informational transparency is of the utmost importance. With calm and objective analysis, refrain from parroting others and spreading hearsay. Not strictly enforcing the closure of all wild animal markets after SARS was a grave mistake. In order to defeat an illness, one must own up to the mistakes and face the truths. Stop committing the same mistakes and putting the blame onto others. The Wuhan Coronavirus was a product of the inferior culture of the Chinese people: excessive hunting and ingesting wild animals, inhumane treatment of animals, disrespecting lives. Continuing to devour wild animals for human desires, the deep-rooted bad habits of the Chinese people are the real origin of the virus. With this attitude, in a dozen years, SARS 3.0 is bound to happen.
(Dr Lung graduated in 2004 from the University of Hong Kong, Faculty of Medicine with distinction in Medicine. He currently works in the Hong Kong Children’s Hospital, where he built up the microbiology team and lab. Yuen Kwok-yung is a Professor and Chair of Infectious Diseases of the Department of Microbiology of the University of Hong Kong)
(Original image by Ming Pao)
https://news.mingpao.com/pns/%e8%a7%80%e9%bb%9e/article/20200318/s00012/1584470310596/%e9%be%8d%e6%8c%af%e9%82%a6-%e8%a2%81%e5%9c%8b%e5%8b%87-%e5%a4%a7%e6%b5%81%e8%a1%8c%e7%b7%a3%e8%b5%b7%e6%ad%a6%e6%bc%a2-%e5%8d%81%e4%b8%83%e5%b9%b4%e6%95%99%e8%a8%93%e7%9b%a1%e5%bf%98
同時也有2部Youtube影片,追蹤數超過11萬的網紅THE SHORTY 那個矮子,也在其Youtube影片中提到,先前跟各位分享了新手必備的五樣春夏單品,但隨著天氣慢慢變冷,單品慢慢靠不住啦 所以這次就來跟大家分享秋冬時,我自己私心推薦的五樣單品,讓穿搭的新手們,可以在秋冬一樣少花些冤枉錢,拿去跟女生過聖誕節吧~ 穿搭單品 品牌連結 D.S.L: https://www.d-s-l.com.tw UNIQL...
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Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來,《攝影之聲》持續關注影像書寫、歷史與文化樣態,隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇,邀請攝影史研究者共同參與,推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿,在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中,作為攝影與歷史論述的反思與參照。
其中,金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置,揭示非主流的創作脈動,何以是日本攝影史論中需要補遺的重要章節;陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮,以及以日本攝影雜誌作為平台的競賽文化的可能影響,呈現出戰後台、日攝影界另類的民間交流場域;朴平鍾細述自日本殖民統治結束後,韓國攝影在現實主義與現代主義之間引發的論爭,疏理戰後韓國對於攝影認知的辯證與反省;戶田昌子析論1950年代的日本攝影表現,在脫離戰時的壓抑並逐漸獲得解放之後,受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印;張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識,檢視戰後台灣的影像操縱、治理機制,以及國族攝影史本身的建構和詮釋問題。
攝影,在與光學、化學、政治社會學、文化研究,乃至符號學與精神分析等學科譜系的結合中,已不斷延展、流動、重構,打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論,勾勒攝影理路的發展形貌,本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗,並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇,為濕版法在1850年代於香港興起的考據,展現不同的史料論證。
此外,本期我們特別專訪陳傳興,刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片,一探銀鹽與光交集而生的影像喻意,以及他不停思辨的攝影本質論題。同時,我們也介紹高重黎的聲音與投影裝置新作,析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元,本期專訪日本設計師森大志郎,分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛,這些年我們仍努力在有限的資源下,持續進行資料考掘整理、訪談記錄等基礎工作,緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持,讓我們在新的一年裡,繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
unknown domain 在 VOP Facebook 的最佳貼文
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來,《攝影之聲》持續關注影像書寫、歷史與文化樣態,隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇,邀請攝影史研究者共同參與,推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿,在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中,作為攝影與歷史論述的反思與參照。
其中,金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置,揭示非主流的創作脈動,何以是日本攝影史論中需要補遺的重要章節;陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮,以及以日本攝影雜誌作為平台的競賽文化的可能影響,呈現出戰後台、日攝影界另類的民間交流場域;朴平鍾細述自日本殖民統治結束後,韓國攝影在現實主義與現代主義之間引發的論爭,疏理戰後韓國對於攝影認知的辯證與反省;戶田昌子析論1950年代的日本攝影表現,在脫離戰時的壓抑並逐漸獲得解放之後,受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印;張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識,檢視戰後台灣的影像操縱、治理機制,以及國族攝影史本身的建構和詮釋問題。
攝影,在與光學、化學、政治社會學、文化研究,乃至符號學與精神分析等學科譜系的結合中,已不斷延展、流動、重構,打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論,勾勒攝影理路的發展形貌,本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗,並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇,為濕版法在1850年代於香港興起的考據,展現不同的史料論證。
此外,本期我們特別專訪陳傳興,刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片,一探銀鹽與光交集而生的影像喻意,以及他不停思辨的攝影本質論題。同時,我們也介紹高重黎的聲音與投影裝置新作,析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元,本期專訪日本設計師森大志郎,分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛,這些年我們仍努力在有限的資源下,持續進行資料考掘整理、訪談記錄等基礎工作,緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持,讓我們在新的一年裡,繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
unknown domain 在 THE SHORTY 那個矮子 Youtube 的最佳解答
先前跟各位分享了新手必備的五樣春夏單品,但隨著天氣慢慢變冷,單品慢慢靠不住啦
所以這次就來跟大家分享秋冬時,我自己私心推薦的五樣單品,讓穿搭的新手們,可以在秋冬一樣少花些冤枉錢,拿去跟女生過聖誕節吧~
穿搭單品 品牌連結
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THE SHORTY 那個矮子:
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看更多穿搭👔:
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unknown domain 在 Rinozawa Youtube 的精選貼文
2014年5月27日/Y:2歳7ヶ月/R:4歳11ヶ月 They experience eat a alive Shirouo(fish) for the first time.
It is an unknown domain for them to just eat a small fish jumping lively. Hahaha
They refused that they put Shirouo in a mouth for a while.
However, to see a mom eating with great relish, they begin to eat Shirouo fearfully.
When we watches a her face eating Shirouo, we can understand taste of Shirouo. Hahaha
ん、シラウオの表記で売ってたんだけどなぁ( ̄m ̄
☆ツブ貝をはじめて食すRino
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unknown domain 在 未知領域Unknown Domain Taipei - Home | Facebook 的推薦與評價
未知領域Unknown Domain Taipei. 1158 likes · 1 talking about this. 每個人心中都該有個信念來告訴自己不去畏懼--- 未知是什麼,我就是未知。 ... <看更多>