I log onto a computer at the doctor's office to say I have arrived and then wait until a voice calls me into the examination room.

    There, a robotic nurse directs me onto a device and then takes my blood pressure. Some time later, in steps the doctor, who is also a robot. He notes down my symptoms and gives me a prescription (处方). I pay for my visit using a credit card machine and return home without having met another human being.

    When I call my dentist's office and actually get a human being on the line, I am thrilled. And when I see the introduction of yet more self-service checkout stations at the grocery store, I feel like shouting, “When it comes to cashiers, make mine human, please!”

    After all, human cashiers sometimes give you a store coupon (优惠券) for items you are buying. Even more than that, real-life cashiers often take an interest in particularly cute children, which can brighten a young mother's day. A cashier may also show compassion (同情) for an elderly person struggling to get that last penny out of her purse.

    What technological device would do any of this? I don't want to go back to the Stone Age, but I'm also worried about a world run by machines. Sometimes when you're chatting with someone, you discover things you need to know. Maybe a receptionist needs prayers said for a sick child. Maybe a salesperson can offer a bit of encouragement to a customer who is feeling tired.

Machines can be efficient and cost-effective and they often get the job done just fine. But they lack an element so important to everyday life.

    Call it the spirit, the soul or the heart. It is something no machine will ever have. It is being human that prompts us to smile at others, which may be what they need at that moment.

    One morning, my newspaper wasn't delivered on time. Since I always brought it to work, it upset me that I would have to pick one up on my way to work. After breakfast, I was already running late, but figured I could make it if I hurried.

    As I pulled into the parking lot of the store, I noticed a young man in a wheelchair who seemed to be struggling. “Someone else will stop and help him,” I thought.

    However, no one stopped. I got out, and walked over to see what the trouble was.

    “Is there anything I can do?” I asked. It was then that I noticed he wasn't able to speak, and was still struggling with the chair.

    I looked down at the chair and noticed that the clamps (夹具) holding the electronic keyboard had apparently become loose causing the equipment to slip down, out of his reach.

    I pulled it back into place and then re-tightened the clamps. He hit a key on the keyboard. An electronic voice told me, “Thank you.” He then found the control that steered (操纵) the chair, turned and left.

    I got back in my car and headed off to work, completely forgetting my newspaper. As I drove, I felt a deep gratitude (感激). I was truly blessed to have the physical abilities that allow me to live a normal life. Here was this young man who relied on machines to get around and communicate. He probably dreamed about doing all the things that I thought were normal and simple.

    It's funny; fifteen minutes before that happened, I was whining because my morning paper hadn't arrived on time. I was glad I helped the young man, because he helped me gain a new viewpoint on everything I had in my life.

    One side effect of globalization and the related phenomenon of greatly increased mobility is that the traditional definition of “foreigner” has passed its sell-by date.

    Is a European who has lived in China longer than in his home country, becoming fluent in the language and culture in the process, still a foreigner in China, or has he become more of a foreigner in his own home town? What about a Beijinger who did her schooling in Canada and then lived and worked in mainstream society there for another 20 years while raising a family, who has no intention of returning to China? Does she think and act like a foreigner? What do we mean by this label(标签)?

    When I grew up in the suburbs of Chicago, the faces you would see during a walk through a local shopping mall back in the 1960s and 1970s included almost none of Asian descent. Today the same malls are full of Asian faces, and a glance at the ranks of top scoring students in local schools reveals lots of Asian surnames.

    To some extent, this is no great surprise in the American context, because America is a land of immigrants, and a cultural melting pot. Apart from the native American Indians, Americans are (or were), in some way, all foreigners anyway. Absorbing a large number of immigrants is an established pattern in American history.

    In most places, the traditional foreigners were people who didn't speak or read the local languages well, were unfamiliar with local customs and lifestyles, often engaged in relatively third-class work, and certainly not the type of people you would want your sons or daughters to marry. But, nowadays, a foreigner down the street may have better SAT scores than you did, or higher degree from a better university. He might also be your son's or daughter's next employer.

    The traditional role models are getting mixed up, and it looks like this is just the beginning of a new chapter. Today, the whole thing has totally changed. It's not about where people are from or what color their skins are. It's about who they are, what values and skills they bring, and how they think.

    Salvador Dali (1904—1989) was one of the most popular of modern artists. The Pompidou Centre in Paris is showing its respect and admiration for the artist and his powerful personality with an exhibition bringing together over 200 paintings, sculptures, drawings and more. Among the works and masterworks on exhibition the visitor will find the best pieces, most importantly The Persistence of Memory. There is also L'Enigme sans Fin from 1938, works on paper, objects, and projects for stage and screen and selected parts from television programmes reflecting the artist's showman qualities.

    The visitor will enter the World of Dali through an egg and is met with the beginning, the world of birth. The exhibition follows a path of time and subject with the visitor exiting through the brain.

    The exhibition shows how Dali draws the viewer between two infinities (无限). "From the infinity small to the infinity large, contraction and expansion coming in and out of focus: amazing Flemish accuracy and the showy Baroque of old painting that he used in his museum-theatre in Figueras," explains the Pompidou Centre.

    The fine selection of the major works was done in close collaboration (合作) with the Museo Nacional Reina Sofia in Madrid, Spain, and with contributions from other institutions like the Salvador Dali Museum in St. Petersburg.

Isatou Ceesay was born in 1972 in a small village in Gambia, Africa. As a teenager, Ceesay was forced to drop out of school because of poverty. She carried some goods with many girls like her to sell in the market to raise herself At that time, the plastic bags, being strong and light, became popular in Gambia. The problem was that people did not reuse the bags and simply threw them behind their homes. Over time, the houses were surrounded by trash.

Ceesay lived in such an environment for many years. She kept learning from the surrounding environment and planned to take action to change. In 1997, she started a recycling movement called One Plastic Bag in Gambia. She educated women in Gambia to recycle plastic waste into income for themselves. In the beginning, the movement had a mission to educate their village colleagues about the need to reuse garbage and recycle plastic waste, rather than letting the garbage increase behind their homes.

Over time, the movement became big and able to support and provide income for women around. It was also able to greatly reduce plastic waste in Gambia. But the work of collecting trash turned to be taxing. During the rainy season, plastic waste became wet and difficult to take, and after that it still took patience to dry it before it could be processed.

Ceesay said, "As a habit, people are used to pouring their garbage behind their houses, and because it is not visible, they forget it. But the bad effects again knock on your door very quickly — dirty air, various diseases and so on. Of course, if one man's house is clean but his neighbor's is not, then the man is also not healthy."

For 17 years, Ceesay has contributed to one of the most important problems about the plastic waste. In 2012, she got the TIAW Difference Maker Award in Washington, DC, United States. Her story was written into a book, which inspires many others to join or become makers of change in their own communities.

If you're a teen artist, this is the perfect challenge for you. We've seen just how talented you can be; but this month, we're putting your skills to the test. This contest requires your art to be made out of a wide variety of colors. You should use different colors even for your outlines and shading. Think you're up for the challenge? 

Deadline:June 1

Rules:

You must be a teen (aged 13-19) to enter. 

No inappropriate content. 

Submissions must relate to the topic (only colors, no black-and-white drawings). 

Guidelines and Details:

Your entry must be a character created by yourself. 

There is no limit to the number of characters you can submit. 

How to Submit:

Submit entries through our website. All entries submitted to Teen Ink are automatically considered for the contest. There is no cost to submit or be published. See our submission guidelines for more information. 

Submit your work to the appropriate art category on Teen Ink. Include "only colors" as one of your submission's tags. You can do this by using the "additional tags" field in your submission form. 

Prizes:

Winners and honorable mentions will have their works published in Teen Ink magazine. 

The overall winner will receive a $25 gift card.