CCTV News:Wulanchabu, which has the reputation of "Potato Capital of China", is located in the yinshan mountains, with large temperature difference between day and night and abundant sunshine. It is a golden potato planting belt, and its output accounts for nearly half of that of Inner Mongolia Autonomous Region. In these two days, Chayou Houqi in Wulanchabu ushered in a bumper potato harvest.

Reporter Yuan Yi:Do you think the potatoes in my hand are different from what I usually see? Its skin is red, and its name is "Houqihong". There is Ulan Hada volcano in Chayouhouqi where we are located, and these potatoes grow at the foot of the volcano. These potatoes can be said to be "drinking" volcanic magma mineral water and "enjoying" the sufficient sunshine at 41 north latitude.

Reporter Yuan Yi:Potatoes taste really good. Now the potatoes here have entered the harvest period, and harvesting potatoes is also very knowledgeable. Potato skins are thin and easy to be scratched, so they are all sorted manually. The colors of these bags are different. Look, this big sister’s bag is white, and the potatoes in it are quite big.

Farmers:Generally, it is more than three or two.

Reporter Yuan Yi:Smaller potatoes like this will be put in yellow bags.

Reporter Yuan Yi:How much can I charge a day?

Farmers:More than 200 bags.

Reporter Yuan Yi:Collecting potatoes in this field depends on unity and cooperation, and the separation of all the way is another harvest scene. The potatoes planted in this nearly 700-mu field are mainly used for starch processing. This working combine harvester works from turning the soil, shaking the soil and bagging in one go. From a distance, this big guy seems a bit heavy, but from a shooting perspective on the machine, we can see that the potatoes are spinning rapidly on the conveyor belt, and its efficiency can reach 5 mu per hour.

Although the seed potato is small, it undertakes the heaviest task, and one can sell for 3 to 50 cents, because it determines the yield of potatoes.

In addition to deep cultivation of potatoes, extending the industrial chain can double the price of potatoes. Here are all products processed with potatoes, including potato chips and environmentally-friendly disposable lunch boxes. At present, the total value of the whole potato industry chain in Inner Mongolia is 13 billion yuan, so it can be said that "small potatoes" have become the "Jin Doudou" for farmers to increase their income and get rich.

　　The medical staff are working. Xinhua news agency

　　Production of antiviral drugs. Xinhua news agency

　　editorial comment/note

　　How did the virus originate? What are scientists doing in developing drugs against Covid-19? It is the top priority for Chinese researchers to develop effective clinical drugs for Covid-19, improve the cure rate and reduce the mortality rate. On February 15th, Zhang Xinmin, director of the Biological Center of the Ministry of Science and Technology, introduced that the drug screening and treatment program had made positive progress at the press conference held by the the State Council Joint Prevention and Control Mechanism on the latest progress of drug research and development and scientific research in Covid-19. The Ministry of Science and Technology organized a national excellent scientific research team to screen more than 70,000 drugs or compounds by computer simulation screening and in vitro enzyme activity test. At present, The scientific research team has focused on a few drugs, and a number of drugs, such as chloroquine phosphate, lundixivir, and farpiravir, have successively carried out clinical trials. At present, some drugs have initially shown good clinical efficacy. This issue focuses on the origin of the virus, drug research and development, and psychological anti-epidemic.

　

　　The structure of most viruses is very simple. Basically, it is a shell made of protein wrapped with some genetic material, which is no different from dead things at ordinary times. Once infected cells, they inject their own genes into the host cells and use the host cells to replicate themselves to produce new viruses. Is the virus a living thing? Where did they come from? Below, let’s take a look at three hypotheses about the origin of the virus.

　　Hypothesis 1 Ancient macromolecules Some macromolecules, such as RNA, DNA and protein, begin to replicate themselves independently or cooperatively, and this stage can be called "molecular life". However, in a peaceful molecular life, there is a different kind, that is, some molecular life, including LUCA, the latest common ancestor of all living things, which has developed a structure that has changed the law of life, that is, cells. Cells with membrane structure can better protect delicate core macromolecules such as RNA and protein, which greatly enhances the adaptability of these organisms, which means that they will rub their original molecular life on the ground. There is a hypothesis (The Virus-First Hypothesis) that the virus is the "adherents" of the primitive molecular life world. This hypothesis was once very popular, after all, the structure of viruses is so simple, even crude, and their differences from cell life are so great.

　　Some viruses can form crystals after purification, which is unimaginable for cell biology. More solid evidence comes from "Virusoid", which is an RNA molecule. Pseudovirus can’t infect cells directly, but it can infect viruses. To be exact, it can copy itself and spread itself by hitchhiking when some viruses infect cells, which can cause some diseases such as human hepatitis D.

　　Hypothesis 2 The gene of "defection" Genes can also defect? Yes, in The Progressive Hypothesis, genes will do anything to keep themselves alive.

　　There is a small circular DNA called "plasmid" widely in bacteria. These genes are basically a group of wage earners and temporary workers. Bacteria can absorb them from the environment for their own use at any time, and they can also drive them away at any time.

　　In many bacteria, in addition to their original DNA, there are often some small fragments of circular DNA, which are called plasmids. So in the long evolution, some plasmids learned one thing: we should not work all our lives! These plasmids changed from wage earners to wage earners, which in turn hijacked their bacterial boss and took away all the nutrients of bacteria to replicate themselves. Over time, some plasmids become viruses.

　　Bacteria often suffer from a kind of virus infection called "phage". Some people think that phage comes from plasmid. The cells and bacteria of human beings and all animals and plants are very different. We all belong to "eukaryotes". There are no plasmids like bacteria in the cells, but there are still some genes waiting to move. They refused to stay on the chromosome, but jumped around in the nucleus, running to this chromosome for a while and running to that chromosome for a while. However, these naughty genes do have a name of sage like type — — Transposon (transposon)

　　According to the detection of molecular biology, many transposons have very similar gene sequences to viruses, and the mechanism of integrating themselves into the chromosomes of host cells is also highly similar. In particular, the "Retrotransposon" among them is almost as similar as some viruses, and the only difference is that these transposons cannot migrate from cell to cell like viruses.

　　However, the origin of viruses is still confusing here, because they don’t follow the evolutionary model of general organisms at all.

　　The general process of virus infection is: inject your own genes into the host cells, then use the host cells to copy your own genes, and make all kinds of materials needed to construct virus particles. Finally, manipulate the cells to package all parts of virus particles together with the virus genes into new virus particles and release them to infect other cells. But in this process, the virus is exchanging genes with various organisms all the time.

　　For example, when a virus directs a host cell to package virus particles, it sometimes packages some host cell DNA, or accidentally leaves a little bit of its own gene in the host cell. There is a gene in mammals to prevent the maternal immune system from attacking the fetus, that is, a virus accidentally landed in our cells more than 100 million years ago. When the virus spreads across species, it often leads to the transfer of genes from one species to another.

　　Hypothesis 3 Decaying cellular organisms. After entering the 21st century, a series of discoveries began to make scientists more aware that there are other possibilities for the origin of the virus.

　　In 2003, scientists discovered a very unreasonable virus — — "Mimivirus", the size of this virus has reached 0.4 to 0.5 microns, which is almost the same as bacteria under the microscope. The coronavirus that caused this epidemic is considered to be a relatively large type of virus, and its size is less than 0.1 micron.

　　In 2008, scientists discovered the second big virus, and named it "Mamavirus". Since then, one kind of "Giant Virus" has appeared in human vision one after another. By the time Pandoravirus was discovered in 2013, the record of the largest virus was even more than 1 micron.

　　Pandora virus, the largest known virus, looks almost the same as a bacterium.

　　Since then, the boundaries between viruses and some single-celled organisms have become blurred. For example, the structure and genes of Bacteroides virus are very similar to those of a single-celled organism called archaea. The only difference is that Bacteroides virus has lost a part of the key genes that independently complete cell division, so it has to parasitize in the cells of other organisms and use the cells of the host to grow and reproduce.

　　So there is the third hypothesis of the origin of the virus (The Regressive Hypothesis), which holds that the virus is essentially a degenerate creature. Some single-celled organisms gradually degenerate most of their cell structures in the long-term parasitic life, and finally become this "living dead" general appearance, and the flow like bacteroides virus is an archaea that has just begun to degenerate.

　　Why do deadly viruses always come from wild animals? Let’s analyze it from the perspective of evolution.

　　The "best" virus does not cause too serious symptoms (otherwise it will kill the host itself), but it should not be too gentle (after all, the host is often infected with other viruses at the same time, so it is still necessary to grab resources). Therefore, in the long evolution, this game will promote the virus to finally reach a certain tacit understanding with the host. For example, human beings and rhinoviruses that may cause the common cold belong to this relationship.

　　However, the virus will mutate, and some mutations will cause the host of the virus to change. Without the tacit understanding of long-term running-in between the virus and the new host, there will be the problem of "not paying attention to it", and some of them will bring fatal diseases to the host.

　　In the long-term evolution, human beings have reached a perfect tacit understanding with the viruses that accompanied them all the way from ancient ancestors, and the viruses from livestock, such as measles and flu, are not perfect, but they are somewhat tacit, so they rarely cause serious epidemics. Only the virus from wild animals has nothing to do with human beings, so almost all the diseases that caused the great plague came from wild animals. Therefore, I hope everyone can stay away from wild animals, including stray animals, and don’t raise or eat wild animals.

　　(Author: Tang Cheng Author: Center for Excellence and Innovation of Brain Science and Intelligent Technology, China Academy of Sciences)

Incense and static gas, live boiled sweet spring, proud as a peacock and Ye Jia rewarded guests, Meng Chen Mulin and Oolong entered the palace … Yin Chao still remembers that when he went to tea with his friends for the first time, he watched the elegant processes and realized an unspeakable beauty.

Text/Lu Xiaoming

In ancient myths and legends of China, many sacred trees were mentioned: building wood, searching for wood, and if wood … Among them, the representative Fusang is composed of two big mulberry trees that support each other. In myths and legends, Fusang is the sacred tree where the sun lives. "Shan Hai Jing Overseas East longitude" mentioned that "there is a hibiscus on the Tang Valley, which was bathed on the 10th and lived in the water. Nine days in the lower branch, one day in the upper branch. "

Such a "god" is not uncommon in Shan Hai Jing. The Classic of Mountains and Seas was written from the Warring States Period to the early Han Dynasty. Together with The Book of Changes and Huangdi Neijing, it is called the three wonderful books in ancient times, and it is an important treasure in China culture and even eastern culture.

After thousands of years, The Classic of Mountains and Seas still affects people’s lives, from which well-known fairy tales such as The goddess patching the sky and Kuafu’s pursuit of the sun and Jingwei’s reclamation evolved. When The Classic of Mountains and Seas is combined with modern fashion, generate can also shine with unique brilliance.

In the chaotic scene, abstract lines with endless changes are selected to show the fractal shape of ancient trees, and the virtual scene uses the visual characteristics of Shenmu, which is more dependent on each other, to create a sense of movement in the still picture. This is a scene in China famous fashion photographer Yin Chao, the founder of SUPER STUDIO’s recent work "Looking at Mountains and Seas"-winding with knots, in which elements such as hibiscus trees are added.

Through five scenes of chaos, knot, Kunlun, fog and magic flowers, Yin Chao shows a prosperous scene from the chaotic state of the beginning of heaven and earth to the wanton growth of everything. In the works, Zhao Liang, a contemporary dance artist in China, joined hands with Tang Shiyi to improvise with the music, taking mountains and seas as inspiration, and expressing with the body, showing the rhythm of ancient oriental myths and conveying the artistic expression of "flowing mountains and seas" between ink and wash textures.

"I think ink painting is the most representative art form in China culture. The natural smudging of ink and pen in the works has become mountains and seas." Yin Chao mentioned that this work has attracted a lot of people’s attention, and also opened up an artistic expression form-expressing China traditional culture in a modern way.

In these years, Yin Chao traveled around China, experienced national culture, and tried to add more elements of oriental aesthetics to his shooting. He hopes to truly tell the fashion that belongs to China people, rather than "fashion-like without rhyme" imitated by technology.

Looking back on his career, Yin Chao mentioned that about 20 years ago, he accidentally opened a fashion magazine and was deeply attracted. "The expression of such beauty is so special that I have never seen such characters, scenes and creations. It is an unprecedented feeling." It is precisely because of this idea that Yin Chao resolutely went to Beijing and tried to gradually enter fashion photography.

Yin Chao spent many years from getting started to getting started. In order to embrace the "beauty of fashion", he worked as an employee in a photo studio for two years and an assistant to a photographer for four years. He once saved money to buy foreign magazines when his monthly salary was several hundred yuan, and studied photography and art history after work.

It takes less than a second to press the shutter, and the camera can generate a photo. This "per second" work seems easy and simple. But in fact, "pressing the shutter" is only a very small link in fashion photography. Pre-planning is often carried out one or two months ago, and the whole "universe" in the photo is constructed with the idea of fashion photographers, which reflects the unique style of fashion photographers everywhere.

For his own lens "universe", Yin Chao used the word "soul" to define it-let the photo have a soul and a story. He hopes that the photos are "flowing", seeing the movement in the stillness, and realizing the stillness in the movement. "Motion and static are relative, depending on metaphysical expression, and they are an internal state." Just like the movement characteristics of "Tai Chi"-absolute movement and relative quietness.

Once upon a time, Yin Chao felt that "fashion" was a kind of aesthetics that people looked up to. Now, this view has long changed. "The so-called fashion is just an expression of beauty that keeps pace with the times and records what is happening now."

In many people’s cognition, "earth" is the opposite of "fashion", which seems to be a derogatory term and is used as an analogy to "not beautiful" Yin Chao thinks this is a misunderstanding. Over the years, he has walked through many places in China and felt the local customs rooted everywhere. "What our ancestors left us is too precious." People often think that the "earth" used to be difficult to connect with modern society, but when Yin Chao integrates it into fashion as a design element, there is a comfortable and decent new experience.

It is Yin Chao’s pursuit for many years to let the world see China fashion about nationality, culture and life.

What is the fashion in China and how to express the story of China people? Yin Chao integrated Beijing Opera, Zen and Guqin into his photography to find those timeless fashions. The idea originally came from a cup of tea.

"When the spring breeze comes in February and March, Shijie knocks on the fire to try new tea." "On a cold night, guests come to tea as wine, and the bamboo stove soup is boiling." In the life of ancient literati, there is no lack of tea. Nowadays, drinking tea is a daily habit of many people in China, but drinking tea is relatively rare.

Incense and static gas, live boiled sweet spring, proud as a peacock and Ye Jia rewarded guests, Meng Chen Mulin and Oolong entered the palace … Yin Chao still remembers that when he went to tea with his friends for the first time, he watched the elegant processes and realized an unspeakable beauty.

At that time, he just received a photo invitation from a foreign magazine, and he thought of moving the tea ceremony into the camera "universe", hoping to share this beauty with you-maybe it will let more people know about tea culture and make tea a way of life for more people. Nowadays, tea tasting has also become a part of Yin Chao’s life. "It is almost a necessary sense of ritual every day."

"China culture has given me a lot of creative inspiration." These explorations and perceptions have continuously enriched his heart. "Besides technology, photography also hides the photographer’s cognition of things", which also affects the expression of his works invisibly. Yin Chao combined fashion photography with China culture and opened a new door. When he entered the field of China culture, he also came to the peak of his creation. "There are too many things to express, and that is a constant source of inspiration."

In Yin Chao’s understanding, western aesthetics is more straightforward and concrete, while eastern aesthetics is metaphysical and more implicit. "I think it is particularly accurate and wonderful to express it with’ rhyme’. It is a temperament and a state."

In daily shooting, Yin Chao often comes into contact with some western art forms, which is really beautiful, but he feels that this is someone else’s way of life, and it seems that there is still some distance from his daily life. "When understanding and expressing oriental culture, it will be more like a duck to water."

Yin Chao feels that fashion photography and cultural heritage are mutually fulfilling. Oriental culture adds luster to Yin Chao’s photographic works, and Yin Chao also hopes to let more people know about it through his own works. His works not only record the current ideology, but also serve as a symbol of cultural heritage, allowing modern people to understand the inside story of oriental culture and the lifestyle and unique symbols belonging to China. "I think this is the significance of fashion photography."

Over the past century, western culture has exerted a wide and profound influence all over the world, and also influenced the lifestyle and life pursuit of many young people in China.

At the same time, with the country’s strength, cultural self-confidence and other factors, the fashion of oriental culture has become more and more popular in these years, and it has gradually returned to public life in a simpler and more acceptable form for contemporary people. The "national tide wind" shows the charm of oriental culture.

"The traditional oriental culture has evolved into a very modern way and has come into our lives." Yin Chao mentioned that many young people are now wearing traditional China costumes, and some products in supermarkets are packaged with inspiration from the past. "Tradition and modernity have been connected, mainly thanks to people’s creativity, especially young people."

Yin Chao mentioned that such a combination is still constantly innovating and is ubiquitous in people’s daily life. Recently, he tried to ride the red flag HQ9 Oriental luxury flagship MPV and felt the oriental charm of "waiting for everything to be harmonious".

"Our generation has known Hongqi Automobile since childhood, and it has appeared in many classic historical photos. Hongqi Automobile is a very representative brand in the modernization process of China." For the recently listed Hongqi HQ9 Oriental luxury flagship MPV, Yin Chao’s first impression is that it is atmospheric and luxurious. "Both the front grille and the body lines can be recognized at a glance-this is the red flag."

In addition to its graceful and graceful appearance, the interior design of Hongqi HQ9 Oriental luxury flagship MPV is also very promising. The beautiful, fashionable and exquisite interior, as well as the super-large car and super-enjoyed space that surpass all products of the same class, bring the ultimate comfort experience. Among them, the exquisite and self-sliding welcome auxiliary board exudes the fragrance of "fragrant rhyme", which makes the sense of privilege and beauty come with pleasure.

"The space inside the car is spacious, the panoramic sunroof is open, the whole light in the car is particularly bright, and the functions carried on the car are also very intelligent and ceremonial, giving people a calm and elegant experience." Yin Chao also noticed that the design of Hongqi HQ9 Oriental luxury flagship MPV used many elements related to traditional oriental culture, such as the flying crane wing lines and landscape painting patterns, which combined tradition with modernity, which was in line with the aesthetics of China people.

The appearance of the atmosphere is luxurious, and the intelligence in the car is luxurious. He feels that this is a manifestation of fashion. "There are both contemporary aesthetics and oriental charm."

Under the background of "subversive" changes in the automobile industry, New Hongqi has always adhered to oriental aesthetics and China culture, and created luxury automobile products with unique China essence, independent research skills and all things’ strengths. With the arrival of the new Red Flag HQ9, the Red Flag brand is telling the story of China and striving for the dream of China with the charm of harmonious, harmonious and beautiful national cars.

If you want to take a group of photos for the Red Flag HQ9 Oriental luxury flagship MPV, Yin Chao said that such a lens "universe" would be an atmosphere full of China Zen, which is both atmospheric and simple.

(special topic)