2020 Corona virus-live update

live update of world Corona Virus, data, Map

https://ncov2019.live/dat

 What is the Coronavirus?

1. 2019 Novel Coronavirus (2019-nCoV) is a virus (more specifically, a coronavirus) identified as the cause of an outbreak of respiratory illness first detected in Wuhan, China.
2. Early on, many of the patients in the outbreak in Wuhan, China reportedly had some link to a large seafood and animal market, suggesting animal-to-person spread.
3. However, a growing number of patients reportedly have not had exposure to animal markets, indicating person-to-person spread is occurring.
4. The name coronavirus is derived from the Latin corona, meaning "crown" or "halo", which refers to the characteristic appearance reminiscent of a crown.

What does it look like?

These images are colorized and from electron microscropes

  

How do you get infected?

1. The main route of transmission is respiratory droplets and close contact.
2. When you sneeze or cough, you send out droplets of fluid from your nose and mouth.
3. Those droplets can carry infections, and when they enter someone else's enter the eyes, nose or mouth, the infection can make them sick. This is the way the flu and many viruses are spread.
4. Most often, you need to be close to the person (within 6 feet) for it to spread this way.
5. There is the possibility of aerosol transmission when exposed to high concentration aerosol for a long time in a relatively closed environment.
6. The WHO has stated that the risk of spread from someone without symptoms is "very low" and that fecal transmission is "low".

How can I protect myself?

Handwashing

1. A number of governments advise against all non-essential travel to countries and areas affected by the outbreak.
2. There are misconceptions circulating about how to prevent infection: rinsing the nose, gargling with mouthwash, and eating garlic are not effective.
3. The CDC recommends that people wash hands often with soap and water for at least 20 seconds, especially after going to the toilet or when hands are visibly dirty.
• It further recommended using an alcohol-based hand sanitiser with at least 60% alcohol by volume (or 120 proof) when soap and water are not readily available.
• The WHO also advise people to avoid touching the eyes, nose, or mouth with unwashed hands.

Respiratory hygiene

1. Health organizations recommended that people cover their mouth and nose with a tissue when coughing or sneezing (which should then be disposed of immediately), or with a sleeve if a tissue is not available.
2. The use of surgical masks by those who may be infected has also been recommended, as they can limit the volume and travel distance of expiratory droplets dispersed when talking, sneezing, and coughing.
3. There is no evidence to show that the wearing of surgical masks by uninfected people at low risk is effective.
4. Only China has specifically recommended the use of masks by healthy members of the public, while face masks have been widely used by healthy people in Hong Kong, Japan, Malaysia, and Singapore.

How do I know if I am infected?

Common signs of infection include respiratory symptoms, fever, cough, shortness of breath and breathing difficulties. In more severe cases, infection can cause pneumonia, severe acute respiratory syndrome, kidney failure and even death.

Symptom          %

Fever    87.9%

Dry cough           67.7%

Fatigue 38.1%

Sputum production        33.4%

Shortness of breath        18.6%

Muscle pain or joint pain             14.8%

Sore throat        13.9%

Headache           13.6%

Chills     11.4%

Nausea or vomiting        5.0%

Nasal congestion             4.8%

Diarrhoea          3.7%

Haemoptysis     0.9%

Conjunctival congestion 0.8%

How to use a mask

1. Wear a mask if you are coughing or sneezing.
2. If you wear a mask, then you must know how to use it and dispose of it properly.
3. Before putting on a mask, clean your hands with alcohol-based hand rub or soap and water.
4. Cover your mouth and nose with the mask and make sure there are no gaps between your face and the mask.
5. Avoid touching the mask while using it.
6. Replace the mask with a new one as soon as it is damp and do not re-use single-use masks.
7. To remove the mask, remove it from behind (do not touch the front of the mask), discard it immediately in a closed bin, and then clean your hands with alcohol-based hand rub or soap and water.

How do I know if I am infected?

Common signs of infection include respiratory symptoms, fever, cough, shortness of breath and breathing difficulties. In more severe cases, infection can cause pneumonia, severe acute respiratory syndrome, kidney failure and even death.

Ok I think I'm infected, now what?

1. Self-isolation at home has been recommended for those diagnosed with COVID-19 and those who suspect they have been infected.
2. Public health agencies have issued self-isolation instructions that include notification of healthcare providers by phone and restricting all activities outside of the home, except for getting medical care.
3. Do not go to work, school, or public areas. Avoid using public transportation, ride-sharing, or taxis
4. Those who have recently travelled to a country with widespread transmission or who have been in direct contact with someone diagnosed with COVID-19 have also been asked by some government health agencies to self-quarantine or practise social distancing for 14 days from the time of last possible exposure.
5. Attempts to relieve the symptoms may include taking regular (over-the-counter) cold medications, drinking fluids, and resting. Depending on the severity, oxygen therapy, intravenous fluids, and breathing support may be required.
6. The use of steroids may worsen outcomes.

Is there a vaccine or a cure?

1. No vaccine is currently available.
2. Several organisations around the world are developing vaccines, using several different methods.
3. By early March 2020, 30 vaccine candidates were in development, with products by Gilead Sciences and Ascletis Pharma in Phase III clinical trials.
4. Several compounds, which were previously approved for treatment of other viral diseases, such as favipiravir, ribavirin, remdesivir and galidesivir, are being investigated against the coronavirus.
5. Clinical trials are underway in for lopinavir/ritonavir and of remdesivir.
6. Bruce Aylward, an assistant director-general of the WHO, has stated "there is only one drug right now that we think may have real efficacy and that's remdesivir."

Sources

https://ncov2019.live/dat

Local government websites/health departments

BNO News
CDC
WHO

再生- 在21世紀經由科學窺視生命 Ana-genesis: Picturing Life through Science in the 21st Century

Ana-genesis: Picturing Life through Science in the 21^st Century 

 Project of 2005 

 Luchia Meihua Lee

Although human genotypes or interior profiles identify us humans as Homo sapiens and are the same, human phenotypes that determine how we look are different. But what makes us human? Is it the combination of nature/nurture or is our desire for learning? A combination of reasons including Mendel’s “factors” that transmit hereditary traits, determine our evolutionary make-up. But, in a world in which cloning, DNA sequencing and genetic engineering these have become somewhat more predictable. In 1953 James Watson and Francis Crick discovered that the gene was a ribbon-like strand of deoxyribonucleic acid or DNA, that was arranged in a double helix formation. About three billion rungs or base pairs that join these helixes like rungs in a ladder form a genome. It takes about 100,000 genes to make up the genetic map of who we are. Molecular biologists began experimenting with gene mapping, splicing and grafting genes of one species onto another in 1973. They did this because the human DNA could be seen easier when grafted to different species consequently they could manipulate and study it better. Gene mapping has led to the identification of many diseases but still more are caused by a combination of nature and nurture thus a demand has risen for many government to study sequence the human genome. The year 2003 marked the 50^th anniversary of the discovery of the DNA double helix by Watson and Crick. Subsequently, science has made further inroads into proteomics that seeks to manipulate proteins into delivering necessary drugs to a specific site and have been put into place by pharmaceutical companies at present. The integration of science and art forges a new understanding while standing at the very brink of discovering the very nature of life.

再生- 在21世紀經由科學窺視生命

雖然人類的身體基因型態或是內在心理剖面證明人類是具有高智慧的人種, 同時具有相同的基本結構組織, 但是人類基因表現型卻決定了我們外觀上的不同,  到底是什麼製造了人類? 是先天因素或是後天的環境造成? 或是我們學習的意念及願望所形成? 一些複合的原因中包含了孟德爾發現的遺傳因素,  祖先傳承決定了我們進化的架構。  但是, 在複製人的時代裡, DNA的順序及基因工程在某層次, 變成了可以被預測的情況。

在1953 年, 傑姆士懷特生先生(James Watson)及法蘭西斯 克利先生(Francis Crick)發現了基因型是呈現一種蝶結式的去氧核醣核酸複合體, 或是稱為DNA,  這一種結構是雙螺旋階梯組織型態,  幾近三億個梯架杆或是雙基形組織可結成一個螺旋階梯式的基因型, 而需要將近十萬個基因型才能製造一個人體。

 在1973年, 分子生物學開始進行基因地圖的實驗分析、基因剪輯、 與接枝混種去研究基因型種類。這一些基因剪接是為了能更容易檢視不同基因組型, 而終究是要再了解及操控基因 , 研究基因地圖發現中, 證明了許多的疾病事實上是來自先天因素併合後天的環境而產生,  這種發現促使許多的政府機構投入許多經費, 去研究人類基因型的結構順序。2003年是傑姆士懷特生及法蘭西斯 克利發現雙螺旋基因型的五十週年紀念。 緊接著 , 生物科學被導引進行蛋白質的研究 ,並且發現並操作白質以製造出一種特定的用途的必須藥品,  現在藥學公司並為這項研究成品設定特別部們。  

藝術及科學的整合將打造出一種新的理解 ,在這兩種邊際間去探究自然生命的最初原創發現的多樣面向。

展覽地點:希臘雅典現代館美術館       

Vorres Museum-Modern Art Museum, Athens, Greece 

展出日期:  March 1^st – May 30^th  2005 

廵迴法國巴黎  土耳其伊斯坦堡其他國家美術館

策展人 Thalia Vrachopoulos,, Luchia Meihua Lee 及 Elga Wimwer經過長時間的交互討論構想規劃一項展覽, 來反應當前科學及生物學的發展 ,並進行藝術與這項領域的交流。  

展覽檢視與下列相關議題:蛋白質的、 基因型、 生物資訊學、 基因體、生物工程、 混血、 以及人類基因研究計畫,  這一些與全球生物學有關計畫 ,當代文化及藝術產品,  近二十位國際藝術家 , 運用多樣的媒材表現, 如錄影、裝置、攝影、數位、雕塑及繪畫來表現這樣一個主題。  

The curators Drs. Thalia Vrachopoulos, Elga Wimmer and Luchia Lee have envisioned an exhibition reflective of the current scientific and biologic developments as they pertain to art thus are showing works that relate to the issues of this field’s fluid boundaries.

This exhibition will examine issues that relate to proteomiocs, bioinformatics, genomics, bio-engineering, cross-breeding, DNA mapping, and the Human Genome Project as they relate to global ecology, contemporary culture and its artistic production. Twelve international artists working with various media from video, installation, photography, sculpture and painting will be featured.

Patricia Piccininni: creates sculptures resembling toys half human and half

animal: A cloned “toy”

Dieter Huber: ‘plays’ with DNA and self portraiture representing himself as half female/half male

Steve Miller: creates digital images of DNA’s primary function as a source code for cells to construct new protein molecules.  He hopes that his new visual language is a representation of the most advanced thinking in our

time as well as the imagery of the “new Body”.

Jenny Marketou: in an adopted version of the story of Drakula, the artist has a body transformed by a “blood transfusion” with Drakula’s bite.

Brian Crockett: Uses transgenic the practice of transplanting genes from one species to another, to create hybrids with characteristics of both species.

Eva Sutton: engages molecular biology and its offshoot, genetic

engineering with which to create hybrid creatures through the manipulation of individual components of complex systems through her software designs, and that challenge notions of perfection and its consequences.

Suzanne Anker: has been a printmaker and sculptor who since 1987 has used  genetic imagery and is interested in the relationships between art and biology and how nature can be transformed into an artifact. Her imagery recalls maps, diagrams, sequencing codes and other forms of scientific communication systems.

Leigh Anne Langwell: investigates the inner landscape of the body as microcosm. She documents the rich dialogues of a myriad cells and organelles that maintain the communication pathways for the exchange of electrical and chemical information.

Andromahi Kefalos: Utilizes MRI films with which to study the physical landscape of the mind and the body’s soft tissues. She works with glassine paper drawings in installation combined with multi media to create environments.

Mont-Saint-Michel: The historic 3D model comes to life The famed Mont-Saint-Michel relief map—a 17th century icon of French innovation, history, and culture—comes to life for the first time in the US as an immersive mixed reality experience.

https://www.microsoft.com/inculture/arts/le-mont-saint-michel-mixed-reality/?ocid=AID2492522_QSG_379207

Mont-Saint-Michel: The historic 3D model comes to life

The famed Mont-Saint-Michel relief map—a 17th century icon of French innovation, history, and culture—comes to life for the first time in the US as an immersive mixed reality experience. 

For centuries, technology has been influencing the way people engage with the world and shape the course of history. In 17th and 18th-century France, large-scale 3D maps—painstakingly built by hand down to the most intricate details—were the most advanced mapping technology of their time. They were considered such valuable strategic tools that leaders like Napoleon and King Louis XIV considered them military secrets and hid them from public view.

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https://youtu.be/MGtpe0ni_nI

https://www.microsoft.com/inculture/arts/le-mont-saint-michel-mixed-reality/?ocid=AID2492522_QSG_379207

保存過去。創造現在-凱爾斯之書的顯著意義 （Book of Kells)（發表於藝術家雜志） -

(本文刊載於 2019 11月份藝術家雜志） 

by Luchia Meihua Lee

Pey-Chwen Lin: Augmented Reality Evangelist

Pey-Chwen Lin: Augmented Reality Evangelist

林珮淳：擴增實境的佈道者

by Luchia Meihua Lee

Using abstract methods to describe an invisible spirit, a phenomenon, and concept is a free testimony. It is not an easy process to embody it, to digitalize religious prophecy and form it into a virtual world, where the foreseeable crisis is presented as an allegorical expression through the expression of art. There is a degree of difficulty in persuading the viewer and overcoming the belief gap. Although the extraordinary esteem accorded to science in our society is real, and It is also true that the ambition of biotechnology is also to predict the possibility of catastrophe. In the history of art, this has been expressed by the combination of objects in various time and space in surrealism or the use of semiotics for analysis. In another form, it is the mainstream of the art of the Middle Ages or the Renaissance.

Reconsider Kant’s central question “What is the human being?” [[i]]For some, the answer entails embracing cultural diversity, for others being human is simply holding on to aspiration in spite of accidents of birth and nature. Yet another response to this question is a reverence for natural and social systems, as elaborated by artistic discourse. Pey-Chwen Lin approaches Kant’s question differently. Uncertainty about and changing responses to “What is the human being” portend potential political, economic, and cultural crises. It is common to say that necessarily the future, and increasingly the present, belong to high technologies such as AI, VR, AR, and all kinds of new digital and mechanical implements. Robots are forecast to have a revolutionary impact on the global need for human labor. Humanistic concerns seemingly will be dissolved in a utopian future.

In this context, Stephen Fry [[ii] ] emphasized that we live in a flood plain and a great storm is coming; most urgently, in order to ready ourselves for a future bristling with technology, we must redouble our efforts to understand who we humans really are. We need to begin to understand what machines can and cannot do, and what human priorities they can assist. Art and humanity are more important than ever; we need to understand our soul, spirit, sense of beauty, love, inspiration, loyalty, and empathy. As machines can be programmed to do more, we will have more time so we need to know how and why we humans can fulfill our true nature.

Lin’s Eve Clone is readily recognizable; nude, in a crouching posture with partly extended arms. Symbolism abounds in Lin’s Eve Clone works; in her words, “The numbers, symbols, sounds and images in my works describe an important ‘appropriation’ concept.” On one level, they support belief in the Christian bible and prophets. On another level, Lin clothes the demon in ideal, standardized human form. As an example, investigate the video Making of Eve Clone then the AR-enabled documentary prints Making of Eve Clone Documentation, five of which show the development of Eve Clone’s hands and five of which show the development of Eve Clone’s head – all of which featured in the exhibition Urban Tribes. While the prints show a mechanical – almost architectural – elaboration of features that become more detailed in each successive print, the chilling app allows Eve Clone’s eyes to open and blink while head and hands rotate, as Lin’s creature wakes from her digital stupor. In the artist’s 2014 Revelation of Eve Clone video reflecting on global climate change and rising sea level, she gives us an animation of Eve Clone under water. Eve Clone’s head is golden, with a triple 6 adorning the forehead. In the video, its legs gradually turn to lead, matching the dream of Nebuchadnezzar as interpreted by Daniel.

Lin constructs another version of Eve Clone which is superimposed on and even obscures Vitruvian man, DaVinci’s ideal specifications for the human figure. Thus, the artist points to the danger that today’s advanced digital technology is also creating an ideal. For the video, Lin used a virtual camera to show from various angles how Eve Clone has been shaped and to emphasize her digital nature. The wire frame and skeleton, VU texture mapping, and pattern engraving not only serve as documentation but also underline how Eve Clone is a digital product of human desire. In another AR-enabled series, Lin explores the virgin Mary depicted as a classic and elegant renaissance woman head, recalling the series of prints showing construction of Eve Clone. In this digitally augmented reality, we have entered a qualitatively different era of information and new technological connectedness. As these prints suggest, it may be difficult or even impossible to distinguish the real from the fake, the robotic, and fetishistic.

Now turn to the Great Babylon video, which has Eve Clone high in the air above Babylon, at that time the capital of the most potent empire in the world, a great seat of learning and culture and law, famed for the Hanging Gardens of Babylon cited by ancient writers as one of the Seven Wonders of the World. Lin based her video on the the Book of Genesis, chapter 11 which identifies Babylon as the site of the Tower of Babel. Eve Clone presides over the ruin of the mighty city below her, and the subsequent destruction of the world as caused by human beings, and then explodes in the sky above Babylon like a meteor burning up.

Just as the four evangelists transmitted their message through the medium of Greek scripture translated into Latin – utterly new to unlettered barbarians – so too does Lin employ the latest digital techniques to point out that the answer proposed by high technology is deeply flawed, tainted with over-reaching pride, and ignores man’s place in the cosmos.

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[i]  Louden, Robert. n.d. Kant’s Human Being: essays on his theory of human nature. Oxford: Oxford University Press. Accessed May 4, 2019. https://pdfs.semanticscholar.org/f0e6/da6197978d213e17dc76dfa63448decff5b6.pdf.

[ii] Fry, Stephen. 2017. Shannon Luminary Lecture Series - Stephen Fry, actor, comedian, journalist, author. Oct 3. https://www.youtube.com/watch?v=24F6C1KfbjM.

_______________________________________________________________________________

Exhibition

Pey-Chwen Lin: Eve Clone Augmented Reality

 Opening reception: Thursday October 24, 5-7pm

Exhibition Dates: October 17  – November 27, 2019

Venue: QCC Art Gallery/CUNY

Curators: Luchia Meihua Lee, Faustino Quintanilla

Co-organizers: QCC Art Gallery/CUNY and Taiwanese American Arts Council

Making of Eve Clone Documentation I- Head I, II, III, IV, V, 2017

Digital print with AR Installation and hand drawing 29.3 x 41.3 inches

Courtesy of the artist

Making of Eve Clone Documentation I- Hand I, II, III, IV, V, 2017

Digital print with AR Installation and hand drawing 29.3 x 41.3 inches

Courtesy of the artist

Scan QR Code for Head and hand interactive

Making of Eve Clone Portrait

IAR, IIAR, IIIAR, IVAR,  2019

Digital print with AR installation

 and hand drawing

21 x 28 inches

Courtesy of the artist

Videos:

Video 1 夏娃克隆啟示錄

Revelation of Eve Clone IV, 2014

Motion graphics

3D animation, Electronic Music Composure,

Color with Sound, Single Channel DVD Loop

2:14 minites

Revelation of Eve Clone IVM:

https://drive.google.com/open?id=1NjG8Nryf47ntnhwJW-6_dLDVeaaktYNm

 Video 2

Making of Eve Clone I

Digital video and sound projection,

3D animation,

9:10 minutes 

https://vimeo.com/200453117

https://youtu.be/MvGdW0EJnbs

Video 3

Great Babylon, 2019

Motion graphics

3D animation, Electronic Music Composure,

Color with Sound, Single Channel DVD Loop

2:58 minites

Great Babylon M:

https://drive.google.com/open?id=1GcesUhKZRZPSKR3tpJs4Q0d71I3_9sKK

林珮淳：擴增實境的佈道者

使用抽象的手法去描繪一種看不見的精神及現象與一種觀念是自由心証，把它具像化則是一個不容易的過程。將宗教預言數位化并形成虛擬網路存在，取用預見的危機透過藝術的表現來作爲寓言式呈現，它存在一種“説服”觀者的困難度，雖然是存在現實社會中科學的被鼓勵發展也是事實，生物科技的發展野心也可預言了浩劫存在可能。在藝術史上也猶如超現實的結合或是使用符號學來進行分析是存在的，更是中世紀或是文藝復興的藝術呈現的主流。

(中文版待續）

CC Yang: Reclaiming the Vision

CC Yang: Reclaiming the Vision

Opening reception: Thursday September 5, 2019 from 5 to 7pm

QCC Art Gallery/CUNY,

222-05 56th Ave, Bayside, NY 11364

Curators: Faustino Quintanilla, Luchia Meihua Lee

Exhibition Dates: August 28 - September 27, 2019

Watch Us! Together We Can do it

2013-present

Simulation of the performance

Reclaiming the Vision presents a unified view of the interconnected segments of society and the physical environment in which it functions. This is accomplished by exhibiting CC Yang’s work related to politics, religion, art history, the environment, and global harmony. Starting in 2013, Yang has carefully planned a daring performance project named Watch Us! Together We Can do it for which he is seeking patronship. Collecting any object in this exhibition will go towards supporting Watch Us! Together We Can do it. We request your loving contribution to enable Yang’s dream. Taken as a whole, this work articulates Yang’s vision of a world towards which we can strive.

Plans call for Yang to a climb a 300-foot rope ladder attached to a helicopter or blimp, which ascent will be steadied by 230 collaborators – one from each nation on earth. When he reaches the apex, his fellow performers, each holding a unique brightly-colored LED strand, will power on a gigantic artwork illuminating the darkness. Unified in Yang’s version of an interconnected world, these 230 individuals will serve as role models, as a micro-level spiritual force intended to create macro-level worldwide harmony.

About CC Yang

Multidisciplinary artist CC Yang was born in Taiwan, and has resided for many years in New York City. He studied at Parsons School of Design in Manhattan (BFA, 1986) and at Pratt Institute in Brooklyn (Master of Science, 1994).  In a 2009 review Holland Cotter of the New York Times called one of his projects “a magical tunnel of love.” He has received grants from The New York Foundation for the Arts, the New York State Council on the Arts, and from The Taiwan National Culture and Arts Foundation. He was awarded fellowships from the Vilcek Foundation and in 2018 he was at Yaddo. His 2019 artist residency was at MASS MoCA Studio, and in 2020 he will be at Santa Fe Art Institute for the Labor Residency.

His most recent work addresses society’s efforts to protect itself, both physically and psychologically, against long-term catastrophe resulting from pollution, surveillance, isolation, quarantine, and religious/political/social intolerance. The modern world, as Yang conceives it, is a graduated mixture of anxiety and entrancement. Twenty-first century products can do wondrous things, but producers and consumers alike wantonly discard waste. He explores such short-sighted practices by combining found materials, video projections, performance, and his own body to make art that spotlights ways forward. He likes to collaborate with other artists to create work which deals with the issues affecting individuals and, by extension, specific communities as well as society at large. Incorporating a touch of irony, his art helps us become better acquainted with the frightening side of human nature, signaling experimental and creative ways to view the planet and ourselves.

CC Yang: Reclaiming the Vision 楊金池的願景

Opening reception: Thursday September 5, 2019 from 5 to 7pm

Venue: QCC Art Gallery/CUNY, Bayside, NYC

222-05 56th Ave, Bayside, NY 11364  Tel: (718) 631-6396

楊金池的願景展覽收錄了他近十年來對社會，政治，宗教尤其以與環境的觀察及關心的作品及行爲表演，作品提供了對社會相互關聯與各環境的統一觀點，通過展示楊金池自不同的角度朝向關注全球，提供一種整體性的和諧及實現的可能。 從2013年開始，楊先生精心策劃了一個名為Watch Us!的大膽表演項目！ 計劃將會要求楊攀登一架300英尺的直升機或飛艇上的繩梯，將由230名合作者穩定這繩梯 –這揭示著--來自地球上的每個國家，當他到達頂點時，他的同伴們，每個人都拿著一個獨特的顏色鮮豔的LED線，為一個巨大的藝術作品在黑暗中照亮。 在楊金池版本的相互聯結的世界中統一，這230個人將充當榜樣，旨在創造宏觀層面的全球和諧的微觀精神力量。

我們共同努力為他尋求贊助。 在本次展覽中收集任何物品將用於支持Watch US! 我們一起做到了。 我們要求您的愛心貢獻，以實現楊的夢想。 總的來說，這項工作闡明了楊的觀點, 也是我們可以為之奮鬥的世界。