7/9 你的健康碼不是你的健康碼

累計抗原快篩46次 核酸33次

在中國每個人都需要配有合規健康碼才能移動，甚至進超市買一瓶水也要出示健康碼，搭任何交通工具也要掃碼驗測，健康碼對於每一位民眾而言實在是太過重要。它涉及公眾基本的生活，包括日常的出行等等。在常態化防疫的環境之下，一旦健康碼受到影響，當事人可能寸步難行，對生產生活無疑會帶來極大的影響，而這也關乎公眾基本權利是否得到保障。

有報導說河南有多家村鎮銀行因遇到資金危機，無法提供取款服務，一些焦慮的儲戶便前往省會鄭州維權。但很多儲戶稱，他們的核酸檢測為陰性，健康碼卻被突然賦「紅碼」（表示風險人員），從而被強制隔離或限制出行。

這時人們得知，健康碼可以因防疫之外的事被隨意“變紅”時，無疑感覺到了自身基本權利到的侵犯。“鄭州賦紅碼”事件之中通報顯示，共有1317名村鎮銀行儲戶被賦紅碼，其中446人系入鄭掃場所碼被賦紅碼，871人系未在鄭但通過掃他人發送的鄭州場所碼被賦紅碼。這個數據是相當驚人的。

試想沒有任何法律支撐，就可以限制一千多人的人身自由，況且其中大部分人還不在鄭州，其中權力濫用的隨意性可想而知，從這個角度去看，即便是現在當地已經對相關責任人予以問責，但事件背後所涉及“賦碼機制”的隨意性事多麼恐怖，這政府的法治意識是多麼薄弱，這無疑是打擊了民眾對社會、政府的信任。

人文書吧

X光不只能查看你的器官狀態，還能探知上幾個世紀隱藏在名畫後面的事件。

Van Gogh saw the work of the Impressionists for the first time when he arrived in Paris in February 1886. He realized that his own palette was dark and old-fashioned and began experimenting with lighter colors and a different kind of brushstroke. In the spring and summer of the following year he regularly went painting in the open air in Asnières, a village near Paris. Later, in a letter to his sister Willemien, he wrote that in the landscape there he "[saw] more colour than before." This patch of grass may well have been painted in Asnières. He probably wanted to practice his new technique. Every brushstroke coincides precisely with what he is depicting: the blade of grass, the petal, or the stem.

For this work Van Gogh used a canvas he had already painted on previously. X-ray images reveal the head of a woman with a hat under Patch of Grass. It is assumed that he painted this female head in 1884 or 1885 in the Brabant village of Nuenen, so about two and a half years before he painted Patch of Grass on top of it. The huge contrast between his somber use of color in his Nuenen period and his colorful and light palette in Paris is striking. His extremely rapid and radical development in style is thus literally embodied in this single painting.