Here’s what parents need to know

If you have a baby, you may be concerned that they catch the coronavirus, particularly after the media has reported on an Australian child being diagnosed.

The good news is that so far, evidence shows that children never get seriously ill with coronavirus. And even if infected, they may have no symptoms.

However, coronavirus could affect infants in other ways. For example, there may be difficulties in accessing healthcare, consumer goods and childcare.

Thinking about these possibilities now and preparing yourself can help you manage what might happen.

Access to healthcare can be complicated, but there are ways

If the coronavirus spreads, the healthcare system will struggle to cope for a while.

Up to 20% of people receiving COVID-19 need hospital treatment for up to two weeks or more.

Hospitals and general practices can be overwhelmed by other coronavirus sufferers, which can make access to healthcare difficult if the child gets sick for any reason.

Recognizing this, the Australian government recently announced special provisions for parents of newborn babies who need to be billed in bulk when consulting a doctor or nurse via telephone or video call rather than in person.

There are also things you can do to help keep your baby healthy so they don’t need medical attention. By protecting them, you also protect the people around them who may be more vulnerable to serious coronavirus diseases.

Think about hygiene

The first thing you can do is practice good hygiene yourself. This includes washing hands frequently, avoiding close contact with other people as much as possible, coughing or sneezing in the elbow or in a folded tissue and avoiding touching the eyes, nose and mouth.

Since children put their hands in their mouths, whatever happens, washing their faces and hands frequently and cleaning the surfaces and objects they could touch will help protect them from any infection.

How about nursery?

It is not surprising to most parents that children attending kindergarten are sick more often.

This is because babies and young children have an immature immune system, are in close contact with each other and may end up sharing saliva with each other by talking and touching the same toys.

So if you can, keep the child away from kindergarten. However, if you need to use it, when you take your baby from kindergarten, wash your hands and face, change clothes, then wash your hands, before picking them up in that big, warm hug.

Make sure the vaccinations are up to date

Routine vaccination is the safest and most effective way to protect infants and children from disease.

So, keep your child’s vaccinations up to date to minimize the chance that they need medical attention while the health system is dealing with coronavirus.

If you are breastfeeding

Breast milk contains many ingredients to help prevent and fight infections. Babies are recommended to be fed only with breast milk until they are six months old and continue breastfeeding with other foods until the second year of life.

If the baby is less than six months old and breastfeeding, offering them only breast milk protects them from a range of infections and reduces the need for medical treatment or hospitalization.

If your baby is breastfeeding and using the formula, consider replacing the feed with breastfeeding.

If you have stopped breastfeeding entirely, you can start breastfeeding again if you wish (contact the National Breastfeeding Helpline for assistance).

If you have an older child who is still breastfeeding, breastfeeding will help protect him from other diseases until the coronavirus pandemic has passed.

If you are using the formula

It is easy to accidentally introduce germs into bottles while preparing baby formula. Therefore, since medical care can be difficult to access, it is worth paying special attention to avoid it.

Be very careful in preparing the bottles. This means always washing your hands thoroughly with soap, washing the bottles thoroughly, sterilizing them after each use and putting on the formula with hot water.

Remember to cool the bottle in the refrigerator, shake it gently and check that it is not too hot before giving it to your baby.

Buy supplies, such as diapers

Supply chains could be broken if many people get sick. And you may not be able to shop if you need to isolate yourself from home.

We recommend having two to three weeks of home supplies to prepare for this possibility. Consider stocking up on diapers for this period of time or keeping washable (cloth) diapers handy.

If you are breastfeeding infant formula, buy enough infant formula for three weeks but check the expiration dates.

What if mum contracted the coronavirus?

Mothers are more at risk of getting coronavirus than their babies.

And if you are breastfeeding and infected, it is recommended that you continue breastfeeding. This is because the virus has not been found in breast milk.

Wearing a mask when you are with the baby (even while feeding), washing your hands before and after contact with the baby and cleaning and disinfecting surfaces and any feeding equipment will help prevent virus capture by of child.

If you are hospitalized or separated from your baby, you can express breast milk for them.

Think about protecting grandparents

If you or your partner gets sick, someone else may need help taking care of the baby or other children.

Children like to share their saliva with their caregivers and can become infected with the coronavirus but have no symptoms. So they can easily spread the infection to the people who care for them.

Many parents call grandparents to help with childcare. Unfortunately people over 60 are more likely to get seriously ill or die from coronavirus.

So if your standby companions are over 60, now is the time to think about making alternative arrangements for childcare.

Talk to grandparents about how they can reduce the risk of infection if they need to take care of the baby. The conversation

Karleen Gribble, Adjunct Associate Professor, School of Nursing and Midwifery, Western Sydney University and Nina Jane Chad, Post-doctoral Research Associate, Sydney School of Public Health, University of Sydney.

This article was republished by The Conversation with a Creative Commons license. Read the original article


The sound of the day # 431: transfiguring like Sphaeros

There are two types of psychedelic rock: one who swears by his great pagan gods, and one who really is. The first one really doesn’t suffer from any style or manufacturing constraints, it can sound like any variety that goes by without disturbing anyone in the supermarket. The second can take quite diverse forms – from bluesy rock that expands the pupils at radioactive lava flow – but it requires without possible arrangement a total commitment, body, ego and spirit mixed, of the one who devotes himself to it at the moment when he creates, because how to cause the alteration of the state of consciousness of the listener when one don’t you take advantage of the transformative virtues of your art?

The music of David Spher’Os, who has devoted himself to altering his own conscience by all arts and all pores for three decades, obviously belongs to the second category. First with Aqua Nebula Oscillator, noise freaks veterans of the French underground scene through which he converted a lot of fellow students among the public, also by means of a polymorphous and unbridled creation, “Sculptures, retinal visualization, travel, music, poetry”, Spher’Os does just that: seek the way to a more lively, bright and colorful place than our sad reality.

Possession, his first solo album that Pan European Recording and Release offer you to discover today in full, is the concentrate of his research in one “Unique and multifaceted monster” with seven heads, seven pieces and seven films made by him in which he poured ancestral legends and hectoliters of “Menstrual blood of wolf-headed unicorns”, which are like the absolute antithesis of the fast-food psyche that is too easy to inject. Inspired by a thousand poetic, esoteric and mythological sources, Possession is a pure ritual delirium in the first degree, theatrical, morbid, inhabited, filled with animal cries, bone sounds that collide and monophonic synth solos, where David Spher’Os declaims Grand-Guignol way of wandering lovecraftiennes from planet to planet, to the end of “Interstellar magma”. It is little to say that the trip is worth it, provided you give a little of yourself and immerse yourself up to your neck in these forty minutes for real, at the risk of leaving a bit of yourself – but at what’s the point of staying whole if it’s to bother like a dead rat until the end? “The key to joy is disobedience”, we breath Sphaeros. It’s up to you how you want to spend the rest of your day.

Possession released March 6, at Pan European Recording.

Olivier Lamm


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At the Berlinale, pearls of plenty

Now that the prize list has fallen, the time has come for a final review of this successful 70e Berlinale, to evoke a few films that have been able to float in the memory of the festival critic exhausted by an overflow of images, German coffee and stuffy pretzels.

Mental space

Siberia by Abel Ferrara

ITA, DEU, MEX 2020, Competition
2020 Vivo film. Maze pictures. Piano

Siberia of Abel Ferrara. Vivo film. Maze pictures. Piano

Let’s start with an aberration, which we cannot say whether we like it or not, one of the most awaited films of the competition which created an almost general perplexity: Siberia by Abel Ferrara. It is a series of enigmatic visions and encounters experienced by an American, Clint (Willem Dafoe), running a bar in the middle of Siberia. Memories, dreams, nightmarish or mystical apparitions are linked together in this trip where we guess the clear influence of Andrei Tarkovski. Many critics found the film grotesque, and most of the spectators in the very large room of the Friedrichstadt-Palast, where we saw it, had apparently chosen to consider that they were facing a comedy. We do not hide the fact that certain situations or ideas made us smile and that it is quite difficult to genuinely adhere to this mystical-psychoanalytic peregrination in which Ferrara immerses us in the obscure depths of his imagination. But, in addition to the fact that the film arouses in us the sympathy of unclassifiable and netless objects, it is undeniable that the one who produced it is a real filmmaker, who knows how to create singular images, invent a complex mental space or seize us by a simple connection between two planes. And in a festival where there are so many films in one day, sometimes of great platitude or shapeless blistering, this Siberia so mocked at least had the audacity to explore in its own way nothing less than the twists and turns of cinematic time and space, through those of dream and memory.

Malmkrog by Cristi Puiu

ROU, SRB, CHE, SWE, BIH, MKD 2020, Encounters

Malmkrog by Cristi Puiu. Mandragora

It is in a completely different way that we recognize a strong sense of duration and framework in the long, complex and sometimes sumptuous shots that constitute Malmkrog (presented in the Encounters section), the new film by Romanian filmmaker Cristi Puiu (discovered in 2005 with the extraordinary the Death of Dante Lazarescu). Shots that are not just the result of a skill in framing and photographing, but that are constantly tended by life and the words that unfold therein. Adapting texts from the Russian philosopher and poet Vladimir Soloviev, this 3:20 am film takes place in a unique place: a mansion in Transylvania where Nikolai, a large landowner, welcomes Christmas friends of aristocrat friends, of different nationalities. Between meals and board games, their main activity consists in sharing their visions of the world, essentially in French, around subjects as big as death, progress, religion, morals. We think of Manoel de Oliveira, with less humor although the film is not devoid of fantasy and strangeness. You can get lost in conversations but it is the very word that matters, the need to keep talking, to think out loud even if it turns out to be increasingly complex and perilous.

Rizi | Days by Tsai Ming-Liang

TWN 2019, Competition
Homegreen Films

Days from Tsai Ming-liang. Homegreen Films

Days by Tsai Ming-liang (in competition) marks the return to fiction after seven years of absence (since stray dogs, in 2013) from another great filmmaker of the plan, of their slow deployment over time. He is equal to himself in his new film where, far from Puiu’s talks, almost no words are spoken. Again, he becomes attached to solitudes that will eventually intersect. In the countryside, a man (Lee Kang-sheng, the filmmaker’s favorite actor since his first film) with tired and slow gestures, seems to be bored and suffering physically, requiring baths, massages and acupuncture sessions; in the city, a younger man, on the contrary, is distinguished by the dexterity of his gestures, especially when he is washing food and cooking it. In the montage that shows them evolving in parallel, elements visible in almost every plane already unite them: water, fire, plants, present in many forms. The film is tied to the meeting of the two men where, for the time of a sensual and then sexual massage, the skillful hands of the first relieve the tired body of the second, until enjoyment. It is very clear and very beautiful, no offense to the impatient.


Domangchin yeoja | The Woman Who Ran | Die Frau, die rannte by Hong Sangsoo

The Woman Who Ran from Hong Sang-soo. Jeonwonsa Film Co. Production

In Hong Sang-soo, the precision and rigor of the plans is not as obvious as in Puiu or Tsai. The Korean filmmaker, who claims Rohmer’s influence, again appears in The Woman Who Ran (presented in competition) a lightness and a simplicity that the frames, panoramas or zooms scrutinize with acuity but without will to artificially embellish their obviousness. A young woman (the magnificent filmmaker’s muse Kim Minhee) takes advantage of her husband’s business trip to visit three former friends. Through their conversations mixing very concrete and material subjects – the price of things, neighborhood problems, food, vegetarianism -, Hong deals in his own way with very contemporary questions, with a humor that gradually turns to melancholy . Ultimately, this film in which the few men who appear are troublesome and essentially filmed from behind, evokes a certain female solitude, chosen or suffered. To cold surveillance camera shots, Hong sets his gaze on the lookout, available to prodigious chances, such as this camera movement which reveals a perfectly placed and attentive cat at the end of a long shot where the stake of the conversation was precisely the presence of cats in the vicinity. A plan so miraculous that it sparked applause in an entire room of criticism in Berlin.

In the recesses of the parallel selections, a few films with modest means made, like Hong Sang-soo, of their economic poverty an engine of freshness and vitality. In Boarding (Panorama section), the new film by Guillaume Brac, declared admirer of the Korean filmmaker, we follow the summer getaway of two friends going to find in the Drôme the conquest of an evening of one of them. As in July tales (2018), Brac turns again with young actors from the National Conservatory of Dramatic Art, rediscovering something of the adventurous spirit of Jacques Rozier’s films but by matching it to the languages, cultures and customs of a very contemporary youth . As always with Brac, under his apparent humility the film is precise and dense, in addition to being funny and extremely endearing.

Magnifying glass

In Isabella (presented to Encounters), the Argentinian Matías Piñeiro films another friendly adventure, but coupled with an ambiguous rivalry. Two young theater actresses apply for the same role, that of Isabella in Measure for measure of William Shakespeare, while the brother of one is the lover of the other. It is a film about envy, in the double sense of the word – desire and jealousy – where the Rivetian play with the theater is made more complex (something new in Piñeiro) by a play with chronology and a formalism which sometimes leads to on an abstraction of colors and shapes. A captivating and confusing film that will perhaps be enjoyed above all by those who already know Piñeiro’s cinema, all the elements of which (theater, friendship, acting, speech) are here reorganized in a more free and mysterious way.

Finally, one of the great discoveries of the festival was A metamorfose dos pássaros, the first feature by Portuguese catarina Vasconcelos (presented at Encounters), shot for less than 100,000 euros. It is a biography of the filmmaker’s own family, of his grandparents and parents, reconstituted in beautiful fine-line shots essentially framing gestures, objects, photographs, and playing on materials, colors, simple visual effects (the recurrent use of a magnifying glass, for example) while voiceovers follow one another to evoke moments in the life of each. Imagine a Cavalier film filmed by Manoel de Oliveira (still him) to get an idea of ​​the beauty and originality of this minimalist and poetic family novel. The kind of unexpected little pearls that we always hope to find in this clutter of films that is a film festival as bloated as the Berlinale.

Marcos Uzal