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.
They are eager to create a good impression at work.
They are eager to create what you see, what you look, what you spark.
It is important to create from experience, from the mind of creative person.
They may have a scattered cognition.
They may seem like weirdos but the sacrifice makes it a real and accurate.
They create the television we watch and enjoy.
They never abnegate themselves.
They use their strategies to create something purposes.
They have effulgence lighting the way they create.
They perfect work with courage and forte
Their strength, their patience and their determination to see they accomplish and attain their work.
Their strength help them to appear self-important and self brain work.
They have determination to create something on the earth.
We leave some of our culture to follow someone trails for seeking refuge to achieve our dreams.
Our culture is the key to success and creativity adds something to it.
They change the world with what they create.
Their ideas bring light where there was no light.
They inspire others to dream on act from their courage.
New hope is freshness.
And follow culture and creatives is the life.
“Ummusalma Nasir Mukhtar is a Nigerian poet with a passion for words that transcend pages. Born to Nasir Mukhtar and Rahma Muhammad, she’s nurtured a dream of becoming an English literature professor, inspiring others with the power of language. With siblings Hauwa’u (Jidda) and Zainab (Inteeser) – a budding computer professional – Ummusalma’s journey is a tapestry of creativity and ambition. Her published works, ‘Ink Beneath My Skin’, ‘Shadows of My Voice’, and ‘Sun Rise’, echo her voice, weaving tales of experiences and emotions. With each line, she steps closer to sharing her unique perspective with the world.”
Technology and Artificial Intelligence in Language Learning
Abstract
The rapid advancement of technology and Artificial Intelligence (AI) has transformed the global educational landscape, particularly in the field of language learning. Digital platforms, adaptive algorithms, and intelligent tutoring systems now provide personalized learning experiences that were previously impossible in traditional classrooms. This article explores the evolution of language learning technologies, the impact of AI-driven personalization, immersive virtual environments, accessibility improvements, and ethical considerations. The study argues that while AI enhances efficiency and engagement, human-centered pedagogy remains essential. A balanced integration of technology and traditional instruction ensures sustainable and effective language education outcomes.
Keywords
Artificial Intelligence, language education, adaptive learning, educational technology, NLP, digital platforms, e-learning, personalized instruction
1. Introduction
In the digital era, technology influences nearly every sphere of human activity, including communication, business, healthcare, and education. Language learning has particularly benefited from technological innovation. Over the last two decades, the integration of Artificial Intelligence (AI) into educational systems has shifted traditional teacher-centered models toward more learner-centered approaches. Today, students can access interactive exercises, automated feedback, and immersive simulations through smartphones and computers. Such developments have made language acquisition more flexible, efficient, and globally accessible.
Artificial Intelligence refers to computer systems capable of performing tasks that typically require human intelligence, such as speech recognition, decision-making, and pattern identification. In language learning, AI analyzes learner behavior, tracks progress and adapts content accordingly. This paper examines the transformative role of AI technologies in language education and evaluates both their advantages and limitations.
2. Evolution of Technology in Language Learning
Historically, language learning relied on printed textbooks, memorization techniques, and classroom lectures. Audio recordings and language laboratories later introduced listening practice, yet these tools still lacked personalization. With the development of the internet, online courses and multimedia materials expanded learning opportunities. The emergence of AI-based applications further revolutionized this process by introducing intelligent feedback systems.
Modern platforms use machine learning algorithms to assess learners’ strengths and weaknesses. These systems adjust task difficulty, recommend revision materials, and monitor long-term progress. Gamification elements such as points, levels, and achievement badges also increase motivation and engagement.
3. Personalization and Adaptive Learning
One of the most significant contributions of AI is adaptive learning. Each learner has a unique cognitive style, pace, and objective. AI-driven systems analyze performance data and design individualized study paths. If a learner struggles with grammar structures, the system automatically provides additional exercises and explanations.
Spaced repetition algorithms strengthen vocabulary retention by scheduling review sessions at scientifically optimized intervals. Automated writing evaluation tools provide instant grammar and coherence feedback, enabling continuous improvement. This personalization increases efficiency while maintaining learner motivation.
4. Immersive and Interactive Technologies
Virtual Reality (VR) and Augmented Reality (AR) technologies create immersive learning environments where students practice language in simulated real-world contexts. For example, learners may participate in virtual job interviews, travel simulations, or business meetings. Such contextual learning enhances communicative competence and cultural awareness.
Natural Language Processing (NLP) enables AI systems to evaluate pronunciation, fluency, and lexical diversity. Speech recognition tools provide immediate corrective feedback, supporting pronunciation development and confidence building.
5. Accessibility and Global Impact
Technology democratizes education by reducing geographical and financial barriers. Students from rural regions can access high-quality language instruction through mobile applications and online platforms. This accessibility supports equal educational opportunities and promotes global academic mobility.
AI-powered systems also assist learners with disabilities through text-to-speech, speech-to-text, and translation technologies. Such inclusive design contributes to more equitable and diverse learning environments worldwide.
6. Challenges and Ethical Considerations
Despite numerous advantages, AI integration presents challenges. Overreliance on digital tools may reduce meaningful human interaction, which remains essential for cultural and emotional aspects of communication. Additionally, data privacy concerns arise as platforms collect extensive user information.
Educational institutions must implement strong cybersecurity measures and transparent data policies. Teachers should guide students in responsible technology usage while maintaining a balanced blended-learning approach.
7. Conclusion
Artificial Intelligence and digital technologies have significantly transformed language education by introducing personalization, adaptive learning, and immersive communication environments. These innovations enhance efficiency, motivation, and accessibility. However, technology should complement rather than replace human educators. A balanced integration of AI tools and traditional pedagogical strategies ensures sustainable and high-quality language learning outcomes in the modern world.
References
1 Chapelle, C. A. (2003). English Language Learning and Technology. John Benjamins Publishing.
2 Luckin, R., Holmes, W., Griffiths, M., & Forcier, L. (2016). Intelligence Unleashed: An Argument for AI in Education. Pearson Education.
3 Godwin-Jones, R. (2018). Using mobile technology to develop language skills. Language Learning & Technology, 22(3), 1–17.
4 Holmes, W., Bialik, M., & Fadel, C. (2019). Artificial Intelligence in Education: Promises and Implications for Teaching and Learning. Center for Curriculum Redesign.
5 Kukulska-Hulme, A. (2020). Mobile-assisted language learning. The Oxford Handbook of Language Learning and Technology. Oxford University Press.
6 Reinders, H., & White, C. (2016). 20 years of autonomy and technology. Language Learning & Technology, 20(2), 143–154.
7 Stockwell, G. (2013). Technology and Motivation in English-Language Teaching and Learning. Palgrave Macmillan.
Thi Lan Anh Tran – Aschaffenburg, Germany 10.04.26
My mother never told stories the way books do.
She would pause in the middle of words, as if something beyond language was heavier than memory itself.
There was once a garden— not the kind you visit, but the kind that remembers you.
The soil carried more than roots.
I grew up far from alarms, far from skies torn open, yet at night I still feel a quiet pulse beneath the earth— steady, buried, refusing to leave.
They say time moves forward. But memory stays still.
It waits.
Elsewhere in the world, men sit across polished tables carefully choosing their words: ceasefire, security, shared interest.
Their voices are calm.
Somewhere, a child learns the difference between thunder and something that is not weather.
A city learns to dim its lights without calling it fear.
A mother learns silence so deeply it becomes a way of breathing.
I stand between what has ended and what is repeating.
Nothing returns exactly the same— yet nothing truly disappears.
War does not always arrive in fire.
Sometimes it remains— in the body, in language, in the hesitation before trusting tomorrow.
If history breathes, it does not speak in victory.
It exhales slowly through those who remember what others are still becoming.
CUỘC CHIẾN KHÔNG KẾT THÚC
Mẹ tôi không kể chuyện theo cách của sách vở.
Mẹ thường dừng giữa câu nói, như thể phía sau lời nói có điều nặng hơn ký ức.
Từng có một khu vườn— không phải nơi để nhớ, mà là nơi biết cách nhớ lấy con người.
Đất ở đó giữ nhiều hơn rễ cây.
Tôi lớn lên không có tiếng còi báo động, không có bầu trời bị xé toạc, nhưng trong đêm vẫn có một nhịp đập sâu dưới mặt đất— chậm, nặng, không chịu biến mất.
Người ta nói thời gian đi về phía trước. Nhưng ký ức thì không.
Nó chờ.
Ở một nơi khác, những cuộc họp diễn ra sau những chiếc bàn dài với những từ ngữ được chọn lọc: ngừng bắn, an ninh, lợi ích chung.
Giọng nói rất bình tĩnh.
Ở đâu đó, một đứa trẻ học cách phân biệt tiếng sấm với thứ âm thanh không thuộc về tự nhiên.
Một thành phố học cách tắt đèn mà không gọi đó là sợ hãi.
Một người mẹ học cách giữ im lặng đến mức nó trở thành hơi thở.
Tôi đứng giữa điều đã qua và điều đang lặp lại.
Không có điều gì lặp lại nguyên vẹn— nhưng cũng không có gì thật sự mất đi.
Chiến tranh không phải lúc nào cũng đến bằng lửa.
Đôi khi nó ở lại— trong cơ thể, trong ngôn ngữ, trong sự chần chừ trước ngày mai.
Nếu lịch sử còn biết thở, nó không nói bằng chiến thắng.
Nó thở ra thật chậm qua những người còn nhớ những điều người khác vẫn đang trở thành.
Nr. 65 TÌNH YÊU KHÔNG CHỈ LÀ NỖI ĐAU
Tình yêu đâu chỉ sắc hồng, Dẫu như cầu vồng sau cơn mưa bay. Có cay mới hiểu vị say, Có xa mới biết vòng tay cần gần.
Đường yêu lắm nỗi gian nan, Nhưng đâu chỉ có khóc than một mình. Sau đêm rồi sẽ bình minh, Giữa đông giá lạnh vẫn sinh nắng vàng.
Nếu ai giữ mãi muộn màng, Thời gian đâu phải chỉ mang phai tàn. Mở lòng thay những cửa then, Tim còn biết đập — còn quen yêu người.
Tình đâu chỉ tựa trò chơi, Chia ly cũng để hiểu lời yêu thương. Dẫu mai hai ngả đôi đường, Gặp nhau vẫn nhớ một thời đã qua.
Tình yêu không chỉ lệ sa, Có khi là cả bao la dịu hiền. Ai còn tin sẽ còn duyên, Yêu thương giữ lại — bình yên trong lòng.
Nr. 65 LOVE IS MORE THAN PAIN
Love is not just colors bright, like rainbows fading after light. Through bitter taste, we learn what’s true, through distance, feel what love can do.
The road of love is steep and long, yet not all hearts must grieve alone. For after night, the dawn will rise, and warmth returns beneath cold skies.
If hearts stay closed in silent fear, time cannot heal what we won’t hear. Unlock the door, let feelings flow, a beating heart still longs to grow.
Love is not just a fleeting game, nor parting hearts to shift the blame. Though paths may part and drift apart, they still remain within the heart.
Love is not only tears that fall, but gentle light that warms us all. For those who trust, love will remain— a quiet peace beyond the pain.
ARTIFICIAL INTELLIGENCE AND THE HUMAN BRAIN: SIMILARITIES AND DIFFERENCES
Introduction
In today’s rapidly developing technological era, artificial intelligence (AI) is becoming an integral part of human life. In particular, the similarities and differences between artificial intelligence and the human brain have attracted the attention of many scientists and researchers. This article provides detailed information about how artificial intelligence and the human brain work, as well as their similarities and differences.
Understanding Artificial Intelligence
Artificial intelligence is the ability of computer systems to perform tasks that are similar to human intellectual activities. These include learning, problem-solving, understanding speech, and decision-making.
Artificial intelligence mainly operates using algorithms and large amounts of data. It continuously learns and improves its performance over time.
Understanding the Human Brain
The human brain is a highly complex biological system that controls processes such as thinking, feeling, memory, and decision-making. It consists of billions of neurons that are interconnected and exchange information.
The brain not only processes information but also has the ability to generate new ideas, manage emotions, and be creative.
Similarities
There are several similarities between artificial intelligence and the human brain: 1. Ability to Learn Both can learn through experience. The human brain learns throughout life, while artificial intelligence improves itself through data. 2. Information Processing Both analyze incoming information and produce results. 3. Decision-Making Both humans and artificial intelligence make decisions based on available data. 4. Network Structure The human brain consists of neural networks, while artificial intelligence uses artificial neural networks.
Differences
However, there are also important differences between them: 1. Natural vs Artificial The human brain is biological, while artificial intelligence is a man-made system. 2. Creativity Humans can create new ideas, whereas artificial intelligence relies on existing data. 3. Emotions Humans have emotions, while artificial intelligence does not. 4. Adaptability Humans can quickly adapt to different situations, while artificial intelligence operates within its trained scope. 5. Energy Efficiency The human brain uses very little energy, whereas artificial intelligence requires significantly more energy.
Conclusion
Although there are many similarities between artificial intelligence and the human brain, they are fundamentally different. The human brain is more complex, adaptable, and rich in emotions. Artificial intelligence, on the other hand, excels in fast computation and processing large volumes of data.In the future, artificial intelligence will continue to develop and play an important role in making human life easier. However, it can never fully replace the human brain.
I am Satimboyeva Risolat Ilhomboy qizi. I was born on 16 February 2007 in Hazorasp district of Khorezm region. I am currently a first-year student at the Tashkent International University of Financial Management and Technologies in Tashkent city. I studied at School No. 12 in Hazorasp district of Khorezm region and participated in numerous academic olympiads, winning honorable 1st and 2nd places.
I hold several international certificates in Russian and Turkish languages. I have also worked as a tutor, teaching students Russian, and I can speak both Russian and Turkish fluently. During my school years, I actively took part in reading competitions and was repeatedly awarded certificates in the “Best Reader” and “ exemplary student” nominations.
I participated in intellectual competitions such as “Zakovat,” advancing to the regional level. My photos were displayed at school as one of the most exemplary young readers and role-model students. I am the holder of many certificates and also frequently participates in literary anthologies. In my free time, I write poems and continue doing so; one of my books has already been published.
Reaching this level at the age of 18 is largely due to the support of my parents and grandmother, whose encouragement has played a significant role in my achievements.
