joe chan

早幾天看 這雙手雖然小, 才曉得這個人. 張五常徒弟, 棄大學教席而拋個身出來做補習的那位叔叔----新AL經濟科名師?

變身前, 變身後:



正在聽香港電台清談一點鐘, JOE CHAN訪問.

他說了句, 很入心:

張笑容: 張五常不能回香港, 對(香港)做學問的是否很大的損失?

JOE CHAN: 那當然那當然啦. 老師教你野, 唔係下下捉住你手講你聽, 那是侮辱你(?). 你在他身邊, 到時到候有一句兩句話令你曉飛(開竅), 好老師就是這樣.

張笑容問他對銷售稅的意見. 他揣測政府枱底的理由不是為了應付經濟周期造成的稅收不隱定; 而是長遠來說, 要交高稅的香港人不少會到大陸工作(正如港燦時時所講), 收不到他們的稅, 整體稅收因而長期下跌. 要收回一些, 只好從他們在港的家人著手.


延伸:
* 遵理書院名師簡介




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香港大學他的網頁應不久後就會刪除. 在這裡做個紀錄.

http://www.fbe.hku.hk/people/faculty.asp?doc=jtl.chan
Home >> People >> Faculty >> By Specialty - Economics >> CHAN, Joe T.L.


Dr. Joe T.L. Chan

Teaching Fellow
School of Economics & Finance University of Hong Kong
BA, MSocSc, PhD (HK)

Tel: (852) 2859-1046
Fax: (852) 2548-1152
Email: jchan@econ.hku.hk

Brief Biography

Joe Chan was educated at the University of Hong Kong, where he wrote a Ph.D. thesis under Steven N.S. Cheung. After showing how product differentiation can be consistent with perfect competition, he has been working on another fundamental question: In what ways do the outcomes of an organized market reflect whatever information there is to be reflected? What determines the type and amount of information transmitted? In an organized market, for example, individuals are able to ignore product differentiation, because the institutional framework simplifies the information content of price signals. It therefore becomes easier for people to follow the 'command' of market forces.

Joe's tastes in leisure activities is consistent with his academic work, always preferring the simple old to the 'complicated modern' He is fascinated by black-and-white photography. He collects photographic and cinematic lenses of the 1930s and 1960s, brands like Voigtlander, Kinoptik, Angenieux, and Taylor-Hobson. No programmes, no auto-focus, no motor-drive, no automatic stop-down: only the unique image quality of these lenses is important.

Joe prefers the soul bondage of jazz to the glamour of modern pop. His favorite artists were all gone now, leaving only their digitalized legacy to converse with him: the voice of Billie Holiday, the tenor sax of Ben Webster, the piano of Art Tatum, and the blues of Muddy Waters. While Joe admires the artistic vision and passion of the great impressionists -- Monet, Renoir and Rodin in particular -- he adores the serene sensuality of the anonymous hands, which produced the sculptures and bas-reliefs in Ancient Cambodia a thousand years ago.