Deaf people and identity: The Heather World

Deaf people: Heather speaks about identity

Heather Artinian is a student at Georgetown majoring in Government and minoring in Justice & Peace studies. Heather was the focus of an academy-award nominated documentary titled ‘Sound and Fury’. The documentary focuses on her family and their struggle to make a decision whether to give her, 5 years old at the time, a cochlear implant that would enable her to hear.

Heather will share her journey through life; learning how to speak and hear, attending hearing schools, and being part of the deaf culture and the hearing world.

How do YOU feel about your deaf identity in a hearing world? We can all learn from each other’s experiences by sharing them.

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About: In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)

Captioning – on a bus!

captioning

Have you ever seen captioning on a bus?

Our captioner Michelle tells us about a day in her life, captioning for everyone around her ….

We all know that every day in the working life of a captioner is different, and can be a challenge, and then there are days like Tuesday 26th November!

It began like any other day, with a booking for a regular client at a conference they were holding to discuss accessible tourism in Ireland, interesting! But then I was told we wouldn’t be needed till after lunch as the morning was being spent on an ‘accessible bus tour’ to some of the accessible sights of Dublin…hold on a minute though, if I’m there for access for the deaf/hard of hearing tourists, and I’m not needed, then how accessible is this tour going to be for them? So I asked how they’d feel if we tried to make the tour bus accessible? Without hesitation, we got a resounding yes – if you can do it, let’s go!

On the morning of the job I arrived at their office with laptops, screens, projectors, extension cables etc, I could see the perplexed expressions as they tried to work out how best to explain to me that they wouldn’t be able to plug in my extension lead on the bus, or indeed my projector! But once they were confident that that wasn’t my intention, and that I did really have some clue about what we were about to embark on, everyone relaxed 🙂

And I have to say, it was by far the most fun job I’ve done. Three double-decker Dublin buses pulled up outside the office, everyone was given a name tag and allocated a bus. The idea was that as the buses travelled between destinations the facilitator would lead the discussion and debate onboard and then in the afternoon all three busloads would feed back their information to the group at large.

As our bus was now equipped with live captioning (CART – Communication Access Realtime Translation), the occupants of the other buses could see what we were discussing, or joking about! The tour very quickly descended into a school tour mentality (we were even given some snacks) with lots of good natured joking, and one of our blind facilitators even scolded me for shielding my screen from him which meant he couldn’t copy my answers to the quiz 🙂

It soon became apparent that our driver was quite new to the concept of braking in a timely fashion and had probably never passed a pothole he didn’t enter! This being the case, I was finding it increasingly difficult to stay upright myself, and my machine, so with that in mind, the guys and gals on our bus decided to take bets on when the next bump in the road, traffic light etc would cause me and/or my machine to slip! It really lightened the mood, everyone had a laugh and it brought home to people in a very real and tangible way, that accessibility for everyone is not just a soapbox topic – but it became something that everyone on our bus played an active part in (even if some of them were “accidentally” bumping into me to get an untranslated word, and a laugh). But it showed that access matters, and that it should matter to us all!

What I didn’t know before that morning was that not only were we doing a tour on the bus, but we also had two stops; one at a brand new and very accessible hotel and one at a greyhound race track. Initially it was suggested that I would stay on the bus and not transcribe the tours, but where’s the fun in that? So, once we got off the bus, the bets turned to how many different positions they could get me to write in; standing; sitting; balancing on a bed; squatting; machine on a table, machine held by another tour member in the lift! – it was a truly interactive tour 🙂

And to finish the day off we went back to Guinness Storehouse for our panel discussion and debate about accessible tourism in Ireland (and free pints of Guinness of course).

All in all a brilliant day. An important topic discussed, debated, delivered and demonstrated in our different locations – the best job ever 🙂

captioning

Ginny Kanka: Me and my cochlear implants

GK

The vocal sounds I’ve heard have always come via hearing aids ever since the first one in 1949. The early hearing aids were amplifiers. Hearing people have explained that the vocal sound becomes more distorted the louder it gets. According to my hearing brain, the “distorted speech” sounds clear and normal to me.

From the moment I had my first hearing aid (consisting of two Ever Ready portable A and B batteries in a bag and a huge black receiver with a silver spring-clip – was this casing made of Bakelite?), I loved it. From that point on, to be without a hearing aid was total anathema to me.

By the time I was a teenager, the behind the ear (BTE) hearing aids were around but I was too deaf to have them. Over the next twenty years, the more powerful the BTE became the more deaf I became! Wearing the body worn hearing aid was the only option.

The usual home for my body worn hearing aid was in my bra. Pregnant in 1983, I was determined to have the BTE hearing aids as I wanted to be physically free to breast feed my babe-to-come. Shifting boobs was problem enough let alone the thought of shifting my body hearing aid around for breast feeding. Glorious it was to strut around at home in my bulging birthday suit with new NHS BTE hearing aids on.

By 1989, I was desperate for more powerful hearing aids and also wanting to know why I was losing so much of what was left of my residual hearing. An appointment was made to see Graham Fraser in 1990. Quite quickly, he suggested I look into cochlear implants (CI). That was shocking news. I had heard about CIs and they were being implanted in people with APHL (acquired profound hearing loss) who on the whole were the more successful recipients than those with congenital deafness.

Considering that the success rate for prelingually deaf people was poor, I refused to think about CIs; besides, I had a young son and I was not ready.

All my life, I have had tinnitus. As child, teenager and in my twenties, I didn’t know it was called tinnitus. Just noise of different kinds came into my ears often; I was not at all annoyed by them. I kind of saw them as friends who came and went. When they came, I simply said hi to them and put them out of mind. In other words, I could manage them.

Around 1993, the tinnitus changed and became sharper, shrill and bad tempered. Over time, the breaks between them became shorter and the noise longer lasting as if a Duracell battery would never run out. It sounded as if a million knives were scraping one another and a trillion of birds screeching; impossible to ignore them. Fed up with the harassment, I went to a tinnitus clinic – was it in 1995? I can’t remember. The consultant there took one look at me and told me to go to the cochlear implant clinic. Methinks, what an odd treatment.

As I had nothing to lose, I agreed to go for the cochlear implant. On switch-on day in April 1997, oh boy, it was wonderful! I heard no voice sounding like Donald Duck as usually experienced by new implantees. Hearing-wise, I was back to my time as a teenager with powerful body worn hearing aid.

In the meantime, I was in a state of surprise as the exhausting ‘evil’ tinnitus had stopped. It took me a while to get used to the sheer silence. Much later, I understood what had happened or rather a theory which made complete sense to me. If one loses a leg, the brain signals to the amputee that there’s pain in the non-existent leg, known as the phantom feeling. In my case, the more I lost what was left of my hearing, the stronger the ‘phantom’ noise became. Once my auditory brain got the noise back via my cochlear implant, it no longer had to make imaginary noise to feed itself. For that reason, a heartfelt vive la CI!

For several years, the CI body-worn processor, with a red light flashing for every sound heard, was tucked into my bra. In a way, I was sorry to say good bye to my red light district when I received an upgrade – a Cochlear™ Esprit 3G BTE processor, compatible to my internal Nucleus® 22 channel.

Wonderful opportunity came a few years later with another upgrade, a Freedom®. Eighteen months later, my auditory world changed when I had a convolutedly active face. I noted the facial spasm was in tune with whatever noise was going on around me, behaving just like how the body worn CI processor’s red light flashed.

One of the internal electrodes had turned rogue and was ‘hitting’ on my facial nerve. This electrode was turned off and all was fine. It happened again the following week, and another electrode was turned off and all was fine. Fascinating experience, I thought. Soon, it was not funny when it repeated again and again. My listening ability went downhill. I was just plain unlucky after fifteen good years with the cochlear implant.

Marisa and Jane, the two CI audiologists, worked really hard to get the best with various modes of stimulation and other adjustments. The comfort level (loudest sound heard and is tolerable) could not be enacted on the rogue electrodes. A new level – what shall we call it? – I call it “eyenotic” level*. The speech sound at eyenotic level is quieter than the comfort level but at least my face is calm.

*(no twinge or tic in my (right) eye, phonetically ‘eye-no-tic’)

By September 2012 after seven months with gorgeous Marisa and Jane trying every which way to improve my listening ability without triggering facial spasm, they finally suggested I have a think about a new internal implant.

Admittedly, I was put out of kilter when reimplantation was suggested – then relieved. As long as I remember how much easier and less tiring it was when I used to hear better.

My eyesight has never been brilliant since birth; I see well but on a smaller scale. I don’t see wrinkles unless I come close to people’s faces; in poor light, a magnifying glass helps. Since the onset with the problematic electrodes, when attending talks or stage performances which are supported by speech-to-text on screen or caption boxes, I noticed that seeing the text is worse because I can’t hear as well as I used to.

Beginning of October 2012, I contacted the CI team, asking them to kick start the funding scenario. Indeed, it is a gamble.

Why should it be a gamble? Would the reimplantation really solve the problem? CI team did say that the new internal slim line model would not splay impulses on my facial nerve. I’m not convinced.

When I had the implant in 1997, I had nothing to lose as I had the back up from my unimplanted side (left ear). At the time, it was the policy not to wear hearing aid as a crutch with the CI. The listening ability on the left had diminished, proven to me years later when the ‘policy’ changed tracks; I tried hearing aids and it was a no go area.

The meeting with the CI team was surreal. After discussion, Mr Lavy the surgeon confronted me with the definitive question. I have two choices, to go for it or not. I said that I have a lot to lose if I go for reimplantation and it goes wrong. The air in the room turned cool and the silence deafening.

Then a light bulb lit up on the surgeon’s face as he exclaimed how about an implant on the other ear. Oh my, everybody including me in the room – our minds were thinking – what a turn around. Perfect solution and I was so happy with the idea.

Funding came through and I had the operation and a month later, in June 2013, the switch-on (using the Nucleus® 5 system). I expected no miracles from the switch-on as the left ear brain hasn’t heard a thing for eon. Would it be three weeks, three months or three years before left side neurons cotton on to what they are supposed to do with the noise?

During the switching on process for the threshold level, at first I couldn’t hear a thing then I felt I had an auditory illusion which became real. As for setting up the comfort range, my emotion peaked, quivered and shocked as the left ear heard the sounds after a long gap of time.

Finally the switch-on came. Everything squeaked and beeped. I spoke and my voice beeped. This is ridiculous. Will, my son, said that my voice was normal. Beep, beep, beep. Where was the Donald Duck noise? Beep, beep, beep; perhaps just as well as I have no idea what Donald Duck sounds like!

Luckily for me as each time I heard a new noise at a certain frequency and decibel, the reawakened left auditory brain acknowledged the sound with a beep then never again.

The next three months was a time of sandwiches filled with ultra high delight at picking up new sounds (some no longer heard by the old side) and so low with frustration on managing the volume and sensitivity. Couple of the ‘electrodes’ on the new (aka sequential) CI did trigger twitching on the other side of my face and had to be set at eyenotic level and not, alas, at comfort level.

Though I concentrated on listening with just the sequential CI on and the old one off most of the time, I did practice with both processors on and the marriage between the two was stormy; the old side still wore the trousers.

Early August, CI audiologist explained that those who have a sequential (aka 2nd implant) all without doubt use the 1st CI ear as the main and preferred listening device. At that point, tears burst out. Damn it! It was my intention to stick out on the sequential processor and improve its listening ability, and obviously that had subconsciously put me under stress. Good riddance to my commitment scheme and I can now relax, using both and get their marriage to work.

Meanwhile I had been told that as I had my operation in May, I was eligible for the Cochlear™ Nucleus® 6 processor upgrade. Whoa! The opportunity came at end of August. Very simple swap over on the day and I also asked for the old side to be remapped, now more sure the whereabouts the twiddling should took place to make the processors’ marriage more heavenly.

The shaky honeymoon is over, and the binaural relationship is excellent. Neither side is showing who the aural boss is. The sequential ear needs more practice in recognising and identifying the incoming vocal sound (which is different from being “heard” and seeing it from lipreading).

When I think of Bakelite 78 rpm records and today’s music on iPods, I think of my 1949 hearing aid and today’s CIs. Stereophonic hearing delight indeed!

lip reading

Lip reading : Sir John Soane’s Museum

lip reading

Lip reading : Walks & talks for lip readers

Sir John Soane’s Museum, 3 December 2013 & Programme 2014

We are pleased to attach our programme for next year and hope there will be something for everyone and even a few places you have not visited before! We have done our best to spread the walks for lip readers across a wide area of London and, as usual, the January and November walks will spend less time walking and more time inside an interesting museum or gallery in some way linked to the area of the walk.

We are sure you will find the January walk of particular interest in this important centenary year of the beginning of the First World War. Later in the year we would like to join up with the NADP Rawson Bequest programme, and maybe also the Sir John Soane’s Museum, in a visit to Bentley Priory, near Stanmore, the WW2 home of Bomber Command and an important building designed by Sir John Soane. More news on that later, but in the meantime do ‘google’ Bentley Priory and get an idea of what it looks like and what is happening there next year.

As this is a programme for the whole year and Transport for London only issue a 6 month notice of weekend engineering work we may well have to change the meeting point for some of the later walks, but we will keep you informed. If you know, find out about or read something you want to pass on please don’t hesitate to let us know, whether it is transport hitches or interesting information in general, we are always pleased to have it. Several of our walks appear on the programme as a result of your feedback or requests, so please keep them coming!

We are also attaching a flier from the Sir John Soane’s Museum for their last lipspeaker supported evening of 2013. This will be a very interesting talk by Martin Glover about architectural production. As there are a very limited number of places available for lip readers, please do book your place with Kenn Taylor as soon as possible – see Oct-Dec Events for D/deaf and hard of hearing for details.

We are looking forward to seeing many lip readers as possible at Canary Wharf next Sunday for our last walk of 2013 and wish everyone a very happy holiday season and best wishes for a busy and interesting 2014!

Other lip reading events

Oct-Dec Events for D/deaf and hard of hearing

Walks &Talks Programme 2014 for those who are good at lip reading

Understanding cochlear implants and hearing aids

Sound

When you’re trying to find a solution to your hearing loss problems any device or procedure can seem like a glimmer of hope, especially once you’re introduced to the concept of cochlear implants. While both hearing aids and cochlear implants are designed to provide listening assistance to the hearing impaired they’re used for different purposes and their operational attributes are anything but the same Here are the main differences between cochlear implants and hearing aids:

Primary Differences in Functionality

First of all, hearing aids are devices that amplify sound waves in certain frequencies and then project those sounds towards the inner ear where they can be processed by the auditory nerve. This is the main goal of a hearing aid – to capture, analyse, and amplify sound waves in order to correct specific frequency-based deficiencies in hearing.

A cochlear implant on the other hand is designed to capture the sound with an externally located receiver and then transfer the signal to an in internal stimulator that is surgically implanted into the mastoid bone behind the ear. The stimulator then translates the sound signal into an electrical impulse that is sent along the auditory nerve directly to the brain to be interpreted as sound. For this reason you can’t make on-the-go adjustments to the sound preferences in your cochlear implant and the features are much more limited.

Primary Differences in Cost and Maintenance 

A cochlear implant surgery can be expensive if you don’t have any financing or insurance to assist you with the cost. When you consider the fact that you’ll be stuck with that model of implant for quite a while (as another surgery will be the only way to upgrade) you’ll realize that cochlear implants are more expensive in the long run.

You can buy one pair of hearing aids and then trade them in for an upgrade with your supplier in a relatively flexible manner, upgrading as you see fit when new technology becomes available. Hearing aids are also easy to remove and thoroughly clean; most come with a manual on how to perform maintenance and even accessories like ear wax removal kits.

Furthermore, performing maintenance on your cochlear implant is not something that can be done at home, as can be done with a pair of conventional hearing aids. That is of course unless you’re willing to perform surgery on yourself and attempt re-implanting the device in your skull (neither a feasible nor safe endeavour to attempt).

Conclusion – Which Should You Use?

Realistically cochlear implants and hearing aids should not even be compared because individuals who are truly in need of a cochlear implant would likely not benefit greatly from hearing aids and vice versa. If you have slight hearing loss then cochlear implants are probably not an option you want to consider, as the surgery and costs involved are not warranted unless your hearing loss is severe. Therefore, individuals with minor to moderate hearing loss should opt for a pair of hearing aids that they can easily replace or adjust if need be. Individuals with severe hearing loss may want to consult with their audiologist about the possibility of opting for a cochlear implant. In summary, a cochlear implant is the best option only when it is the only practical option left.

Author Bio: Paul Harrison is a knowledgeable and experienced blogger specializing in covering topics that help people make decision in their everyday lives. He’s currently venturing with YourHearing.co.uk, a leading retailer of assisted listening devices in the United Kingdom.

lip reading

Lip reading talks: Canary Wharf

lip reading

Lip reading Talks: Canary Wharf and the Museum of London at Docklands, Sunday 17 November 2013

We round off another year of lip reading Walks&Talks with Diane Burstein offering a combined walk showing a little of Canary Wharf and then taking us inside the Museum of London’s Dockland site with lipspeaking support.

We meet outside Canary Wharf tube station, by the clocks, and explore some of this magnificent modern development before heading over to the museum of Docklands.

Before going inside we will admire some of the old sugar warehouses and discover why the area was once known as “Blood Alley”. In the museum itself Diane will give you an introduction to some of the fascinating exhibits relating to the story of the Thames and the Docks.

Lipreaders might like to stay on after the group visit to explore more of the history of the area at your leisure. There are cafes in the museum and it is not far to walk back to the station, which also has places for food and drink.

We expect to have the programme for 2014 ready for this walk and hope you will find several of them interesting enough to earmark in your new diaries!

To find out more, download the BOOKING FORM

A Play in the Life of a Theatre Captioner

A captioner in the theatre?

If you‘re one of the 10 million deaf, deafened or hard of hearing people in the UK who uses television subtitles, you may already know there’s now something similar in theatres. It’s called ‘captioning’ and it means you can enjoy a wide range of plays, musicals, comedies and family shows along with your hearing friends and family.

STAGETEXT, the charity which introduced theatre captioning to the UK back in 2000, was established by three deaf people who were passionate about theatre but couldn’t follow it through sign language or sound enhancement and who wanted to access plays and musicals via English text. Last year STAGETEXT captioned over 264 shows in more than 80 venues; in addition, over 50 theatres now have access to their own captioning equipment and captioners and provide the service in-house; this brings the total number of captioned shows to well over 650 a year.

So how does captioning work and what does a captioner do?

It takes skill, experience, training and a great deal of hard work to prepare for a captioned performance and, to settle any misconceptions, there isn’t someone madly typing away during the show! What few people realise is that a trained captioner will have already prepared the captions in advance, checked the production several times at the theatre, marking their ‘formatted’ script for any inaccuracies that need to be followed up, then rehearsed at home with a DVD recording of the show. Captioners follow the captioning conventions taught on their training course, and the preparation involves many hours of work – often between 60 to 80 hours – working with an electronic version of the script.  Excellent attention to detail is required.

We start by removing any stage directions, correcting spelling and punctuation errors (there are usually lots of those), then we add sound effects and descriptions of music, including the words of songs that have been specially written for the production or which are played during the show. Character names are also included to help the audience follow the action around the stage.

The captions include the full text of the production. What we’re aiming to do is give deaf, deafened and hard of hearing people as near as possible the same experience as the hearing audience, so we try to mirror the actors’ performance, indicating any pauses, stress, irony and accents.

Scripts develop and change frequently so we have to work closely with stage management to keep on top of any cuts and additions to the script to ensure the captions are as accurate as possible on the night.

theatre captioner

STAGETEXT Captioner at Bristol Old Vic. Photo: Mike Lusmore

Captioner software

The captioning software developed by STAGETEXT allows us to include italics, foreign accents – in several languages – and musical notes, and we can alter the brightness of the captions and the speed at which they reach the captioning screens.

Symbols indicate sound effects: a crotchet for music, with the name of the piece or an indication of style and mood, often discussed in advance with the stage manager or sound designer. There is also a ‘mimic box’ in the software (like a small caption unit) so we can rehearse our timings without being hooked up to a caption unit.

Occasionally, a show may include some ad libs – usually pantomimes. The software allows captioners to type short pieces of text live, if there is sufficient time. In a recent production, one actor had spoken to the captioner before the show and warned her that he might include her in the performance and test her skills by shouting out something. On that occasion, it was the word ‘antidisestablishmentarianism’ which she typed as fast as she could, resulting in a huge round of applause from the audience. However, it’s situations like these that captioners would prefer to avoid at all costs, because the text appears late and spelling mistakes can occur. It’s also very stressful typing live in front of an audience of over 2,000 people!

theatre captioner

Actors’ warm up before captioned play, Donmar Warehouse. Photo: Matt Humphrey

Preparation

Captioners often see the show first in the audience, if time allows, to get a feel for the production. We need an up-to-date DVD of the production, ideally shot after press night, so that we can rehearse at home and check the actors’ delivery and timing, and we carry out a number of  ‘script checks’ at theatre. This is when we sit in a technical box where we can hear and see the action on stage via ‘show relay’ or ‘cans’ (headphones), or in one of the audience boxes in the auditorium.

When the script checks have been completed, we’re ready to roll. On the day of the captioned performance we get to the theatre well before the show, usually when the caption units are being rigged, then we test the equipment to make sure everything is working properly. We cue the captions from a laptop which is linked to the caption unit (or units) via a small converter box. At this point, we also check with the production and front of house teams whether there will be any special announcements before or after the show, any actor changes (our biggest nightmare) or any last-minute changes to the script. Sometimes we demonstrate the scrolling captions to the actors during their warm-up.

As the audience arrives, a welcome message is displayed on the caption unit and one explaining the purpose of the captions. This is so that anyone using the captions can make sure they can see them clearly from their seat, and to explain to the hearing audience who they are for.

When the show starts we send each line to the caption unit, taking care to skip any missed ones so they don’t appear. (Yes, this can happen!) The whole process demands a combination of skills, not least the ability to maintain concentration for a long period of time.

The preparation is hard work, but knowing that you’re working towards a live performance and giving access to deaf, deafened and hard of hearing audience members who would otherwise be unable to enjoy the show makes everything worthwhile.

For more information on the work of a captioner, have a look at this film on the STAGETEXT Youtube channel.

[youtube=www.youtube.com/watch?v=ZIfNzSt5rSw]

STAGETEXT has also produced a new film, Getting More Theatre For Your Bucks, featuring deaf, deafened and hard of hearing people talking about their experiences of captioned theatre:

[youtube=www.youtu.be/nMzm1yvtwKU]

A list of forthcoming captioned performances can be found at Stagetext and there’s a free mailing list you can join by contacting enquiries@stagetext.org

captioner

Deafened actor Tim Barlow at captioned performance, Bristol Old Vic. Photo: Mike Lusmore

Seating for caption users

Responsibility for the seating for deaf, deafened and hard of hearing audiences varies depending on whether STAGETEXT is providing the captioning or whether the venue has its own in-house service. (This is indicated in the What’s On listings on our website.) Whenever a new theatre decides to offer its first captioned show, STAGETEXT will carry out a site visit to determine the best place for the caption unit (or units) so that caption users can watch the show in comfort, ideally with minimal or no head movement. Each theatre and each production are different so it’s important that people use the booking details on the STAGETEXT website rather than going online or through a ticket agency, and they should make sure they ask for seats suitable for viewing the captions.

If I’m in the wrong seat, what should I do?

As you enter the auditorium there will be a welcome message on the caption unit. If STAGETEXT is captioning the show, it may say something like: ‘This performance of The Show That Never Was will be captioned by STAGETEXT’. You should be able to see the captions from your seat. If you can’t, then speak to one of the theatre ushers or Front of House Manager who should be able to help you. Obviously if it’s a very popular show, it may be more difficult to move, but the Front of House team will do all they can to help.

Entrepreneur of Excellence Award for Disability

The National Diversity Awards 2013 was hosted by Brian Dowling (Big Bother) & Cerrie Burnell (Cbeebies) at The Queens Hotel, Leeds. Misha B (X Factor finalist) & the Nachda Sansaar Bhangra Band were there to entertain us.

The National Diversity Awards celebrates all aspects of diversity within one ceremony – Age, Disability, Gender, Race/Religion/Faith and LGBT.

The categories for the awards are: Positive Role Model, Community Organisation, Community Organisation – Multi Strand, Entrepreneurial of Excellence, Diverse Company and Lifetime Achiever! Tina Lannin was shortlisted out of 4,500 for the Entrepreneur of Excellence for Disability, and placed second. Dave Thompson MBE DL scooped first prize, he set up the Warrington Disability Partnership. A great night was had by all, it was such an electric atmosphere with some truly inspiring people.

Tina says –

I’m thrilled to have been shortlisted and to reach second place. I hope to continue to empower other deaf and hard of hearing people in education, in work and  socially, enabling them to reach their full potential. Everyone at the National Diversity Awards is a winner!

The awards ceremony was filmed and is scheduled to be broadcast on The Community Channel on 8th November 2013.

nda

 

Mish b signs... ooops, sings! for us

Misha B signs… ooops, sings! for us

 

The bhangra band sounded amazing through cochlear implants :)

The bhangra band sounded amazing through cochlear implants

 

Our notetaker took a break!

Our notetaker took a break!

 

Jo and Tina, 121 Captions

Jo and Tina, 121 Captions

 

 

 

HMRC offers online access to deaf and hard of hearing customers

You can now arrange an appointment with HMRC online.

HMRC are running a pilot to introduce a new service for customers who are deaf, hard of hearing or have a speech impairment. The pilot will run from 2 September 2013 until 31 October 2013 and a new online form is available to request a face to face appointment.

The online form must not be used by other customers to request face to face appointments. If you are not deaf, hard of hearing and don’t have a speech impairment, please call one of the HMRC helplines first. If the helpline is unable to answer your enquiry, the telephone operator can arrange to set up an appointment for you at an HMRC Enquiry Centre in your location.

My favourite part of the form says;

How do you want to talk to us at your appointment?*

Please tick the boxes below that meet your needs.







I have to say, I am impressed. I wish more businesses would offer this facility – they would get my money!

If you would like to know how to make your business more accessible to deaf and hard of hearing customers, contact us to find out more. Our certified access auditors have a hearing loss and they know what access is all about.

Arranging an HM Revenue & Customs (HMRC) appointment online

Advantages and disadvantages of wearing hearing aids 

If you’ve recently been diagnosed with some form of hearing loss and are debating whether to buy a pair of hearing aids you’ll want to start by considering the advantages and disadvantages of wearing “assisted listening devices” to see if the pros outweigh the cons in your particular situation. While the benefits of wearing hearing aids are obvious to most people, there are also some significant disadvantages that come to mind, especially if you’ve not yet gotten accustomed to wearing hearing aids in public. To help make your decision easier we’ve compiled the main advantages and disadvantages of wearing hearing aids into a neatly organized list below for your reference:

Advantages of Hearing Aids 

Aside from the primary benefit of improving overall hearing proficiency, wearing hearing aids offers the following advantages:

  • Enhanced Directional Perception

If you hear better in one ear you may find it difficult to locate where sounds are coming from because your usual perception is off due to the fact that you’re receiving input of a decreased volume from one side while the other side is hearing frequencies loud and clear. If you have such problems with directional perception, hearing aids can correct this by balancing out your frequency levels in both ears. This is not only a convenience but also an added safety accessory because it can help you locate incoming objects, people, or vehicles during an unexpected accident, mishap, or collision.

  • Improved Conversational Comprehension

Hearing aids do a good job of amplifying the starts, stops, and high-pitched sounds that are common in speech. People with hearing loss may find it difficult to distinguish sounds like “th” or “s” from one another, and whispering is especially challenging to comprehend. With hearing aids you’ll be able to hear the “S” in the word “she” instead of mistaking it for the word “he” or “the.” With an enhanced ability to comprehend speech in conversation you’ll find yourself caught in fewer awkward social situations because you won’t experience as many miscommunications.

  • Targeted Amplification of Specific Voices or Sounds You’re Trying to Focus On 

Today’s hearing aids can detect which voice you’re trying to listen to and make it more pronounced. You can even have multiple profiles saved with each one containing set preferences for a specific type of environment. For example, you could have one preset programmed to match the acoustics in your living room, while another preset is set to cancel noise and clarify speech at your favorite restaurant. This feature simplifies the process of comprehending speakers in crowded environments while also streamlining environmental adjustments on-the-go.

  • Available in a Variety of Styles and Configurations

There is a common misconception that hearing aids have to be ugly or easy-to-notice. Nowadays hearing aids come in a wide variety of styles and configurations, including super stealthy models like the Completely-in-Canal (CIC) or Behind-the-Ear (BTE) configurations, both of which do an excellent job of concealing the receiver so that it is not obvious to onlookers. Alternatively, there are also some quite stylish, yet more noticeable models that incorporate a broad range of colors, shapes, and custom molds for a sleeker appearance.

Disadvantages of Hearing Aids

Of course most people would find fewer disadvantages to wearing hearing aids, as there really aren’t that many, but of the potential shortcomings that do exist, the following are the most notable:

  • High Price

Yes, it is true that hearing aids can be costly, with a top-of-the-line brand new model costing about $2,000 per pair. However, some would argue that a couple thousand is a nominal price to pay when you consider how much you can improve your quality of life by having your hearing restored to comfortable levels.

  • Potential Discomfort

If you choose the wrong configuration type or style, or the custom mould is not fitted properly, you could encounter some discomfort. However, this is usually an easy fix as a simple visit to your audiologist will get you on track with a more suitable model. Then there is also the potential for social discomfort when wearing the hearing aids in public, particularly if you’re conscientious about letting other people know that you’re wearing them.

  • Maintenance Issues

Finally, keep in mind that you may have to perform maintenance on your hearing aids from time to time. This may include removing any built up ear wax from the casing. Fortunately, most hearing aids come with a cleaning kit and instructions on how to maintain the device.

Author Bio: Paul Harrison is a dedicated blogger with a passion for sharing content that enriches the experiences of others. He’s currently in collaboration with YourHearing, a renowned online provider of digital hearing aids based in the United Kingdom.