Archive | 八月 2015

香港的鄉郊 1-丁屋政策製造不公,還是墳墓?

作為一個曾主力處理香港鄉郊事務達三年的規劃師。我想過如何用自己的專業知識去解答鄉郊規劃的問題。但發現能用的專業知識並不多。與其說是專業知識,不如說是那三年工作在鄉郊,主要是元朗,的所見所聞。去填補一下大眾在香港鄉郊上討論上不常,或不想理會的一些角度。

1.丁屋政策製造不公,還是墳墓?

2.有一種政策行之已久,叫容忍

3.祖堂地多而廣的吊呃

天歌講過,網民對文章只會作大概5至6百字的容忍。但在土地問題上這字數只能勉強做個開端。我希望這是一個好的開端,令大家認真去看香港鄉郊規劃及發展的問題。不要相信任何人或圑體,只需要相信理性和歷練。

1.丁屋政策製造不公,還是墳墓?

我寫文前都要先看看ROGER NISSIM的LAND ADMINISTRATION AND PRACTICE IN HONG KONG。根據書中所指,丁屋政策在1972年開始實行。一個繼農地換屋地後另一個為新界新巿鎮提供大量土地,又盡量不影響鄉郊原住民過往生活,的補償方法。政府在鄉郊土地劃地建房,同時尊重原住民對鄉郊土地的主權/產權,用村界限制其村廣度擴散的同時,給予村民建屋的自由度而產生的結果。以下就是丁屋政策的幾個原則:

所有在新界可追溯族譜至1898年前的原住民男丁,滿成年就ENTITLED TO一個在自己村內的屋地建屋給自己及家庭。該屋建成後,未補巿值地價,除建屋時的按揭外,不能作買賣。如要賣屋,就要補地價。

丁屋又叫新界豁免屋宇。原因為建丁屋不需跟巿區樓的情況,向屋宇署入職,並要AP,認可人士,確認。這樣的原意是減輕SUPPOSEDLY比較貧窮的村民的建屋費用。而這豁免權只要是屬新界地擁有人(註:被劃為新巿鎮的地自動變成巿區)都可享有,不只限原住民。

如丁屋地不夠,可用農地建丁屋。而奇怪事亦出現。原本的鄉村屋地的補地價規定是終身制的。但農地建丁屋,這補地價規定會在建屋後五年後自動消失。(這個我也解釋不來)

其他事可自行到圖書館找這書翻閱。但我想說的是,這方法看似製造鄉村人士的特權,但其實只要你悄為動一動腦筋,就會知曉這只是為政府提供土地的權宜之計,遲早要取締。奇怪的是村民代表鄉議局在中英談判時主動做了三腳凳的其中一隻腳,冧掂中央延續這個政策的壽命到2047。

我在私人顧問公司工作時,就一間大埔地建丁屋做調查,就發現,大部分的註策丁屋,或丁屋地,或明文或不明文的,都已被套丁,轉交到地產商手上。而我認識的原住民,很多都沒有自住的丁屋。你可以想像要不丁權一早被套(我工作時候丁權價大概是二十一萬,今天不知多少了),要不只有丁權但一世都輪不到丁屋。因為如上文所述,丁屋的建成要丁權+屋地才能實現。現在你看看那些鄉村還有沒有地?我上班的地方,時常都有村長上來,凶神惡煞的說要劃大村界。但他愈凶,你就愈清楚,他有多DESPERATE。1972年丁屋政策既服務需要土地的過多巿區巿民,又令村民滿意,因為當時的鄉村土地(佔香港土地總量約一半)的人口是全港人口的不足5%。但今日新界土地的人口已超過六成。村界大部份都不能再向外劃,因為對面就是屋村屋苑學校了。

我在2005年,中大地資系曾有一個邀請村民的工作坊。其中他們的提議就是提高丁屋至9層。這當然在樓宇安全問題不容。但他點中了解決鄉郊土地問題的死結,就是過低的發展密度。但亦只有取締丁屋政策,才有下一步。偏偏中英談判時鄉議局在自掘墳墓,一個他們已愈堪愈深的墳墓。

8月涼風~yingju-Lu

~牧羊女的風鈴詩坊~

~8月涼風~

寢室風景 寢室風景

斷斷續續下了一整天的陣雨,竟覺得冷了,溫度掉到26~27度間,8月多像這樣潮濕的雨天,風雨來驅散了暑氣,很不一樣的8月天,它不像雨中冒蒸氣般還殘留著一股溫熱感,而是輕輕的冷涼,這時覺得穿上身上的夏衣便顯得過於單薄些。然而,晴日時溫度還挺高,一如既往,令人直冒汗夏日般的熱情。

按節氣夏季剛結束了,因此現在的微涼應算是秋天帶來的吧。是,讓人汗流浹背的日子還是有,但入夜熟睡後,半夜時分,我竟也開始找薄棉被了呢;而秋晚的夜空,月兒更美了些,彷彿一切都已經來到了秋季的軌道!

鄉野風景不知如何了?已是殘荷時節。自從盛夏尋蓮賞蓮後,我幾已沒再經過那,算算轉眼已2個多月。心中偶爾會掛念著那一區的景致,尤其又經歷大雨及颱風的肆虐呢,總猜著情境變蕭索些了嗎?但可惜,這些日子好像只有雲的呢喃之歌,我沒有錯過!

陽台上的植栽 陽台上的植栽

雨時常下,濕濘一片大地,不幸的,又逢登革熱大爆發,農園、野地、枯草葉枝條堆、積水處…,都一一成為危險的地方,害怕孑孓孳生於內。區里長勤於透過廣播要居民把廢積水倒掉,保持環境乾淨,最近也終於看見市政府派專員來稽查,可仍沒有辦法做到百分之百完美無誤,被警告的里民仍有…,尤其在鄉下老年人口居多,若又宣導無力,恐怕對防治登革熱早已錯失良機。加上蚊子不受控制到處亂飛,天空是我家,人類對之又奈何!

這個暑假,往年我們這根本感覺不出有影響的登革熱,今年倒是真的體驗到了,因為我們這邊已經有了病例,尤其據里長廣播所說,南市感染登革熱的人數已經破2100人,截至目前也已有4人死亡。

而我在家正算是那個不斷在倒盆栽積水的人,只要雨後,總得留意陽台上的植栽處。…

比較麻煩的是,若今年又是暖冬溫度偏高,對蚊蟲便相當有利,人人只能提高警覺,小心不要被蚊子咬!

細雨中的山景 細雨中的山景

但在這個8月,多雨中,雨後清涼的夜晚,真的有助於好眠,入夜後也總有微風吹拂,空氣清新。往夜空一瞧,有時撥雲見月,是朦朧詩意的月光,挺浪漫。

在鄉下這寧靜的氛圍裡,不知怎麼地,偶爾腦海裡會閃過那首懷舊又溫馨的「念故鄉」…。

~8月涼風~

~yingju-Lu~

~念故鄉~

《念故鄉》原曲是捷克作曲家德弗乍克(Antonín Leopold Dvořák, 1841–1904)所作第九交響曲(又名新世界交響曲)第二樂章的緩板。

附︰

~德弗札克 「新世界交響曲」~

http://www.youtube.com/watch?v=6VIRj7QgzZI

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Let’s Talk about …. an Artist

http://www.theguardian.com/artanddesign/2015/aug/25/pioneer-of-perversity-pierre-molinier-extreme-exposures

我要強調,我是好咸濕的。所以我看衞報或或多或少跟她時不時有裸女照有關。所以如果有女讀者想吸引我看你們的文章,你明解了。

今次都不例外,Pierrer Molinier,我真是完全不知道有這個藝術家存在。即使有很多藝術家的名我聽過,都不清楚他們是因什麼出名的。看the link 才知道Tracy Emin做衫出名的(???!!!?)。我切切實實就是一個偽文青。這個我好清楚。

這篇文其實都有點搞笑,並殘酷的告訴你藝術家這個字有多荒旦。

This small show at Richard Saltoun in London’s Fitzrovia is the first UK exhibition of Pierre Molinier’s work for over 20 years. Molinier, born in 1900, makes the spectator feel like a voyeur. But he wants us to witness what he himself wanted to see: these are episodes from a life in private, revealed to the world. His photographs have the repetitiveness of obsession and pornography. The same old things, again and again, the same focus, the same rooms, the same furniture and paraphernalia.

這段的意思是那位人兄由開始拍照,都用同一個境(自己屋企),同一個角度(鎖匙穴偷窺角度),同一樣的家俬擺設,重覆又重覆的主題(3P,口交,肛交,ecetera ecetera )。用這段去推敲,AV廠每天都在製造藝術品,加藤鷹的手指應製程雕塑放在Museum of Modern Art。

Molinier’s elaborate fantasy life and gender play became his art. His partners, for the most part, were his own photomontaged and duplicated selves. In his photographs he became both other and himself, man and woman, penetrator and penetrated. At the core of his art, his transvestism signalled the merging of sexes, a multiplication of organs and limbs and selves. He became the object of his own desire, a self that was other.

He photographed himself wearing a dildo, having sex with not one, but two montaged doubles over a stool. He made double and triple self-portraits – meeting his younger selves in the developing tray – and images of himself as a kind of devil-shaman, backlit, with both breasts and erection.

呢段就更扺死,是說他的另一類作品,就是玩雌雄同體自己插自己,自己含自己,用PHOTOMONTAGE模擬另一個同自己一樣的男人在同自己做愛。那當然比王晶的玉女真經李麗珍大戰雌雄同體的舒淇更前衞,但會否就因此變成藝術品呢? 玉女心經可否派人走出來說我的電影其實是向Pierrer Moliner 的致敬作品而出戰威尼斯影展/Sundance,凱旋而歸?

我突然又想起葉蘊儀,當她說自己是藝術家,而有人出來說"你拍寫真乍,藝術家…."。喎….原來拍AV都可以是藝術品,如上所述,那拍更唯美的寫真為甚麼不可以是藝術家呢? 還是你認為藝術品要KITSCH才算是藝術品,唔核突就冇資格? 占士哥在藝術上更勝占士甸? 還是….我們是時候承認,藝術本無定義,或至少跟朗誦一樣,我們不懂怎樣去為他們評價。是否是時候告訴自己或世人,我多高傲自大,也只是目不識丁。如HERZOG的主角MOSES一樣,坐在破屋,望著陽光,跟自己似懂非懂的人類講聲,我不懂….

對昨日我講100毛本書好廢講聲唔好意思. 著實我未看過你任何一期,只以你ON9的封面去判斷,是我的錯,或許你是一本藝術品。我又想起JAN的那句,只要你覺得自己是藝術家,射個精都是行為藝術。

我不懂…..

Let’s Talk about ….. Immigration

OK…I know my story about a crossover between 三顧草蘆 and Jeremy Corbyn was a bit doggy. So let’s talk about something else.

Last weekend, when I listened to my BBC Podcast, I heard about this story.

http://www.theguardian.com/world/2015/aug/23/macedonian-army-allows-migrants-to-cross-border

I confess my English listening is always doggy. That’s why I couldn’t hear much, but that a mass of immigrants from Macedonia tried to cross the Greece-Macedonia border, being tear gased and water cannoned by Macy army. An interview with one girl from Syria, in which the girl strikingly asked in the air, and literally asked the air, “why did they hurt us? We come here just for safety and escaping threat of death, war, violence. Why did they treat us like that? We are not animals we are human being."

At the same clip, the spokesman for Macy Government. I heard “what do you expect our Government to do? We are doing what the EU expect us to do, to keep illegal migrants from going to Europe." Putting the blame on the EU’s policy, JUST GET THEM OUT OF HERE.

++++++++++

Another clip from Donald Trump, who used the term “anchor babies" to describe the illegal migrants who sneaked into US border to give birth and claim US nationality. (Hong Kong people, sound familiar doesn’t it?). Jeb Bush was accused of using the same word in another show, who defended then for himself, “I didn’t make it up. I just used the term, that people ordinarily use, to describe the situation. Tell me, what should it be called? what is the right choice. You tell me and I use it." Donald Trump’s DEAL WITH IT seems a better phrase than JUST GET THEM OUT OF HERE.

+++++++++++

Today, I was inspired by this article,

http://www.huffingtonpost.com/entry/artists-transform-heartbreaking-letters-from-detained-migrants-into-gripping-works-of-art_55d2006de4b055a6dab0d07f?utm_hp_ref=arts&kvcommref=mostpopular

It is about some artist get access to the letters of  immigrants being detained and abused, mainly Central American origin and mainly female. They then used their visual arts to depict and express what they feel about the immigrants. One picture is equally sweet as brutal, about a starry night, bright moon, at a shore with rods forming a line offshore. The immigrants were depicted as fairy flying to the shore, whose bodies were part of the starry sky.

An artist statement printed just on top of the picture wrote, “Butterflies migrate and their migration is beautiful, they’re not restricted by physical borders. When humans restrict the beauty and nature of human migration it brings pain and trauma."

A memory of mine was suddenly recalled. When I was year 3 in Geography, I learnt a new word, ‘Diaspora", which means a massive scale of human movement. But I didn’t know this word at the time. I just thought, it should mean something bad, something dystopian. Later I know it is just a neutral word to describe the scale of movement. But I still don’t know, when human history is basically a story of massive movment, we human being often relate such thing to all the bad things that come afterward – unemployment, racism, discrimination, wars, infighting, rape, assault, tribal wars, GET THEM OUT OF HERE. It’s distressing to frame this social process in whatever way, social, historical, economic, political. That’s why Theresa May finally got going to Calais to fix it. How to THEM OUT OF HERE. I don’t know.