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Tuesday, April 7, 2009

Mike Harden: City native finds love, life's work in woods

Sunday, April 5, 2009 3:35 AM
By Mike Harden

Ed Fassig, 82, has lived in the Hocking Hills for 40 years, writing about the area and making furniture. The Columbus native's life has taken big turns recently.


The Fassig family

Ed Fassig, 82, has lived in the Hocking Hills for 40 years, writing about the area and making furniture. The Columbus native's life has taken big turns recently.
ATHENS, Ohio -- Dusk had descended on the early summer day when Mimi Fassig entered the unlighted house in the Hocking Hills and called Ed's name.

"I'm glad you're here," she heard him respond. "I didn't want to die alone."

"You're not going to die," she said. "I won't let you."

Flown to Columbus, Ed Fassig spent eight hours in surgery to repair damage from an aortic aneurysm that had given way.

Mimi, cautioned by cardiovascular specialists that he might not survive his first 24 hours out of the operating room, was heartened only after the ventilator tube was removed and Ed squeezed her hand, assuring her, "I won't leave you."

The saga of Mimi and Ed began 28 years ago. She was a commercial photographer in Athens. He was a woodsman and furniture maker, a man who -- born on the fringe of Downtown Columbus -- had long yearned to be away from the crush of the city.

Ed's Logan friend Bud Simpson surmised, "Sometimes, you grow up in the city and you feel that you are missing something in life. Then, you get out in the woods and you know it. Even if you don't believe in a formal God, when you are out there in the woods -- even on a wet, cold and rainy day -- it brings peace to your life. I know it has to Ed's."

Mimi read a feature story about Ed in the Athens Messenger before meeting him and said to herself, "My God! That man has my soul."

"I stalked him," she teased.

Her ardor was rewarded with his love and with what might be the longest marriage engagement ever: 28 years.

"We're hoping it will be in the Guinness Book of World Records," Mimi joked.

She taught women's retreats on the subject of connecting with the earth. He built furniture: brawny, utilitarian, primitive masterpieces designed to outlast everything short of a nuclear winter.

"My DNA is in those woods," Mimi said Thursday, her gaze fixed on something out beyond Ed's shoulder as the two savored a pleasant lift in the April air from their screened-in porch.

For many years, Ed shared his love of the Hocking Hills' backwoods niches in a weekly column he wrote for the Logan Daily News. Eloquent and simple, he didn't use 50-cent words -- just million-dollar ones.

Having first come to the hills 40 years ago, Ed has seen his share of commercialization and gentrification. "I'm not crazy about it," he conceded last week, "but it's still better than Columbus."

His recuperation from the medical calamity that almost claimed his life has been a protracted one. He is up to a mile on his walks, although sometimes he tires easily.

His priorities are those of a man who realized early on that there is a reason a Brink's truck has never followed a hearse into a cemetery. He would be happy to enter the afterlife taking nothing from this one save the song of the wood thrush.

Ed yet struggles with aphasia, but on Feb. 22, at Christ Lutheran Church in Athens, he was finally able to put together two words that had been 28 years in arriving.

Retired columnist Mike Harden writes a Sunday Metro column.

mharden@dispatch.com

Vérité exposée – about memory




Opening: Friday, 10 April 2009, 6 p.m.
Opening speech by: József Mélyi art historian


Ernst Museum Budapest is pleased to present the show Vérité exposée - about memory, as part of the festival FUTURSPEKTIV – New Flemish Masters

In the past fifteen years or so, the theme of memory, and inseparably, that of oblivion, has come to the forefront of sociological discourse in Hungary. Different theories approach from different directions, but all of them agree that memory is selective. We remember what we want to, recreating events from our memories in ways we want to remember them. But what influences individual memory, without which the workings of collective memory cannot be explored? How fragmented it is, and how does it depend on the context? The works featured at the exhibition Vérité exposée – about memory connect along such themes as the fragmentedness of memory, difference and repetition, re-creation of situations and events, or the strategy of re-enactment in relation to history and memory. The exhibited works of Sven Augustijnen, David Claerbout, Ana Torfs and Els Vanden Meersch lay emphasis on the issues of individual and historical memory and oblivion, as well as the exploration of processes of perception, changing points of view, and time as an entity that fundamentally influences memory.

The exhibition's title is referring to Ana Torfs' Vérité exposée (Truth Exposed, 2006) a series of 24 prints. Every print shows a distorted projection of a square-shaped light, each time from a different angle, with the word 'Vérité' (Truth), written by hand in the middle. ANATOMY (2006) is based on extensive research into a trial held in 1919 in Berlin: the 'Case of the Murder of Dr. Karl Liebknecht and Rosa Luxemburg', a document that has never been fully published. Torfs pinpointed selected statements from this trial to compose 'A Tragedy in Two Acts,' the literary script for her installation with the ambiguous title ANATOMY. The installation consists of large black and white slide projections and images on two television monitors.

In Sections of a Happy Moment David Claerbout records a single moment from a multitude of viewpoints, setting the truth of the multiplied image against single-perspective perception. His other work at the exhibition, Bordeaux Piece (2004), is a series of 69 twelve minute film sequences, each of which displays the same movie scene about love and betrayal. In this work, he examines what happens to a film scene if it is shot 69 times a day. How do the lights, the ambient sounds, the actors' performance, the emotions change? Are these really the same scene?

Els Vanden Meersch considers her photographs, sculptures and installations to be psychological portraits, in which the memory of architecture plays a key role: for her, architecture is memory's practice ground. Not so much as a memory of something formed into an image, than as the stimulation of the faculty of remembering in general. She presents Prora – a complex originally built as a Nazi holiday camp and then used as Soviet army barracks until the early nineties - as a colossal monument of post political oblivion.

Sven Augustijnen draws a delicate portrait of a patient with aphasia, suffering from chronic memory loss in his moving and unforgettable documentary films Johan (2001) and François (2003). The editing accentuates the unfocused and stammering line of thought of the aphasia patient.


With the support of the Flemish Government, the Ministry of Education and Culture, the Hungarian Culture Brussels, the National Cultural Fund and the Summa Artium.

ERNST MUSEUM, BUDAPEST
Nagymező u. 8.
H-1065 Budapest
Phone: (36 1) 413 1310
Fax: (36 1) 321 6410
info@mucsarnok.hu
http://www.mucsarnok.hu
http://www.kunsthalle.hu

NOW I CANNOT SPEAK. I LOST MY VOICE. I'M SPECHLESS AND REDUNDANT.

20090402
Upside down is the way I live
In this awful world
To which I won't give
A shit and hold
Still:

You don't know
How cool
It is
To be like this

I'm upside down
In a world going backwards
Memories of my town
Come towards
My mind

You don't know
How cool
It is
To be like this

Thinking Beyond Language: Intervention for Severe Aphasia

Nina Simmons-Mackie

Department of Communication Sciences & Disorders, Southeastern Louisiana University
Hammond, LA

Purpose: This article addresses several intervention approaches that aim to improve life for individuals with severe aphasia. Because severe aphasia significantly compromises language, often for the long term, recommended approaches focus on additional domains that affect quality of life. Treatments are discussed that involve increasing participation in personally relevant life situations, enhancing environmental support for communication and participation, and improving communicative confidence.

Methods: Interventions that have been suggested in the aphasia literature as particularly appropriate for people with severe aphasia include training in total communication, training of communication partners, and activity specific training.

Conclusion: Several intervention approaches can be implemented to enhance life with severe aphasia.

Friday, February 20, 2009

Saturday, February 7, 2009

Life. Support. Music.



Review: Life. Support. Music.
December 29th, 2008 by David Johnson · No Comments · Reviews · Print This Post

Life. Support. Music.

Life. Support. Music.
OPENING: 9/22/2008
STUDIO: Merigold Moving Pictures, LLC
TRAILER: Trailer
ACCOMPLICES: Official Site

The Charge
“This cannot be true. I cannot go on without Jason.”

Opening Statement
Indie helmer Eric Metzgar presents a film that proves the strength of the human spirit. (Yeah, it’s a cliché, but trust me it applies.)

Facts of the Case
In 2004, popular underground musician Jason Crigler suffered a brain bleed on stage, collapsed, and was taken to the hospital, where his family would hear a non-stop stream of dire warnings from doctors. This is the story of Jason’s road to a stunning recovery and the incredible sacrifices his family–especially his pregnant wife–embraced to support him in his improbable comeback.

The Evidence
Life. Support. Music. may be an awkward title, but it’s a fantastic film. Setting aside the value to those struggling with brain injury–and that value is profound–this documentary offers a moving look into what it means to be a family, and how that bond is tested when a medical tragedy hits.

Brain injury is an especially tough one. Victims are stripped of their very personality in an instant, and if they are to bounce back by some miracle, they face an arduous road to rehabilitation. But pity is not Metzgar’s game here. Yes, he makes you feel Jason’s struggle. The window into his loved ones’ emotions often reveals some gut-wrenching stuff, but Life. Support. Music. is a hopeful movie. Jason’s family and friends refuse to give up hope, willing to wager their own conveniences and status quos to be at his side while he attempts the impossible.

I know I sort of blew the whistle on the trajectory of Jason’s rehab, but I don’t want anyone thinking they’re going to be faced with a brutal trek of pain and misery. You will be energized by this saga, by Jason’s amazing fortitude, and by the incredible finale, which shows the breadth of the doctors’ inadvertent miscues and the payoff of Jason’s family’s commitment to see him through to the other side–no matter which side it was. Bonus points to Metzgar’s non-intrusive film work.

Note: I can’t recommend this film highly enough, for professionals in the human services field, specifically disabilities/ABD-focused organizations. It is both a wonderful teaching tool and heartening case study on the value of simple emotional support.

Closing Statement
A legitimately miraculous story told with reverence and simplicity, Life. Support. Music. is one of my favorite documentaries

Tuesday, January 13, 2009

International Aphasia Movement and Dr. Alizah Brozgold, Neuropsycologist

Saint Vincent's Hospital Rehabilitation Department and I.A.M. 
Monday Night Aphasia Group 
January 12, 2009
Guest Speaker Series