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圖為朔州市境內峙峪古文化遺址 本報記者 趙衛民 攝圓桌論壇本期嘉賓于 今 中國少數民族文物保護協會執行副會長、東中西部區域發展和改革研究院執行院長劉文彬 中國博物館協會會員、中國文物學會會員、中國文物保護技術協會理事、吉林省博物院文物科技保護中心主任米 龍 陝西省文化遺產研究會秘書長、研究員、文藝評論家方青松 中國古跡遺址保護協會、搶救性記錄中國文化遺產行動NJ發起人田家賓 中國社會科學院考古學研究生、中國文物網專題責任編輯 本報記者 趙衛民 實習生 王鵬近年來，迷你倉新蒲崗遺址開發與保護的問題，再度引起人們關注。究其原因主要有二：一是許多地方政府為了發展當地經濟，不惜犧牲文物遺址的現象越來越多；二是我國遺址保護工作急需改進，法律不健全，保護機構缺乏，地方政府文保意識落後等問題凸顯。位於山西省朔州市，距今2．8萬年的古人類文化遺址——峙峪遺址，媒體報道稱，已被露天煤礦包圍。據瞭解，這些煤礦雖已被叫停2月，但回填工作卻並未�動，�動日程也並未明確。本報記者現場觀察到，采礦形成的大坑有幾十米深，距離遺址院牆不到10米，由於今年的降雨量較多，導致礦坑邊緣不斷坍塌，嚴重威脅到遺址的安全。而朔州市文物部門則稱不知情。而近日，內蒙古包頭市對外發佈消息稱，擬將燕家梁元代遺址建成我國最大的蒙元文化遺址公園。據瞭解，該遺址公園將全面打造成為內蒙古草原文化創意產業基地，自治區草原文化旅遊的王牌產品。這一舉措引起了相關文物保護人士的質疑，“遺址公園化”作為遺址保護的一項重要措施，是否真的有效？如何看待當下中國遺址保護現狀的危機，未來文物保護工作又將如何進行？就此，中國經濟時報記者採訪了多位業內人士和專家，共同探討我國古文化遺址的保護和開發。中國經濟時報：遺址作為不可再生的寶貴文物資源，近年來卻因采礦遭到破壞，如何看待峙峪遺址這一類現象？方青松：根據《中華人民共和國文物保護法實施條例》第九條，文物保護單位的保護範圍，是指對文物保護單位本體及周圍一定範圍實施重點保護的區域。又據《中華人民共和國文物保護法》辦法第十九條規定，禁止開采文物保護單位保護範圍和建設控制地帶內的地下礦藏。各地安全保護範圍有不同的規定，但是，對於距離峙峪遺址10米的煤礦開采行為，絕對是違法的。米龍：首先，地方政府為了發展當地經濟，不惜犧牲文物遺址，是一種殺雞取卵的行為，是對人類的一種嚴重犯罪。遺址保護是全民的義務，何況遺址又屬於不可再生的文化資源。距離如此近的商業施工和采礦勢必會對遺址的保護造成潛在的威脅，即便沒有突破當地所規定的安全距離範圍，也是無視文物保護的行為。其實，關於各地區施工安全距離的各自不同規定，也許正好為其提供了偷鑽法律漏洞的機會。中國經濟時報：因采礦造成遺址被破壞的情況，為什麼沒有得到有效監管？於今：在文物遺址的保護問題上，地方主管領導幹部要堅持“有所為，有所不為”的方針，不可“為所欲為”，更不能“不作為”。文化遺產的保護工作必須有一個科學的實施步驟，要把文化遺產的保護工作作為各級黨委工作實績考核的重要指標，納入各級領導班子和領導幹部政績考核體系，並將考核結果作為幹部選拔任用和獎懲的重要依據，與幹部政績考核掛�。方青松：根本原因是地方政府對文化遺產的保護傳承不夠重視，單純追求經濟利益。首先，國家對地方官員的政績考核主要看地方GDP，這是地方政府忽視文化遺產保護的主要原因；其次，各地文保部門隸屬於同級政府領導，受制于同級政府，沒有或者說不敢有話語權，這導致許多地方的文物部門形同虛設。其三，文物部門人員少，許多縣區級文保部門迷你倉出租有幾個人，（文物）點多人少，基本沒有辦法做到定期巡視，導致監管不到位。田家賓：其實，遺址遭到威脅甚至破壞，真的是沒人管嗎？很多情況下是沒法管，因為許多相關問題目前我們還無法可依。所以最重要的是法律的完善。其次，也並非所有文保問題無法可依，而是缺乏監管和執行的力度，這個力度在於執政者的意識、人員的配備、經費的是否充足等。中國經濟時報：國內對於遺址的保護也一直在進行，比如建設博物館、改建遺址公園等，如何看待“遺址公園化”問題？劉文彬：去年12月，國家文物局出台了 《國家考古遺址公園規劃編制要求 （試行）》方案，近日，國家發改委再次頒佈了《關於下達國家文化和自然遺產保護設施建設2013年中央預算內投資計劃的通知》文件，這些政策意在為遺址建設成為遺址公園“保駕護航”。然而政策是利好也是規範，利用得好才是硬道理。中國作為一個人口大國，資源有限，需平衡量力。當下，單一解決老祖宗物質文化遺產的保護問題實際上並不難，關鍵是看出發點，“保護為先，臻別開發”才是我們“遺址公園化”進程中必須遵守的原則。米龍：遺產公園從大意上來講是對文物遺址的一種有效保護，同時給民�創造宣傳和休閒的場所。而且，隨著時代的進步，許多遺址的周邊環境確實很寒酸，跟整個城市的發展節奏不匹配，拆之不許，修之難動，所以只好資源利用。然而，國內大部分遺址公園動機是不純的，既不是為了保護遺址安全，也不是為了改善生活環境，而是把本意放在搞活旅遊經濟上。遺址商業化往往會導致遺址本身得不到有效保護，反而破壞更嚴重。田家賓：建設遺址公園其實可以一舉多得。既可以有效地保護遺址，又可以給大家提供公共休息場所，更重要的是可以使遺址所包含的考古、歷史、文化等知識得到普及和宣傳，使遺址本身更接地氣。當然，許多業內人士並不讚成 “遺址公園化”，害怕因為公園的文娛性而影響到遺址原有的內涵性，我認為這樣的擔心還是源於公�對於遺址、考古缺乏認識和興趣，這需要一個轉變過程。中國經濟時報：今後遺址的開發與保護工作應當如何進行？如何健康合理地發展文保事業？於今：文物保護工作必須有一個科學的實施步驟。首先，我建議設置文物保護工作委員會。根據文物保護工作比較完善的國家的經驗，中國文物保護工作委員會設置可採取兩種模式，即聯合職能模式和專門職能部門模式。聯合職能部門模式可作為過渡模式，即成立一個跨部委的文物保護工作委員會，成員由各相關部委的代表組成。而從長遠的文物保護工作關係協調來看，最終需建立專門的文物保護工作委員會。其次，文物保護是一種社會性的行為，政府是實施文物保護的主導力量，而公�則是實施文物保護的基本力量，民間組織作為二者的一個中介，是不可或缺的組織和協調力量。方青松：首先，要進一步修訂完善《文物保護法》，加大文物保護力度，加大文物保護領域違法行為的處罰力度。我國現行的《文物保護法》太過老舊，震懾力不夠，而且執法不嚴；其次，地方政府要負起監管責任，加強對遺址保護的重視度。這當中，既要完善相關管理機構，明確責權，也要轉變經濟發展模式；第三，對於遺址的保護，最有效的辦法是建博物館，而不是公園，公園會淡化遺址的神秘和莊嚴度，也不利於文物古跡遺址的保護和展示。劉文彬：針對遺址改建遺址公園的問題，首先，遺址的開發和保護應該採取針對性措施，不要事事都跟風；其次，遺址改建遺址公園應當圍繞“保護遺址安全”這一理念進行，不要把遺址資源當做各方爭奪利益的砝碼；最後，要按照國家政策規定，嚴格依照國家批准內容進行建設，而不應當擅自違背批准內容，導致遺址公園建成後有違遺址保護的初衷。儲存倉

　　圍繞少林寺展開的商業利益爭奪持續了30年。最新的一次爭執發生在登封市政府和央企港中旅之間。只不過，self storage這次從暗戰升級為明奪。不對等的婚姻　　短命接管風波讓登封尷尬不已，但登封市方面卻視為一次勝利。　　登封市政府與港中旅的合作分歧，很大程度上因為“地位”的不對等。　　2009年12月，登封市政府與港中旅“聯姻”，成立註冊資金為1億元的港中旅（登封）嵩山少林文化旅遊有限公司。港中旅以現金出資形式持股51%，而登封市政府持股49%。雙方將嵩山景區門票經營權委托給港中旅。　　3年多後，作為河南省會鄭州市下轄的縣級市，登封市政府欲從國務院國資委直接管理的央企港中旅手中奪回門票委托權。　　這個決定是在6月24日上午作出的。當時在登封市政府常委會會議室內，登封市委市政府主要領導坐在一起，允許登封市嵩山風景名勝區管委會（下稱嵩管委）在7月1日將嵩山景區的門票委托權從港中旅(登封)嵩山少林文化旅遊有限公司手中收回。　　隨後登封市政府向總部位於深圳的港中旅集團董事長劉少波發去一份名為《關於整改嵩山風景名勝區有關問題的函》，“我委決定：自2013年7月1日起，收回嵩山風景名勝區門票管理權，不再委托港中旅（登封）嵩山少林文化旅遊有限公司負責門票代收等管理經營活動。”　　“6月28日，港中旅那邊回函，不同意。”一位登封市政府官員稱。　　7月1日，登封市方面如期“接管”嵩山景區。不過這一接管計劃僅僅持續了一天。登封市政府收到上級政府施壓，要求停止行動。　　值得玩味的是，接管風波發生一周後。由鄭州市人大一名副主任、一名副市長帶隊，與登封市市委書記、市長及嵩管委主任等人一道，赴深圳拜訪港中旅集團高管。知情人士說，這次會面，登封方面把為什麼接管這一門票經營權的原因“給對方做了匯報，得到了對方的認可”。　　外界看來，短命接管風波讓登封尷尬不已，但登封市方面卻視為一次勝利。　　“我們希望以這樣的方式，促使和對方坐下來商談。”上述不願具名的登封市政府人士說，登封市政府決定將門票代收委托權收回，是因為在嵩山景區遭遇“摘牌危機”進行整改工作中存在的問題，無法與對方溝通，才不得不採取激烈做法。　　住建部對全國5A景區一年一度的檢查中，早在2011年就發現嵩山景區存在許多問題。給予了嵩山景區一次警告和6個月的整改期限。這個期限臨界點是2013年7月10日。　　鄭州市委甚至要求鄭州市旅遊局和登封市政府立下軍令狀，一定把這個問題處理好。河南省建設廳要求務必于2013年6月20日前整改到位，並將報告報到建設廳。做好7月份住建部就整改情況組織的複查驗收，避免出現更為不良影響。　　“我們登封市里壓力很大，處理不好就要處理人，也沒法給登封市人民和上級政府交代。”登封市嵩管委一位官員說，在跟港中旅登封公司交涉時，對方稱“像這樣的事情全國多的是”。　　“我們想溝通，但對方基本上不搭理我們。6月底我們還專門派人到深圳總部與港中旅迷你倉溝通，也沒有對接上。”這位人士說。　　登封市嵩管委一位主管領導告訴《中國經營報》記者，“我感覺他們企業大，級別高，跟我們合資，看著我們就像一個小生產隊長，而他們就像部長一樣。我們提出來的問題，總是被他們擋回來，基本上不搭理。”　　雙方合作3年半以來，僅召開過一次董事會，那還是涉及港中旅人事變動才召開的。錯位的利益　　登封除了看中港中旅的資金優勢外，還看中了其在海內外有100多家旅行社和在線旅遊網絡。　　在登封市政府多位人士看來，這次爭執本質上是港中旅沒有兌現它當初的承諾和職責。　　“本來有個小販在這兒擺攤，生意做得好好的。突然跑來一個人，說要和你一起把水果攤生意做大，可幾年過去，還是原來的那個水果攤，但收入卻要分出去一半還多。”一位不願具名的人士告訴記者，“怎麼會沒有意見呢？”　　登封在3年前“結婚”時卻是抱著對未來的美好想象：3年內融資8億元到10個億，開展景區基礎設施建設和文化旅遊產業項目開發，提高嵩山風景名勝區的核心競爭力，拉長嵩山景區的產業鏈條……　　這些承諾讓登封市政府滿心歡喜。登封市地處山區，礦產資源是多少年來的支柱性產業，但隨著節能減排等政策的推進，登封市寄望旅遊給登封市經濟發展做出更多貢獻。　　“3年過去了，一直沒有行動，我們都看不過去了。”登封市政府一位官員說。　　登封方面坦言，當初除了看中港中旅的資金優勢外，登封方面還希望利用港中旅的網絡和管理經驗，為景區帶來很多好處。港中旅在海內外有100多家旅行社和在線旅遊網絡。　　雖然港中旅方面稱嵩山景區在遊客人數和營業收入方面“都達到了歷史最好水平”。但是嵩管委則認為這只是自然增長。　　嵩管委副主任景水環說，當初港中旅確實提到上市計劃。明確表示3年內上市，每年必須達到3000萬元的利潤。而“為了確保這一點，許多開支費用都由嵩管委承擔著。”　　由合資公司對景區實施統一管理和運營，于嵩管委來說失去了“實權”。其更多的在做森林防火、基礎設施建設、維護協調地方關係等“外圍”事務上。　　為了申請世界物質文化遺產，登封市政府和文物部門前後耗費了足足8年光陰，以及多達7.9億元人民幣的巨額資金。在景區周邊拆遷上，登封市政府更是付出昂貴的拆遷補償代價。這也是登封市政府不平衡的地方。　　港中旅登封公司的一位員工也向記者表示，港中旅極盡可能提升經濟效益。如為了降低成本，去年將多個下水道修建在少林寺門前的少溪河床上。巧合的是，從今年開始，從來就是山泉潺潺的少溪河，今年即便是進入雨季，也是一直乾涸，河床上長滿了荒草。　　少林寺外聯部一位人士認為，這樣的工程破壞了地質結構，導致河水從河床中往下滲透。　　一名政府人員說，港中旅登封公司追求的是經濟效益，而政府在追求效益的同時，還注重社會效益。雙方在價值觀方面存在偏差。　　港中旅登封有限公司不願對此事發表意見。總經理錢國平拒絕記者採訪請求。副總經理丁太平接通記者電話後，匆匆將電話掛斷。文件倉

□柴子文七成受訪香港人覺得香港無特色夜市，迷你倉沙田看到這則新聞，不禁苦笑，難道被視為香港標誌的霓虹燈輝煌的夜景，也即將伴隨一些老店一起消失，成為歷史的記憶？抑或，這只是多少夾雜消費觀光文化焦慮感的幻覺？在香港書展買到新出版的一本通信集《守望香港：香港—東京往復書簡》(日文版早在五年前出版)，兩位通信人是已故香港作家也斯，和熱衷研究香港電影的日本文化學者四方田犬彥。他們談論香港和東京，用歷史和生活的細節勾勒生動的城市記憶。在他們眼中，市井生活的光影里流淌著城市生命的大河。香港一直在變化。在四方田犬彥眼中，有些已經消失，有些剛新登場，尚留存的東西清單中包括：龜苓膏，雙層巴士，冒牌手錶，港島電車，北角的粵劇戲院，重慶大廈的印度人，密密麻麻的招牌，X O醬，假日擠滿公園的菲傭，渡輪，天後的黑色神像，人群。以血拼名牌為主要目標的內地自由行遊客，也許對這些景觀感到過一些異域情調，卻未必會看得上眼，也未必懂得像四方田犬彥那樣欣賞市井生活的美學。香港的商場服務員的普通話說得越來越好，服務的心情卻越來越差。說話大聲、不講衛生還在其次，不講道理、仗錢欺人的旅霸現象，激起越來越多無理無端的爭執，這些新聞見諸報端，激起社會反彈。這是香港從未出現過的，令人反思，自由行放閘的遊客，是否已經超越香港小小島嶼所能承受？我總覺得，對於一個旅遊城市來說，本地人的生活自尊和文化自信特別重要，這是真正令城市放光放迷你倉價錢的東西，簡直就是城市的生命。這種自信自尊，我在日本京都的商場體驗過，在京都御苑體驗過，卻是一點不排外的謙順得體，叫人對這個城市的底蘊更加傾慕。京都御苑的參訪每天限定人數，需要提前登記預約，這一額外的動作是出于保護古跡，但也在另一層面看到旅遊可以這樣精緻而不求數量，本地的文化可以受到如此尊重，不被過度的旅遊經濟扭曲。旅遊業在最好的層面上，可以幫助本地人發現自己城市的優長，並以此獲得生活機會，推動經濟。但如果本末倒置，經濟掛帥就一定是城市生活的噩夢，現在香港所遭遇的就是最好的例證。以前內地來的朋友不時會提起在香港問路時如何得到熱情禮遇，簡直受寵若驚，如今卻越來越多相反的評價，甚至出現一些香港人排斥遊客的怪異言論和行為。我想這是香港人面對旅遊業霸權的一種反彈。這並不是旅遊業一個行業所面對的問題，幾乎是全社會在承受：究竟香港的城市生活，無論是經濟消費還是生活方式，有多少還是本地人所能主導的？香港旅遊業如果只想著留住占七成的內地客過多幾夜，如果只顧著設立更多主題公園、觀光夜市或什麼手信街來擴闊客源，那麼，香港旅遊業只能讓顧客和本地人兩敗俱傷。自由行不可能知道的香港，也許可以列出一系列的清單：香港有263座離島，300座山峰，以及占香港面積四成的24個郊野公園，這些是比迪斯尼、海洋公園更寶貴也更精彩的旅遊資源。但在兩地誠意檢討自由行過度問題之前，我想還是不要輕易開出這個清單為好。迷你倉庫

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三伏天的上海，儲存倉你想繼續挑戰高溫?挑戰PM2.5?還是想去原始生態清涼一夏的地方避避暑，或是找個東南亞的小島踏踏浪?夏天都快過去一半了，還沒去“森”呼吸、還沒去過海邊的要抓緊啦!什麼?旅行不要跟團游，要自由行?沒錯!可是，自由行的傷不起啊!搜遊記、搜攻略眼花繚亂;連夜守在電腦前等低成本航空公司的特價機票;還要在各類酒店中舉棋不定對比選擇。出行預算有限，機票訂好後才發現酒店價格又漲上去了，或是看到酒店特價活動卻難逢心儀的機票……即便是經驗豐富的“背包驢友”或是經常網上自定行程的“旅行達人”也常常會被這些問題困擾。而我們這些旅行小白，每次看到網上各種精彩遊記攻略後，總是心裡癢癢恨不得立馬親自去到當地也體驗一番。苦於沒有太多旅行經驗;還有好麻煩，就是想偷懶嘛!現在，春秋旅遊網的“行簡住優”讓所有問題迎刃而解!在預算不變的情況下“迷你倉沙田下機票兩三折，提升酒店一二星”。希爾頓、喜來登、威斯汀、Clubmed等等這些聞名遐邇的高星級酒店以及各種熱帶風情度假村，現在你想住就能住!如此聰明的組合，精明的你願意錯過嗎?“行簡住優”就是你通往“旅行達人”的一個上佳捷徑。為你節省更多時間，讓訂機票、訂酒店變得不再傷神!今夏，凡是登錄春秋旅遊網( www.springtour.com)的用戶人人都能抽獎，“行簡住優”現金抵用券、iPad?Mini、三星Galaxy?S4各種驚喜大獎等你來拿，中獎率高達100%;訂購“行簡住優”產品還有機會免單送你游;另外，上傳遊記還能免費贏取價值200元的春秋商旅卡。還有還有，時尚職位∼∼∼旅遊體驗師虛位以待!這麼多好禮，你還在等什麼?一起來“行簡住優”吧!活動具體信息:詳見春秋旅遊網“行簡住優”活動!www.springtour.com迷你倉價錢

Source: The Atlanta Journal-ConstitutionJuly 27--The lone air conditioning vent inside the sealed garage is about rusted shut, but Fahamu Pecou is sitting here battling in the heat because he has to.迷你倉新蒲崗He has already completed a graphite and acrylic drawing for a group show at the High Museum. Now he's racing to complete a series of paintings for his solo show in Dallas. The opening isn't for another three weeks, but Fahamu has 10 days left to compose, crate and ship to the gallery three life-sized paintings and two poster-sized sketches.It's temperate for early June, but inside the Decatur garage, spotlights sear white-hot against the canvas in front of Fahamu. Hip-hop music pulses from his laptop. Sweat wells into dark pools on his oversized T-shirt and sends his glasses on a perpetual slide down the bridge of his nose.Yet, Fahamu (pronounced fuh-HA-moo), 38, is relaxed. The No. 2 pencil in his left hand inches along the canvas without hesitation. An outline of a black man in a dinner jacket takes shape swiftly on the 5-foot-by-4-foot cloth stretched as taut as skin on a fist.Not long ago, he was a player in Atlanta's underground arts scene, a bantam-weight man plastering stickers on billboards, bus shelters, any flat surface in sight. The stickers bore his name and a profanely confident four-letter word declaration that he believed was true of his work, if not the man he'd become. That was back when nobody seemed to share his conviction and he was lucky to sell a painting for $100.They go for as much as 200 times that now. His work has been highlighted in Art in America magazine. It has sold out within hours at the Pulse Miami art show, where careers can be made. His buyers are among some of the world's savviest, including Japanese contemporary artist Takashi Murakami and Parisian gallery owner Daniel Templon.This is the way it is before every show -- whether the gallery is in Paris, New York or Atlanta -- music pumping and him sketching against the clock, rendering three dimensional views of black manhood in a world that often sees it in only one.He has always been fast, ever since he was a kid trying to draw cartoon characters before they moved on the television screen. Ever since he discovered that a pencil and a note pad could help a little boy escape the insults and the beatings that rumbled through the walls of the tiny house where he grew up, a house in a scant South Carolina town that felt like the definition of nowhere.With paper and lead he could enter a realm where there was always affection and never sorrow, a place where every family was as flush, handsome and happy as the Huxtables on "The Cosby Show," a place where black men saved the day and mothers never slipped away.Last night, in his living room, he knelt before a shrine as big as the canvases he was going to paint. He'd asked for guidance from the gaze of people who exist now only in black-and-white snapshots on top of the altar. They rest there among a cluster of white candles, their lives burning deep in Fahamu's memory.This morning, when he'd entered the two-car attached garage that serves as his studio, he began his work, as always, with a short prayer for blessings from the Divine. A small petition for something big: Let the viewers see not my image, but the greater thing within them.2Childhood interruptedFrom the fourth-floor walk-up on Vanderbilt Avenue in Brooklyn, N.Y., Fahamu's world in 1979 stretched south from Prospect Park to the bustle of Atlantic Avenue a few blocks north.Years before his birth, New York had offered its shimmering promise to his parents, Alphonso Pecou (pronounced pay-COO) and Betty Ann Ridges.Alphonso had followed his extended family from Panama to Brooklyn. Betty Ann had fled her dusty hometown of Hartsville, S.C., to live with her older brother, Robert Ridges, in the same borough.Betty Ann and her brother rented an apartment in a brownstone the Pecous owned, and Betty Ann caught Alphonso's eye. Marriage came soon, as did their first son, Kwasi.As the 1970s dawned, the Black Power Movement rose and swept up the young family. Alphonso enlisted and became an officer in the Universal Negro Improvement Association (UNIA). Its improbable mission: Reclaim colonized land, from the Caribbean to Africa, and build independent black nations.With Betty Ann's older brother, Robert, the Pecous moved to the 8-square mile British West Indian island of Virgin Gorda. They built their own home and grew their own food, but the isolation and poverty grew faster than their dream.Robert stayed. The family -- now with baby daughter, Namibia, in tow -- returned to Brooklyn.But Alphonso came back broken.Fahamu was born later, in 1975, and his sister, Nefateri, came 11 months after him. Both his mother and father were artistic, Betty Ann a seamstress and Alphonso a jewelry maker and musician. Fahamu took after them. The little boy's drawings were wild and bright.But the young father, the one who had built kites from brown paper bags and scraps from Betty Ann's sewing projects, the one who picked African names for his children and told them there was nothing they couldn't do or be, that father was vanishing.The Bible now obsessed Alphonso. Each reading of scripture seemed to delude him. A terrible rhythm took hold.One day he wrapped himself in sheets and walked barefoot in the snow to the Brooklyn Bridge, on a mission to save the city. He was arrested and locked up. Days later, he returned to the apartment. His diagnosis was schizophrenia paranoia, but he didn't like the way the drugs prescribed to help him made him feel.So he started taking illegal ones.Relatives told Betty Ann she should flee with the children. She refused. She believed she could help him and they could remain a family.An episode, then a lockup. An episode, then a lockup. On it went.A tag-team of snow and rain hit Brooklyn on Jan. 11, 1980. Alphonso, who'd just been discharged from a psychiatric ward, had tried to get himself recommitted that day because everything inside his head felt off.He was sent home.While he rested in the bedroom, Betty Ann made dinner. Since it was Friday, Fahamu and the other children were allowed to stay up and watch an episode of "The Dukes of Hazzard." That would keep the kids occupied and quiet while she slipped into the bedroom to check on Alphonso.She slid the door closed.The children had grown used to hearing their parents argue. But this fight had new ferocity. Fahamu and his little sister began to cry. The older ones tried to calm them."Kwasi!"The shriek from the bedroom silenced all sound but the drone of the television.Their mother had wailed the oldest child's name like a plea.The sliding door rolled back. Their father stepped out and told them to be ready to run. Then the door slipped shut.When it opened again Fahamu stood frozen, dazzled by the orange light of flames gathering in the bedroom.Go! Go now! his father yelled.There, at 4 years old, Fahamu was about to take his first solo steps in his passage toward manhood.3Life with Aunt PunchThe children were sent to Hartsville to live with Betty Ann's aunt in a public housing project of brick townhomes.Mary Ella Ridges didn't just take in Fahamu and his siblings. She'd also made room for one of her grown daughters, several of her young grandchildren, and relatives who used the place as a pit stop when life got awful. At any time there might be more than a dozen people in the four-bedroom townhouse trying to eke out a life. Things got even tighter when, to escape the drugs overtaking the projects, she moved them all to a 940-square-foot rental house.Fahamu had no idea how to find his place in it. How could he when he and his siblings couldn't find words to talk about that night in Brooklyn, the one that had landed them in Hartsville with a short, sturdy, sour woman everybody called "Aunt Punch." She gave out what life had given her, which was grief.Children were meant to be seen, not heard, and if the rule was broken, Punch would demonstrate what her nickname was for. Whippings were served as regularly as meals.Completed chores were rewarded, never with an allowance or praise, only with demands for more work. Her wrath was indiscriminate when it came to the four kids she couldn't send back to New York.But something about Fahamu seemed to set her off. The more she yelled, the more he withdrew. And the more he withdrew, the more he sketched. Doodles at first. Over time the images refined. He tested his speed, trying to sketch Bugs Bunny from the TV screen before the rabbit could say, "What's up, Doc?" At school he was known as the kid who could draw.Yet Punch thought there was something wrong with a boy who spent hours watching television and making pictures. A boy who was terrible at basketball and who played games with girls as happily as he did boys. A boy who spent hours reading volumes of the 1968 World Book Encyclopedia because there were no other books in the house.So Punch started calling him "faggot."She called him that if he cried. She called him that when she made him stand naked in the living room all day after wetting his bed. She called him that because he drew pictures all day. It didn't matter that he liked girls. He heard the epithet about as often as he heard his true name.Tears couldn't dull the shame or the pain, so after a while, Fahamu just stopped crying.Neither Fahamu nor his siblings said a word to anyone about what was happening to them at Punch's, not even to their grandfather, Isaac Mayshack, Betty Ann's father.Fahamu always listened for the roar of Mayshack's Dodge Ram. It was chocolate brown with a streak of cream and Fahamu thought the driver was the king of the town. His hair was cropped tight. His clothes were just right. The cab of his truck smelled like cologne.Into the back of the pick-up the Pecou kids would pile. Mayshack would ride them around town, stopping at the ice cream parlor if they were good. Fahamu chased streams of butter pecan down his arm with his tongue as he and the other kids bounced around in the bed of the truck.Sweeter still were Sundays after church. Fahamu would sprawl on the floor of his grandfather's house and read the comics section. Mayshack would be in his recliner watching football. Few words were ever spoken, but comfort and love filled the empty spaces.Not so at the puny house on Bell Avenue.To console himself, Fahamu would pull up a chair to the encyclopedia bookcase, which served as his desk and the family's ironing board, and he'd create superheroes like "Black Man," a black boy who could transform himself into a strong black man and save the world.Yet he was only real in the comics Fahamu sold for 50 cents. Each Pecou child, on his or her own, made a pact with themselves that they would be their own saviors and get out of Punch's house as soon as they could.If the bookcase was Fahamu's province, then he was its sentry, protecting the C-Ch volume, in particular. In it he'd found the four-page entry for "cartoonist." It said they made $1,000 a week. The volume was 20 years old, and Fahamu figured they could be making triple, even quarduple that 迷你倉出租igure at that point.In it, Fahamu saw a way out.He could draw, the best in school. He was already winning awards to prove it. So at least for a while, it didn't matter that the other black guys at school called him "nerd," or "white boy," because he made good grades. He was going to be the black Walt Disney and "Black Man" would be the star.What he wanted most of all, though, was the life he saw every week on "The Cosby Show": To be back in Brooklyn with a funny dad, a pretty mom, cool brother and sisters, all in a brownstone full of art and jazz music.But the taunts at school didn't let up and something inside him started to break. If he wouldn't cry for Punch anymore, Fahamu certainly wasn't going to cry in front the kids who teased him. To get them off his back he started getting Cs on purpose. He learned to rap and dance so well he was able to pass the "black-enough" test.Fahamu didn't see why he couldn't be black and smart. He made a solid SAT score without much effort, and the Atlanta College of Art promised him admission, even with average grades. Maybe half-hearted effort was all the world expected of him.Just before he left for college, one of Punch's sons got Fahamu a job with him on a road repair crew to make some spending cash for school.For years the uncle had cycled in and out of Punch's house. He'd seen the boy at the bookcase. Now he saw an indifferent teen.On his first morning on the crew Fahamu grabbed a sledgehammer.BAM! BAM! BAM!His uncle told him to pace himself, but there was no slowing him.BAM! BAM! BAM!His ears started to hurt.BAM! BAM!The sidewalk tilted.BAM!Everything went black.He was revived and sent home.Later that day his uncle showed up with $100 and gave it to him. He'd taken Fahamu out there to prove a point and he gave him this warning: If Fahamu went to college and didn't give it his all, he'd find himself back in Hartsville, slamming concrete.4The artist debutsAt Atlanta College of Art, Fahamu discovered there were more possibilities than cartoons. There was Picasso, Warhol and Rauschenberg. Off campus there was the city's growing hip-hop scene. Arrested Development, OutKast and Goodie Mob weren't bragging about guns like gangsta rappers. Their music during the early 1990s embodied a new black creative aesthetic. The work was thoughtful. It was ironic. It was playful. It was smart.He told anyone who would listen that he was tired of being taught by "white folks" who didn't know anything about black art. So he signed up for an independent study painting class at Spelman College with Arturo Lindsay. Lindsay had a reputation for being relentless. He locked his classroom door so latecomers couldn't enter. Students weren't allowed to buy pre-made canvases. He required students to build their own. Excuses were rewarded with an "F."Fahamu swaggered into the first class, eyeing Lindsay, judging him. Afterward, Lindsay asked him why he was there. Fahamu said because Lindsay was black. Lindsay looked at him like he was daft."You don't come to me because I'm black, you come to me because I'm good," he said.He sent Fahamu on his way.It wasn't rap lyrics that rang in his head when Fahamu walked out of the classroom that day, but his grandfather's last words of advice to him before he left for college."Whatever you do in life, be the best at it. If you gonna mop floors, mop 'em better than anyone has ever mopped a floor," he'd said. "If you not gonna be the best, you're wasting your time and everybody else's."For the next three semesters, Fahamu showed up at Lindsay's classes. He'd stay afterward just to talk.Fahamu thought Lindsay had a Cosby vibe. He was creative. Accomplished. Opinionated. And he was from Panama, just like Fahamu's father.Lindsay would not let Fahamu cut corners. His admonishments held a challenge.The cartoons are good, but make them say something. A self-portrait must be a window to something more. If the corners are not square, start over.Lindsay knew a swagger was empty if a man was not in command of his talent. To command it he had to be honest with himself and Fahamu hadn't done that for a long time.He was broke. He thought he was unattractive. He was angry and could find no fix.In his dorm one night in his junior year, he was lying there listening to Goodie Mob's "Soul Food" CD. The song "Guess Who?" made him sit bolt upright.The only one that cares for real and really understands how I feel,Help me overcome my fears...There will never be another that will love me like my mother.He played the song for what felt like hours.When he finally stopped, he wanted to cry. The tears wouldn't come. But he knew it was time to finally face what happened when he was 4 years old.???To graduate from Atlanta College of Art, seniors had to do a final project to present in a student show.On the day of Fahamu's senior show, he was worried how everyone would receive the work. Total strangers walked out of the gallery, some in tears, some blank and silent.His brother, sisters, friends and extended family from New York showed up, but not Aunt Punch. It didn't matter, he'd written her out of his story. In the gallery he was telling another one, the one the Pecou children had held in for too long.Fahamu had turned back time, transforming the space into that day in January 1980, rendering it in symbols and fragments. On one wall was a large pixilated picture of Betty Ann. On the opposite was a composite of Alphonso. On another were four scorched cabinets, representing each child. Inside they told the story of the moment they'd run at their father's command.Betty Ann had been trying to escape from the bedroom when she wailed Kwasi's name.The door to the room slid open. Alphonso stepped out and ordered the children to run.One flight. Two. Three. Four. Until finally they were on the sidewalk.Their pajamas as useless as raw skin against the cold. Kwasi walked barefoot, numb from cold, numb from knowing. The girls' tears mixed with light rain against their cheeks.After a few yards, Fahamu asked his father to "ride his neck." Shifting a book in his hands, Alphonso hoisted the 4-year-old onto his shoulders. His son's legs dangled above the stains on his white T-shirt.As they entered the 78th Precinct two blocks away, he put Fahamu down.Alphonso approached a sergeant. Officers had begun to look at him."I am Jesus Christ," he said.He told them he had just killed the devil."It's all in here," he said, and he placed on the counter a blood-damp Bible.Phones at the station began to ring in chorus. Callers reported flames visible through a fourth floor apartment window on Vanderbilt Avenue.Betty Ann lay there on a bed of fire. The machete Alphonso used to kill her still lodged in her chest.???Their father was convicted but found not responsible by reason of insanity. He would live most of his life in a psychiatric hospital. He was only 28 when he entered the ward and the doors behind him clicked shut, locked tight for 33 years.Betty Ann was 32 when she was buried in the South Carolina soil.On the way to the funeral, Fahamu and his little sister danced and did a skit in the train station to entertain the relatives accompanying the children from Brooklyn to Hartsville.Fahamu knew his mother wasn't coming, but he danced as though she was there, watching and laughing as he leapt.5An art star emergesBefore he left Atlanta for the show in Dallas, Fahamu knelt before the shrine in the living room. Punch was not up there, though she died in 2002. His grandfather's photograph anchors the left corner. And, there, in the center is Betty Ann's picture, bigger than all the rest.Now, outside the Conduit Gallery in Dallas, it is sweltering. Inside, Fahamu Pecou is cool, moving easily through the crowd there to see his lastest work, "How to Eat Your Watermelon." It's a meditation on the stereotypes and self-imposed fetters that hold black men back. He's quietly explaining the meaning of each piece to clusters of interested buyers. The pencil drawings in the corner are half crow, half man, like the creatures who tormented the timid scarecrow in the movie "The Wiz." They were bullies telling him he could never make it, that he could never win. Three of the paintings are of Fahamu in a white dinner jacket, preening, strutting and unbowed.For six years after the senior show, Fahamu's work mirrored his attempt to address his loss. At first there were paintings of African women as angels, another depicting the aftermath of the murder, even a Cubist portrait of his mother with the words, "I know, I know, I know, She watches" scribbled in the negative space. It wasn't until he entered his first marriage and later became a father that he had a breakthrough. Just as hip-hop acts represented one sort of black male identity, so could he as a fine artist, like Jean-Michel Basquiat, Glenn Ligon and Barkley Hendricks before him. He would be his subject.First came the sticker campaign and soon after the oversized self-portaits. In them was not the soft-spoken father of two little ones who's about to embark on his second marriage. Not the student earning his doctorate at Emory University. No, not that guy, but an alter ego. A brother with swagger. Swagger for days. Boxer shorts bragging above the lip of low-riding jeans. His slim, newel of a chest hitched with fat, gold chains. Dapper in a gray suit and a 40-ounce bottle of malt liquor in his grip. But in the negative space of each canvas he has scrawled messages: "not behind bars and "I aint been shot a whole bunch of times."It took a while to catch on but by 2009 his work was in galleries around the world. Viewers were taken by this neo-pop vision of a black man, each image asking bold as day: Are you giving it your best?When he completes his doctorate he doesn't necessarily want to teach. He wants to use his degree as Bill Cosby used his -- to develop programming to help young black men wandering without a guide."I got a superpower," he said not long ago, laughing as he said it. "I gotta use it for good."Four years ago, when he was still institutionalized, Alphonso got a chance to see his son's artwork in a solo show at the Lyons Wier Gallery in Manhattan. Fahamu arranged for his father to get a chaperoned pass for a few hours to see it.The two had not had much contact over the years -- a handful of phone calls; some letters; three brief, awkward visits. Fahamu was still working through forgiveness but he had decided to give his father a glimpse of the life he'd made, of the man he'd become.Alphonso studied every line, every drip, every word on the portraits of his son. Fahamu waited. Finally his father spoke. Alphonso told him he was proud of him. And that Betty Ann would have been, too. Fahamu smiled."Every boy wants to please his father," he said later.Years ago, in one of those phone conversations, Alphonso told his son the meaning of the name Fahamu: Understanding.The artist has finally captured a bit of it for himself.Copyright: ___ (c)2013 The Atlanta Journal-Constitution (Atlanta, Ga.) Visit The Atlanta Journal-Constitution (Atlanta, Ga.) at www.ajc.com Distributed by MCT Information Services儲存倉

【本報訊】美國著名電腦保安專家傑克（Barnaby Jack）原定本周在黑客大會上，新蒲崗迷你倉發表遙距入侵心臟起搏器的技術。然而他上周四被發現離奇暴斃三藩市寓所內，終年三十六歲。當局仍在調查死因，初步推斷不是謀殺。傑克原定於本周三在拉斯維加斯舉行的黑帽黑客大會上，披露他研究多時的心臟起搏器入侵軟件。他早前受訪時指，軟mini storage可掃描出附近三十呎範圍內的心臟起搏器及除顫器，入侵其原有軟件，令電壓急升，從而破壞儀器。傑克三年前在黑客大會上，示範入侵自動櫃員機的方法，稱單憑一隻USB手指便可取得機內金錢甚至客戶資料，令他聲名大噪。他逝世消息公布後，黑客大會發聲明表示，當日由他演講的時間將留空悼念。傑克任職的電腦保安公司讚揚他作出的貢獻。self storage

號稱暑假最大3C消費盛會－台北電腦應用展將於本周四（1日）起在台北世貿一館一連舉行五天，迷你倉今年共吸引200家廠商參展，動用1,200個攤位，預計將吸引60萬參觀人次。宏�、華碩、聯想、惠普、東芝等PC大廠競逐下半年旺季大餅，除強打搭載英特爾（Intel）最新處理器Haswell的筆電新機，平板電腦仍是矚目焦點。華碩6月在台北國際電腦展（Computex）中搶先亮相的10吋平板MeMO Pad FHD10，準備在本次電腦應用展中全球首賣，內建英特爾Ato文件倉處理器、搭載高解析度的Full HD IPS面板，售價1.19 萬元起跳。宏�則出動全系列平板大軍搶市，尺寸從7吋到11.6吋，價格從4,990至30,900元不等，希望滿足消費者各種不同的使用情境與需求。至於傳統筆電，雖然宏�、華碩、聯想都紛紛推出搭載英特爾Haswell平台的新電腦，但中低階Core i3、i5晶片要等到8月以後才會推出，目前Haswell電腦以i7高階規格為主，售價多在3萬元以上，對照現在市場主流筆電價格落在2萬元上下，有段差距。存倉

星期五傍晚6時。在萊佛士坊同客戶會面後，mini storage她走到附近的老巴剎和朋友相聚享用本地美食，接著大伙兒再一起漫步到住家樓下的精品酒吧小酌幾杯。之後，她邀請朋友一起上樓欣賞濱海灣夜景，繼續把酒言歡。這就是地產公司高級助理董事Betty Chandra的珊頓道生活，工作和玩樂僅離住家幾步之遙。抱著投資心態，土生土長的Betty在幾年前花了120萬元買下珊頓一號的一個單臥室公寓單位，並把它出租，但很快的，她喜歡上珊頓道一帶所帶來的生活便利，因此決定把東海岸的公寓賣掉，舉家租下珊頓一號35樓的三臥室公寓單位。珊頓道始于克羅士街交叉處，終於岌巴路，是國人熟悉的金融大道，它的存在，甚至已超越這條街道本身，成為附近金融區域的代稱。Betty說：“這裡真的非常方便，去哪兒都可以步行。我可以和老公與兩個孩子到樓下的老巴剎享受廉價美食，抑或走到附近的米其林餐館用餐。在國慶日、新年倒數或農曆新年等節日，我甚至可以從家里的陽台或走到濱海灣觀賞煙花表演。”擺脫傳統金融區面貌珊頓道近年開始擺脫傳統金融區的面貌，如今這一帶出現不少高檔公寓如濱海舫（The Sail）、濱海灣居（Marina Bay Residences）和珊頓一號（One Shenton）等。單在珊頓道兩旁，目前至少有三個高檔公寓發展項目正在如火如荼地進行中。根據市區重建局的資料，截至今年第一季，珊頓道和丹戎巴葛一帶共建造了1700個私人住宅單位，該區預計在未來幾年會增加多另外2800個公寓單位。第一個引進中央商業區居住概念的發展項目是遠東機構在2007年所建的海天大樓（Icon）高級公寓。位於丹戎巴葛的海天大樓推出後獲得市場熱烈反應，遠東機構因此決定乘勝追擊在市區推出兩個新的發展項目——The Clift和Altez。46層樓高的The Clift在2011年建成，62層樓高的Altez預計明年竣工。遠東機構執行董事陳佩強受訪時說：“珊頓道一帶現在不只有辦公大樓，也有越來越多零售和餐飲業者入駐。例如直落亞逸街和廈門街就有五花八門的各種商店，為這個傳統中央商業區注入新活力。在過去10年，本地房地產買家和投資者越來越能接受市區居住概念，促使發展商推出新的公寓項目迎合需求。隨著中央商業區住宅單位的增加，我相信新的生意和服務將會被吸引過來，如興建中的SBF中心就有診所，讓在中央商業區居住和工作的人能享有醫療服務。”萊坊咨詢與研究部主管陳姳潓估計，珊頓道一帶的公寓買家中大約一半是投資者，另一半則是想住在那裡的專業人士。該區的住戶通常以年輕單身人士或夫婦為主，多數從事高收入的金融業或其他領域的專業。她說，珊頓道位置優越，獨一無二，周圍有老巴剎、濱海灣、濱海灣花園等許多景點，各個商業、旅遊、零售和餐飲地點近在咫尺。“我覺得珊頓道正在發展成為類似紐約的曼哈頓。新加坡是東南亞的金融中心，經濟發展潛力巨大，隨著亞洲經濟實力的增強，新加坡的吸引力也會跟著增加，必定能吸引許多外國人來這裡工作和居住。”建商面對各方壓力全長大約一公里的珊頓道高樓林立，在這塊寸土尺金的地方建造高級公寓存在一些難處。城市發展是珊頓一號的發展商，該公司副總經理（營業）李美鈴說：“由於中央商業區能夠發展新住宅項目的土地有限，我們在選擇地點上確實遇到一些挑戰。發展商可能必須探討把現有的商業大樓重新發展為多用途建築，不過這類重建計劃都必須獲得政府批准。”陳姳潓則指出，發展商須要發揮創意才能在這麼擁擠的土地上，造出獨具匠心和舒適的居住空間。“高級公寓的買家非富則貴，會要求公寓設計獨特，具有高格調的時尚品味。此外，由於土地價錢非常昂貴，發展商也必須很好地控制成本，才能獲利。建築工程費用也可能會比較高self storage因為建商須要更加謹慎，以達到嚴格的市區建築要求。”陳佩強以遠東的經驗為例：“在海天大樓、The Clift和Altez，一些單位的天花板至少高3.4米，一些則是雙層豪宅。這些空間除了增加公寓高度，讓屋主能發揮創意設計住家外，也讓他們能更好地欣賞中央商業區的景色。”目前，珊頓道和丹戎巴葛一帶至少有7個高級公寓發展項目，會否供過於求？樂斯太平洋是Eon Shenton的發展商，執行主席張豐霖不認為該區的公寓數量太多。“我覺得想購買中央商業區公寓的買家有積壓的需求。我們可以看到一股趨勢——特別是外籍工作人士希望住在公司附近，因為能節省交通費和時間。此外中央商業區也正在轉變，餐飲、購物和娛樂設施都只在一步之遙。”陳姳潓透露，政府近期推出的房地產降溫措施多少影響了高檔公寓的需求，核心中央區目前有1萬多個住宅單位還未售出。雖然如此，她依然看好珊頓道一帶房產的潛力。“我看好該區的中長期展望。我國經濟好轉和中央商業區辦公人數的增加將帶動這一區的公寓需求，未售出的公寓單位到時會被市場吸納。”對於那些想進場的買家，陳姳潓建議購買較小的公寓單位，因為價錢較便宜，租金回報會比較高。“按目前的市場，珊頓道一個單臥室公寓的租金回報率介於3.5%至4.5%之間；反之，一個四臥室公寓的租金回報率是2%左右。其實，租金回報率正在減少，因為珊頓道公寓的價錢正在攀高，現在已經很難獲得5%的租金回報率了。我認為賣公寓的利潤會比較好，因為珊頓道就那麼小，私宅單位的數量非常有限，因此增值的空間一定比新加坡其他地區大。”商場與活動帶動人潮在珊頓道改頭換面的過程中，市區重建局扮演積極的角色，不斷與私人發展商溝通，確保新發展能增加行人的舒適度和便利。例如，當局要求發展商按照濱海灣的規劃，提供更寬敞的行人道，以及在街道種植樹木，鼓勵大家在中央商業區多步行。除了在建築物周圍提供有蓋走道外，發展商也在新建築內建造一系列通道，把傳統中央商業區同濱海灣區連接起來。其中一個例子是珊頓一號和亞洲廣場之間的通道，許多上班族經常在午餐時間利用這條通道穿行。另外，當局也在丹戎巴葛中心和亞洲廣場提供公共空間，讓人們能夠舉辦聚會、展覽或表演等，提升珊頓道的人氣。張豐霖說：“珊頓道現在的轉變和附近的濱海灣類似。濱海灣內的住宅單位和辦公環境相互結合，居民和辦公室員工會在那裡跑步，進行各類健康活動。人們在濱海灣居住、工作和玩樂的願景已經達成，我們相信珊頓道也正出現這類變化。不過，我覺得要更好地實現以上願景，珊頓道應該多建造一個大型購物商場。”陳姳潓同意張豐霖的看法：“我覺得有關當局可以在那裡推出一些獨特的零售概念，吸引更多的夜晚人潮。珊頓道也可以多主辦一些文化或商業活動，如新年倒數、啤酒節等。新加坡的中央商業區居住概念幾年前才開始，珊頓道還有一段漫長的轉變過程。”保留代表性建築改造中央商業區的同時不能忘記過去，畢竟如果沒有過去打下的基礎，便不會有今天的繁華。市區重建局瞭解這道理，把老巴剎和新加坡大會堂等歷史建築物列為國家古跡，讓後人能對珊頓道一帶的發展史有更深入的認識。此外，一些具代表性的殖民時期建築物也獲得保留並賦予新用途，例如位於老巴剎對面的奧美中心（Ogilvy Centre）將改造為Sofitel So精品酒店，並於今年底開幕。珊頓道的新面貌正逐漸成形——殖民地時期和現代建築物並存，互為襯托，各具風采。夜幕降臨後，街上人聲鼎沸，往日下班後“人去樓空”的沉沉死氣已一掃而空。望著住家樓下流光溢彩的街景，Betty心滿意足地說：“這裡的生活太完美。我甚至會考慮放棄擁車，因為交通實在很方便。住在珊頓道真的可以感受到都市生活的脈搏，沒有一刻是單調的。”迷你倉

【本報訊】國際跨境販毒集團持續犯案，新蒲崗迷你倉再有運毒死士以本澳作為運毒中轉站。司警在不足兩星期內透過設置在澳門國際機場的X光人體掃描機，再次破獲體內藏毒案，拘捕一名涉案非洲坦桑尼亞男子。疑人事後從體內排出重逾1公斤、黑市值90萬港元的鵝蛋狀海洛英。涉案男子KILEO，37歲，非洲坦桑尼亞人，報稱貿易商人；因涉販毒罪移送檢察院處理。案情透露，本周二早上11時30分，駐守澳門國際機場的司警人員對一班來自泰國航班的入境旅客作巡查。期間發現涉案的坦桑尼亞男子形跡可疑，遂暗中監視，當確定疑人隻身來澳後，司警上前將其截停並帶到辦公室調查。經初步分析後懷疑涉案人體內藏毒，遂利用機mini storage的人體掃描機替他作X光檢查，證實他體內藏有異物，隨即將之送往山頂醫院作進一步檢查。經過多日，疑人終排出83粒以膠紙包裹的鵝蛋狀物體，及後檢驗證實為海洛英，相關毒品共重1091克，黑市約值90萬港元。在盤問下，疑人供稱在家鄉受到販毒集團招攬協助偷運毒品，並收取7000美元報酬。及後由當地乘飛機首先到達埃塞俄比亞，輾轉再飛往泰國，在泰國吞毒後轉機澳門，並擬往終點站廣州與接頭人交收毒品。連同今次案件在內，司警在兩星期內破獲同類案件，共起出逾兩公斤、黑市值190萬港元的海洛英。由於兩案手法相似，並同樣從坦桑尼亞乘坐航機來澳，司警正深入調查幕後是否由同一販毒集團所操控。self storage

【本報訊】「藝墟」檔主聲稱被阻擺賣跳海抗議。康文署轄下的尖沙咀文化中心「藝墟」檔主合約今天結束，迷你倉沙田一名只獲准在周日擺賣的手工藝品檔姓李檔主，昨午四時許到場，揚言要違規擺賣，以示抗爭，文化中心管理處保安員立即到場驅趕，李更聲稱被保安阻止遊客走近其攤檔，大感不滿。期間，他突然情緒激動，於尖沙咀二號公眾碼頭一躍跳海，企圖死控「飯碗不保迷你倉價錢，保安員迅速將救起，他並無大礙，毋須送院。李表示，現時他每月約有五千元收入，但計劃結束後，他慨嘆「生存都成困難」，要求藝墟繼續開辦。康文署上星期三已曾與藝墟畫家藝術家檔主大聯盟會面，署方表示已提出優化方案，包括延續八個「藝墟」計劃藝術服務攤位經營者的服務期約半年，其餘二十三個手工藝攤位則可繼續擺檔至新計劃展開前（即九月十五日）。迷你倉庫

楚天都市報訊 本報記者陳媛 實習生邵詩娟 通訊員高翔幼兒園放暑假了，迷你倉4歲女孩晨晨成天粘在電腦屏幕前，晨晨媽無奈之下帶她向醫生求助，經診斷晨晨已經出現網絡依賴的症狀，現在不得不在醫生的指導下“戒網癮”。像晨晨這樣的小小“電腦迷”不在少數,一些家長群中，不少家長抱怨自己的孩子小小年紀就變成“手機控”，“電腦控”，“IPAD控”。有的家長甚至抱怨自己5歲的寶寶居然會玩“魔獸爭霸”。不少家長認識到，寶寶出現這種情況，問題出在家長自己身上。專家建議，學齡前兒童不要用電腦，6歲至10歲兒童要儘量少用，每天接觸電腦時間不能超過半小時，家長還要嚴格控制上網的內容。●案例一4歲女孩出現網絡依賴症狀3天前，家住武昌的張女士帶著4歲的女兒晨晨（化名）來到中南醫院兒童神經與心理疾病門診。“她每天除了吃飯睡覺，就是趴在電腦前玩遊戲，我們一點辦法都沒有。不讓她玩電腦，她就哭鬧不止，甚至賭氣不吃飯不睡覺，像患上網癮一樣。”張女士苦惱地對醫生說，以前丈夫下班回家後經常上網看電影，女兒小時候就時常站在一旁看。半年前，丈夫在電腦上專門下載了動畫片給女兒看，從此晨晨就迷上了電腦。如今上網玩遊戲、看動畫片，晨晨操作起來都熟練得很，完全成了一個小“電腦控”。上周幼兒園放假了，晨晨幾乎成天趴在電腦前，也不出去跟小朋友玩，游樂城、動物園對她也失去了吸引力。張女士無可奈何，只好來找心理專家求助。接診的副主任醫師範靜怡試著跟晨晨交流，發現晨晨跟同齡的小朋友相比，語言能力明顯要差一些，而且注意力不集中。經過簡單測試，她發現晨晨已經出現網絡依賴的症狀。記者探訪多家醫院的心理門診發現，像晨晨這樣迷上電腦的孩子非常普遍，特別是隨著平板電腦的普及，不少家長將各種兒童娛教軟件下載在電腦中，成為孩子的學習和娛樂工具。年齡越小的孩子自控能力越差，很容易對電腦形成依賴，目前出現網絡依賴傾向的孩子年齡最小的只有3歲。●案例二2歲娃玩iPad眼睛近視400度今年2歲半的虎子最近看電視總是眯著眼，家長帶他到武漢愛爾眼科醫院檢查發現，孩子有400度的近視。原來虎子從1歲起就開始接觸iPad，只要他一哭鬧，爸媽就讓他玩iPad，經常一玩就是半天。無獨有偶。上周，4歲的晶晶被父母帶到武漢愛爾眼科醫院檢查視力，發現有300度的近視。“幼兒園老師說晶晶上課總看不清黑板，讓我們帶她來檢查一下。”晶晶媽媽楊女士說，她和丈夫平時工作比較忙，有時下班回家也要在電腦上工作，沒時間陪女兒玩，於是就專門買了個筆記本電腦讓孩子玩，沒想到對孩子的視力有這麼大的影響。近日，在武漢愛爾眼科醫院試光中心，記者看到不少學齡前的小朋友在父母的陪同下前來配鏡，該院一樓視光中心電腦驗光設備前排起了長龍。該院小兒眼病科主任戴鴻斌說，0-7歲是兒童視力發育的一個關鍵期。近10年來，兒童近視發病率逐年增加，現在每逢周末和節假日，來看眼病的患兒近八成都是近視。玩iPad、電腦，會讓孩子的眼睛長期聚焦在一個點上，容易造成眼睛疲勞，對視力損傷很大。●案例三5歲寶寶居然會玩“魔獸爭霸”記者在調查中發文件倉，隨著家庭電腦的普及，寶寶們接觸電腦的時間大大提前。在一些家長群中，有的家長抱怨自己5歲的寶寶居然會玩“魔獸爭霸”，有的家長說自己4歲的寶寶會打CS。不少家長也認識到，寶寶迷上電腦，問題出在自己身上，尤其是年幼的孩子，最早接觸電腦的機會多數都是家長創造的。家長王先生後悔地說，自己想玩遊戲又沒法不帶寶寶，所以總喜歡把寶寶抱在懷里操作電腦。寶寶的模仿能力強，不知不覺就學會了。當然理智的家長也有不少，當幼師的趙女士說，她的兒子今年5歲多了，對電腦非常感興趣，但她並不打算這麼快讓他學電腦。她認為，兒童的心理髮展有特定的“關鍵時期”。4一7歲正是孩子發展“社交”能力的階段，通過與年齡相仿的小伙伴一同玩耍及參加社會化的活動，可培養孩子健全的人格，提高他們適應社會的各種能力。另外，對4一7歲的兒童來說，學電腦也沒有什麼意義。成人一般只需一兩個月便可掌握電腦的操作技術，沒有必要讓孩子從小費九牛二虎之力去學。●調查顯示六成兒童十歲前“觸網”記者在調查中瞭解，不少幼兒園小朋友都有QQ號，回家會與小朋友網聊，小學低年級老師學生交流也基本靠QQ。家住漢口後湖大道的俊俊今年6歲，上周剛剛從幼兒園大班畢業。跟班上小朋友告別時，他留的不是家里的電話號碼，而是自己的QQ號。原來，俊俊從3歲起就經常看父母用QQ網聊，上幼兒園後老師還專門組建了班級家長QQ群，他經常和媽媽一起上網在群里發言，後來媽媽乾脆幫他申請了QQ號，他把爸爸媽媽和平常關係特別好的小朋友都加入了好友。而如今武漢的一些幼兒園和小學，都採取了多媒體教學，操作電腦成了課程之一。還有一些小學從一入校，老師就會建立班級QQ群和家長QQ群，方便老師與學生、家長之間的交流。專家建議學齡前兒童最好遠離電腦中南醫院兒童神經與心理疾病門診副主任醫師範靜怡介紹，電腦與兒童的學習方式並不相匹配。長期面對電腦會對幼兒的身心發育帶來不利影響。人的邏輯思維方式是由詞匯、語言、經驗等共同形成的，對於身體發育尚未成熟的孩子來說，過分依賴電腦，計算機的符號式思維將主導其基本思維方式，零碎的符號式機器思維將代替人的邏輯思維能力，會使孩子邏輯思維的形成受到阻礙，還會導致孩子缺乏想象力、創造力及與人交流、溝通的能力。長時間獨自玩耍也容易讓孩子變得孤單和寂寞，造成孩子情感上出現障礙。此外，電腦遊戲或動畫片的畫面色彩亮麗、視覺刺激過於強烈，時間長了容易對孩子的眼睛造成傷害，在學校上學時也容易注意力不集中。同時，專家指出，幼兒骨骼發育的特點在於骨骼彈性大，易變形，腕骨骨化沒有完成；肌肉組織較柔軟、力量弱、耐力差，容易疲勞，長期上網會導致孩子身體發育不良。專家指出，學齡前兒童不要用電腦，6歲至10歲兒童要儘量少用，每天接觸電腦時間不能超過半小時。專家提醒家長應與孩子多親密交流，儘量不要把孩子丟給電腦，也不要過多依賴電腦中的教學軟件來教育孩子。應該正確引導孩子使用電腦，對孩子玩電腦的時間和內容嚴格控制。若發現孩子沉迷電腦，甚至出現不愛與人交流、動作遲緩、笨手笨腳等現象，就要帶孩子接受心理干預。存倉