If you visited the Getty Center in July or early August, you may have encountered a group of high school students wearing white lab coats with "Teen Lab" splattered across the back. You might have spotted them testing kinetic sculptures made from recycled materials, sketching in front of artworks in the galleries, or taking Polaroid self-portraits inspired by David Hockney's photocollages. Online, you may have seen the playful social media stories they created to share their experiments with artistic and scientific processes. The teens were participants in the Getty Teen Lab, a four-week paid internship for high school students. Supported by a generous grant from the Vera R. Campbell Foundation, Teen Lab was the first of several teen-focused initiatives that the J. Paul Getty Museum is launching in 2017 and 2018. The Getty's Education Department developed Teen Lab in response to several seemingly disconnected questions that many art museums are grappling with today: How can we engage diverse youth in meaningful ways? How can museums help meet the rising demand for K-12 curriculum that integrates Science, Technology, Engineering, Arts, and Math (STEAM)? Can art museums themselves be sites for STEAM learning? To address these questions, we looked at other teen programs and discovered that the most successful models are those that give teens agency and a voice in the museum.(1) For example, many museums have teen councils that program events for their peers or offer opportunities for students to collaborate on projects with artists.(2) The Getty wanted to build on these models by empowering teens to be active creators of educational content. In keeping with this goal, we designed the program using the project-based learning approach, which develops skills and knowledge by inviting students to explore solutions to authentic, real-world problems. The teens think that the program was what? - not enough information - Difficult. - Fun. - Painful.
Fun.

(Question)
To be honest, people don't usually ask me this. Instead, they want to know things like "How do I keep my mother from falling?" or "What should I do? My grandfather's been falling." After all, falls are a scary thing. Most people know that falls are dangerous for older adults. The Center for Disease Control (CDC) reports that one in five falls causes a serious injury such as a broken bone or head injury. Fear of falling can also seriously affect an aging adult's quality of life and sadly, can keep a person from being active and thriving. So, many seniors and family caregivers are interested in fall prevention because the risks are so great. And the good news is that although it's not possible to prevent all falls, it almost always IS possible to take actions that will reduce the chance of a bad fall. If you want to learn more, you're in the right place. In this post, I'll cover: * How understanding why aging adults fall can help you keep an older parent or yourself safer, * Why personalized fall prevention plans work better than relying on general fall prevention tips, * The four-step process I use to help older adults prevent falls, * A practical example showing you how to use these steps to avoid falls yourself. First, understand why older people fall There are many reasons that aging adults fall. Most older people will be falling due to their own unique combination of reasons. So how, exactly, should YOU go about reducing fall risk? Now, you can and should try to implement the general tips that are often listed in most fall prevention resources: exercise, medication review with the doctor, vision checks, and home safety reviews. But if you really want to help an older loved one avoid falls, I recommend you learn to better understand why he or she, in particular, might fall. Who are some of the best resources an older person can talk to about ways to reduce fall risk? - not enough information - their spouse - loved ones and physicians - their children
(Answer)
loved ones and physicians

Ques: I thought I might get some good ideas if I went down to the hospital. I always have stayed away from hospitals. People died or were born. But now I thought I might get some idea if I went down to where it was all happening, the being born and the dying. Mostly the dying. It was the dying that interested me. I sat on a bench in a sort of waiting room. I wanted to call it a green room; it wasn't a place where the patients would wait to be called by the doctor; it was a place where the relatives would wait while the patient was in their room. It had a coffee bar, and comfortable couches, with trendy, muted colors on the walls and floor. Everything was clean and modern without being cold, a homogenized balancing act designed to keep everyone calm during their stressful time. It was a green room; patients were "guests"; their families were "guests" as well. Here was where the families would sit and be feted while they waited to be called out to perform, to smile and encourage or to don faces of appropriate mournfulness. The old ones would put on smiles, the young ones would look sad. I think I went there because it seemed to me that it was the place richest in emotional impact. It reeked of spent emotions, and the emotions were made all the stronger, here in the green room, by the efforts at suppression--the muted walls and gourmet coffees and scones, the overstuffed loveseats and couches, as if those in grief should not be permitted to sit on benches or folding chairs. It absolutely reeked of hush and hidden feeling. It was worse than a church. It was worse than a highschool hallway. It was more universal, more basic, something even the children could comprehend. The author believes that the efforts of suppression in the waiting room - worked as intended - worked in the opposite way they were intended - not enough information - worked, but not very well
Ans: worked in the opposite way they were intended

Ques: As a day trip from Brussels (only a half hour train), I've found that either many people haven't heard of Ghent, preferring to explore the chocolate box streets of Bruges, or they adore Ghent so much that when a blogger (me) visits, they spam them via instastories with recollections of days spent there and memories made. True story. Disclaimer: I was a press guest of VisitFlanders in Ghent, but all planning, mischief and thoughts are all mine. We fell into the former camp on our trip to Brussels and explored Bruges, but genuinely regretted only being able to fit one city in, vowing to return one day. Luckily an invite to explore Ghent appeared in my email inbox, so I gleefully accepted, hopping on the Eurostar one sleepy morning, and spending a long weeked gambolling through the streets (under blues skies and then grey clouds.) As guests of the tourism board, we were given city passes which allowed us to hop on the local transport (trams & busses), pop in and out of the museums and climb aboard a canal cruise, exploring the city by water. GALAVANT THROUGH THE GRAVESTEEN We didn't galavant so much as gallop up through the castle, so intent we were on completing a challenge to the top, but strolled back down through exhibitions. The exhibits share the history of The quintessential 12th-century stone castle, which comes complete with moat, turrets and arrow slits. And the view from atop the towers? Well, it's ok I guess. HOP ONTO A CANAL CRUISE Sit back, relax, and let the world glide by. The 40-minute tour included in the city card takes in the city by canal, led by a knowedgable driver/guide and is a lovely way to get to know the city a little bit better. There are also other operators, a couple of whom offer picnics as you float through the medieval city. Why did the author pop in and out of museums on the trip to Ghent? - not enough information - the author's daughter worked in the museum and gave passes - the author was given city passes which allowed him to hop on local transport and pop in and out of museums - the author's son worked in the museum and gave passes
Ans:
the author was given city passes which allowed him to hop on local transport and pop in and out of museums