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To begin the dialogue on cultural identity, it is essential to establish a baseline understanding the concept. Culture can be defined by the “totality of that group’s [a community or population] thought, experiences, and patterns of behavior and its concepts, values, and assumptions about life that guide behavior and how those evolve with contact with other cultures.” Cultural identity refers to people who identify themselves with a specific cultural group that has a shared system of symbols and norms for conduct. Recognition of this identity facilitates others’ understanding of the opportunities and challenges faced by individuals within a cultural group. To assist in understanding the basics of cultural identity, symbols and narratives as elements of culture will be examined in this section.

As many of our judgments are based on external observations, it should not be surprising that identities are shaped through use of symbols. According to sociologist Erik Cohen, the use of symbols in defining identity is a universal human trait. Symbols are employed in value systems such as religion, nationalism, social ideologies, and ethnicity. There are times when symbols become so significant to an existing cultural group’s identity that they stand out amongst all other symbols, dominating the narrative of cultural identity of that group. Dominant symbol systems provide “a set of stories, images, landscapes, scenarios, historical events, national symbols, and rituals which represent the shared experiences, sorrows, and triumphs and disasters which give meaning to the nation.” Therefore, understanding how complex symbol systems function and transmit meaning can help with assessing the motivations that underlie a cultural group’s actions. This is key to developing appropriate engagement strategies with cultural groups in urban environments.

Cultural groups use narrativesas a conduit for conveying messages. Narratives can be used as an analytical framework for understanding a wide spectrum of human activities. The stories conveyed through narrative can be viewed as building-blocks of identity in that they enable cultural groups to understand who they are and what they are in relation to others external to their group. In the search to understand cultural identities, knowledge of a cultural group’s narrative is “instructive for understanding how decisions might have come about, the motivations for actions, the causal assumptions drawn, and the arguments put forward, as well as a variety of other actions or variables. ”Therefore, it can be deduced that the future urban environment an Army may find itself operating within will witness a multitude of competing narratives, which may be further exacerbated by competition over limited resources and power.

Source: https://www.armyupress.army.mil/Journals/Military-Review/Online-Exclusive/2015-Online-Exclusive-Articles/Cultural-Identity/ Acess: 03/19/2026.

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The internet went into overdrive when the song "Heart on My Sleeve" first dropped in 2023. Fans were on cloud nine, fully convinced that Drake and The Weeknd had just casually dropped a surprise collaboration. Social media lit up with excitement as listeners praised the track, thinking it was another hit from two of music's biggest creators - and could a whole album be on the way?

But as the song racked up millions of streams on TikTok, the truth surfaced this wasn't a new Drake and The Weeknd collab. In fact, it wasn't them at all. The track was created by a TikTok user, Ghostwriter977, using artificial intelligence to perfectly mimic the two artists' voices. The revelation sent shockwaves across the industry, raising eyebrows and questions about the role of AI in music.

AI-generated music is a polarizing topic; depending on who you ask, it's either the next big innovation or a cultural catastrophe waiting to happen. There's no doubt that artificial intelligence is changing the music industry, but the question remains: is it a tool to unlock new creative frontiers, or is it a threat to the authenticity and soul of music as we know it?

These technologically capable algorithms compose everything from background music to full-fledged songs. Some argue it's an incredible tool for musicians and producers, offering new ways to experiment with sound, composition, and genre - even overcoming writer's block. AI can generate infinite variations of a melody, compose background scores for films, or even write lyrics based on given parameters. AI is more than just a tool for those pushing boundaries - it's a creative partner. It allows artists to break away from traditional musical structures and unlocks a world of possibilities.

But here's the flip side: AI doesn't understand human emotion. It doesn't have the lived experiences that often give music its soul. While an AI can generate a technically proficient melody, can it truly capture the emotional depth of a musician pouring their heart into a track? Critics argue that AI-generated music can feel hollow, lacking the emotion and intention that comes from a human touch. Sure, AI can replicate patterns, styles, and formulas, but does it truly understand why certain notes make us feel a certain way? Many fear that relying too heavily on AI will lead to a flood of cookie-cutter music devoid of real emotion or authenticity.

Looking out for tomorrow, what does AI mean for the future of creativity? Are we moving toward a world where algorithms outpace human artists, churning out music by the minute? This raises concerns for musicians, producers, and even DJs, who worry about their roles being replaced by technology, much like other industries where automation has taken over.

As AI continues to evolve, artists and creators will have to find ways to use AI as a tool while ensuring that the heart of music its ability to move, inspire, and connect remains in human hands. Ultimately, AI-generated music can be a powerful partner, but without careful consideration, it may turn the art of music into just another algorithmic output.

Adapted from https://council.rollingstone.com/blog/

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The pursuit of happiness can end in pain  

Maggie Mulqueen, psychologist  

Adapted from https://www.nbcnews.com/think/opinion/suicide-studentathletes-happiness-contentment-rcna27992

        Language-centered methods are those that seek to provide opportunities for learners to practice preselected linguistic structures through form-focused exercises in class. The assumption is that language practice will ultimately lead to a mastery of the target language and that learners can draw from this formal repertoire whenever they wish to communicate in the target language outside the class. According to this belief, language development is largely intentional rather than incidental; and language learning seen as a linear, additive process.

         Learner-centered methods are those that are principally concerned with language use and learner needs. These methods seek to provide opportunities for learners to practice preselected, presequenced grammatical structures as well as communicative functions (i.e., speech acts such as apologizing, requesting, etc.) through meaning-focused activities. Proponents of learner-centered methods believe in accumulated entities, represented by structures plus notions and functions.

        Learning-centered methods are those that are principally concerned with learning processes. These methods seek to provide opportunities for learners to participate in open-ended meaningful interaction through communicative activities or problem-solving tasks in class. The assumption is that a preoccupation with meaning-making will most likely lead to grammatical as well as communicative mastery of the language and that learners can learn through the process of communication. In this approach, unlike the other two, language development is a nonlinear process and considered more incidental than intentional. Proponents of learningcentered methods believe that language is best learned when the learner’s attention is focused on understanding, saying and doing something with language, and not when their attention is focused explicitly on linguistic features.

(Kumaravadivelu, B. Beyond Methods: Macrostrategies for language learning. Haven and London: Yale University Press. 2003. Adaptado)

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Because we all have different styles of teaching, and therefore planning, orientations about course planning and delivery should not be meant to be prescriptive. As Bailey (1996) points out, a lesson plan is like a road map “which describes where the teacher hopes to go in a lesson, presumably taking the students along”. It is the latter part of this quote that is important for teachers to remember, because they may need to make “in-flight” changes in response to the actuality of the classroom. As Bailey (1996) correctly points out, “In realizing lesson plans, part of a skilled teacher’s logic in use involves managing such departures to maximimize teaching and learning opportunities”. Clearly thought-out lesson plans will more likely maintain the attention of students and increase the likelihood that they will be interested.

(RICHARDS, Jack C.; RENANDYA, Willy A.(Ed.). Methodology in language teaching: an anthology of current practice. Cambridge: Cambridge University Press, 2002. p. 36. Adaptado)