![]() C( t) represents the confined population, who maintain social distancing norms, wear preventive face masks, and follow lockdown rules. It is noteworthy that proper modeling calls for a simultaneous corroboration of the time evolution of all the three independent reported data sets, namely, active number of infections and cumulative number of recovered and expired people due to the infection. Here, we model the spread of the present pandemic using a generalized SIRD model, taking into account the fraction of population which is exposed, under quarantine, confined, active-infected, recovered, and expired at time instant t. As the protection procedures demand quarantine, confinement, social distancing lockdown measures, and so forth, (26) a simple SIRD model only gives a preliminary understanding of the process and is not sufficient to describe such complex processes in general. Owing to the complex interdependence of several processes governing the spread of infections and recovery, a proper mathematical model should be able to simultaneously predict the temporal behavior of infected, recovered, and dead people. In epidemic modeling, the corresponding rates may be expressed in terms of the instantaneous number of infected, recovered people, and so forth. At this juncture, it is worthy to mention that such a phenomenon has a close resemblance to kinetics of chemical reactions in general, (24) where transition from one state to another is associated with a specific rate. (19−23) Some examples of the former class of models are growth and logistic models, (12) the susceptible–infected–recovered–dead (SIRD) model, and their modifications, (9,16) collectively termed as compartmental models. ![]() These can primarily be classified into two categories, collective models (12,13,15−18) and networked models. In literature, a few models have been proposed to explain such data. (10−14) Because of a lack of previous experience in controlling a similar pandemic with such a high impact in the recent past, it is difficult to anticipate the size of the population that may get affected by this pandemic and the typical time required for its control. (7−9) The spread of this disease has a complex time dependence, which is governed not by the number of infected people alone, but is strongly correlated with aspects such as total population of the country, various norms and measures taken by the nation at a particular time, and many more. (5) COVID-19 arose due to a strain of a novel coronavirus that has rapidly spread throughout the globe, (1,6) originating from and infecting a large number of people in Wuhan, China. (4) Such an infectious disease, with a humongous social and economic impact was never seen before, at least in the recent past. (1−3) The infection is resulting in severe, and sometimes even fatal, respiratory diseases such as acute respiratory distress syndrome. Maybe these things are actually 'good' for your eyes, because they work out your focusing muscles in unusual ways? Once you play with the concept long enough, you can really control your eyes in weird ways, so I've had conversations with people wherein I uncross my eyes, making them look like a cyclops (and in a less solid way, a triclops), and they don't notice I'm doing it (helps when they're boring me).Since the beginning of 2020, the whole world has been experiencing a major and unprecedented global crisis, owing to the outbreak of the COVID-19 pandemic. Now I'm 30, and still have better vision than all of my friends, and don't require glasses, nor contacts. I even tried out things like having the looping pattern change its repeat length across frames, so I could watch a scene do things like the so-called 'Hitchcock effect," wherein things appear to spread farther apart, compress closer together, or both simultaneously, depth-wise. It took me most of a night to finally teach him to see them, but he got good like me at instantly snapping into the right mode, and we'd critique our work while in that mode, eyes uncrossed, pointing out things on the screen, discussing new ideas. ![]() I even got my friend into it, and we both started coding them up. I did this off and on for a few months, experimenting with ideas. Then when I had enough frames (simple things, like squares and circles bouncing around the screen at different depths) I'd watch them play back for long periods of time, soaking in the novel effect. It would take awhile to render an image, and a lot of times I'd watch for the few minutes as it rendered, eyes uncrossed, image rendering in 3D for me. I got into stereograms in high school, and wrote my own staticy animated versions in Qbasic, which was all I knew at the time. ![]()
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