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2011年检察院个人思想工作总结
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2011年检察院个人思想工作总结
2011年度，本人带领全办同志在院党组的正确领导下，在同志们的关心、支持和帮助下，以邓小平理论和“三个代表”重要思想为指导，按照科学发展观的要求，认真学习贯彻党的十七大、十七届五中全会和全国政法工作会议精神，坚持三个至上，忠实履行职责，严格遵守上级和院里制定的各项规章制度，取得了新的进步。 第一、加强政治理论学习，努力提高自己的政治素质。本人深刻体会到，要干好检察工作，就应该具有强烈的政治责任感和敏锐的洞察力，做政治上的明白人。为此，本人尽量抽出时间认真学习党的路线、方针、政策，认真学习全面贯彻党的十七大、十七届五中全会和全国政法工作会议精神，深刻领会其精神实质和科学内涵，严格执行上级检察院作出的决议、决定和指示，坚持以邓小平理论、“三个代表”重要思想为指导，全面贯彻落实科学发展观，不断提高自己的政治理论修养，确保政令、检令畅通，确保党的路线方针政策以及上级院的决议决定落到实处。本年度，我院自上而下开展了宽领域、多层次、多方面的学习教育活动。通过学习，进一步树立了宗旨意识，深化了对人民群众的深厚感情。总之，通过一系列的学习教育活动，本人的政治素质、执法能力和决策水平不断提高，政治敏感性和政治鉴别力不断增强。 第二，任劳任怨，做好本职工作。一年来，本人能够服从和服务于全院工作大局，不断提高服务水平和服务质量，保障了各项工作的顺利开展。办公室事务琐碎繁杂，基本都是幕后工作，很难出彩出色，而且还容易得罪人，但办公室作为院里的综合部门，发挥着承上启下、沟通内外的桥梁与纽带作用，哪点工作出现差错，都会影响全院的工作与形象。一年来，本人牢固树立后勤保障意识，树立为领导服务、为检察业务服务的理念，带领全办同志办好文、会、事，争取做到“零差错”。今年以来共收发、传阅、办理各类文件材料300余份，撰写领导讲话、汇报材料30余篇，保障会议30多次，收发传真1000余份，接待来客来访500余人次，编发灵璧检察信息61篇，撰写的文章被市以上新闻媒体采用10余篇，在《检察日报》发行工作中，率领大家群策群力，超额完成发行任务，受到院里表彰，有力地促进了全院各项工作高效有序开展。　　
第三、遵纪守规，廉洁从检。从事办公室工作，本身就是一名勤务员，既要联系上下，又要沟通内外。一年来，我始终将“老老实实做人，踏踏实实做事”作为座右铭，要求自己时刻保持清醒的头脑和一名共产党员的崇高品质，常修为检之德，常思贪欲之害，常怀律己之心，淡薄名利，经得住寂寞，耐得住清贫。从未借领导之名为自己和亲朋好友谋取私利。能够自觉贯彻执行《中国共产党党内监督条例试行》和《中国共产党纪律处分条例》，以及上级机关作出的关于廉洁自律的各项规定，自觉接受监督，要求干警做的，自己首先做到，要求干警不做的，自己坚决不做，较好地发挥了表率作用，为检察工作全面开展做出了自己的努力。　　
当然，由于本人水平有限，在工作和学习中也有很多缺点和不足，比如在学习和工作上存在一定惰性，有些事没有自己亲自动手，有时在工作中又有急躁情绪，脾气不够好，有时还抓不住矛盾的主要方面，在待人接物方面也有许多需要改进的地方等等，本人决心在领导和同事们的帮助下进一步改正缺点、弥补不足，争取更好地为检察工作多做贡献。 But know cherish the people of his hometown of XXX, in although the achievements of the career, but people in my hometown are still in the very low standard of living environment and a rich man is not rich must do something for the villagers to the bear home. So he resolutely natural left Guangzhou, decided to return home business.
But know cherish the people of his hometown of XXX, in although the achievements of the career, but people in my hometown are still in the very low standard of living environment and a rich man is not rich must do something for the villagers to the bear home. So he resolutely natural left Guangzhou, decided to ret
正在加载中，请稍后...While homemade zines, backyard punk shows, and skateboarding serve a sector of restless Los Angeles youth, the dawn of social media sees millennials reimagining the reach of creative roles, taking to Instagram, for instance, in order to build-on or fabricate personas for swaths of digital fans.
Multidisciplinary artist-designer, Brendan Fowler, insists the seemingly disparate worlds share more parallels than meets the eye. “Growing up, magazines were really important, but an interesting thing that's happening is that the gatekeepers are crumbling because anyone can publish their own content. That energy and DIY'ness is fucking bananas,” says Fowler as we drive through central L.A.’s Pico-Union neighborhood.
It’s a scorching, blue skies day in July and Fowler is upbeat, completely disguising the fact he’s running on very little sleep. He was up till 5 a.m., prepping the line sheet to a new drop for Some Ware, the idiosyncratic record label-turned-apparel brand helmed by him and Kanye West collaborator Cali Thornhill DeWitt. Fowler and DeWitt founded Some Ware just under two years ago as an excuse to release music from LA experimental outfit Purity. In a short time, the brand has garnered support from Frank Ocean, A$AP Rocky, and the two’s close friend and peer Virgil Abloh. Now there’s a new project for the brand’s devotees to embrace: Election Reform!, Fowler’s clothing project that uses industrial embroidery machines to create apparel that highlights the American electoral system’s flaws.
“Traditionally, advertisers tell the gatekeepers 'Hey this is what we have coming out' and ask the stylists to piece together new looks,” Fowler says.
“But now, kids are publishing whatever they want on social media. No one's going to stop them from mixing a Vetements hoodie with cargo shorts.”
The core values of DIY culture, like distributing photos printed on Kinko-made zines can be likened to a stylized photoshoot on social media. “I understand anyone saying Instagram has birthed vanity, but objectively it is happening and people are communicating.”
The digitization of music has destabilized the transactional nature of records as objects and as Fowler observes, this phenomenon has sprouted a new medium of exchange. “Whether that's indie rock, backpack hip-hop, or experimental noise, kids are having subcultural experiences and freaking out about making music and connecting with other kids. Instead of releasing a record, they'll upload on SoundCloud and create merchandise. This has given DIY culture a new spirit.”
The 39-year-old pauses. He points out the window toward a warehouse belonging to The Smell, a community-orientated music venue that nurtured Fowler’s past as BARR, a one-man deconstructed pop band which informed other experimental noise projects such as Stephen/Steven and Ann Martin.
The all-ages venue's devotion to youth projects and sound exploration is shared by Some Ware. “Youth culture is all Cali and I know. We're forever stuck on the age that we were when we got psyched on doing things creatively,” says Fowler. “When Sonic Youth turned 50, everyone could have said they're silly for having that name as a band, but they're lifers, ageing avant-gardes!” This reaction to youth culture having no expiration date is imbued in Some Ware's party series which doesn’t have an age limit upon entry, ultimately bridging the gap between teens with DJs and friends of Fowler and DeWitt who would otherwise frequent fashion week parties or headline festivals.
The idea of being inclusive is pivotal to Fowler’s outlook, but this was not always the case in his creative trajectory. Prior to his shift toward fashion, the late 2000's saw Fowler move away from music to explore photography and sculpture as a solo artist in “crash pieces,” which exhibited at the MoMA in New York, and later, shows at Richard Telles’ gallery and at LACMA, where the artist explored how arrangements from different mediums can be restructured to fit into a new frame.
In 2012, shortly after securing his place in the art world, Fowler came across an article on ballot fraud and became engrossed in the corruption of the electoral system. His infatuation with politics stemmed from his teens and listening to punk music, and Fowler’s initial intention was to share his political views by making a record produced for DeWitt’s then striving label Teenage Teardrops. But the music never saw the light of day and instead, the concept of Election Reform!—thrifted, recycled clothing reimagined with embroidered collages—became the medium.
It’s worth mentioning that this type of customization not only resembles the practices of punk communities, but also, that the cultural crossover of applying DIY ethics to the realm of streetwear allowed Fowler to voice his politics anew while using the same industrial embroidery machines from previous projects like 2015’s New Pictures, Six Sampler Works, and Benches. More importantly, Election Reform! forced Fowler out of isolation and into collaborating with others. Nowadays, having “lost interest in creating as a soloist,” Fowler has built a rapport with an audience he hadn’t previously reached.
“When you're working on a gallery show, there's a lot of alone time. Maybe you're working with an assistant, but for the most part there's minor interaction.” says Fowler. “Once the work is created, the best case scenario is that the art goes into the museum where everyone sees it. Another scenario is that a very wealthy person buys the art to live in a secluded house or storage space. A common case is that no works gets sold,” says Fowler. “With clothes, Cali and I would have an idea: that's already two of us talking. Then we would reach out to the pattern cutter, and speak to the fabric maker, the retailer stocking us, the models who are wearing the brand, the show venue, and so forth.” Fowler pauses as though a light bulb moment has occurred just as we cross the bridge into the Arts District. “It's no longer a rarified thing. It's not made for these top one percent types.”
Using second-hand T-shirts creates a new pathway for dialogue. The impact is especially clear when those T-shirts are worn by prominent rappers. “An experimental record would have been rad for Election Reform!, but a musician wearing one of my T-shirts on stage could give the concept more exposure, in turn giving the audience a reason to discover a whole narrative.”
Community is everything to Fowler, made evident at Some Ware’s recent Paris Fashion Show debut which saw the brand’s friends model their first cut and sew line. But with Some Ware’s forthcoming collection expanding to grail fashion retailers like Dover Street Market and a star-studded lineup of pals backing Election Reform!, is Fowler’s design aesthetic shift meant to cater to the masses? The worn-in looks of both brands have found a following similar to those who appreciate Rei Kawakubo’s tartan-adorned works, the distressed hobo looks of FACETASM, or brands like AMBUSH who have reappropriated the safety pin (a token of revolt in the ‘70s) in its jewelry collection. The core ethics of punk and subversive subcultures have long been embraced on the runway and Fowler’s raw interjection into fashion may soon join the ranks with some of fashion’s most revered.
As we pull up to his studio in the back alley of downtown LA’s graffiti-covered Arts District, I ask one last question before the heavy door to his workshop closes behind us. “With all the limelight on the brands, how do you ensure your designs stay authentic?”
Fowler answers with an enigmatic grin: “The idea is to try and keep things as nimble as possible. It wouldn't be fun if we didn't think of it all as just another art project, would it?”
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