Falls Awareness & Prevention Guide

Falling is the nemesis of older folks. Yes, falls can be an issue for anyone at any age, but for older folks it can mean broken bones – especially hip bones – that take a long time to heal, require physical therapy to be able to resume activity, and are all too often the harbinger of further problems.

The American Academy of Orthopaedic Surgeons and The Orthopaedic Trauma Association have put out a Falls Awareness & Prevention Guide that I recommend for anyone, regardless of age, and absolutely recommend to anyone living on their own, particularly if they are older (and you can take “older” to mean whatever age you feel like having it mean!)

My Mom lived alone for about five years, and in her last year of life she fell several times, the first on New Year’s Day 2010. We were getting ready to leave a family gathering at the home of a relative. Wearing shoes that were like slippers and did not offer much by way of support, she tripped on a towel that was near the front door and meant for wiping wet shoes. The shoes and towel were a nasty combination, causing her to lose her footing and fall to her left. As if it were happening in slow motion, several of us tried to reach out and catch her or lessen the impact of her fall. Alas, a trip to the ER showed a broken left humerus. This would be the first of two shoulder breaks, with the next one happening to her right humerus.

If you look at the Falls Awareness & Prevention Guide, you will notice inadequate footwear and all throw rugs and area rugs that are not properly secured (could just as easily apply to towels on the floor) listed as risk factors. It could have been anyone who fell on that rug, but I suspect my mother’s age also had something to do with it.

So, take a look at the guide and see if it provides some tips for you or for someone you know. Being a little proactive now can mean a lot in terms of later prevention.

And from the National Council on Aging, an info graphic to herald Falls Prevention Awareness Day, which happens to be September 23, 2014.

FPAD14-Infographic_full

Lynne Segal on ageing

I’ve written numerous posts about aging because the process intrigues me. I watched my parents age, and now I am aging. Fact is, we are all aging from the moment we are born, but “aging” or “ageing” refers to the process of becoming what society thinks of as “old”. And even “old” does not have a specific jumping off point; depends who you ask.

A child may say “old” is someone who is 30. Someone in their 50s may feel “old” is someone in their 80s. With that said, I am 59 (as of a week and a day ago :-) ) and my Aunt is 81 as of this past October, and I do not see my Aunt as “old”. I just see her as older – older than me and older than she was a few years ago.

My Aunt is in relatively good health, with numerous “not working quite right” parts, but overall everything is functional. She goes into Manhattan via bus on a regular basis, plays bridge, works out once a week, is an avid walker on a daily basis, is quite literate and informed about the world, uses her computer to research, send emails, do iChat with me, and has even tried shopping online, drives during daylight hours, participates in social events, and actively manages her personal affairs. Plus she has a grand sense of humor that comes out in spoken word and in email.

This morning I stumbled upon The Economist’s radio interview of Lynne Segal, author of numerous books and most recently of Out of Time – The Pleasures and the Perils of Ageing. Here is the nine minute interview: The paradox of growing old.

As for me, I find myself in a wonderful combination of positions, all as a result of the many years of working in my given field – teaching in school – and learning in the field to which I am ever so gradually transitioning – leading chair yoga sessions. My husband, ten months older than me, has taken his years in IT and teaching and combined them to continue teaching, which he loves, while doing it online so that he has more time to pursue his other passion of art, design and creating. We both are healthy and active, which I think is a huge piece of overall positive aging. So if you ask me how I feel about aging, about growing older, at this moment I will smile at you and tell you it feels good and satisfying, and as my husband just uttered (in another room, oblivious to my writing), “pregnant with possibilities.”

Nuggets on preparing/giving Presentations

Designing a presentation without an audience in mind is like writing a love letter “to whom it may concern…” Ken Hammer, AT&T

For several years in my 20s I worked first in the publications area of an organization and then for a printer-broker. The printer-broker shared office space with a graphics company, which gave me occasion  to help with layout when the company was short staffed. My interest in graphic design and layout stemmed from being Copy Editor for my high school paper, followed by Copy Editor for a short-lived student-found college magazine. That interest also manifested in the decoration of my bedroom walls. To feed that interest, I took a class or two at the School for Visual Arts.

Years later, as a teacher enmeshed in computers and computing, I refound my interest in the form of digital layout and publishing possibilities, made multiple presentations (informal and formal) to teaching colleagues, and discovered Garr Reynolds, blogger at Presentation Zen.

Having purchased all of Garr’s books plus a few that he recommended, and devouring  everything I could on the topic of presentation (and the brain!), I am now at the paring down spot. The place where it is time to pass along these informative and always-timely references to others, and save the nuggets here. I’ve mentioned Garr multiple times in posts and now add to that collection by recommending his Thoughts & Tips on Presenting Naked, from his February 2007 talk at the Apple Store in Osaka, Japan.

Here’s some of the advice I give when teachers ask me for advice on computer projects.

Any computer project always takes a little longer than a  non-computer project, because the computer lets us revise and experiment endlessly.

When creating a presentation:

• focus on the content first (text to convey facts, images to convey emotion)
• keep transitions simple & limit to just a few styles
• skip the special effects; they often detract from your message
• keep the number of words to a minimum; YOU are the story teller, not your text
• text should be large enough to be seen from the back row of a reasonably sized room
• have consistency of fonts, style, color and layout
• imagine you are creating a children’s picture book; they have few words & lots of images

When giving a presentation:

• take a deep breath
• ground yourself
• look around at your audience and make eye contact
• smile
• speak clearly (enunciate)
• speak expressively (elocute)
• speak so people can hear you
• talk to the audience and not to the screen

And I could not leave out this comment from my brother, paraphrasing the advice of my Uncle Leo, who was a full colonel in the US Air Force (and had been an Acting General), on telling my brother the best way to present:

Tell ‘em what you’re going to tell ‘em – Tell ‘em – Tell ‘em what you told ‘em

Revisiting the 2002 National Educator Workshop

In the Summer of 2002 I participated in The Lincoln Center institute for the arts National Educator Workshop: Introduction to Aesthetic Education. Several years later, in March 2008, I blogged twice about the workshop – Imagination: Maxine Greene and Lincoln Center institute for the arts in education.

Everything we have done in the past helps to craft who we are in the present. My yoga teacher Deb often reminds us that everything we have done in the past makes us who we are at this moment on the mat. With that in mind, this morning I reread my Response Essay to the workshop, written in July 2002.

What brought me to reread the essay was a desire to refunctionalize my myriad book shelves at 8:30 last night. For years I have kept my favorite fiction, poetry and reference books in the same room as my desk, on two shelves built into the wall. A portion of my desk was allocated to books about the brain. And my yoga books were relegated to a laundry bin stored under a bench in our bedroom.

My life is changing, by choice, and it is time to purge those books I no longer cherish, and bring my yoga books to the fore. And in the process of looking through folders I smiled to revisit this essay. Not wanting to lose portions of it, and not wanting to keep the papers, I am copying part of it here for my reference. For anyone who happens to read it, if you have comments, please feel free to post them. I’d be delighted to have a conversation.

Oh, and I still do not have room for all the books I’d like to have at my fingertips. Hmm…

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Response Essay – National Educator Workshop – Summer Session 2002/July 8-12

An article in the October 3, 2001 Metro section of The New York Times piqued my interest in Maxine Greene. I had never heard of her beforehand yet the ideas she espoused about education gave direction to thoughts about which I had been ruminating. This prompted me to read her book Releasing the Imagination which in turn led me to John Dewey’s Experience & Education. And all of that pointed me to the National Educator Workshop. [Ed Note: part of the Lincoln Center institute] My expectation for the workshop was to give my imagination some much needed prodding and help me look at what I do through a different perspective. With that in mind, the most significant ideas embraced during the workshop include:

  • The aesthetic approach is one of self-discovery which can be guided through a series of carefully crafted questions and activities.
  • This self-discovery is a process, and that process should tap into what people can do and help them expand their thought repertoire.
  • Collaboration, questioning, and experiential learning (all part of the process) help to make learning intrinsic and give it meaning within the context of the student’s life.

To borrow from others (Maxine Greene and Apple Computer): With aesthetic education we are “releasing the imagination” and enhancing our perspective to “think different”. Imagination is an entry point into something that might otherwise be ordinary.

My perception of the work of art seen/heard twice changed substantially over the course of the workshop. In both cases, viewing and listening to the art without any prior knowledge of the artist or piece was very satisfying. This let me form my own response to the art, modified a little by the comments of my workshop mates. In the case of Poulenc’s music, I listened “hard” the first time as I concentrated on what was being played; this was not listening for pleasure! The Chuck Close portrait interested me for it size and colors. The subject of the portrait intrigued me and I wanted to know more about him.

The early hands-on activities were enjoyable to do but I did not yet make connections between those activities and how I felt about the art of Poulenc and Close. The collaborative brainstorming (of questions we would like to ask about the artists/works of art) was highly satisfying. Indeed, it almost did not matter to me if the questions were ever answered. The very act of collaborative discussion and questioning was exhilarating, cementing ideas and possibilities for me to ponder. It was the satisfaction of thinking and the interaction with others concerned with the same topic.

The research was icing on the cake.

[Ed Note: There is more about my research along with a response to a talk, but I am editing out much of it to keep this post from being even longer!]

Conversation with Catherine (colleague from my school who also participated in the workshop) after the first music workshop yielded these observations:

  • Everyone did something and was able to do something.
  • There was no “wrong” or “right” approach or answer.
  • Using our imagination it is possible to create something out of nothing, in this case just using our voices and bodies to make music.

Five days into the workshop I heard Tenesh [workshop co-leader] say that we are developing skills to focus, and that we try to go to the core of what the thing is all about. Being able to unleash our imaginations to focus in a multitude of ways and thereby get to the core of what we are learning…wow, very powerful ideas which this workshop modeled and helped me experience.

On the last day of the workshop I wrote these notes in my journal. I don’t recall whose words they were but they sum up my feelings about this workshop experience, and the goal I have for my students:

There is excitement in experiencing something intrinsically. This experience makes you the expert – it empowers you and draws out your imagination. The result is self-confidence and a depth of knowledge.

[Ed Note: The works of art were Chuck Close's portrait of Lucas, and a musical piece by Poulenc, title of which I did not note. I chose to research Close, which included: Chuck Close, Up Close by Greenberg and Jordan (Dorling Kindersley, 1998) and the May 13, 2002 Fortune article "Overcoming Dyslexia".]

#CCOW, Illich and Me

The following is posted in the #CCOW online forum in response to Chapter 6: Learning Webs – Illich, I. (1971). Deschooling society (Chapter 6). New York, NY: Harper & Row – from Ivan Illich’s Deschooling society, and Karen Brennan’s questions:

How do these tweets exemplify the types of interactions that Illich desired?
How do Illich’s visions of learning align (or not) with your own?
What peer interactions within the workshop have you found most useful or interesting or surprising?

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As Karen noted, Illich was indeed prescient with his views on learning opportunities and networks. Several times his words evoked Maker Spaces; MOOCS and similar online learning opportunities; unconferences; the systems of ratings and reviews on amazon, netflix, many online stores; etc, and even Toys from Trash of Arvind Gupta.

As the posted tweets highlight, we are learning due to our own interests and motivations, getting feedback from (and sharing with) one another, as well as expert guidance and assistance when needed. For us, as adults, this is truly self-motivated learning. This is how humans learn from the age of newborns through early childhood – by using “abundant play” to explore and learn about their world, and they do it because they have an inner “want” to learn about their environment and to survive in that environment.

As an adult, my learning has been intentionally sought and all self-motivated. It has been interest-based for both personal and professional reasons. I have long thought that the best professional development is personal learning.

Illich describes a type of learning that I have only rarely seen at the high school level. Twice I had the benefit of being the faculty adviser to students pursuing independent study projects that were based exclusively on their interests, which they were fully responsible for defining, and which they would not have “learned” within the confines of their normal school experience. Both students were inordinately successful with their projects, to no small extent due to their self-motivation and passion, the guidance they had from experts, the networks of people (in person and online) with whom they interacted and shared, and their sharing back to various communities (as newly minted experts) during and at the conclusion of their projects.

There is no doubt in my mind that, at least in most schools within the United States, our adherence to traditional schooling has done a tremendous disservice to our children. As Ken Robinson has said, we teach the creativity out of our children somewhere in elementary or middle school. He also talks about the importance of “finding your element”. There are also many powers-that-be that refuse to acknowledge the impact poverty and socio-economic class have on our children and our school systems. Illich’s approach is radical to those who fear losing control of our educational system, because that system helps to keep certain groups in power, and because many people are change-averse. I have not fully thought out my idea of an alternative educational system, but from my 31 years of teaching, I do know what such a system would not include.

In discussing this reading with my husband, he mentioned a quote by Buckminister Fuller that can be condensed to “Let the tool change the people”. Those words could be describing Scratch and CCOW. The tools of Scratch (a learning environment freely available to anyone with a computer and Internet access) and the CCOW community (wherever you find it – on Twitter, in the Forum, in the Scratch online community, any of the other online sites, and even at the upcoming gathering at Harvard) combine to change each of us who participate. This forum (and Karen’s guiding questions) get us thinking about our approach to learning and teaching. As we use the tools and think about expanding their use beyond ourselves, we are changing. For after all, all learning is changing – changing the neuronal connections in our brains, which in turn changes how we think (and eventually act).

Whew!

Powerful Ideas

This week in the MOOC we were charged with reading and thinking about Powerful Ideas. We also tinkered with a Logo-like app called TurtleArt, which brings back the turtle geometry of Logo. You can read more about it in Turtle, Art, TurtleArt and see a gallery of images or download it at TurtleArt. For an oldie but goldie look at Logo, check out LogoWorks: Challenging Programs in Logo edited by Cynthia Solomon, Margaret Minsky and Brian Harvey.

Here’s my quick turtle art doodle, along with my reflections.

doodleEnjoyed tinkering with Turtle Art, and appreciate that the makers of it wanted to bring back the turtle geometry of Logo. I LOVED Logo and thought it was an excellent playground for kids and adults. In fact, when I first started playing with Scratch, I used it to mimic Logo.

As for powerful ideas – it’s keeping PLAY alive, regardless of the age of the learner and regardless of the level of the learning. There is usually plenty of play in a lower school (elementary school), but the play gets sucked out of the school environment the higher up in the grade level the learner goes. It’s not just keeping PLAY alive in the learner’s life; it’s reigniting PLAY in the teacher’s life, as well.