《我是艾利》读后感 [最终定稿]

第一篇：《我是艾利》读后感

我所看清的事实就在于，世界上的每个人都一样，无论你是谁，从哪儿来，从事什么职业，身份地位如何，只要作为人，就会有七情六欲，《我是艾利》读后感。

所以人们总喜欢把人分出三六九等。

我们应该选择做一个好人，纵使所从事的职业不是个好职业，可我们的心灵是美好的。

那样，作为一个人而言，就已经算是很伟大了。

——《我是艾利》

人，总是在走了很长一段路之后，才会想着要停下来，往后看看，这时候，我们才发现，到底我们都做了些什么，那些事是对，那些事是错，但凡事无绝对的对于错，当你认为是好的，那它就是对的，让它违背你的意愿时，它就变成了错的。

每天我们都在告诉自己，不知道下一秒会发生什么样的事情，或许会被楼顶掉下的花瓶砸到，因此而送去医院；

又或者，走在路上被劫匪抢劫，而恐慌害怕；所以我们要好好珍惜每一分钟，可谁又愿意每天过着担惊受怕的日子呢？所以我们不知道该怎样来好好珍惜我们上一秒钟，也不愿意为下一秒而考虑太多，因为在你考虑的时候，时间又过去了一秒，也说不定下一秒，会给你个好的惊喜。

我想我们应该时刻准备，迎接下一秒所发生的事情，不管是好，还是坏，就像拍一部电影，每一秒就是一帧，然后把每一帧连接成一个动作，然后不断的反复重复，而“我”就是那个操作者，自编自导自演。

很多人都相信命运，认为一切都上帝安排好了的，逃也逃不掉，其实不是上帝安排好了所有的命运，而是你自己的思欲掌控了一切，你的愤怒、贪婪、欲望、渴求、仇恨，人生不能总是过的匆匆忙忙，不然你永远不知道在过去的时光里你都失去了些什么，也不能懒懒散散，那样你就像一个提线木偶，被所谓的“上帝”所操控，然后怨天尤人，读后感《《我是艾利》读后感》。

生活有时候很残酷，我们会感叹自己的无奈，但我们是可以做出选择的，是做开心的人，还是伤心的人，我很喜欢乐观的人，也会佩服他们，因为在做选择的时候，他们是选择做开心的人，则更多的人选择了伤心，然后用烟，酒来麻痹自己的知觉，终究是浑浑噩噩过着日子。

人，是有灵魂的，但并不是每个人的灵魂都是纯洁的，或许我们犯了很多大大小小的错误，并不代表我们就一定是个坏人，每个人都有他善良的一面，在活着的时候，应该多做一些善事，多帮组他人，在这个浑噩的社会，好人并不多，所以你做的每一件好事也算得上是一件伟大的事，其实，每当我们做了一件好事，心情都是无比欣喜的。

人，应该有个一梦想，或者一个目标，作为一个支撑点，来支撑你那空空的躯壳，不需要这个梦有多伟大，这个目标有多大，只需要你用心去实现它，有太多的人会嘲笑你那愚昧的念想，因为他们不曾有这种念想，认为你没那能力，他们更多的喜欢规规矩矩过生活，不愿意做一些“越轨”的事。

每个人都有他的潜在能力，只是自己还不知道，只要你去做了，哪怕最后你失败了，可你所拥有的是别人不曾拥有的东西，或许他一辈子也拥有不了的东西，那是谁也夺不走的东西。也可以于他们分享你的这份荣耀，你会倍感骄傲。

我做了一个对于我一生来说都很重要的抉择，其实我也不知道以后是否会如愿以偿，风险有多大，我也不清楚，但它对我来说，就是一个支撑点，我想要去完成它，努力去完成它，当它在你生命中变得有意义的时候，其实过程就显的更为重要。

当我们光着身子来的时候，注定也会光着身子回去，可为什么是光着身子呢？我想是因为，不想被束缚，想自由，所以在漫漫人生中，勿过多在乎利益的少得多失，我们的思想要丰富，眼界要宽广。

就像绕了一个圈，最后又回到了原点。

第二篇：2014艾利印刷培训总结

2014艾利印刷学院培训报告总结

为期两天的艾利印刷学院的学习，学到了很多重要的知识，学院的老师不仅拥有渊博的知识，而且在技术方面非常的精湛，从印前到印中再到印后以及在印刷过程中遇到的问题及解决方案都全面的讲了一下，学员们全神贯注的听讲，不时的提出在印刷过程中提出的问题，大家互相讨论献言献策，呈现出百花齐放的场面。

两天的学习，我对静电在印刷过程的影响深得体会：

印刷的过程中包含着频繁的撞击、摩擦以及接触——分离的过程，结果是使参与印刷过程的几乎所有物体都带有静电。静电的危害有两方面：一是影响产品印刷质量，二是影响生产安全。

消除印刷中的静电现象的方法有5种：

1.接地。这是最简单的消除静电的办法。即把金属导体与大地连接，电荷便经大地而泄露。但这种方法对于绝缘体几乎没有效果。

2.离子中和法。这是将空气离子化，使其产生正负两种离子，以中和纸张上的静电。

3.控制相对湿度。增加空气的相对湿度，就可以提高纸张表面的电导率，加速电荷的泄露。在印刷车间，湿度为20度左右，相对湿度在65%上下是合适的。所以，在印刷周围环境中洒一些水，有条件的可使用空气加湿器，可以有效地消除静电。

4.调整油墨黏度。把油墨的黏度调大一些，也可以有效地减少（消除）油墨中的静电，提高印刷质量。

5.在油墨中加入抗静电剂或异丙醇。最好使用抗静电剂，因为异丙醇加多了会导致油墨“反渣”，许多书上介绍异丙醇的加入量不要超过２％，但是，根据实践证明，非要远远超过这个量才会有效果。

第三篇：艾利森.杰克逊看名人

I'm a contemporary artist and I show in art galleries and museums.I show a number of photographs and films, but I also make television programs, books and some advertising, all with the same concept.And it's about our fixation with celebrity and celebrity culture, and the importance of the image: celebrity is born of photography.I'm going to start with how I started with this concept seven years ago, when Princess Diana died.There was a sort of a standstill in Britain the moment of her death, and people decided to mourn her death in a sort of mass way.I was fascinated by this phenomenon, so I wondered:could one erase the image of Diana, actually quite crudely and physically? So, I got a gun and started to shoot at the image of Diana, but I couldn't erase this from my memory and certainly it was not being erased from the public psyche.Momentum was being built.The press wrote about her death in rather, I felt, pornographic ways--like, “Which bit of artery left which bit of body?” and “How did she die in the back of the car?”--and I was intrigued by this sort of mass voyeurism, so I made these rather gory images.I then went on wondering whether I could actually replace her image, so I got a look-alike of Diana and posed her in the right positions and angles and created something that was in, or existed in, the public imagination.So people were wondering: was she going to marry Dodi?Was she in love with him? Was she pregnant? Did she want his baby? Was she pregnant when she died? So I created this image of Diana, Dodi and their imaginary mixed-race child and this image came out, which caused a huge public outcry at the time.I then went on to make more comments on the media and press imagery, so I started making reference to media imagery--made it grainy, shot through doorways and so on and so forth--to titillate the public or the viewer further in terms of trying to make the viewer more aware of their own voyeurism.So, this is an image of Diana looking at Camilla kissing her husband, and this was a sequence of images.And this gets shown in art galleries like this, as a sequence.And similarly with the Di-Dodian baby imagery--this is another art gallery installation.I'm particularly interested in how you can't rely on your own perception.This is Jane Smith and Jo Bloggs, for instance, but you think it's Camilla and the Queen, and I'm fascinated how what you think is real isn't necessarily real.And the camera can lie, and it makes it very, very easywith the mass bombardment of imagery to tell untruths.So, I continued to work on this project of how photography seduces us and is more interesting to look at than the actual real subject matter.And at the same time, it removes us from the real subject matter,and this acts as a sort of titillating thing.So, the photograph becomes this teaser and incites desire and voyeurism;what you can't have, you want more.In the photograph, the real subject doesn't exist so it makes you want that person more.And that is the way, I think, that celebrity magazines work now: the more pictures you see of these celebrities, the more you feel you know them, but you don't know them and you want to know them further.Of course, the Queen goes to her stud often to watch her horses...watch her horses.(Laughter).And then I was sort of making imagery.In England there's an expression: “you can't imagine the Queen on the loo.” So I'm trying to penetrate that.Well, here is the image.All this imagery was creating a lot of fuss and I was cited as a disgusting artist.The press were writing about this, giving full pages about how terrible this was.Which I found very interesting that it was going full cycle: I was making comments about the press and about how we know facts and information only by media--because we don't know the real people;very few of us know the real people--but it was going back into the press and they were publicizing, effectively, my filthy work.So, these are broadsheets, tabloids, debates were being had all about this work, films were being banned before people had actually had the look at the work,politicians were getting involved--all sorts of things--great headlines.Then suddenly, it started to get on front pages.I was being asked and paid to do front covers.Suddenly I was becoming sort of acceptable, which I found also fascinating.How one moment--it was disgusting--journalists would lie to me to get a story or a photograph of me, saying my work was wonderful, and the next minute there were terrible headlines about me.But then this changed suddenly.I then started to work for magazines and newspapers.This was, for example, an image that went into Tatler.This was another newspaper image.It was an April fool actually, and to this day some people think it's real.I was sitting next to someone at dinner the other day, and they were saying there's this great image of the Queen sitting outside William Hill.They thought it was real.I was exploring, at the time, the hyperbole of icons--and Diana and Marilyn--and the importance of celebrity in our lives.How they wheedle their way into the collective psychewithout us even knowing, and how that should happen.I explored with actually dressing up as the celebrities myself.There's me as Diana--I look like the mass murderer Myra Hindley, I think, in this one.(Laughter).And me as the Queen.I then continued on to make a whole body of work about Marilyn--the biggest icon of all--and trying to titillate by shooting through doorways and shutters and so on and so forth, and only showing certain angles to create a reality that, obviously, is completely constructed.This is the look-alike, so the crafting elements of this is completely enormous.She looks nothing like Marilyn, but by the time we've made her up and put wigs and makeup on, she looks exactly like Marilyn, to the extent that her husband couldn't recognize her--or recognize this look-alike--in these photographs, which I find quite interesting.So, all this work is getting shown in art galleries.Then I made a book.I was also making a TV series for the BBC at the time.Stills from the TV series went into this book.But there was a real legal problem because it looks real, but how do you get over that? Because obviously it's making a comment about our culture right now: that we can't tell what's real.How do we know when we're looking at something whether it's real or not? So, from my point of view, it's important to publish it, but at the same time it does cause a confusion--intentional on my behalf, but problematic for any outlet that I'm working with.So a big disclaimer is put on everything that I do, and I made narratives about all the European or Brit celebrities and comments about our public figures.You know, what does Tony Blair get up to in private with his fashion guru? And also dealing with the perceptions that are put about Bin Laden, Saddam Hussein, the links that were put about pre-Iraq war.And what is going to happen to the monarchy? Because obviously the British public, I think, would prefer William to Charles on the throne.And it's that wish, or that desire, that I suppose I'm dealing with in my work.I'm not really interested in the celebrity themselves.I'm interested in the perception of the celebrity.And with some look-alikes, they are so good you don't know whether they're real or not.I did an advertising campaign for Schweppes, which is Coca-Cola, and so that was very interesting in terms of the legalities.It's highly commercial.But it was a difficulty for me--because this is my artwork;should I do advertising?--at the time.So I made sure the work was not compromised in any way and that the integrity of the work remained the same.But the meanings changed in the sense that with the logo on, you're closing all the lines of interpretation down to selling a product and that's all you're doing.When you take the logo off, you're opening up the interpretations and making the work inconclusive, opposed to conclusive when you are advertising.This image is quite interesting, actually, because I think we made it three years ago.And it's Camilla in her wedding dress, which, again, nearly got re-used now, recently prior to her wedding.Tony Blair and Cherie.And again, the legalities--we had to be very careful.It's obviously a very big commercial company, and so this little, “Shh--it's not really them,” was put on the side of the imagery.And Margaret Thatcher visiting Jeffery Archer in jail.I then was asked by Selfridges to do a series of windows for them, so I built a sauna bath in one of their windows and created little scenes--live scenes with look-alikes inside the windows, and the windows were all steamed up.So, it's Tony Blair reading and practicing his speech;I've got them doing yoga inside there with Carole Caplin;Sven making out with Ulrika Jonsson, who he was having an affair with at that time.This was a huge success for them because the imagery got shown in the press the day after in every single newspaper, broadsheets and tabloids.It was a bit of a road stopper, which was problematic because the police kept on trying to clear away the crowds, but huge fun--it was great for me to do a performance.Also, people were taking photographs of this, so it was being texted around the world extremely quickly, all this imagery.And the press were interviewing, and I was signing my book.(Laughter).Further imagery.I'm making a new book now with Taschen that I'm working on really for a sort of global market--my previous book was only for the U.K.market--that I suppose it could be called humorous.And I suppose I come from a sort of non-humorous background with serious intent,and then suddenly my work is funny.I think it doesn't really matter that my work is considered humorous, in a way;I think it's a way in for me to deal with the importance of imagery and how we read all our information through imagery.It's an extremely fast way of getting information.It's extremely difficult if it's constructed correctly, and there are techniques of constructing iconic imagery.This image, for example, is sort of spot-on because it exactly sums up what Elton may be doing in private, and also what might be happening with Saddam Hussein, and George Bush reading the Koran upside-down.For example, George Bush target practice--shooting at Bin Laden and Michael Moore.And then you change the photograph he's shooting at, and it suddenly becomes rather grim and maybe less accessible.(Laughter).Tony Blair being used as a mounting block,and Rumsfeld and Bush laughing with some Abu Ghraib photos behind, and the seriousness, or the intellect, of Bush.And also, commenting on the behind the scenes--well, as we know now--what goes on in prisons.And in fact, George Bush and Tony Blair are having great fun during all of this.And really commenting, you know, based on the perception we have of the celebrities.What Jack Nicholson might be up to in his celebrity life, and the fact that he tried to...he had a bit of road rage and golf-clubbed a driver the other day.I mean, it's extremely difficult to find these look-alikes, so I'm constantly going up to people in the street and trying to ask people to comeand be in one of my photographs or films.And sometimes asking the real celebrity, mistaking them for someone who just looks like the real person, which is highly embarrassing.(Laughter).I've also been working with The Guardian on a topical basis--a page a week in their newspaper--which has been very interesting, working topically.So, Jamie Oliver and school dinners;Bush and Blair having difficulty getting alongside Muslim culture;the whole of the hunting issue, and the royal family refusing to stop hunting;and the tsunami issues;and obviously Harry;Blair'sik views on Gordon Brown, which I find very interesting;Condi and Bush.This image I've decided to show having a reservation about it.I made it a year ago.And just how meanings change, and there were a terrible thing that has happened, but the fear is lurking around in our minds prior to that.That's why this image was made one year ago, and what it means today.So, I'll leave you with these clips to have a look.(Music)Chris Anderson: Thank you.

第四篇：艾利思密尔学院（本站推荐）

Ellesmere College 艾利思密尔学院

校名：Ellesmere College

地址：Ellesmere College Ellesmere Shropshire, SY12 9AB

创校年份：1884年

英国人气最高A-Level学校排名：24

学校介绍

Ellesmere College(艾利思密尔学院)是英国一所著名的男女同校寄宿制私立学校，它位于英国西部美丽的北诗洛普希尔湖区。一个多世纪以来，学院一直在为学生创造一个愉快和优良的学习环境，在发挥其潜力方面作出了很多成绩，享有很高声誉。

学校的特色是一年的高中预科课程，旨在帮助学生顺利进入A-Level课程或者国际(IB)课程作准备。特色的英语教学是针对英语水平优秀的学生而开设的高级英语课程，对语言水平有待提高的学生则开设中级英语课程。目前学院提供的A-Level课程主要有：财会、艺术、生物、经济、化学、科技与设计、电子、英语、法语、地理、德语、历史、信息技术、拉丁语、法律、数学、音乐、物理、政治、西班牙语、宗教研究、社会学、戏剧、心理学等。学校为学生提供了安全与舒适的住宿环境。学生在这里互相帮助，建立起了长久的友谊。学生在校期间都有指派的监护老师和生活老师，他们负责监督学生的在校学习进度，就其生活中遇到的问题提出建议，同时还负责与学生的父母保持联系，向他们及时通知学生的在校情况，并就学生选择GCSE和A-Level课程给予指导。学校的就业指导部与学生的监督教师、生活老师和学习教师互相沟通，在学生毕业时提供各种就业资料以及面试辅导，使学生能够形成合理的深造和工作计划。

学校强调学生课余活动的开展与参与，学院的高质量音乐教育在当地享有盛名。每学期举办展览、音乐会、话剧和演讲，旨在加强学生与当地文化团体的交流，使学生更加了解当地文化风俗，有利于培养学生的开放性思维和互相配合的能力。该校还设有摄影协会、棋类协会、桥牌协会等社团。

留学专家推荐理由

Ellesmere College(艾利思密尔学院)注重课内外的教学质量，遵循小班制授课，从而保证学生在学习的过程中，老师可以因材施教，学生在课堂和研讨会上能够有足够的机会阐述和发展自己的观点。

目前，学院共有学生约560人，师生比例为1:8。学院的教学宗旨是培养学生有能力去面对未来世界的挑战，不仅仅是通过考试。因此，学院十分重视培养学生的自我个体意识，鼓励学生在广泛的领域里充分开发其兴趣与潜力。

第五篇：艾莫读后感

《让新员工更好的工作》读后感

看了艾莫老师的演讲《让新员工更好的工作》之后，我从中受益匪浅，感触很多，但更多的是反思与决心。通过这几天的学习，我深深的感觉到作为一名新员工，应该以公司的利益为重，应多思考自己如何在工作中做好本职工作，如何做一名称职的新员工，如何为公司创造价值。

这个演讲分为八讲，这八讲的内容都很丰富，每一讲的内容都可以使我受用终身。

一、态度赢在起点

这一讲中大师讲了自己的成长经历，他说努力可以改变自己的命运。我相信除了努力他更有一个感恩的心，感恩父母，感恩老师。15岁时他就对自己说：“要改变，要改变，一定要改变”。坚定的决心和目标或许是他后来成功的关键。在很早的时候（起点上）就学好一个本领或者说是一个技能，这个技能就能陪伴你终生。有的人在自己的职业生涯中，得到了自己想要的东西，但是有的人什么也没有，我认为这在一定程度上取决于个人的态度。

“一个人之所以赢，不是赢在终点，而是赢在起点；一个人之所以输，也不是输在终点，是输在起点。”因此，在起点上我们应该给自己的人生做一个合理的规划，在工作中我会自我培养自身的基本素质和能力、学习丰富的知识以及敏捷的思维，我会以工作为重心，以提高公司的利益为己任。我相信只有把基础打好，在起点上就不懈怠，才会在以后的工作中热爱工作、踏实工作，才能有更高的工作热情。

二、沟通创造价值

通过这一讲，我发现沟通在工作中的重要性。好好说好一句话，对自己、对公司的发展会起到很重要的作用。顾客至上，这是一句很真诚的话。在与客户的合作中，需要很好的沟通才能将我公司的产品介绍给他们，彼此才能长久合作。在向领导汇报工作时，需要跟领导很好的交流与沟通，才能让领导了解自己的工作情况以及工作进展。在工作中跟同事需要很好的沟通，才能有很好的合作，才能共同进步，为公司的发展创造价值。艾莫大师说：“人才未必有口才，但是有口才一定是人才”，在以后的工作中，我会锻炼自己的口才，成为一位对公司有用的人才。

“用嘴沟通，百沟不通；用心沟通，一沟自通”，这句话是父亲教育我的，他教育我，与他人交流需要真诚。因此在以后的工作中，我要通过自己与客户、领导以及同事之间的真诚沟通与交流，创造价值，为公司的发展尽自己的绵薄之力。

三、形象推销自信

给别人留下良好的第一印象，非常重要。如果第一印象非常不好，那就需要花费很昂贵的时间成本和努力去改变别人对你的印象。在工作中要修饰好自己的仪表，保持健康、干净、自信的形象。在跟不同的客户交流前，要想给他们留下好的印象，好的自我介绍，必不可少。好的自我介绍才能把自己更好地推销给别人。学会倾听别人的谈话，也是工作中的一门技巧。因为很多客户不是你说出来的，而是他讲出来的，在你听他们的需求时，无形之中会建立起一个合作关系，这些都是我应该铭记在心的。维护自己的形象的时候，要肯定别人，不要过多的跟别人争论，尤其是第一次见面的时候。我认为事情没有太绝对的对错好坏，只

有适合不适合，争论或许会激发矛盾，这样没有好的工作环境，就不会实现自己的价值。

四、赞美拉近距离

赞美别人需要有技巧。赞美别人要看清楚要赞美的对象。怀着真诚的心，准确的找到美点，不断的肯定和赞美对方，这样会塑造好的第一印象，还会得到别人的尊重。在与他人交流时，在交流时，应注意细节问题。应该保持适当的距离，不同的距离给别人的感受不同。而且在与他人交往时，应该礼貌相待，见面时握手、打招呼也需要合适的礼仪。

五、在不同的圈子做好角色转换

在人的一生中有5个交际圈：学院及家庭交际圈、地缘交际圈、组织交际圈、业余交际圈、舆论交际圈。在5个交际圈中，应能很好的转化，好好驾驭着5个交际圈，首先要扮演好自己的角色。在公司中，要维护好自己与他人的交际关系，遵守角色规范。最重要的是注意角色变换。所以我要做的是在处理与客户、领导及同事的关系时，及时转换；而且不把自己在家庭及工作之外的个人情绪带到自己的工作中，在工作中全身心投入。

六、塑造好自己所担当的角色

在这一讲中，我也学到如何为人处事，不要谈论不在场的人，提高自己的素质。我要努力做好自己感兴趣的事情也要做有意义的事情；我要做自己能做的事情，还要努力做应该做的事情。合理定位自己在公司中的地位，真诚待人，尊重领导，尊重同事。通过学习，我意识到每个角色都有一定的规范，我会遵守规范，塑造好自己的角色，系统学习，踏实工作，做好自己那个岗位上的工作，实现自己的梦想。

七、合理规划，做有价值的事情

通过这一讲的学习，我意识到打好基础最重要。首先要以感恩的心进入职场，感恩父母这么多年从小就培养我，感恩老师耐心教育我，更要感恩领导、老板给了我一个工作机会，感恩同事这些天对我的照顾与工作上的合作。在工作中，我要把在学校学习的理论知识更好的应用到工作中去。合理规划自己的职业生涯，正确处理好各种关系。在工作中，调整好自己的心态，安排好自己的工作，制定好每一段时间的工作目标。

八、经营自己，从现在开始改变

通过这一讲，我意识到，在工作起步阶段，要尽量避免人生中的重大挫折，正确看待成功，尽量不走弯路，遇到挫折的时候应努力打败挫折。另外，还要学会选择，能够做出一个伟大的决定，选择了就要用心看待这个工作，好好经营它，才能得到别人的认同，做一个对企业最有用的人，做一个有价值的人。我想从现在开始，改正自己身上存在的不利于公司发展的缺点，完善自己，我希望自己能够通过自己的努力与改变，创造价值。

如何好好经营我们自己，这是艾莫大师在演讲开始留下的问题。只有好好经营我们自己，才能让自己得到自己想要的东西。只有每个人都经营好自己，这个公司才有很好的发展前景。

总结：

通过这次的学习，我深刻的理解了这八讲的内容。我相信它对我在今后工作中所起的作用不容忽视。它让我明白态度决定一切，体会到了沟通的重要性，教我如何给别人留下好的印象，明白了赞美别人也是一门艺术，应该做好角色转换，塑造好自己的角色，合理规划，经营自己，努力做到这基本的八条，时刻以这基本的八条规范自己的行为，做好自己的工作，维护好公司的形象，以为公司创造价值为己任。虽然我是一名新员工，但是我要严格要求自己，虚心请教，努力工作，去实现自己的目标与人生价值。