留学6年底薪两千

十九小学•劳动 | 多彩劳动课温情成长路_我的网站

秦时丽人明月心

一 | 多彩劳动课温情成长路 -劳动系列学科活动- 劳动课就像是一场五彩斑斓的梦幻之旅，孩子们就像一群在知识和技能的花海中翩翩起舞的蝴蝶，每一朵花都代表着一门独特的课程，而他们则在这片绚烂的天地里汲取着成长的力量。北京市第十九中学附属实验小学在本学期开展了多次劳动实践课程。实践课程目标 1. 培养学生的劳动观念，让学生认识到劳动的重要性。

二 |

Chen Aijun works in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)The video came with almost no instructions.
There was no narration explaining the mythology behind palaces rising above an ocean of clouds in the video, nor subtitles identifying the heavenly gates, cranes or tiny figures moving beneath them.
Yet viewers outside China quickly began naming the world for themselves.
Some called it "paradise." Others saw a "Celestial Palace" or an "Immortal Realm" familiar from Chinese fantasy games and television dramas. One user wrote, "Waiting on Wukong to show up," invoking the Monkey King from the Chinese literary classic "Journey to the West," or the hit game "Black Myth: Wukong."
The interpretations differed, but viewers did not seem to need the same cultural knowledge to enter the conversation.
Earlier this month, Chinese foreign ministry spokesperson Mao Ning shared the 33-second AI-generated video on social media with a question: "What does the Chinese heaven look like?"
It opened up a hermeneutic discussion, with responses overseas suggesting a cultural image does not necessarily need to elicit exactly the same interpretation for everyone in order for it to be viewed meaningfully.
"The right to interpret ultimately lies with the audience," said Zhang Zheng, deputy dean of Tsinghua University's School of Journalism and Communication.
People encountering unfamiliar cultures inevitably draw on what they already know, Zhang said. Rather than fully grasping every cultural reference, what matters is whether audiences can encounter the work, understand it and respond to it emotionally.
Before strangers abroad could interpret this particular world, however, it first had to get out of one man's head.
Chen Aijun, 34, is an optometrist in Chengdu, capital of southwest China's Sichuan Province.
By day, Chen leads a quiet, down-to-earth life in a neighborhood optical shop. Inside, he worked among eyeglass frames and optometry equipment. On his computer was another landscape entirely: cloud seas, immense palaces, flying cranes and figures in ancient robes.
Chen's heaven did not come from any single ancient text.
Growing up in the 1990s, he watched "Journey to the West" and later encountered "The Investiture of the Gods," xianxia (immortal heroes) novels and fantasy games. Those stories mixed over time with images of Chinese architecture and landscapes he saw online.
He has never visited nearby Mount Emei, and most of what he knows of Mount Huangshan's famous sea of clouds comes from videos.
What appeared on his screen was therefore not a reconstruction of one fixed mythological scene, but a world shaped by traditional stories already filtered through television, novels, games, the internet and his own memory.
For years, Chen had no way to make that world visible.
He never studied painting, design, photography or 3D modeling. After high school, he joined his parents' optical business and eventually took over the shop.
Generative AI changed the gap between imagining an image and possessing the technical skills to show it to someone else.
More than a year ago, Chen began teaching himself through free online tutorials. In September 2025, he started regularly posting AI videos, and a month later began experimenting with palaces floating above clouds. He has since published more than 200 videos.
The process, however, involves far more than entering a few prompts. The technology lowered the technical threshold, but it did not make the choices for him.
When creating Nantianmen, the mythical heavenly gate, Chen first defines the spatial rhythm and tonal hierarchy, pairing towering architecture and cloud seas with deliberately miniature figures to amplify the celestial realm's grand scale.
If the result does not match the picture in his mind, he tries again. He often generates over 1,000 images a day, revising a single scene repeatedly before moving on to animation, editing, color grading and music.
The machine can generate a thousand possible heavens. Chen still has to decide which one is his.
"AI-produced images can be soulless, and it takes human inspiration and aesthetic sensibility to endow works with warmth and vitality," he said.
Zhang believes Chen's experience reflects a broader shift brought about by generative AI. He said AI is giving people without conventional artistic training access to forms of expression that once required specialized skills. But what they create still depends on what they bring to the tool.
"A person's existing knowledge inevitably shapes how they use AI," Zhang said.
Chen brought his memories to the machine. Viewers abroad, in turn, brought theirs to the image.
"Everyone brings their own associations to these scenes," he said.
If his imagined world had to be reduced to three elements, he would keep clouds, architecture and people. The first two should feel immense, he said, while the last should remain small.
The details are culturally specific, but the visual effect is more immediate: tiny human figures dwarfed by vast clouds and monumental architecture. The responses suggest that viewers did not need to understand every cultural reference to find a way into the image.
Chen has no overseas social media accounts and learned that the video was attracting attention abroad only when friends sent him screenshots.
His life at the optical shop has changed little. He still checks eyesight and fits glasses when customers come in, then returns to his computer when the shop grows quiet.
He now hopes to make longer AI videos with fuller stories. He also wants to visit Mount Emei and, one day, Mount Huangshan.
For years, images of distant mountains and clouds reached Chen through screens. His imagined landscapes later traveled through screens to people he had never met.
Now he wants to see the real mountains and clouds for himself.
Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)

Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)
。 2. 教授学生基本的生活技能和手工技能。 3. 增强学生的动手能力，提高解决问题的能力。 4. 培养学生的团队合作精神和集体荣誉感。非遗课程—传统文化的瑰宝点茶课程就像是打开了一扇通往古老文化世界的大门。那精致的茶具如同一个个小巧的精灵，静静等待着孩子们去唤醒它们的魔力。刺绣制作也不逊色，它宛如一位温柔的导师，教会孩子们用针线编织出美丽的画卷。这些作品不仅仅是布上的图案，更是孩子们对传统文化热爱的寄托。美食制作课程—味蕾上的欢乐之旅冰糖葫芦冰糖葫芦制作课充满了甜蜜的气息。那些新鲜的山楂果就像一颗颗红宝石，在孩子们手中被精心地串起来，再裹上一层晶莹剔透的糖衣，就变成了让人垂涎欲滴的冰糖葫芦。

三 | 蓑衣黄瓜蓑衣黄瓜制作则像是给黄瓜穿上了一件别致的新衣。居家美食尝试低年级在家进行各种美食的尝试，有炝锅面、蔬菜水果沙拉、意大利面等。家校合作共育美好生活。家务劳动—生活自理的小能手 “家务劳动我能行”这一板块让孩子们成为了家庭里的小主人。扫地不再是一件枯燥的任务，而是像一场清扫战场的战斗。孩子们拿着扫帚，就像英勇的战士挥舞着武器，把灰尘和垃圾统统消灭干净。跨学科课程—知识融合的魅力英语与劳动的跨学科——草莓种植课程就像是一座连接不同知识领域的桥梁。孩子们在学习英语的同时，还能了解到草莓种植的知识。