Tribute to the 17th United Nations Chinese Language Day
Portrait of Confucius
On the 17th United Nations Chinese Language Day we celebrate the timeless charm of Chinese characters a carrier of thousands of years of Eastern wisdom poetry and cultural heritage
Five years ago during the 12th UN Chinese Language Day one of the three core thematic lectures selected by the United Nations “The Mysterious Dongba Hieroglyphs” was solemnly held at our Dongba Culture Academy My respected master the 17th-generation Grand Dongba Priest Aheng Dongta appeared on the front page of the official United Nations website As a wise man of the Naxi people and the soul inheritor of Dongba culture he brought the world’s only living pictographic script to the global stage letting the wisdom of Dongba culture and the brilliance of Eastern civilization shine on the international stage
Dongba hieroglyphs are the living fossil of Naxi civilization a cultural code spanning millennia and a spiritual bridge connecting the past and present and linking civilizations As the sole female inheritor and international communicator of the Dongba culture of the UNESCO Memory of the World I will always stay true to my mission as a cultural messenger delving into the translation and research of Dongba ancient books to let this precious human cultural heritage revitalize in the new era Taking language as a bond I will promote dialogue and mutual learning among different civilizations injecting oriental energy into world peace and cultural prosperity
“Scene from “Midsummer Night’s Dream” by The Joffrey Ballet. (Photo: Cheryl Mann)”
Midsummer Night’s Dream
The Joffrey Ballet
Zellerbach Theater
Berkeley, California
Midsummer Madness
“We had this beautiful summer house in the Swedish countryside. My favorite thing was to run in the field in front of the house and pick seven different flowers to put them under my pillow. Tradition says that if you put these flowers under your pillow before you go to bed, you will dream of your future love.”—Anna von Hausswolff
When you go to see a performance titled “Midsummer Night’s Dream,” even when warned ahead of time it will be set in the pale summer night of Sweden, you can be forgiven for expecting a dependably Shakespearian outing, though this time with maybe a Scandinavian Oberon and Titania and a regiment of local gnomes, a confusion of misguided romantics bounding through an Arctic midnight forest, and maybe a donkey-headed Svenska Bottom and his rude mechanicals defying the stagy and the stage-struck and a teasing trickster of a northern Puck declaring while displaying to all the world: “What fools these mortals be!”
And you might even be forgiven if, in the opening moments of the performance, you feel slightly disappointed that, no, this is not quite what you are about to be graced with this chilly spring evening.
But then, if you have always loved a surprise, especially when it is packaged as a bonbon and then explodes into a party, your expectations are turned on their head and go leaping in cartwheels across the stage, as if the whole theater had been turned into a circus expressly for your entertainment, and you find yourself with little alternative but to let yourself be blissfully carried away for the rest of the enchanted evening. There are a lot worse disappointments! And it’s easy enough to imagine Puck roaring with laughter up his gossamer sleeve.
Such, anyway, was this viewer’s experience when Cal Performances brought The Joffrey Ballet to the Zellerbach Theater on the UC Berkeley campus over a weekend this April. I’m still sorting out all the chaos of revelries that made it one of the most memorable evenings of a season that has had, frankly, a lot of competition.
The dance was divided into two parts, the first running a little under, the second a little over an hour, but who’s counting? The proof of any wonder is how fast it seems to fill any pocket of time with riches, and yet how brief it all seems in the end.
The first half opens, with deceptive minimalism, with a buffed up young man (a fine Dylan Gutierrez, who served as our point of contact for the evening; it’s his dream, after all, that we’re sharing) as he tries, unsuccessfully, to go to sleep in the glaring Scandinavian midsummer night. His bed stands in front of the stage curtain on which random sayings are projected, immediately dissolving: “Pick some strawberries!” “Meet me in the meadow,” “Sven is drunk,” “I prefer Christmas,” “Do you still love me?” . . .
A graceful young woman (the excellent Victoria Jaiani, who will be our main point of romance for the evening) bearing a sheaf of hay, dances down the aisle and up to the stage, waking the young man and then whisking him away through a crack in the curtain, which opens up to a wild, choppy confusion of dozens of dancers thrashing and dashing and flailing across a stage blanketed with golden hay like a vast field at the height of harvest season. From here on, we are far from the forest of Arden, but never far from magic.
The first act unfolds as a kind of bacchantic fertility rite, a revelry of farm workers dancing and playing, not only in, but with the hay, at the foot of a tall, mask-like pagan symbol, integrating a cross, an arrow, and two eye-like wreaths, erected above them.
The dancing workers whisk about, flail and harvest and roll the hay up into tub-like bundles which as used as little stages for couples dancing for love and delight, and they finally cast it all back into a long, luxurious play on the eternal idea of a sweetly innocent roll in the hay, quite literally.
A long table is then rolled out, and the hay is swept gaily off the stage, and the host of workers gather and celebrate the harvest in a traditional banquet. A solitary singer (the magical Anna von Hausswolff, who will appear at especially mysterious and lyrical moments) comes out and sings of the peace and joy of the long festival of summer in these cold and northern climes.
Then the revelry resumes, leading up to a long, strange, mysterious moment, when all the dancers, arranged in an almost intimidating phalanx stretching from end to end of the stage, approach the edge and, wreathed in enigmatic smiles, stare at the audience as if waiting for us to . . . do what?
There was nervous laughter, nervous applause, a little bout of rhythmic clapping, tense silence, and childlike wonder at what it all meant, as the dancers gazed silent as the midsummer sun on the puzzled mortals beneath them, then, just as mysteriously, dissolved back into seemingly random reveling.
The first act ended with one of the evening’s most magical moments, as the dancers moved up and down the long banquet table, bearing candelabras, until they stepped down to and across the darkened stage, off the stage, into the audience and up the aisles, with candelabras still aloft, until they froze, staring at the audience with mad charm.
The first half had many such marvels of enchantment. But it provided nothing to prepare us for what we would see in the second: a fever earthquake, tidal wave of inventions without end, technique without boundaries, a pagan unleashing in a teeming, ecstatic nightmare – for what would a dance about a dream be without the challenge of a nightmare? And everybody rose to meet it, conquered, and conquered again and again for the rest of a dream no one wanted, honestly, to wake from.
Because when was a nightmare ever more turbulent, tumultuous, tumacious, titillating, terrifying fun? Not only did the choreography raise its game to undreamed of heights, and the dancers follow, ever braver and more victorious than the last, but so did the set, the lighting, the props; nor forget the brilliance of music and musicians, never left behind, indeed often leading, including, later, in a soft passage after the seemingly endless rolling frieze of thrills of the opening, the already mentioned singer, who capped many a manic moment with a soft, still climax.
Did I forget the humor? Unforgivable! Because this was a production that, in its deeply romantic and pagan heart, knows how to laugh, out of pure high spirits and unshackled joy. I will mention only the giant Max Ernst fishes landing at unexpected moments or parading enormously across the boards, and the gleeful gigglers prancing in the odd corner at the odd moment, and the tutu-refined would-be swanners undermined in their earnest pliés by the gleeful gigglers and snarky bystanders, and the dueling immaculately haberdashed duo of headless gentlemen (Edson Barbarosa and Aaron Reneteria) bouncing around the stage with arms flailing and trading slaps at each other’s invisible heads, and the half-naked chef (danced with elegant insouciance by Fernando Duarte) parading around en pointe and buff-butted for much of the act in a chef’s hat and apron – and nothing else, my friend. He was, no doubt, a stand-in for the chef of this spectacular banquet of a production, the choreographer (and set designer) Alexander Ekman, as fine a magician of dance and stage as, I believe after this evening, we now have among us.
The music, a heady combination of contemporary and classical, pop, experimental and traditional Swedish folk music, and played live by a sextet of strings, piano and percussion, was by Michael Karlsson. The ingenious lighting design was originally created by Linus Fellbrom and re-created, not least the ribbons of lights hanging above the audience in the image of a circus tent, for the Zellerbach performance by Chris Maravich.
I think the fairies of Arden would have mightily approved.
_____
Christopher Bernard is an award-winning poet, novelist, playwright, and essayist. His most recent book is the poetry collection The Beauty of Matter: A Pagan’s Verses for a Mystic Idler.
First, some announcements. Tao Yucheng invites the winners of the poetry contest he hosted earlier this year to contact him at taoyucheng921129@proton.me. He’ll send out the prize money this month. He also announces that no one person won the Honorable Mention (there was a tie among multiple pieces) so he will automatically enter those pieces in the next competition, which will be at a yet-to-be-determined date this summer.
Also, contributor Mykyta Ryzhykh has a new book out, Tombboy, from Lost Telegram Press.
“In his book, as in books of poems written in poetic forms and free verse, language moves through a pattern, and the basic organizing unit is the line. In tombboy, the line may be a syllable, a sign, an image, or even a dot… Readers may rightfully assume that many, even all the poems in tombboy are anti-war poems… yet it would be inaccurate to infer these concrete poems are doctrinaire, or purely political. Nor are they autobiographical. But they are personal, intuitive, original, and memorable, each with something to show…” – Peter Mladinic, author of House Sitting, Knives on the Table and many other books
“tombboy is filled with an experimental spirit, combining fearless phrasing with satirical madness. The result is a fascinating examination of the human condition… it seems there are no limits to his masterful creativity. Each page of this book will grab your attention. tombboy deserves a prominent spot on your bookshelf.” – Roberta Beach Jacobson, editor of Five Fleas Itchy Poetry and smols poetry journal
Welcome to Synchronized Chaos’ mid-April issue: A Chorus at the Threshold. This issue presents a chorus of voices singing, speaking, sometimes whispering, at different types of thresholds. People of different ages and backgrounds come together in this issue, each sharing thoughts, observations, and feelings at points of shifting and transformation.
Some of these thresholds are deeply interior. Adalat Gafarov Izzet oglu’s poetry is contemplative and reverent, with a focus on spirituality and the search for meaning. John Edward Culp speaks to self-discovery, love, and finding one’s own rhythm in life. Duane Vorhees’ poetry forms a cohesive meditation on struggle, distance, and the human effort to bridge impossible gaps—whether spiritual, emotional, or existential. Mesfakus Salahin’s piece highlights self-exploration in times of solitude, as Maja Milojkovic laments the increasing unwanted loneliness caused by the setup of much of modern life. Mahbub Alam probes the highs and lows and capacities of human nature, highlighting the need for empathy and compassion. Prasanna Kumar Dalai’s poetry is romantic and melancholic, expressing deep emotions and longing. Poet and physician Anwer Ghani suggests that despite our attempts to conceal our emotions, they can still be sensed and felt.
J.J. Campbell’s writing touches on his inner shadows: feelings of isolation, the desire for a simple, authentic life, and the pain of his loneliness and inner demons. Ana May likewise writes from the doorway between suffering and transformation, insisting that pain must be faced if it is ever to yield meaning. Fhen M.’s eerie poem recollects the legend of G. Bragolin’s Crying Boy painting surviving house fires, meditating on trauma and memory. Thi Lan Anh Tran depicts the complex, multilayered social and psychological effects of both romantic love and war. Amina Kasim Muhammad’s poem illuminates how people rebuild after the loss of a loved one, growing around rather than overcoming grief. In David Sapp’s vignettes and Eva Lianou Petropoulou’s scenes of personal and public tragedy, ordinary life itself becomes a threshold where loss is transfigured through memory and grief into reverence.
Other voices gather at the threshold between childhood and adulthood. Yeon Myeong-ji and Hamdamova Dilzodaxon Halimjon qizi craft scenes of family love, care, and loss. Their work, and Jacques Fleury’s return to his father and their childhood treehouse, all stand in that tender doorway between then and now. Sarvinoz Bakhtiyorova depicts the impact of remembering one’s past and how that can shape one’s identity. Here, affection survives distance and the past remains startlingly alive.
Nature, too, shifts throughout this issue, with pieces about seasons and the liminal spaces between dreams and reality. In Stephen Jarrell Williams’s idyllic vision, the act of learning to fly becomes an awakening into another mode of being. Elaine Murray’s visionary reflections on natural landscapes, Charos Ismoilova’s gratitude for the sunrise, Ananya Guha’s pensive thoughts on seasonal time, Graciela Noemi Villaverde’s vision of a world where humans protect and care for the natural world, Joseph Ogbonna’s song to a nightingale, and Brian Barbeito’s dream journey scenes of birds, constellations, and moonlight all invite us to the threshold between the visible and the unseen. Sayani Mukherjee’s luminous piece on the sacred mystery of existence completes this movement, reminding us that existence itself is a continual process of change.
History and heritage form another vital threshold in these pages—the place where inheritance meets the present moment. Dr. Jihane El Feghali’s tribute to Lebanon, radiant with resilience and memory, stands beside Ilya Ganpantsura’s portrait of Pushkin, writing in a nation poised between autocracy and intellectual freedom. Abdulaxilova Sevara’s meditation on Yusuf and Zulayha reveals divine and human love, earthly devotion blended with spiritual transcendence. Eva Lianou Petropoulou shares the tale of miraculous holy fire burning the day before Easter in Jerusalem’s Church of the Holy Sepulchre. Lan Xin acknowledges the shared humanity and commonalities within the heritage of the world’s people, finding harmony within global religious teachings, and Bhagirath Chowdhary echoes that sentiment in his poem. Mohizoda Xurshiq qizi Roziqova discusses Uzbekistan’s legacy of teacher-apprentice training in the trades as Shokhida Nazirova highlights the Uzbek government’s investment in youth education, athletics, and personal development. The works rooted in Uzbek heritage further remind us that culture survives through crossings: hand to hand, teacher to student, voice to voice.
The chorus also rises at the threshold leading to justice.
Sim Wooki confronts racism and colonial power, while Patricia Doyne and Manik Chakraborty write from the brink where historical violence and oppression not only cast a shadow upon the present, but continues to this day. Alan Catlin and Stephen House stand at the moral threshold of witness, asking what it means to remain human before scenes of suffering, ecological damage, and collective harm. These are works that refuse the comfort of distance. They ask us not merely to observe, but to consider the ethics of paying attention.
Jernail S. Anand looks at compassion, care and the consequences of individual actions. Mykyta Ryzhykh highlights the dissonance between our ideals of gentleness and innocence and abusive human behavior that falls short of these ideals. Asalbonu Otamurodova’s reflections on boundaries offer another kind of threshold: the necessary line where care for others must meet care for the self.
Art itself becomes another form of threshold, creating space for various ideas and sensibilities to meet and overlap. Noah Berlatsky considers how even a weathered, broken artwork can convey meaning, how the breakage can become part of the work. Doug Hawley and Bill Tope’s joint short story humorously compares an ordinary couple with historically famous idealized sculptures of people, finding in favor of the average, imperfect, but real, married couple. To’lquinay Ubukulova points out creative people’s current dependence on technology of various sorts. Jerrice J. Baptiste’s poems and paintings of women highlight their individuality, strength of character, and connection to the natural world. Juraeva Aziza Rakhmatovna interviews Croatian writer and poet Ankica Anchia, illuminating her love for her nation and birthplace as creative inspiration.
Ummusalma Nasir Mukhtar celebrates the power of writers to move society forward through their creativity, as Bill Tope explores his personal literary motivations. Ri Hossain analyzes themes in his own poetry, highlighting his combination of materialism and surrealism and how he renders urban realities through free verse. Gionni Valentin’s fragmented thoughts, images, and reflections explore themes of creativity, self-discovery, and the human condition. Kandy Fontaine describes post-Beat poetics, defined by inclusivity, community, focus on embodied and lived experience with living writers, and rejection of hierarchies and trophies. Patrick Sweeney’s tiny poetic fragments touch on art, identity, nature, history, and relationships. Joshua Martin’s poems combine lexical debris, media fragments, bureaucratic residue, and historical ruin, while Mark Young’s fragmented transmissions emerge from different frequencies of reality.
What binds these many works is not sameness, but shared arrival. Each piece stands at some edge—of understanding, of memory, of identity, of survival—and from that edge it calls out. The result is a true chorus: not a single melody, but many voices meeting in resonance.
Chorus at the Threshold sums up this collection because every page invites crossing. Between sorrow and wonder. Between history and dream. Between the self we have been and the self we are still becoming. Yet, many of these doors remain open, so that the thoughts and impressions in one “room” carry forward along one’s journey or can be remembered.
May you enter these pages with openness, attentiveness, and the quiet recognition that something in you may emerge changed.
Yoqubova Barnoxon Baxtiyorjon qizi was born on June 2, 2002, in Qo‘shtepa district of Fergana region. From 2020 to 2024, she studied Preschool Education at Fergana State University.Since 2023, she has been working as a teacher at Preschool Educational Institution No. 28, where she has been contributing to the comprehensive development of children.
The Pedagogical Importance of Game-Based Technologies in Developing Attention in Preschool Children
Author InformationYoqubova Barnoxon Bakhtiyorjon qizi — practicing preschool educator.
Research interests: development of attention in children, cognitive processes, game-based technologies, preschool education methodology.
Abstract
This article explores the pedagogical importance of game-based technologies in developing attention skills among preschool-aged children. The study is based on the author’s practical teaching experience and analyzes effective methods of improving concentration through didactic games. Furthermore, it examines the impact of play-based learning on children’s cognitive development and outlines expected educational outcomes. The article is prepared based on an original and practice-oriented approach.
In modern preschool education, the comprehensive development of children is considered a priority. In particular, cognitive processes such as attention, memory, and thinking play a crucial role in a child’s future academic success. Therefore, the application of effective pedagogical methods aimed at developing attention in preschool-aged children is of great importance.
Main Part
For preschool children, play is the leading type of activity. Through play, children explore the environment, acquire new knowledge, and express their abilities. In this context, didactic games serve as an effective tool for developing and strengthening attention.During didactic games, children perform specific tasks that require concentration. For example, games such as “Find the Difference,” “Remember and Say,” and “Sort the Colors” enhance observation skills, improve focus, and strengthen memory.
The use of game-based technologies increases children’s interest in learning. It encourages active participation, promotes independent thinking, and helps develop problem-solving skills. Moreover, during play activities, children interact with each other, which positively influences their speech and communication skills.
Modern pedagogical approaches consider game-based technologies as an essential component of the educational process. They allow educators to organize learning activities based on children’s individual characteristics and needs.
Research Results and Analysis
Practical observations show that children’s attention levels significantly improve during play-based activities. Children participate actively and with interest, which leads to more effective learning outcomes.Additionally, through game-based activities, children develop: increased attention stability, faster thinking abilities, improved memory retention, enhanced social skills
Conclusion
In conclusion, the use of game-based technologies in developing attention among preschool children is highly effective. Properly organized play activities positively influence children’s cognitive development and prepare them for future stages of education.
References
Ministry of Preschool Education of the Republic of Uzbekistan. Preschool Education Curriculum. Tashkent, 2021.Xasanboyeva O. Preschool Pedagogy. Tashkent, 2020.Tojiboyeva D. Pedagogical Technologies. Tashkent, 2019.Vygotsky L.S. Mind in Society. Harvard University Press, 1978.Piaget J. The Psychology of the Child. Basic Books, 1969.
Faculty of Information Security and Computer Technologies
2nd-year student, Information Systems and Technologies
Email: ibroximovahayitxon@gmail.com
Abstract
This article describes the mechanism for creating flexible study plans for students by processing academic data in the 1C:Enterprise system using artificial intelligence. The study analyzes an innovative approach to predicting student potential using neural networks and automatically optimizing the educational trajectory. This method contributes to the digital transformation of educational management.
Keywords: 1C: Enterprise platform, artificial intelligence, individual learning trajectory, personalized learning, data analytics, neural networks, digital education management.
Introduction
Today, the digitalization of higher education is not just about converting statistical data into electronic form, but about transitioning to a completely new model of managing education quality. As the global trend toward personalized education continues to grow, creating individual learning trajectories that match students’ performance levels and interests has become a pressing issue.In higher education institutions of Uzbekistan, the 1C:Enterprise platform is widely used to manage academic processes. Over the years, this system has accumulated a large database (Big Data) of students’ grades, attendance, and subjects. However, current 1C configurations are mainly limited to data collection and archiving functions. Standard curricula are the same for all students and do not take into account each student’s individual cognitive abilities and learning pace.At this point, the need arises to integrate artificial intelligence (AI) algorithms with the 1C system.
AI technologies, especially machine learning models, make it possible to analyze historical data in the 1C database and identify students’ strengths and weaknesses. For example, based on previous semester results, the system can provide “smart” recommendations on which subjects a student should study more deeply or which elective courses to choose.Such an approach not only personalizes the educational process but also helps university management predict student performance in advance and reduce academic underperformance.
Methodology (Methods)
During the research, an intellectual model for managing individual study plans was developed, and the following scientific and technical methods were applied:Data collection and analysis:A dataset of students’ academic activities was created. Input data included students’ academic portfolios. The following parameters were extracted from the SQL database:Static data: entrance scores, chosen specialization
Dynamic data: current grades, midterm results, LMS activity logs
Using Python’s Pandas library, missing values were filled and the data was normalized within the range [0,1].
Application of AI algorithms:Several machine learning models were used:
Clustering (K-means): Students were grouped based on knowledge level and cognitive abilities
Regression analysis: A Linear Regression model was built to predict final exam scores
Prediction: Subjects where students struggle were identified, and additional classes were automatically added
System integration and visualization:AI modules were integrated into platforms like 1C:Enterprise. Visual graphs and charts were created using Matplotlib to track student progress.
Experimental design:Two groups were formed:Experimental group – studied using AI-based individual plansControl group – studied using traditional methods
Results were compared to evaluate effectiveness.
Results
The experiment was conducted during the first semester of the 2025–2026 academic year with 200 students:
Experimental group: 100 students (AI-based system)
Control group: 100 students (traditional system)
Key findings:
Average score:
Experimental group: 84.5
Control group: 71.2→ 18.7% improvement
Low-performing students (<60):Control: 15%AI group: 3%
Prediction model accuracy (R²): 0.892
Early prediction accuracy: 91% (by week 4)
AI automatically added 12 extra hours of training, improving weak results in 85% of cases.
Administrative efficiency:Time to create plans reduced from 45–50 minutes to 35–45 seconds
Errors reduced by 98%
Documents generated automatically in PDF
Survey results:88% of students satisfied with recommendations92% of teachers saved time and focused more on creative work
Discussion
The results show that AI-based management of individual study plans is not just a technical tool but a strategic mechanism for transforming education quality.Adaptive learning: Improved performance by 18.7%
Predictive analytics: Enabled early interventionIntegration effect:
Combined power of Python and 1C improved efficiency
Visualization: Increased student motivation and self-monitoring
Limitations:Data quality issues (GIGO principle)
Need for Explainable AI
AI should support, not replace teachers
Future recommendations: NLP for evaluating written work
Sentiment analysis for student well-being
Mobile applications for real-time updates
Conclusion
This study shows that the era of treating all students equally in education is over. Artificial Intelligence is not just a trend but a powerful tool that improves student performance and reduces teachers’ workload.
Main conclusions:
Student performance increased by 18–20%Early prediction of failures (90% accuracy)Bureaucracy reduced by 80%Strong collaboration between humans and technologyIn conclusion, managing individual study plans through AI is the foundation of future education. Its wide implementation can significantly improve the quality of training modern, competitive specialists.
Development of Financial Technologies in the Context of the Digital Economy
Abstract: This article analyzes the development processes of financial technologies (FinTech) in the context of the digital economy, their impact on the financial system, and their importance in the economy. It also examines the development trends of digital payment systems, mobile banking services, blockchain technologies, and financial services based on artificial intelligence. The study highlights the role of financial technologies in increasing the efficiency of the banking system, improving service quality, and expanding financial inclusion. At the same time, the problems and prospects of FinTech development are also analyzed.
Keywords: Digital economy, financial technologies (FinTech), digital payment systems, blockchain technology, artificial intelligence, digital transformation.
Introduction
In today’s rapidly developing digital technologies, the global financial sector is undergoing unprecedented changes. Innovative technologies such as artificial intelligence, blockchain, and big data analytics are transforming traditional models of finance and banking into faster, more transparent, and more efficient systems. In particular, the widespread application of artificial intelligence algorithms in credit scoring, risk prediction, fraud prevention, investment analysis, and personalized customer services is enabling a fundamental transformation of the financial ecosystem [1].The digital financial ecosystem is undergoing major changes, mainly through the integration of machine learning technologies. Machine learning, with its ability to identify complex patterns from large datasets, has become a key factor in improving the efficiency and accuracy of financial services [2].
Main Part
With the development of digital technologies, banking and financial systems are experiencing significant transformations. Advanced technologies such as artificial intelligence (AI), blockchain, and big data analytics are expanding opportunities for automating financial operations, enhancing security, and providing personalized services to customers. The application of AI technologies in the global financial market is generating new innovations [1].
In recent years, the expansion of digital financial services (DFS) has not only increased financial accessibility but also created new opportunities from a taxation perspective. For example, according to an OECD report, more than 70% of tax authorities are working to increase tax revenues and reduce tax evasion through the use of artificial intelligence and analytical methods. Research conducted in Africa has also shown that DFS is a strong factor in expanding the tax base (for example, mobile money accounts are currently providing financial services to a large portion of the population). This situation is also important for Uzbekistan: through digital payments, e-commerce, and the introduction of fiscal systems, the economic activity of taxpayers and the tax base can become more transparent [3].
Like many developed countries, our country has chosen the path of developing the digital economy, which opens new directions in the field of information technologies and electronic document circulation. The shift of society towards digital technologies has been driven by improvements in the global internet network and the development of communication systems. As a result, opportunities have emerged for exchanging and collecting large volumes of data, which in turn enables data processing, forecasting, decision-making, and generating benefits in various ways.
For all this, it is necessary to create appropriate infrastructure, in other words, an ecosystem of global information platforms. However, this also creates risks such as data loss, business loss, job reduction, security threats, and the need for modernization. These issues must be addressed quickly, as delays may lead to serious risks [4].
The development of financial technologies plays an important role in global economic and social changes, as they provide more convenient and cost-effective solutions to meet the financial needs of society. Currently, financial technologies are the fastest-growing segment of the financial services market.
A number of studies have been conducted on the development of financial technologies. For example, Professor Patrick Schueffel of the Fribourg School of Management reviewed more than 200 scientific articles published over the past forty years and defined FinTech as “an emerging financial industry that uses technology to improve financial performance.”Professor Douglas W. Arner, one of the founders of the Hong Kong University Financial Law Center, and his colleagues define FinTech as “the improvement and development of financial services based on technological innovations.” Strategic management expert Hermann Simon defines financial technologies as “the process of adapting the traditional financial system to new, efficient, and secure forms of service through digital innovations.”
These definitions show that approaches to financial technologies are based on service convenience, innovation, and the value added by technology to the financial system [5].Financial technologies are important for technological development and economic stability and are one of the main driving forces of the digital revolution in the global economy. The main factors behind the emergence and rapid spread of FinTech include:growth in the quality and quantity of information technologies, the need for financial and non-financial companies to improve their activities, and changes in consumer behavior [5]
Conclusion
The rapid development of digital technologies is fundamentally transforming banking and financial systems, enabling the creation of automated, fast, and efficient services based on artificial intelligence. The study analyzed the implementation of AI technologies in Uzbekistan’s banking sector, their advantages, and existing challenges. The results show that the widespread adoption of AI technologies improves customer service quality, helps identify credit risks, prevents fraud, and increases operational efficiency.
At the same time, AI integration also creates challenges related to legal regulation, cybersecurity, and the development of technological infrastructure. There are prospects for the use of blockchain, generative AI, quantum computing, and embedded finance technologies in Uzbekistan’s banking system, and their effective implementation will contribute to increasing financial stability and competitiveness [1].
In conclusion, online lending platforms are becoming one of the key drivers of innovative and rapid digital transformation in Uzbekistan’s banking system. The systematic development of this process creates new opportunities for banks, increases convenience for customers, and contributes to the formation of a stable, modern, and competitive financial ecosystem
[6].References
Shakhzod G‘aniyev — Prospects of banking and financial systems in the digital economyLink: https://yashil-iqtisodiyot-taraqqiyot.uz/journal/index.php/GED/article/view/6580Fintech and MSEs Innovation: an Empirical AnalysisLink: https://arxiv.org/abs/2407.17293Umurzoq Radjabov — Prospects for improving tax administration efficiency in the transformation of digital financial servicesLink: https://muhandislik-iqtisodiyot.uz/index.php/journal/article/view/1300R.H. Ayupov, G.R. Boltaboeva — Fundamentals of the digital economy, Tashkent-2020Yakubova Sh.Sh., Po‘latova M.Sh. Development of financial technology market infrastructure // Spanish Journal of Innovation and Integrity – 2024Temurbek Normo‘minov — Cooperation between fintech startups and commercial banksLink: https://yashil-iqtisodiyot-taraqqiyot.uz/journal/index.php/GED/article/view/7945
Charos Yusupboyeva was born on July 10, 2010, in Qirqqizobod mahalla, Ellikqal’a district, Republic of Karakalpakstan. Despite her young age, she stands out for her active involvement in educational activities, promoting reading culture, and encouraging young people to pursue knowledge.She is currently the founder of the “Qirqqizobod” journal. Through her “Book Readers Club” project, she has brought together around 200 students, creating a strong community of young readers. She is also a prize winner of the republican stage of the “Zulfiyaxonim Izdoshlari” competition and a young writer whose poems have been published in international journals. Through her passion for learning and strong initiative, she continues to inspire her peers.
Bridging the Distance: The Transformative Role of Online Education in Remote Areas
In the contemporary world, education has become one of the most powerful instruments for social progress and sustainable development. However, geographical isolation continues to limit access to quality education for many learners living in remote areas. With the rapid advancement of digital technologies, organizing online education has emerged as an effective solution to reduce educational inequality. When properly implemented, it not only overcomes physical barriers but also creates new opportunities for students and teachers.
One of the most significant factors influencing the organization of online education in remote regions is the availability of reliable internet infrastructure. Without stable connectivity, digital learning platforms cannot function effectively. Therefore, improving broadband networks and expanding internet coverage are essential steps toward making online learning accessible to everyone.
Governments and technology providers must collaborate to ensure that even the most distant communities can benefit from modern communication technologies.Another crucial aspect is the provision of digital technology for both students and teachers. Access to devices such as laptops, tablets, or smartphones allows learners to participate actively in virtual classrooms. Equally important is equipping teachers with the necessary technological tools and training so that they can deliver high-quality lessons. When educators are confident in using digital platforms, they can create interactive learning environments that encourage creativity, critical thinking, and collaboration.
The impact of organizing online education in remote areas can be profound. First and foremost, it significantly expands educational opportunities. Students who previously faced limitations due to distance or lack of resources can now access a wide range of courses, educational materials, and global knowledge networks. This not only improves academic achievement but also empowers young people to pursue their ambitions and contribute meaningfully to society.
Moreover, online education fosters lifelong learning and professional development. Adults living in rural communities can acquire new skills, participate in training programs, and adapt to changing economic conditions without leaving their homes. As a result, communities become more resilient, innovative, and economically active.
In conclusion, organizing online education in remote areas is a transformative step toward building a more inclusive and knowledge-based society. By improving internet infrastructure, providing digital technologies, and supporting both students and teachers, societies can ensure that education reaches every corner of the world.
Ultimately, the expansion of online learning does not merely connect people to information—it opens doors to opportunity, empowerment, and a brighter future for entire communities.
Key words:Online education, remote areas, digital technology, internet infrastructure, students and teachers, virtual learning, educational opportunities, lifelong learning, digital literacy, community development
