Saturday 4th April 2026
Blog Page 1051

Profile: Richard Dawkins

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Recently, I had the privilege of sitting down with Professor Richard Dawkins at his home in Oxford. Professor Dawkins is an Emeritus Fellow of New College, Oxford and served as the University of Oxford’s inaugural Professor for the Public Understanding of Science from 1995 to 2008. He is a Fellow of both the Royal Society and the Royal Society of Literature and has published numerous international best-selling books including The Selfish Gene and The God Delusion.

Dawkins is best known as a vehement atheist. I am intrigued as to his views on the rights of atheists and whether or not atheists as a group are becoming less ostracised within society. “In Britain”, he said, “it’s not so much of a problem. In the United States, it is still widely believed, and it is probably still true that atheists can’t get elected to public office. I think that is changing, slowly.

“There is statistical evidence that the number of people who, if they are not atheists, at least profess no religion, is increasing in the US. My foundation, the Richard Dawkins Foundation for Reason and Science, along with its associate organisation the Center for Inquiry, are part of Openly Secular, which is a campaign to raise people’s consciousness to the fact that being a non-believer is not a particularly terrible thing, and that ordinary people, nice people, people you know, are atheists.”

I asked Dawkins what advice he has for someone who is atheist but afraid to divulge their beliefs to friends and family for fear of being ostracised. He responded: “I’m well aware that this is a problem, especially in the United States. My website and my foundation get a lot of letters from individuals who are in real distress because their families in some cases go as far as to disown them. It is astonishing that something as innocuous as what you happen to believe about the cosmos, about the origin of the universe, about the place of humanity in the world, should lead to parents, fiancés, spouses, ostracising somebody.

“It’s a terrible situation. I don’t know what to do about it except to try to raise people’s consciousness, to get across the point that being an atheist is not a terrible thing … It’s not like being a criminal. It’s just a difference of opinion about a matter of philosophy.”

It seems as if more and more people are rejecting the logical and scientific approach to life’s big questions espoused by academics like Dawkins and are instead turning to the evil ideologies espoused by Daesh and other terror groups. With this in mind, I asked Dawkins whether he believes the human race is becoming more logical as a whole, or whether today’s world is at a breaking point where society has failed to lift up certain groups of people, with these people in turn facing identity crises and deciding to turn to radical groups and fundamentalist ideologies to fill the void.

He remarked, “Yes—I think the phrase ‘identity politics’ has currency… People are, in the case of radical Islam, identifying with this conception of Islam as a way of identifying with an ‘in’ group. [They are] feeling threatened, feeling not appreciated in society. So yes, that is a problem and I think that could be part of the explanation. It is hard to think of any other explanation as to why people should be so illogical, why people living a decent life in a place like Britain should think that they want to go to a hellhole like Syria or Iraq. Many deeply regret it when they get there, but what idiots they are not to look into it in the first place and realise what they are going into. They are idiots. But I can see something of why they do it—it may be identity politics.’”

Britain is not exempt from political turbulence. I could hardly ignore June’s Brexit result when talking with such a politically-minded and outspoken public figure. Dawkins has expressed his support for a second referendum concerning the UK’s membership of the European Union. But a second referendum almost certainly will not happen in the wake of Theresa May’s announcement that the government will invoke Article 50 of the Lisbon Treaty early next year, offi cially beginning the two-year process of exiting the EU.

Dawkins noted, “I want to make a distinction between objecting to Brexit and objecting to the idea of having a referendum. My primary opposition was to the idea of having a referendum at all, because the issue is such a complicated one, economically, politically, historically. To hand that over to a single ‘yes or no’ vote, by people ill-qualified to judge it, is a case of irresponsibility by David Cameron.

“We live in a representative democracy, not a referendum democracy. There should never have been a referendum. To require a 50 per cent majority on a single vote is a scandal, and Cameron behaved atrociously in doing this for political gain within his own party. That is quite separate matter from whether Brexit is a good thing. It might be a good thing, but it certainly should never have been put to a referendum with a 50 per cent majority. I don’t think it is a good thing as it happens, but I want to keep that separate.”

But of course Dawkins is a scientist, not only a political commentator. In the wake of the Brexit result, scientists were among the many who were outraged. Many feel Brexit will disproportionately aff ect British scientists who risk losing a large portion of their funding. “Certainly the scientific community is going to be in trouble—large numbers of people who had EU grants are in danger of being swept aside at the stroke of a pen and the stroke of a 50 per cent majority, on issues on which the voting public had no understanding. The scientific community is rallying around, doing its best to cope with this disgraceful situation. It remains to be seen what will happen.”

If the exact repercussions of Brexit are not yet certain, I can at least ask about Dawkins’ time at Oxford. He does not falter in expressing his affection for the university. “I love Oxford. I love the Oxford tutorial system. I think that is educationally beautiful, and I loved it as a student. I think the Oxford tutorial was—if anything was—the making of me. I love the idea of, as a student, studying a subject intensively, for a week in the library, and reading the original research literature on a topic, becoming as an undergraduate almost like a world authority on a subject, however narrow. I think that is a terrific discipline… I have a lot of aff ection for Oxford and a lot of admiration for the Oxford and Cambridge educational system.”

Finally, I asked Dawkins what continues to excite him about his work. “I am a passionate scientist. I am a passionate believer in scientific truth, and how wonderful it is that at the beginning of the 21st century we are so close to an understanding of the universe, where we live, where we come from, what life is about. That is a wonderfully exciting thing, and it is a wonderfully exciting time to be alive. We ought to be rejoicing about how much we do understand. Of course, there is an awful lot more to understand and that is exciting as well. It’s wonderful to be a scientist now both because of how much we already know and because of how much of a challenge it still is to find out more. I suppose my personal mission would be to try to convey that to young people and to try to inspire them with a love of science, with a love of understanding the universe and our place in it.”

One Pret too many?

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The Westgate Centre has revealed some of the restaurant chains that will set up shop in the newly renovated complex when it opens in October 2017.

It has been confirmed that Japanese food chain Sticks n Sushi will open its sixth restaurant in the UK in the roof top garden, which will offer panoramic views of Oxford.

A spokeswoman for the Oxford Westgate Alliance also announced that the boulangerie Le Pain Quotidien, Lebanese Comptoir Libanais, noodle bar Shoryu and Pret A Manger are some of the other chains will be moving into the £440m revamped centre.

Pizza Pilgrims, which was founded by brothers James and Thom who are originally from Oxford, is another restaurant to take its place in the centre.

Pizza Pilgrims began selling pizzas from the back of a three-wheeled van in London’s Soho and they have since attracted a huge following.

The development manager for the Westgate Oxford Alliance, Sara Fge, said, “Westgate Oxford will be home to over 100 stores and 25 restaurants and cafes, as well as a boutique cinema and rooftop terrace dining.”

The new centre will also feature a John Lewis department store, as well as a Curzon cinema, Victoria’s Secret Pink store and a Mac shop.

Josie Pepper, a second year at Brasenose, told Cherwell, “Does Oxford really need a third Pret A Manger? I guess it is never a bad thing for the student community to have more restaurants.”

Carl Gergs, a Pembroke student, commented, “It will be great having so many restaurants and cafes just around the corner from Pembroke. Having said that, I am also concerned that introducing more chain restaurants will threaten the independent businesses that already exist in Oxford. Whilst the development is an exciting prospect, it is important that local cafes and restaurants are still encouraged and supported.”

The shopping centre, originally built in the 1970s, had no rooftop area before, but will now have a number of public spaces along with the various restaurants and cafes.

The plans feature a grass “quad” with retractable roof and views across Oxford’s famous spires, which could be used for performances, art displays and cinema screenings.

The £440m Westgate project is part of a wider development of the West of Oxford, which also includes development of the Park End Street area and the closure of Wahoo and other nightclubs.

£500 million is being invested to enhance the retail core in the City Centre, encouraging more existing shoppers to stay for longer periods of time.

The investment should eventually provide over 3,400 new jobs, as well as 600 jobs a year during construction.

Two new public squares and a riverside walk will also be created. South Square will also be able to host temporary events and exhibitions.

Oxford City Council leader Bob Price said “The Westgate is going to be more than just a shopping centre, so this will be really significant to the development of this quarter of the city. It could be an exciting area for performances and art, as well as a great public space – which is something we need more of.”

On their website, Westgate Oxford have a new development webcam, giving the public the chance to see live pictures of progress on site every 20 minutes from 7am to 7pm.

The completion of the shopping centre may help to allay concerns over the balance of shops and restaurants in central Oxford, which led to concern from Graham Jones of traders’ group Rox in July.

He commented, “There is feeling that perhaps there are enough restaurants and cafes in the city at the moment – maybe we have reached the limit for them all to be viable.”

A third year from St Hugh’s said, “This never-ending project has delivered nothing more than a Pret. I will have graduated by the time the centre opens, so I am not really very excited about these restuarants. I don’t even like shopping centres—they are testament to the consumerist economy that bourgois Oxford prides itself on. I’m frankly outraged. But I will be buying my Pret anyway.”

Oxford hospitals amongst the worst for delays and cancellations

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Oxford hospitals are some of the worst in England for preventable delays. Treatment cancellation or delays last year affected over half a thousand patients. Power cuts and problems with pest control are some of the main reasons for the delays.

Recently released figures recorded 510 incidents across the hospitals administered by Oxford University Hospitals NHS Foundation Trust (OUH). The Trust manages the John Radcliffe and Churchill hospitals and Nuffield Orthopaedic Centre.

A delay counts as a wait of at least half an hour to clinical services affect- ing at least five patients.

OUH director of estates and facilities Mark Neal, said: “Oxford University Hospitals NHS Foundation Trust operates over four million square feet of estate, some of which is outdated and requiring ongoing maintenance.”

“In 2015/16 the Trust took care of 1.3 million patients contacts including 145,000 Emergency Department attendances.”

“We are currently undertaking the first phase of a forward-looking masterplan strategy for our estates to reduce this footprint, maximise the best quality spaces for patients and improve space utilisation into the future.”

Last month BBC broadcaster and household name John Simpson thanked staff at the John Radcliffe Hospital for saving his life following a severe allergic reaction.

This comes amongst news of a new rapid access care unit (RACU) at Henley’s Townlands Hospital which has been set for January. The Oxfordshire Clinical Commissioning Group blamed a national shortage of doctors.

OxFolk Reviews: ‘Cycle’

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If I’m being honest, Lady Maisery’s new album ‘Cycle’ came as a surprise to me not because of it’s accomplishment and beauty, but because Lady Maisery have had time to get into the studio to record the album at all: in the three years since their second album, ‘Mayday’, was released, each band member has been off forging various impressive solo careers. Whilst Hannah James has been touring a solo show and collaborating with accordionist Tuulikki Bartosik, Hazel Askew has released the fantastic (and earlier reviewed) ‘In the Air or the Earth’ with her sister as The Askew Sisters, whilst Rowan Rheingans has also formed half of The Rheingans Sisters, winning a BBC 2 Radio Folk Award for Best Original Track on their latest album. Lady Maisery, then, represents a meeting point for this wide range of experience, skills and innovation- and it comes across in ‘Cycle’.

Dancing lightly from tune to tune, this beautiful collection of tracks contains echoes of all of these backgrounds- with the added magic that always occurs when good friends meet up and play music together. The interesting harmonies Rheingans has explored in The Rheingans Sisters appears in this album in tracks such as ‘Land on the Shore’, whilst Hannah James’ intricate and interesting accordion performances with Bartosik are echoed on tracks like ‘The Winter of Life.’ The beautiful vocal harmonies that Lady Maisery have become known for are prevalent on every tune on this album- their voices wind in and out of each other before fitting together in an embracing, warm patchwork of sound. If that sounds rather prosaic, I’m afraid there’s really no other way to describe their hypnotising style of harmony singing- it is enough to give the listener a shiver down their spine, and always leaves you wanting to hear more.

The tunes chosen for this album are both fascinating and telling- a mix of traditional songs and ones written by the band, they range from whimsical and intimate to, in their words, ‘a coruscating critique of post-Cameron Britain’. Whilst there are no obvious anti-Brexit hymns, the interesting choice of ‘Digger’s Song’, calling for the workers to unite for economic equality, still manages to stir the blood despite dating from 17th century Protestant radicalism. Rheingans’ beautiful tune ‘Sing for the Morning’ is a joyous celebration of the natural world, and Askew’s own setting of many traditional songs, such as her music for ‘A Father’s Lullaby’, manages to elegantly balance the song’s timeless message with Lady Maisery’s own unique style. My personal favourite track, ‘Bagpipers/Sheila’s 70’, is not only an astonishing feat of vocal ability (switching seamlessly from a slow, waltz-like air to a foot-tapping reel using solely their voices), but sums up what Lady Maisery manage to do so well together- creating a world of sound led by their voices in harmony and with instruments for accompaniment. On the album notes, Lady Maisery states that the album is their contribution to a song tradition that helps to ‘understand each other and our place in the world’. They have done more than that: ‘Cycle’ is an enchanting, absorbing addition to their already burgeoning repertoire of musical success.

All wound up by a Clockwork Orange

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It is always a challenge to adapt a novel’s narrative to the stage. Even more so, when the novel is a dystopia like A Clockwork Orange. The different architecture, the atmosphere, the sense of being immersed in a possible future, can hardly be conveyed by a few props and some modest sound effects. In short, the distant world cannot be conjured, and the whole endeavour becomes a recipe for theatrical disaster. And yet, last night’s adaptation of Anthony Burgess’s novel at the Keble O’Reilly theatre transcended these issues, placing its focus on the individual characters through a minimalist use of props, and exposed a most interesting side of the author’s narrative, namely the enhanced characterisation of the parts and the interactions between them.

On the whole, this student playact can only be deemed mesmerising. Perhaps due to the skilful employment of theatrical effects and lights. Perhaps it was the inspired casting of a lady as one of Alex’s violent and vicious ‘droogs’ (none of which are female in the original text), which gave the play a nice twist and a touch of violent femininity, much needed in our time of sexual equality. Or perhaps it was the general competence and preparation of the cast, especially  in the acrobatic stunts, necessary for the narration of a tale of violence and vice. One just finds it difficult to decide what made this play so amusing and enjoyable.

Leaving the theatre, many in the audience were puzzled by the unexpected ending, by which the brutal Alex redeems himself, as it did not conform to the Kubrick’s film adaptation, or to the American edition of the novel, which close with the boy being as evil and destructive as ever. The decision to include the last chapter of Anthony Burgess’s novel (absent in both the film and the American edition) in the theatrical narrative, while somewhat anti-climatic, does give the viewer a less popular ending to the tale with whom so many are acquainted. On judging this decision, opinions may differ, but what seems to have an established consensus, is the fact that A Clockwork Orange opened this Michaelmas’s theatrical season with a bang.

Sample Oxford interview questions released to applicants

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A set of sample interview questions covering a range of subjects has been released by Oxford University this week. They come with detailed commentary from tutors who have interviewing experience. The University has been releasing batches of interview questions periodically for at least the last eight years, in the hope of making the application process clearer.

“Oxford strives to be as open and transparent as possible about its admission process, and we are acutely aware that the interview in particular can be a source of anxiety for applicants – particularly those from schools that don’t have much experience preparing candidates for the Oxford a n d Cambridge application process”, said Samina Khan, Director of Admissions and Outreach at Oxford.

“We therefore aim to demystify the process as much as possible, by providing information about what to expect (and what not to worry about) at interview.”

Khan also described the way in which the burgeoning private tutoring system is driving increased transparency. “It might be worth noting that part of the impetus for releasing questions came because we were concerned about commercial tutoring companies who were doing the same thing – releasing ‘nightmare Oxbridge interview questions’ in order to drum up business by suggesting that we had a vested interest in keeping our process secret and that only by paying money to commercial companies would students stand a chance of getting in. Nothing could be further from the truth, and we took the decision to proactively release not just example questions but, crucially, explanations of what tutors are looking for in the answer discussions to put applicants at ease and reassure them that we want them to have as much information and be as prepared as possible.”

Questions were released for PPE, Maths, Experimental Psychology, Medicine and Modern Foreign Languages. Students can expect to be asked ‘What makes a novel or play political?’ (MFL), ‘What exactly do you think is involved in blaming someone?’ (PPE) and ‘A large study appears to show that older siblings consistently score higher than younger siblings on IQ tests. Why would this be?’ (Psychology).

The release of interview questions is not the only way the Outreach Office has been striving to make the admissions process more accessible. Mock interviews and video diaries made by admissions tutors are some of the other ways the university is trying to make the most dreaded part of the application process less opaque.

Yet some within the university have suggested there is a limited amount that it can do. Dr Ian Phillips, who interviews potential undergraduates for Oxford PPE and who donated the PPE sample question, said that it was easy to blame those in charge of admissions for the dominance of trained private school applicants, but often other societal problems meant that their ability to help was limited. Interviewers need to “find out who the talented people are and try and set aside the contextual factors that might mask that from us”, he said.

“All we are asking them to do is to just bring themselves and their natural abilities and just have a chat with us.”

Artisan vodka distillery to open near South Park

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A gin, vodka and whisky distillery is to open next to a secondary school in near South Park. The Oxford Artisan Distillery is set to be operational in the new year after plans were approved by the Oxford City Council.

The spirits produced there will be sold in local farmers’ markets and to Oxford distributors, with 10p from each bottle being donated to the local mental health charity Response. Balliol student Zachary Leather told Cherwell that “it would be cool if Oxford pubs and bars started supporting local business by selling local vodka.”

The land that will be used, in Headington, had previously been earmarked for council housing, a plan that was resisted by the Oxford Preservation Trust, who seek to maintain the character of the city of Oxford. Nearby towns such as Carteton and Abingdon are planning to make up for Oxford’s housing shortfall with their own housing developments.

Tom Nicolson, CEO of The Oxford Artisan Distillery, is an Oxford resident who has previously worked in the music business. He expressed relief that permission had been granted, stating that there had been a lot of support from the community. The distillery will begin by producing gin, in which it intends to specialise, but also plans to make whisky, vodka and even absinthe as early as 2018. The Oxford Artisan Distillery describes itself as “a rare species found in only a few very special places around the world. We care deeply about the quality of our spirits but also about the impact of their production. We oversee the entire process on our site beneath the dreaming spires of Oxford. The Oxford Artisan Distillery is in every sense of the word a true craft distillery.”

Mr Nicolson intends to produce the spirits using traditional, pre-1940s methods and Oxfordshire rye. It is hoped that the distillery will employ around ten people. If successful, there are plans to create a visitors centre and a cafe, as well as to provide guided tours.

The distillery will be on the site of an a vacant Council depot and a Grade-II listed threshing barn, with plans for a replacement barn to be built in the near future. Concerns that locating a distillery so close to a school were dismissed on the grounds that it will not actually sell alcohol. Councillor Colin Cook said: “Gin is not really an entry level drink for our fourteen-year-olds so I don’t think it’s going to be an issue.”

The distillery will join Oxford’s growing artisan market. Oxford Blue is an acclaimed local cheese, whilst the Real Wood Furniture Company and the One Village shops sell independently made wooden furniture. The Covered Market has been a centre for local trade since 1772. The Oxford Artisan Distillery is the first known gin distillery in Oxford’s history.

Review: Anything Goes

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This latest production of Anything Goes offers audiences a highly polished sail on the SS American, replete with camp-as-can-be sailors brandishing mops and tap shoes. The set (designed by Gabriele Juzeliunaite) consists of a white expanse of ship punctuated with portholes and life rings, with a balcony for the orchestra and cheery bunting strung above. Although it is fairly simple its clean execution is highly effective. The placement of the orchestra in full view of the audience was a nice touch and extended to their treatment within the play: one character entered from the midst of the musicians; soloists were able to stand up and be recognised; and they even have their own chorus line at one point in the show. The music produced was energetic, upbeat and perfectly timed to the action.

In fact, the premise of the musical (mistaken identity, farcical hijinks) ensures that a steady stream of calamities come hurtling across the stage for most of the first half. The energy levels never seemed to falter, although it did take a while for some of the accents to settle into place. There were a couple of notably strong duets in this half (‘You’re the Top’ and ‘Friendship’) and the singers’ clarity meant that the audience could fully appreciate Cole Porter’s ludicrous, hilarious lyrics. The common denominator of these two numbers was the character of Reno, played by Kathy Peacock. Peacock is undoubtedly the star of this production. She had an incredible command of the stage and boasted impressive singing, dancing and acting talent, far beyond what is usually expected of student drama.

Disappointingly, the second half was not quite as engaging, relying more on the rapport already built in the previous acts. The transitions between scenes were noticeably clunky and there are fewer songs. That said, the bizarre ‘Blow, Gabriel, Blow’ that opened this half was probably handled as best as could be, given its incongruity and lengthiness. It was Laurence Belcher‘s rendition of ‘Gypsy in Me’ as the oddly endearing Lord Evelyn Oakleigh, however, that really enlivened the show once more – and garnered the greatest laughs of the evening. The other standout cast member that deserves mention is Nils Behling, as the criminal Moonface, whose defined physical movements, facial expressions and comic timing generated much non-verbal hilarity.

Overall, this is a spectacle of a show and an immensely enjoyable trip to the theatre. There is no ‘weak link’ in the cast and all of the aesthetic elements- set, costume, lighting- worked together in a clear, consolidated vision. Is it a ground-breaking reinvention of the original script? No. Does that matter? Definitely not. This is classic, well-executed musical razzmatazz that will see audiences still singing the show’s tunes for weeks to come. And if that doesn’t have you convinced, it has the most perfectly-timed lowering of a disco ball I’ve ever seen on stage.

The Myth of Momentum

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In the modern age of radio talk shows, huge TV rights deals and more Sky Sports channels than one could ever dream of, pundits are rife across the sporting globe. We are now continually fed information on how to perceive different games by a multitude of presenters and ex-pros. In some instances, punditry and analysis packages are genuinely insightful to the paying customer, Gary Neville and Jamie Carragher’s Monday Night Football gig is one that has particular caught the countries imagination, yet far too often pundits provide little, resorting to tried and tested clichés, immune to any sort of criticism on the mere fact they could kick a ball, swing a bat or run fast in years gone by – and you couldn’t.

Tuning into the Ryder Cup from Minnesota last weekend, among all the usual throwaway comments spouted by Messrs Montgomerie, McGinley and co, one line was uttered more than most; the magical importance of momentum. On the final day the rhetoric from the Sky Sports commentary team was consistently one of the importance for Team Europe to pick up early momentum which would feed through the team and inspire dramatic victory. The Europeans came out fast, winning 3 of the first 5 games, but momentum didn’t last, winning just 1 of the last 7, much like momentum hadn’t played much of a role on either of the opening two days with the team who won the morning session losing the corresponding afternoon session on both occasions. For a concept so widely talked about and so highly regarded as important, momentum appeared to have little impact upon the tournament, begging the question how big a role momentum has to play in sports?

The Oxford Dictionary of Sports Science defines psychological momentum as “the positive or negative change in cognition, affect, physiology, and behaviour caused by an event or series of events that affects either the perceptions of the competitors or, perhaps, the quality of performance and the outcome of the competition.” Is this cognitive shift really capable of changing the outcome of matches, series and seasons? Many argue hotstreaks are evidence for the power of momentum, but hotstreaks do happen by chance. Take for example the flipping of a coin, if you flip it long enough either heads or tails will go on a long streak of solely occurring, much like if you play football games for long enough Leicester City will go on a long streak of not losing.

The Leicester City case, is an extreme and rare example, and therefore the human mind is conditioned to remember it and not the fortunes of the other 19 teams playing in the league exaggerating our perception of the prevalence of hotstreaks and therefore the importance of momentum in sports. A famous example sighted in defence of momentum is the 2001 Wimbledon semi-final, when a rain break with Tim Henman 2 sets to 1 up stripped him of his momentum and cost him a place in a Wimbledon final; or more recently Superbowl XLVII in 2013 when the Baltimore Ravens, leading 28-6 surrendered all momentum after a game delay due to a blackout and conceded 17 unanswered points. These memories are at the forefront of British tennis and NFL fans alike, but such events will happen from time to time – selective memory and small sample sizes do not however make a good argument for psychological momentum.

Momentum as a concept is wide reaching, within games, from game to game and even from season to season. In a 1985 study Thomas Gilovich “investigated beliefs and facts concerning the sequential characteristics of hits and misses in basketball,” concluding “basketball fans believe that a player’s chances of hitting a basket are greater following a hit than following a miss. However, the outcomes of both field goal and free throw attempts were largely independent of the outcome of the previous attempt.” In addition, he found that “the frequency of streaks in players” records did not exceed the frequency predicted by a binomial model that assumes a constant hit rate.” Further studies show mixed results, another paper looking at Major League baseball found no relationship between a teams end of regular season form and their performance in the play-offs, despite the common conception held that “peaking at the right time” is crucial when mounting a charge in such a format.

The momentum myth is so rife as people, in an attempt to explain and understand the events that unfold before them, are much happier buying into this romanticised concept as opposed to viewing a game or season as a multitude of random independent events. No doubt on occasions cognitive shifts occur which alter probabilities of future outcomes, but the quantitative evidence suggests psychological momentum plays a far lesser role in sport than our beloved pundits and analysts would have us believe.

Enjoy the column, J.

Rewind: Winnie-the-Pooh’s 90th birthday

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“Don’t underestimate the value of doing nothing, of just going along, listening to all the things you can’t hear, and not bothering.”

A.A. Milne’s contemplative, red t-shirted bear first appeared in book form in 1926, in the original eponymous collection of stories, followed two years later by The House at Pooh Corner. Milne wrote the stories for his young son, after whom Pooh’s best friend Christopher Robin is named, and the inspiration for the vibrant cast of animal characters was taken from Christopher’s toy collection.

The animals in Winnie-the-Pooh are what make it one of the most recognisable and iconic children’s stories in the last century, peppered with quirks and remarks testament to its lasting individuality. Tigger’s pogo-stick-like tail, Pooh’s poetic tendencies and Piglet’s adorable bewilderment at the world evoke more intense childhood nostalgia with each YouTube video watched. Every cast of children’s characters produces a personal favourite, and my heart goes out in particular to Eeyore, who surely epitomises the frustration of any reader not to be able to reach into a book and tell a character that everything is going to be just fine. The adjective ‘Eeyorish’ has even made it into the Oxford English Dictionary as “deeply pessimistic, gloomy” and his melancholic reflections on life are one of the most memorable trademarks of the story.

In 1932, Pooh appeared for the first time in his classic red t-shirt, in the first colour motion picture of the story made by Stephen Slesinger. After buying the rights in 1930, Slesinger cultivated a multi-million dollar Winnie-the-Pooh empire. Since then, Pooh has become associated vividly with Disney. Pooh’s brand might be lucrative but it will always be simultaneously, soothingly simple in the gentle world of Hundred Acre Wood— which can be visited via reading the book or heading down the M25 towards Hatfield, the location of Ashdown Forest, where you can visit the real life inspiration for Pooh Corner.

Nowadays, nostalgic Winnie-the-Pooh love remains a strong force for good in the world; it has recently produced a new story called Winnie-the-Pooh and the Missing Bees, illustrated by Mark Burgess, to raise awareness of the bee decline—particularly good news for anyone as partial to honey as Pooh. Finally, for anyone who wants to combine Pooh-love with skill and precision, look no further than what must surely be the happiest sporting competition in existence, the World Pooh Sticks Championships 2017.