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Posted on Aug 14, 2015
Memory Games for Seniors and In Home Care for the Elderly
There are moments when remembering simple facts can be tricky. This is normal for most people from time to time. As we age, this can become something that happens more often than not. It is important to treat our brains like our muscles. Without daily exercise, like muscles, the brain can lose its strength and memory loss is possible. There are many ways to exercise the mind to keep it in tip-top shape.
If your senior loved one is a fan of word games and puzzles usually found in the newspaper, perhaps a daily delivery would be a wonderful morning reminder to exercise the mind. If grandchildren receive magazines that challenge the reader to look for what's missing or find the differences in the pictures, those would be great mind-exercise tools for your senior loved one. If your loved one uses a smartphone, try introducing them to some apps geared toward memory that would provide an alternative to magazines and newspapers. No matter how the games are played, it is very helpful to play every day to keep the mind sharp.
Another way to exercise the mind involves tasting and smelling as well. If your senior loved one enjoys cooking, they can sign up for a community cooking class. Learning how to create a new dish involves many senses like touch, taste, and smell, which are great ways to exercise the brain. Not only is a cooking class helpful for the mind, it can also foster friendships with others who also enjoy the class. This is great for helping your senior loved one stay socially active. Social stimulation and activity is very beneficial for the mind as well as the heart.
Reading is a wonderful way to keep the mind sharp as well as provide an escape from the day. Find a series that your senior loved one likes and encourage them to read up. If they are interested in a movie that is opening in theaters soon, maybe suggest that you read the book together first and compare it to the movie. Not only will the mini book club bring you and your senior loved one together, it also stimulates the mind with each page turned. It can be fun to also go to the movie or rent it when it's released and watch it together. The time spent together is extremely valuable and is sure to be cherished by your senior loved one.
When it comes to memory games for seniors, it doesn't have to be overly involved. Simply switching hands when doing routine chores can be stimulating to the mind. Read the grocery list, hide it, and see how many items can be recalled without looking. Doodle and jot down memories and thoughts in a journal. Attempt math without a calculator or pencil. Try to find a way to challenge the mind, even in small ways, each and every day.
If you would like to learn more about caring and consistent in home care for seniors, along with the many benefits of professional live in care for the elderly, or dementia and Alzheimer's care, call Senior Helpers of Burnsville to speak to a senior care specialist today 952-892-8403! The compassionate senior care specialists at Senior Helpers can also guide you through the process of receiving the Veterans Administration Aid and Attendance Benefit if your elderly loved one is a veteran. In home senior care allows your loved one to stay in the comforts of their own home for as long as possible while receiving the level of care they need. Senior Helpers of Burnsville provides a wide range of services including Alzheimer's and dementia care, personal assistance, companionship, and so much more to all areas of Burnsville, Apple Valley, Eagan, Lakeville, Prior Lake, Savage, Shakopee, Farmington, Rosemount, Hastings, Elko New Market, Woodbury, Oakdale, St. Paul Park, South St. Paul, West St. Paul, St. Paul, Inver Grove Heights, Mendota Heights, Cottage Grove.


text: Nicholas C. DiDonato For many in the West, religion seems to oppress women. Conservative Christians not uncommonly reject the idea of female clergy, educators, and leaders. While this may (all too) roughly characterize Christianity, the question remains as to whether other religions fare any better. Drawing upon world-wide data, covering most of the world's religions, Stephanie Seguino (University of Vermont) indeed found a correlation between how one views the importance of religion (whichever religion that may be) and one's attitudes… Read more

subset: commoncrawl


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The Advocate photo: HEATHER MCCLELLAND
Dennys Food and Recipes: Summer Food: Blueberry Lemonade To Beat The Heat: From Denny: Blue food. It's pretty to look at and cooling in this summer heat. Blueberries are the very essence of summer. Did you know the silvery bloom on blueberries is a naturally protective waxy coating?
Most people don't wash them until just when ready to eat. Well, that doesn't work in our house so I pour a large bowl of water, add about 2 Tablespoons of white vinegar and let the entire plastic box and blueberries soak for about 5 minutes to kill bacteria. Drain the entire box well, dry off a bit with a towel and throw back into the fridge. Usually, a reputable grocery store - and even from the farm - they give the berries a quick vinegar wash to brush off leaves and bugs.
We all like to dine on blueberries by the handfuls as snacks, toss them on to the breakfast cereal or yogurt and make breakfast muffins. Here's a new twist: how about blueberries in your homemade lemonade?
This interesting recipe (from our local newspaper food writer) combines two fruit syrups: a blueberry syrup and a lemon syrup. You only use the blueberry syrup to color the lemonade to your preference. The remaining blueberry syrup can be used on pancakes, waffles, toast or even in salad dressings. OK, you got me, this lemonade is so doggone pretty! Great idea for summer entertaining...
Dennys Food and Recipes: Summer Food: Blueberry Lemonade To Beat The Heat
Recent related articles:
Summer Food: Deliciously Easy Small Blueberry Cake
Check out awesome Louisiana eating: oysters, shrimp, crawfish, gumbo, jambalaya
Visit Denny Lyon Gifts @ CafePress.com - see what's new!


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In "The Jackie Look," the last of eight monologues that make up her new book "The Reality Shows" (Feminist Press: 256 pp., $17.95 paper), Karen Finley offers a statement that suggests her point of view. "Life," she writes, "is more important than art / But life is meaningless without art." Finley may be speaking in the voice of Jackie Kennedy, but she is also referring to herself. In the generation since she, along with fellow performance artists John Fleck, Tim Miller and Holly Hughes, were stripped of federal grant funding as members of the NEA Four, Finley has found herself represented in ways she never imagined, turned into a mirror for those on both sides of the free expression divide.
"At one point," she says in her office at New York University, where she is a professor in the Tisch School's department of art and public policy, "I came to a realization that I felt like I had been in an abusive relationship with Jesse Helms." (Helms was the National Endowment for the Arts' chief opponentin the Senate.) She gives a low laugh, as if a bit wary of the image. "I actually lost my sense of humor for a little bit, which is the most dangerous place to go."
Finley is 55, casual and confident, speaking with a quiet Midwestern twang. She still works in a variety of mediums: print, stage and visual art. "The Reality Shows" reflects this, featuring not only text but also drawings, watercolors and performance photos, as well as a timeline that begins with Wikipedia going online in January 2001. At the same time, it is a deeply "written" project, intended for the page as much as the stage. "I'm much more of a studied writer than I am a studied performer," Finley acknowledges. "That's why many times I read my performance, to establish a relationship to the writing."
If "The Reality Shows" grew out of Finley's troubles in the 1990s, it also reflects our collective troubles in the decade after that. It is a collection of public stories, or, as Finley calls them, "national narratives" — although each is personal in the most fundamental sense. The characters are Liza Minnelli, Laura Bush, Martha Stewart, Terri Schiavo, Silda Spitzer: women who, like Finley, have become important not so much for who they are as for what they represent. "I started thinking about certain national narratives with the second George being voted into office," Finley notes. "I think we voted in a story about his relationship with his father. Is it the only narrative? No. Is it a little analytical, academic? Yeah. But it's a way of looking at how people select relationships, or interact with power."
Such a tension — between the real story and the meta-story, between what we see and what it means — has long been at the core of Finley's art. In the 1980s, she became known for exploring the objectification of women in performance pieces that turned objectification on its ear. Finley appeared naked, smeared herself with chocolate. She spoke out about sexuality and rape. The subtext was violence, but equally important was the question of complicity. "In the 1970s and 1980s," she recalls, "women artists were marginalized to a greater extent than they are now. So I made a conscious decision that if the female is being objectified then I was going to objectify myself. When I was speaking, I was speaking as a voice of all women. The events in my pieces didn't necessarily happen to me, but as a writer, who is the I, the first person? Who does the artist represent?"
Similar questions motivate "The Reality Shows." If the narratives have shifted — from the internal to the external — it's a reaction to Finley's own notoriety. "I found I was participating in the drama," she says of her NEA Four experience, "and I no longer wanted to do that." Even so, Finley insists, the problem wasn't only politics; there were other issues, most essentially "that my femaleness, that character, was victimized and I no longer wanted to be victimized. Nor did I want to be the hero. I had become an archetype with my public persona."
Here we see the challenge of the artist who goes public, since the border between life and work can't help but blur. It can happen in any medium — memoir, film, photography — but none so directly as performance, where the artist becomes, in a very real sense, what she creates. This all came to a head after Sept. 11, 2001, when Finley began to develop a performance about the tragedy of the towers' fall. "For some reason," she says, "I felt that I was not connecting to the audience. … And I realized that there was an expectation of who Karen Finley was, as if I were speaking in my own voice. I started thinking about how in therapy for children they have transference objects. And I thought, well, Liza Minnelli represents New York. That's why I started using public figures and speaking through them, and using the intimacy of national narratives and how society becomes so engulfed with certain stories or people."
What this reveals is the intentionality behind Finley's performances, which often gets overlooked. Still, if that suggests a certain irony, it's just one of many responses her work provokes. She is herself a public figure, now writing about public figures, using them to trace a private narrative. She is both a victim of the image culture and a beneficiary, using our fascinations to look at our collective inner lives. "I think in archetypes," she says, "and I became fascinated with the phenomenon of people being interested in a person they haven't met. Maybe because there is no national narrative for everyone, American society or the media will focus or become almost addicted toward these kinds of individuals."


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Main Stage Theater
Watch a virtual tour of our theater facilities.
The majority of EMU Theater productions are staged in the MainStage Theater, pictured here, which was renovated in 2011 and includes new stage lighting and sound reinforcement equipment, a high-intensity LCD projector and automated rigging systems for accessing the over-stage equipment, new dressing rooms, and even a "green room" lounge area.
Our Facilities
EMU's primary theater facilities were part of a major renovation of the University Commons in 2011.
MainStage Theater
The renovated MainStage Theater now seats 200 and features a gracious entry, new seating and curtains and better audience lighting and aisle lights. Check out a 360 tour of the MainStage Theater.
With all that, the intimacy and semi-thrust form of the previous configuration has been retained. New technology includes new stage lighting and sound reinforcement equipment, a high-intensity LCDprojector and automated rigging systems for accessing the over-stage equipment.
The best part: completely new dressing rooms, adjacent to the stage house, including shower and changing rooms for men and women, 12 makeup stations, laundry facilities, and a "green room" lounge area.
Studio Theater
Included in the new space are a permanent balcony ready for actors, crew, or even audience members, new stage lights and lighting control system, and an all-over automated lighting grid for ease of access and maximum flexibility. Of particular advantage is the new location's close access to Common Grounds coffehouse for intermission or after-show refreshments and conversation. The relocated Studio Theater, named for the late Lee Eshleman, a 1986 EMU art graduate, provides the theater community with a flexible space for producing plays in an infinitely variable setting. Called a "black box" because of its neutral color and shape, it is capable of becoming any form of stage with the addition of portable seating risers and stage scenery.
Other facilities
Productions are also staged sometimes in Lehman Auditorium, Martin Chapel, and outdoors on Thomas Plaza, located at the top of the campus lawn directly in front of the campus center.