Why contact tracing is 'a skill and an art' in the fight against COVID-19 - CTV News | Canada News Media
Connect with us

Art

Why contact tracing is 'a skill and an art' in the fight against COVID-19 – CTV News

Published

 on


SASKATOON —
Tracing the contacts and movements of someone exposed to COVID-19 is key to containing the disease. Dr. Johnmark Opondo, medical health officer in Saskatoon, spoke with CTV Saskatoon’s Jonathan Charlton about how contact tracing works – and how much it has increased during the pandemic. This interview has been edited for length and clarity.

When COVID-19 hit, was there contact tracing capacity already or did you have to start from scratch?

This is really interesting. The pandemic is a public health emergency, it’s a new infectious disease. But contact tracing is something that we do all the time. It’s just maybe some of the best hidden secrets of the work we do as the Saskatchewan Health Authority.

Any communicable disease … we do contact investigations and that’s one big contribution to quickly controlling any infectious disease outbreak. The main thing is to get quickly to people who have been exposed, notify them and ask them to isolate themselves or get tested.

For COVID we’ve just used the same practice. We had smaller teams – but as the SHA we ramped up, we scaled up as the need has grown because COVID came in and we quickly needed a lot of capacity to do a lot of work in a short period of time.

How many people doing tracing do you have now compared to before?

In Saskatoon, at a stable state we probably have something between six to seven nurses doing contact tracing across our communicable disease front. We have approximately, on average, including our casuals, maybe a nice round number would be 10.

During COVID, at the peak, in March, April when we were seeing a lot of cases, I think we had something like 30 people helping us in contact tracing. The majority were public health nurses but we’ve had other disciplines of employees like our health inspectors and some of our exercise therapists. It became all of us contributing when this was critical.

Can you describe how the process works?

Contact tracing is a skill and an art and I think it’s really good to be able to describe this to your audience and the people of Saskatchewan. Usually the way we do contact tracing is when we have a new case, we do an initial interview and many times it’s on the phone. We have a set of interview questions and it’s very friendly – because we’re nurses. Nurses are really patient advocates so it’s very patient centred.

We want to know how you are, if you need any medical support that referral is made then. We really want to know two main things – are you isolated at home, that’s really important for public safety, and then if you can tell us your list of people you’ve had contact with in the last 14 days and maybe the places you’ve been.

In this day and age of social distancing, a good check is, you should know who you’ve encountered in the last 14 days. If it’s a longer list than you can recall, you need to check whether you’re truly social distancing, because you should be unless you’re in an essential service field. And if you are in an essential service field we want to know where you’ve been.

And really, the aim of contact investigations is gentle. It’s about protection so that we can quickly get to people who you may have been in contact with. When we do get to the people when we’ve collected information from you, we’re very careful that we don’t disclose or we don’t breach your confidentiality.

How many contact traces have been done so far for COVID-19?

In the Saskatoon area it’s in the thousands. Each case on average in Saskatoon we have called at least seven other people.

Has there been any thought to using contact tracing apps or technology like that?

We know about them, we know how they’ve been used in other settings and we’re kind of trying to view them and understand them in the Canadian context. But this is an area that’ll be very new and innovative and we really have to get public support and buy-in.

I understand there are apps that are really very good and they’re not intrusive and they don’t take a lot of your data – but for the apps to work, a high proportion of the public has to have those apps on their phone. Just doing contact tracing based on cell phone numbers is something that can be very sensitive and maybe I’ll just leave it at that.

But I think the apps we’ve heard about, there are some that look particularly interesting. We’ll see. For us in Saskatchewan the way we’re doing it with the outbreak, it’s been quite efficient. And I think it’s been quite effective. It’s worked for us quite well.

In general, how should people be feeling about the state of the pandemic in Saskatchewan and the risk it poses?

I think the Saskatcewan people have really done an excellent job in collaborating and cooperating at great inconvenience to themselves. They socially distance, people didn’t have their Easter, religious ceremonies the same way, we’ve cancelled a lot of mass gatherings and concerts. So we’ve made a huge sacrifice. And I think our numbers show that, that things have stabilized, things are going in the right direction. Generally speaking, things look good.

But you can’t be overly optimistic. Because you asked me that question and I have to touch wood. I don’t want to jinx our trend, but our trends are generally going in the right direction, even in the places where we are experiencing outbreaks.

Pandemics come in geographic waves so in Saskatchewan we’re not an island. We have to make sure that we’re helping our neighbours, both Manitoba and Alberta. We are in one big epidemic zone in the Prairies so if we can all help each other and move towards a stable situation at least for the Prairies … if things calm down, which is the trend I’m seeing, then I think we’ll be good. But it may only be for a while. This new virus is around so really we have to proceed with caution.

Let’s block ads! (Why?)



Source link

Continue Reading

Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

 on

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Continue Reading

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

 on


[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone  BBC.com



Source link

Continue Reading

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

 on

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

Source link

Continue Reading

Trending

Exit mobile version