#獨家 世界衛生組織將台灣問題相關聲明稿下架!
世界衛生組織(WHO)在台灣時間今(6)日凌晨以 "How the World Health Organization works with all people, everywhere" 為題發了一篇聲明稿,試圖為排除台灣參與 WHO 辯解。不過這篇聲明卻在不到 24 小時內就被 WHO 網站下架,直至晚間6時30分仍呈現「找不到網頁」(This page cannot be found),《沃草》透過世衛網站暫存紀錄,獨家為大家揭露該篇聲明內容。
聲明中,WHO仍稱與台灣相關的事務為「中國台灣事務」( Taiwan, China issues),針對全球的種種批評,WHO 仍稱之為誤解(misunderstandings),並聲稱是有些人將「技術性的維護全球公共健康任務」與「決定 WHO 會員資格的權限」混淆,似乎打算以此來回應國際要求讓台灣加入 WHO 的呼聲。
聲明中多處重申 WHO 在 3 月 29 日公布的聲明(https://waa.tw/Qsu21N),認為 WHO 與台灣設有聯絡點、台灣專家曾參與 WHO 會議等,並表示台灣參與世界衛生大會的觀察員資格是在一次次的會員國投票中遭到否決,以及提起讓中華人民共和國取代中華民國聯合國席位的聯合國 2758 決議文,表示世界衛生大會遵循此決議及其中的一中原則。
似乎是為回應全球對 WHO 應對流行病能力的質疑,WHO 在聲明中表示「有些人可能認為 WHO 成員組成影響我們維護世界安全的能力,但更重要的是要了解我們的治理方式和實踐方式。」
暫存檔網址:https://waa.tw/dohkIm
聲明截圖:https://drive.google.com/file/d/1VP-KMgP4wb6Oy8jQkOjoSu-DWGS3Xqkb/view
原新聞稿網址:https://waa.tw/lFKd8M
(以下為世界衛生組織聲明原文)
標題:Update: How the World Health Organization works with all people, everywhere
發表時間:5 April 2020 Statement
內文:
In recent months we have seen misunderstandings in social media and the news media about how WHO manages global public health issues. In particular, there are a lot of questions about Taiwan, China issues. Some people are confusing WHO’s technical global public health mandate, with the mandate of countries to determine WHO’s membership. Countries decide this. The WHO Secretariat focuses on keeping the world safe.
WHO works to promote the health of all people, everywhere. Indeed, one of our overarching goals is Universal Health Coverage. #healthforall. We are an organization with a staff of physicians, scientists, researchers and public health experts who are committed to serving all people regardless of nationality, race, ethnicity, religion, gender.
This includes the people of Taiwan. We serve them through regular interactions with their experts and authorities on vital public health issues. This has been the case over many years, including during the COVID-19 pandemic.
It is understandable that some people might think that the composition of WHO’s membership affects our ability to keep the world safe. But it is important to understand both how we are governed and how we operate in practice.
WHO is part of the United Nations, whose membership is the mandate of countries. In 1971, countries of the world participating in the United Nations General Assembly recognized the People’s Republic of China as “the only legitimate representative of China,” in effect, a one-China policy. That is contained in UNGA Resolution 2758. In 1972, the World Health Assembly decided in WHA Resolution 25.1 to follow that.
Every year, members have a chance to discuss important proposals during the World Health Assembly, where rules and policies governing WHO are decided. For example, at different times, some countries have proposed giving Taiwan’s authorities a special status – that of observing the annual World Health Assembly.
There have been 14 times over the last 22 years (1997-2006; and in 2008, 2017, 2018, 2019) when countries discussed whether a delegation from Taiwan could attend the World Health Assembly as an observer. Each time the countries decided against it by consensus – except in 1997 and 2004 when there were votes: (by 128 votes to 19 in 1997; and by 133 votes to 25 in 2004). In 2007, the issue wasn’t observer status, but membership, and countries decided against considering that by a vote of 148 to 17.
There have been occasions when it was clear that there was general support among WHO countries for Taiwan to take an observer seat at the World Health Assembly. Between 2009 and 2016, it did so under the name “Chinese Taipei.”
But having a seat at the WHA, or not having a seat at the WHA, does not affect, in any way, whether an area or population benefits from WHO expertise and guidance. WHO helps all people, everywhere.
WHO and Taiwan’s health experts interact throughout the year on vital public health and scientific issues, according to well-established arrangements.
During the current COVID-19 pandemic, interactions have been stepped up, both through existing channels and new ones as well.
Here are examples of WHO-Taiwan interactions around the coronavirus pandemic:
-- There is an established International Health Regulations (IHR) Point of Contact (POC) for Taiwan. Taiwan’s POC receives IHR (2005) communications, provides IHR information updates from Taiwan directly to WHO Headquarters, and has access to the IHR Event Information Site (EIS) system. The EIS system is a password-protected database and information exchange platform supporting the IHR. It is the well-established platform for all IHR communications, back and forth, between WHO and IHR contacts.
-- Health experts from Taiwan participate in two of the key WHO networks set up in January 2020 to support WHO work in the global COVID-19 response. Three experts from Taiwan are part of the WHO Infection Prevention and Control Network: two are part of the WHO Clinical Network. Every week, they join some 60 to 80 other experts from around the globe through a WHO-hosted teleconference, working to advance our knowledge and guidance in this response.
-- Two public health experts from Taiwan participated in the Global Research and Innovation Forum organized by WHO on 11-12 February 2020. They took part, alongside other world scientists, in considering critical research questions and in finding ways to work together to advance the response.
-- Taiwan’s Field Epidemiology Training Program is a member of the Training Programs in Epidemiology and Public Health Interventions Network (also known as “TEPHINET”). WHO shares Global Outbreak Alert and Response Network alerts and requests for assistance with TEPHINET, and those messages are cascaded to the TEPHINET members.
-- WHO, through its technical lead, has directly briefed health authorities from Taiwan and has offered again.
--Taiwan’s health experts and authorities have open access to developments, guidance and other materials through the WHO’s website (www.who.int) and other digital platforms.
--They can access the www.OpenWHO.org platform, which hosts open online courses for decisionmakers and responders around the world. During the COVID-19 pandemic, OpenWHO usage has reached more than 1 million.
--WHO has a designated contact point with their office in Geneva. Through this channel, general questions are handled and when technical concerns arise, WHO technical responses are coordinated.
--WHO also interacts with Taiwan’s health authorities through the European Centre for Disease Prevention and Control.
Importantly, the COVID-19 caseload in Taiwan is low relative to population. We continue to follow developments closely, and WHO is taking lessons learned from all areas.
Interactions with Taiwan during the response to the pandemic is not exceptional. Here are some examples of regular interactions with Taiwan’s health authorities and WHO, over many years, through well-established arrangements, and across many different global health concerns:
Over the course of 2019, Taiwan’s experts were invited to attend 9 WHO technical meetings. They attended 8 of these meetings, contributing to WHO expert processes on issues including immunization, drug-resistant TB, assistive technologies, vaccine safety and SDG targets on NCDs and Mental Health. Prior to the Covid-19 emergency, work was underway for more expert participation from Taiwan in 2020.
On influenza, Taiwan vaccine manufacturer Adimmune contributes to the WHO Pandemic Influenza Preparedness Framework (PIP Framework) and preparations are underway for concluding an agreement between WHO and Adimmune under the PIP Framework for pandemic influenza vaccine products;
In the fight against cancer, experts from Taiwan have contributed to key publications issued by the WHO International Agency for Research on Cancer;
In support of the International Health Regulations, an expert from Taiwan has been appointed to the IHR Expert Roster; and
On a range of other issues, from WHO pre-qualification practices for pharmaceutical manufacturers to malaria, there are exchanges with WHO on practical and technical issues.
It is fair to say that the contribution of Taiwan’s health experts to WHO, and their interactions with us, are well-developed and broad-based. And these interactions add value to the work of WHO and to global health.
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各位觀眾,#高重黎 ~~~!!
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Voices of Photography 攝影之聲
Issue 22 : #高重黎專號
The Kao Chung-Li Issue
「攝影是時間的機器/攝影是存在的機器/攝影是遺忘的機器/攝影是鬥爭的機器/攝影是詩的機器/攝影是秩序的機器/攝影是快感的機器/攝影是機器的機器」___高重黎
一個幽靈——影像機器的幽靈——在島上遊蕩。
從實驗電影、攝影、動畫、雕塑、影像裝置、視覺玩具發明乃至影像論述書寫,高重黎源源不絕、型態多樣而難以被歸類定位的創作展演,正體現了觀看、影像與歷史的複雜纏繞,以及對於影像不曾止歇、永無終點的提問與思考,是台灣影像藝術創作圖景中極具實驗性與顛覆性的刺點。
高重黎對於「影像生產」如何影響攝影史發展的敏銳問題意識,使他在一個沒有屬於自己的影像生產工具的攝影島嶼裡,透過自行發明、手工產製影像機械裝置,嘗試在只熱衷「生產影像」並由影像消費主導的貧血的視覺文化中,尋索解答;他甚而將眼睛化為攝/放映機,使腦袋變成底片,將嘴做揚聲器,讓自己徹底變成一台人肉影像機器,以他的身體與影像實踐,試圖翻攪、超克當前攝影史發展中看似難以撼動的權力構型。
「攝影是什麼?電影是什麼?看是什麼?」高重黎張大眼睛問。「為什麼我們沒有屬於自己的攝影搖籃、童年、電影的黃金時代?為什麼我們沒有自己的視覺感知、神經的論述原理?為什麼我們沒有自己的影像機器工業呢?⋯⋯」在這份專號裡,我們將探索這些問題的答案,沿著高重黎的創作理路,踏上這一趟影像思索的長征。
為了準備這份專號,我們反覆造訪、整理高重黎經年累積、龐大而散落的創作資料,在他堆滿各類影像器械機具而難以探底的影像庫房中,挖掘他早期的八釐米影片、幻燈片與手稿,收錄他未曾曝光的照片、物件、動畫繪稿、工作筆記與私房收藏,並輯錄他的多篇論述。
此外,我們特別邀集影像研究者張世倫、許芳慈、郭昭蘭、劉永晧與陳煒宗,析論高重黎的影像觀與創作構成,以及藝術家林鉅對高重黎其人其事的白描素寫;同時收錄已故作家陳映真以高重黎作品論辯現代主義藝術與批判意識的評述文字,還有高重黎的長篇訪談。
製作藝術家專號對我們來說永遠是一項艱鉅的挑戰,在此要特別感謝高重黎先生對我們的信任、支持與寬容,無私地與我們分享他的創作生活。我們難以完整呈現他豐富的面向,僅能在有限的條件能力下,做為跨步初探高重黎的一份創作紀錄,並將我們從一位藝術家的影像思考中獲取的啟發,分享給我們親愛的讀者朋友。
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A spectre is haunting the island - the spectre of the imaging machinery.
Through experimental films, photography, animation, sculptures, image installations, visual toy inventions and even essays on visual imagery, Chung-Li Kao exemplifies the complex relationship between viewing, imagery and history, and has never stopped questioning and reflecting on imagery through diverse forms of creation that defy classification. Kao is indeed the most experimental and subversive punctum in Taiwan’s visual arts scene.
Acutely aware of how "image production" influences the development of the history of photography, Kao tries to look for a solution within the anemic visual culture dominated by a preference for "produced images" and the consumption of imagery, on this photographic island that possesses no means of its own to produce images and instead relies on inventions of the imaging machinery. He even transforms himself into a human imagery machine - his eyes a projector, his brain a negative, his mouth a loudspeaker. Using his body and putting imagery into practice, Kao attempts to overturn and surpass the seemingly unmovable power structure that is so deeply entrenched in the development of contemporary photographic history.
"What is photography? What are films? What is it to ‘see’?" Kao asks, his eyes wide. "Why do we not have our own cradle of photography, childhood, or golden age of movies? Why do we not have our own theories of visual perception and neurology? Why do we not have our own imaging machinery industry?" In this special issue, we attempt to answer these questions as we embark on this long journey of reflection, along the lines of Kao’s principles of creation.
In preparation for this issue, we visited Kao several times and compiled his vast and scattered collection of work which has accumulated over the years. We uncovered his earlier 8mm films, slides and manuscripts as we dug through his storeroom, filled to no end with all sorts of imagery machines. We also included in this issue never-before-seen photographs, animated drafts, working notes, objects from his personal collection and several of his essays.
In addition, we invited imagery researchers Shih-Lun Chang, Fang-Tze Hsu, Jau-Lan Guo, Yung-Hao Liu and Wei-Tsung Chen to discuss Kao’s imagery perspective and processes, and artist Ju Lin to talk about Kao and his work. At the same time, we also included the late author Ying-Zhen Chen’s commentary on modernist artwork and critical awareness through the lens of Kao’s works, as well as an in-depth interview with the artist himself.
It will always be a daunting challenge to us when it comes to preparing an artist issue. We would like to express our gratitude to Mr. Chung-Li Kao for his trust, support and generosity, and for sharing his life of art creation with us without any reservations. With our limited capability, we are unable to put into print the entirety of the rich orientation of his art, but what we can do is to share with our beloved readers a record of Kao’s creations and the inspiration we got from the imagery reflections of an artist.
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Voices of Photography 攝影之聲
www.vopmagazine.com
processes special issue 在 聶永真 Aaron Nieh Facebook 的最佳解答
強中之強!
-
攝影之聲19
#照片 #雕塑
#photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
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Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
在這期《攝影之聲》中,日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」,將照片層層堆疊雕琢刻鏤,改造平面攝影為多元視點的立體圖像,顛覆照片設下的時空制約;荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片,締構一系列複合媒材影像雕塑,在型態轉化之中探索當代圖像訊息的變異組建;韓國藝術家權五祥拍下大量的實物細節,將照片拼貼雕砌成各種人形塑像與物件結構,超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元,我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太,藉由他自由裂解增生的數位塗抹(digital smudge)軌跡,在介入、破壞與影像噪音化的各種實驗中,將傳統攝影的物質與機械性建制重新格式化,跌進影像生成狀態的混元世界,突顯了視覺技術的思維後像。或許激浪派(Fluxus)的意識將再透過他的作品重返攝影的話題,並反映著這個世代的視線主張。
專欄單元中,張世倫對類比底片粒子與數位像素的影像物質性進行思辨,闡述影像的不完美特性對攝影本質的啟示;顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》,在達達主義興起並影響至今的一百周年之際,檢視當代現成物藝術的實踐語彙;此外,從這期開始,我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」,他以近年親身參與籌劃的攝影展覽歷程做為序論,並將陸續疏理香港的攝影史脈與當代影像地景,做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年,也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年,這場獨立行動雖告失敗,卻因最終催生了愛爾蘭共和國而成為歷史關鍵,今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演,解讀革命符號與受難者影像中,攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl,他於1972年創立的「Steidl」以出版印工精緻的作品集聞名,並成為國際藝術出版界的指標之一,Steidl在訪談中與我們分享他的工作經驗,以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列,他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照,以塗鴉拼貼重構造相,在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著,《攝影之聲》正式來到第五個周年,而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行,我們將繼續往下一站前進。
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In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
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Voices of Photography 攝影之聲
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