關於 please be confirmed that the meeting ，我們在網路上蒐集到這些相關的討論、資訊與評價

Alhamdulillah. YB Fuziah (Kak Gee) who attended the PH - Minister Tengku Datuk Seri Utama Zafrul meeting today, informed me that MOF is keen to produce a Gender Responsive Budget (GRB) with Environmental, Social and Governance (ESG) elements for the upcoming budget. If truly realised, it would be a positive step towards addressing gender equality, and future proofing Malaysia. She also informed me that Minister DS Tengku Zafrul showed interests in MPI as a tool.

KEADILAN MPs have been working hard on these matters as part of our pre-budget preparations led by Wong Chen.

Thank you very much for the stellar work done, Ale, Wong Chen’s officer - for collating all the written suggestions and recommendations over the many pre-councils between KEADILAN MPs.

Having completed our MPI survey, led by Professor Fatimah Kari & her team, local enumerators and our ground office - culminating in a finalised report on measuring the different dimensions of poverty (six conventional & 3 COVID-19 related) in Permatang Pauh, -it brings me pleasure to have my colleagues champion a more progressive and future proof measurement of poverty & its alleviation in the upcoming Budget and 12th Malaysia Plan.

Our office finalised a few recommendations to the MOF - specifically seeking an MPI centred approach to poverty eradication; and adoption of gender responsive measures in the dispensing of our national budget. The findings through our MPI survey confirmed that women headed households are in deeper financial crisis in comparison to conventional households - with a concerning intergenerational lack of social and educational mobility and increased food poverty amongst children.

As such - our national budget must be responsive to gender - a principle that carries through to the point of implementation. Since MOF limited reps to three from each party; I urged that YB Fuziah be included together with Wong Chen and our SecGen. Kak Gee (YB Fuziah) has been a long time advocate of gender responsive budgeting and together — the three of them also stressed the need for Malaysia to achieve the SDGs - specifically the 5th, in tandem with a more realistic measurement of poverty.

As for me; the task of briefing Minister Dato’ Seri Mustapa Mohamed on our completed MPI survey & our discussion on the key highlights to be raised during our 12th Malaysia Plan RTM session tomorrow night gave me some hope - of a new dawn in poverty eradication - if not necessarily, new politics 😅 Cautiously optimistic, bak kata Uncle Wong Chen.

Much to do - waver, we mustn’t.

Please note we are planning the launch of our MPI report. Join us as the date nears #Parlimen!

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

賀陳弘校長寫給全校教職員生的一封信：

清華園的師生及同仁們:

大家好嗎?

在疫情日漸緊張之際，我們將一起迎接延後了兩星期的新學期。

很感謝許多行政同仁從農曆年假期就動員起來，在開學前完成了各項防疫措施，包括設置居家檢疫宿舍，幫助從港澳返校的同學們平安地度過14天的居家檢疫。所幸他們全都平安出關，能和我們一同迎接新學期的開始。負責清潔的阿姨伯伯們比平常更加辛勞，為大家準備好了清潔安全的環境。

也要謝謝學生會的幹部們，從防疫小組成立的第一天開始就積極加入，傳達同學的看法，提供了許多很好的建議，並且用很棒的方式協助學校將最新的防疫措施傳達給同學們。

在開學的時候，清華園還有一些境外師生尚未能返校。學校除了備妥視訊教學等彈性修業方案，也衷心期待他們在住居地一切平安，不要中斷學習；在疫情趨緩之後，能很快地回來加入我們。

大家也一定會發現，校園因防疫而必須採取許多措施，雖然會增添一些不便，但為了彼此的平安健康，要請大家務必配合。包括:

1. 校園全面量測體溫：
全校共設置19處體溫量測站(校本部15站，南大校區4站)，體溫正常者貼上貼紙，大家互相提醒，希望進入建築物內的都是量過體溫正常者。體溫異常者，由衛保組詢問個案資料後指示後續安排方式。
https://reurl.cc/jdX2ln

2. 入境與健康狀況通報：
自中港澳、南韓、義大利以及國際旅遊疫情建議等級第一級與第二級國家（如日本、新加坡、伊朗、泰國）入境的教職員請向衛保組通報，所屬的單位也必須另外做通報。
若耳溫≥ 38℃、額溫≥37.5℃或出現呼吸道不適等類流感症狀，也請立即通報衛保組03-5743000(週一至周五，上午8時至下午5 時)或生輔組03-5711814(24小時)
個人通報: https://reurl.cc/RdKgy9
單位通報: https://reurl.cc/72ZNMQ

3. 視訊及彈性教學：
為了讓無法返校上課的學生學習不中斷，請助教徵得授課教師同意，協助將課程錄影下來，上傳到學校的數位學習平台。如無法錄影，也請教師指派助教協助學生補課及課輔。
彈性修業機制:
http://2019-ncov.site.nthu.edu.tw/var/file/499/1499/img/420369121.pdf

4. 記錄課堂出缺席：
為校內萬一出現確診病患、需要掌握其接觸史，請教師以點名或拍照方式，掌握學生出缺席情況並做記錄。以首爾大學確診案例為實驗室工作人員的例子，也請各實驗室主管掌握進出實驗室各種人員的日期時間。

5. 加強清潔消毒：
清潔人員需戴口罩及手套進行清潔工作。人體易接觸區域如電梯按鍵、門把開關、樓梯扶手、會議室桌椅、茶水間、交誼廳……等，每日以1:100比例漂白水消毒。廁所清潔以1:100比例漂白水消毒。

6. 關懷諮商：
疫情來襲時，師生們或多或少都有些恐懼和心理影響。請不要因謠言而恐慌，以關懷代替臆測或排斥。如果發現自己對疫情的焦慮與擔憂已經影響睡眠或正常作息，可以聯絡諮商中心
http://counsel.site.nthu.edu.tw/p/406-1250-174531,r492.php?Lang=zh-tw

新學期開始，疫情雖不可避免地影響了我們的生活，希望師生們儘可能如常地學習、研究，在清華園中天天有進步。清華有最美麗的校園，鼓勵大家帶著電腦書本走向戶外，在大草坪做小組討論，成功湖畔、相思湖邊也是午餐的好地點。

防疫在生活中最基本的工夫是多洗手、室內多通風、必要時戴口罩，這些仍然是最好也最有效的方法。

當我們一起經歷過了疫情流行，我們將學會比過去更加的關懷幫助彼此、學校的環境更加衛生乾淨，未來我們會記得在清華園的日子是生命中最值得回憶的時光。

讓我們以最健康最謹慎的心情，一起迎接清華園的新學期!

校長 賀陳弘
109.2.29

Feb. 29, 2020

Dear faculty members, students, and staff,

How are you?

As the epidemic is heightening, we are going to embrace the beginning of this new semester which was postponed for two weeks.

I would like to thank many administrators who have worked together since the Lunar New Year holidays to install a few prevention measures before school begins. These measures include the designation of home-quarantine dormitories so that students returning from Hong Kong and Macau could safely finish a 14-day period of home quarantine. Luckily, they have all peacefully exited the quarantine dorms and ready for the new semester like the rest of us. Also, the respectful cleaning staff worked even harder than usual to prepare a clean and safe environment for everybody.

I also thank the officers of NTHU Student Associations for being active since the first day when we set up the University Epidemic Prevention Team. You have conveyed the points of view of the student body, you have provided many great suggestions, and delivered the university announcements to students in superb ways.

However, as the school is about to begin, some students and professors still stay in their countries, not able to return to Taiwan. NTHU has prepared flexible study programs, including online learning resources, and we sincerely wish them peace and that they can continue their study with no interruption. Hopefully, if the epidemic becomes less severe, they will come back to join us soon.

You will certainly find out that the campus is going to implement various additional epidemic-prevention measures. Though these measures can be inconvenient, we ask everybody to comply to them for the sake of everybody’s well-being. The measures include:

1. A comprehensive plan for body temperature measurement:
We have set up 19 body temperature booths (15 in the main campus, and 4 in the Nanda campus). Those who have normal temperatures will be marked with a sticker. I ask everybody to remind one another of this, so that we can be sure that everybody’s temperature is normal inside all the university buildings. Just in case if your temperature turns out abnormal, the Division of Health Services will inquire some of your personal information and follow up accordingly.

2. For faculty and staff members: if you entered Taiwan from Mainland China, Hong Kong, Macau, South Korea, Italy, and countries listed under Travel Notice Level 1 or 2 (such as Japan, Singapore, Iran, and Thailand), please report to the Division of Health Services from this link: https://reurl.cc/RdKgy9. Your department or division are also requested to file in a separate report https://reurl.cc/72ZNMQ.

3. Video-based and flexible study programs:
To ensure that students continue to study in case that they cannot return to campus, we have asked teaching assistants to record and upload the lectures to the university e-learning systems (if the professor approves). If video recording is not plausible, we ask the professor to assign TAs for make-up classes and study consultation.

4. Class attendance:
If a confirmed COVID-19 case occurs in NTHU, we will need to clarify the patient’s disease contact history. Therefore, we have asked all teachers to check attendance at all time, perhaps by taking a picture, so that we have accurate records for every student’s presence and absence. For laboratory personnel management, we ask all the lab directors to thoroughly keep track of lab members’ entrance and exiting date and time.

5. Disinfection:
The cleaning staff will need to wear a mask and gloves at work. Bleach with 1:100 dilution will be used every day to disinfect places that are easily reached or touched by human body, including elevator buttons, doorknobs, staircase handrails, desks and chairs in meeting rooms, kitchenettes, social halls, and so on. Similarly, the toilets will be disinfected daily with 1:100 diluted bleach.

6. Caring and consultation:
During this difficult time, we might all be somewhat fearful and emotionally affected. Please do not panic over rumors; let us care for each other and do not exclude or speculate against anybody. If you find that your anxiety and worry is affecting your sleep or normal daily routine, you are encouraged to contact the University Counseling Center.
http://counsel-en.site.nthu.edu.tw/p/406-1292-174586,r1020.php?Lang=en


The epidemic is going to affect our life inevitably when the new semester begins. I wish that, as much as we can, we will study and do research normally, and keep making progress on our beautiful campus. Perhaps, we can enjoy picking up our books and laptops to study outdoors (weather permitting) on the lawn. Enjoying lunch at the lakeside may also be a good idea.

The most basic things we can do are to wash hands frequently, to have good ventilation indoors, and to wear a mask whenever necessary. I believe that these approaches will be effective.

When we go through this difficult time, we will care for and help one another even more than before, the school environment will become healthier and cleaner, and I believe that we will cherish every moment we spend here at NTHU as the most memorable time of our life.

Let us embrace the new semester with the most careful mind and a healthy heart!

From Your President, Hong Hecheng