Monday 30th June 2025
Blog Page 1124

Interview: Paul Mason on Post-capitalism

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“I find the academic literature on this so timid and so bound by caveats…it needs somebody to stick a big stick with a flag on it in the middle of the territory and to pose a thesis in a non-scholarly way.”

 Paul Mason, Channel 4 Economics Editor, award-winning journalist and lifelong fan of Northern Soul, has a radical and controversial insight on the future of capitalism. He sets out his own take on the future in his new book PostCapitalism: A Guide To Our Future.

 I met him in Mr Blackwell’s nineteenth century office on the top floor of Blackwell’s bookshop, shortly before he spoke in their Academic Book Week about the future of a world after capitalism. Mason sported a beard, jeans, and a leather biker jacket. His book boldly sketches out a vision of society in 2050.

 I began by asking him whether he sees this as the beginning of the end for capitalism, or just for neoliberal capitalism.

“Neoliberal capitalism most clearly cannot go on. The endless expansion of the money supply because of fiat money – that is money not linked to metal or global output – is in conflict with a world where the bargaining power of labour is so low that it cannot maintain its share. You get the endless expansion of credit, financialisation of ordinary working lifestyles, and the stagnation of incomes. All this is going to create a situation in which the credit system has to be elastic – to constantly expand so that people can live – and still the incomes against which the credit is being expanded do not rise.

 “Neoliberalism has now been through three boom-bust cycles: the Asian crisis, Dotcom, and the structured finance crisis that led to 2008. Neoliberalism cannot go on, but its strategic problem is that all credit is premised on the idea of return payments with interest out of growth from the market economy. My thesis is that there is a non-market economy growing alongside capitalism, based on information technology, that will compete with capitalism and the market for certain areas of economic life. It has already won the competition in the sphere of encyclopaedias and web hosting software, but lost in the sphere of platforms where taxi drivers can interact with each other.

“My hypothesis is that capitalism can be superseded by a post-capitalist, non-market form of society, but I also leave open the possibility of post-capitalist survival and what that would mean colonising. The only market that remains is one of human micro interactions – today we have sex work, tomorrow we may have to have friendship work: these are the last tier for economic rationality. I do not think there is enough value in them to sustain a third industrial revolution. Wonga and Uber are very impressive businesses in their time, but they are not the third industrial revolution.”

 Mason sees information technology as being at the heart of this change, but I asked him if this is purely an illusion of freedom. Is this ever expanding digital age tying us down to giant digital corporate companies, allowing them to further chain us into a cycle of consumerism?

“These are chains, but let’s try and relativise it. The first thing is that what the tech giants are doing are farming and commercialising their externalities, the spill overs, the free stuff that we create. I interact with you or 200 or 1000 people on Facebook, a third thing is created out there in the cloud – a network effect. All the business models of the tech giants are dedicated to capturing the value in that network effect and selling it. It is a chain: information should be free and we should utilise our own information.

“I am not in the dystopian school that sees everything like The Matrix. I don’t think that they are surrounding us with information barriers and prisons that are unbreakable. On the contrary, I think that they are breakable through network action.”

We move away from discussing his book, and turn to Europe and the EU referendum. He tells me that he did not have a necessarily eurosceptic critique of the euro or EU, but that he does have a democratic problem with it.

 “It is losing its democratic raison d’être because you cannot go on imposing austerity on states that cannot repay their debts. Right-wing populism has a logic to it if mainstream conservatism cannot answer the central question – that is, we signed up to an economic union that has become basically a currency union that does not work. It is not the ever closer union that is the problem, it is the currency union that does not work and the unwinding bureaucracy.

 “The EU is transforming itself into a kind of non-rule of law situation. The Euro group is not a legal entity so it is a joke when things like the Euro group take decisions that look like economic warfare – what they are saying is that their might is right. In a way it seems strange to put it this way because I am very for the rights of migrants and refugees, but the people who have forced their way across the European frontier have destroyed several things: Schengen, Dublin. The free movement laws are all in tatters because some people could get in. It is great for them but it is not great now for all the people I met in Morocco, all the sub-Saharan migrants who are trapped in Tangiers. They cannot barge their way in; many of them will have an equal claim to asylum in Europe as the people who came from Syria. So what you are getting again is might is right, it is not the rule of law. That is my big fear; that the British electorate, through a combination of right-wing populism and quite logical left-wing outrage at what Europe is becoming, will make people ultimately look at it and think maybe we do not want to be in it.

“My fear is not that we leave the Euro but that a chaotic exit takes place because a combination of frustration and outrage cannot produce a logical outcome. If you think it is bad now, wait and see what we are going to have to do to make a bunch of bilateral trade deals if we are outside the EU. That is a danger that we will have to hawk ourselves around as a country to the highest bidder because we now have to do 200 trade deals with everybody who we formally traded with via the EU.”

After our interview he signed the Blackwell’s book, joining the likes of Muhammed Ali, and then led an engaging debate on the future of capitalism.

Review: Breathing Corpses

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Promenade theatre is a form of drama seldom seen on the student stage. For the uninitiated, it’s a theatrical format that immerses the viewer by allowing them on set. With no seating and no formal distinction between story and viewer, audience and actors alike are left at each other’s mercy. The creative opportunities afforded by such a set up are incredibly interesting but also incredibly risky.

It’s exciting that a production at the O’Reilly should attempt to harness this ambitious format and furthermore a testament to the vision and bravery of the show’s director and producer. Especially in light of the creative and financial risk of putting it on. And yet although this was a great effort, I wish they had pushed the possibilities of the format further.

Breathing Corpses tells three sets of stories through five extended vignettes. The thread that flows throughout each of the stories is a debilitating encounter with death. The first story shows us a hotel cleaner called Amy who discovers a corpse at work. We then move to the office of a storage locker manager called Ryan (James Watson) who similarly discovers a dead body moments after a representatively awkward and strained conversation with his wife Elaine (Isobel Jesper Jones) and employee Ray (Calam Lynch). Finally, we see our last duo in the form of Ben (Dom Applewhite) and Kate (Helena Wilson) who have a dangerously unbalanced relationship, whereby Kate abuses Ben under the guise of stress and anger. These stories interlock until the fifth and final vignette in which Amy uncovers what we strongly suspect to be another dead body.


The story is a little ponderous due to the fact it strays between offering veiled social commentary on the niceties and pettiness of everyday life or whether it wants to be a murder mystery. The former style is evidenced when the dialogue directs us to the quotidian details of our character’s lives. This facet of the writing sometimes clashes with the finding of a corpse. The reconciliation of these thematic and stylistic disjunctions is I think the main challenge that the work presents for a production. It must be said, Laura Wade’s text makes little concession to a production trying to pull together these contradictions. When this production managed to combine both, what came through was an extremely intelligent and compelling piece. It further managed to capture something of the existential and comic absurdity that Wade’s contraposition of death and banality seemed to be aiming for. Sadly, however, these moments sometimes took a long time to shine through and sometimes they felt as if they were a long time coming. Ultimately however I think as viewers we were well rewarded for waiting.

A case in point of how Wade makes it tough to reconcile the opposites of mortality and banality is the first two vignettes. For my money these were are slow and not as interesting as the writer probably thinks they are. Grainne O’Mahony (Amy) has to work with a very unforgiving set of lines when she delivers a series of awkward non-sequiturs which we as audience members are made to find amusing and endearing in light of the surrealism of her situation. Personally the monologue did not come off for me, but frankly this is a fault of the script not the production or her performance. Nevertheless, credit where credit is due – to hold the audience’s attention for a good 10-15 minutes on your own with such a tough monologue is real credit to O’Mahony.

The next scene between Ray, Elaine and Ryan would have worked well as a scene in the middle of a play in which they were the only characters. They came on and delivered excellently all the nuances and subtleties of their frustrations and power plays. Isobel Jesper Jones in particular has refined  ability to conjure a menacing presence of suggested anger or rage- to perfection. Likewise, James Watson and Calam Lynch had a fantastic rapport of easy nonchalance in contrast to Jones’s nervous energy. But again, one just didn’t feel invested without having had the narrative that their situation seemed to presuppose. As such what was a very accomplished execution of the scene lost the urgency and momentum, which the subtlety of their characterization needed in order to really be appreciated.

It was only after Dom Applewhite and Helena Wilson injected some sense of manic neurotic energy that things got more urgent. Their argument over a wounded dog was very scary and the absurdity of the subject matter didn’t get in the way of seriously suggesting the danger and significance of their fight. This was the scene where mortality and banality were best brought together. On the one hand we had the petty details over which the couple argue and on the other we had the degeneration of the bickering into a pretty mortal duel. The resulting juxtaposition, hooked us like a murder mystery and made us reflect on just how shit living in the rat run of everyday working life really is. A juxtaposition of this sort I think was part of the intention and the difficulty of the play.  

Once we see the fight, the play really comes into its own as a gripping and fascinating character study. It is on the strength of what follows this fight that the play deserves four stars.

My one complaint is with how static the staging was for a promenade play. As audience members mostly we ended up standing in the middle and just turning our head to the relevant corner. I really wish they had used the dynamism of the format to greater effect in telling the story. For me it is this spatial mingling between the viewer and the viewed which is the advantage of promenade theatre.

At times this possibility was for example tantalizingly realized to great effect. In between scenes we were subjected to some very sinister sounding noises while a group of early noughties televisions (a great period touch) played news stories from the era. The fact we were isolated and exposed in the middle of the stage made us aware of this disturbing and nauseous sensation that in and among the everyday, something is not quite right. This for me is what makes Promenade theatre unique and worthwhile – it doesn’t let you escape. I was told by director Dom Applewhite that the sounds were deliberately designed to invoke ideas of circularity, which certainly chimes well with the holistic fit of the three stories and the sense of being encircled in the middle of the space. I wish more imersive strategies such as these had been pursued. This criticism, however, overlooks the immense effort required in making the set, which really deserves to be seen.  Some of the subtle technical accomplishments, like wiring the TVs to somehow turn on at the right moments must have taken a lot of work and dedication. Indeed the play as a whole, when we consider its proficiency of execution
 in the light of
 its visionary
 ambition really deserves recognition as a real achievement for the Experimental theatre club.

 

 

Students to take aid to Calais

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This coming Tuesday 24th November, a group of Oxford students plan to drive two vans of supplies to Calais to be distributed to refugees.

The initiative follows a recent fire in ‘The Jungle’ – a refugee camp – which destroyed 40 shelters and left over 150 refugees exposed to the elements.

The Oxford-wide scheme has involved representatives collecting supplies across most colleges and has also crowdfunded approximately £2,000 which will be put towards winter supplies for refugees.

Asked about the origins of the initiative, Alethea Osborne, Women’s Officer at St. Anthony’s GCR, commented, “It came out of a fairly casual conversation about the refugee crisis in Europe and what we could do to help and so was fairly informal really…then we made a Facebook page and crowdfunding page and everything just took off!

“I was contacted very quickly by people from different colleges wanting to help and we now have reps in 16 colleges and the response has just been amazing.”

A list of priorities produced by L’Auberge and Help Calais, updated on a weekly basis, has been used to make sure every donation is as valuable as possible. The top five ‘critical’ priorities are pre-made identical food parcels, volunteers, blankets, sleeping bags and tents. The Wadham donation team has stated it is specifically hoping for men’s trousers, boots and trainers, winter jackets, hats, scarfs, gloves and blankets.

Wadham has been among the largest college contributors to the Oxford-wide initiative, which has been co-organised by Osborne and Jack Clift, LGBTQA officer and bar manager at St. Anthony’s.

Earlier this week, Wadham representative for the initiative, Niamh Macintyre, told Cherwell, “Wadham will be collecting physical donations of clothes and blankets for refugees in ‘The Jungle’ this week and Seventh Week…as part of a convoy heading over from Oxford to Calais on the 24th. We’ve had a really great response so far from both students and staff.”

A Cinderella Story

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Reading the dress code for an Oxford ball can make one feel the need to raid the closet of James Bond or a modern Jane Austen character. Balls are not only an excuse to drink and dance the night away, but also to show off a stunning black suit or gorgeous new dress. Unfortunately, the costs add up, especially considering the dress code. 

A complete evening tail suit hire from Walters costs £85 while an Ede & Ravenscroft waistcoat purchase alone is £95 (one of the cheapest components — the tailcoat rings in at £695 and the white-tie optional black top hat costs £350), meaning that rental is usually the best option.

Women can also hire ball gowns, though it’s less common. Instead, hours upon hours are spent in shops, trying to find the perfect dress. And, of course, wearing one dress to several occasions means committing a major fashion faux pas, easily noticed thanks to social media.

Not only can the high cost of appropriate attire match that of a ball ticket, but it can feel exclusive. Don’t get me wrong: if a student can afford to go to ten balls a year without breaking the bank, I say go for it. But for those who can’t, dress shopping on a budget serves as a great reminder of what they don’t have. To their infinite credit, many ball committees work hard to ensure that each ball is the experience of a lifetime rather than a reminder of socioeconomic status, especially by pairing with hire companies to help save students money.

The New College Commemoration Ball committee is working on just that, as theirs will be one of the few white tie balls this academic year. The white tie dress code was chosen for tradition, as well as the once-in-a-lifetime feel. “While not common-place, people may well attend other black tie events while at University or afterwards, whereas most New College students will only attend a Commemoration Ball a maximum of once,” a spokesman for the committee said. 

As a Junior Year Abroad student, I can’t help but contrast this with my home university, where long dresses are almost always casual summer maxis instead of gowns and full suits, never mind tuxedos, are a rare species. The last time I donned an outfit considered appropriate for a ball was my senior prom three years ago, and I’d be lying if I said I wasn’t excited about the prospect of a formal evening at a ball or that I would be disappointed if my home university started such a tradition.

Unfortunately, there is no easy way to reconcile this: the cost of attending a black tie or white tie event can be daunting and the idea that women need a different dress for each occasion can easily contribute to a throw-away culture, but what would a ball be if everyone looked like they were headed to Wahoo after? The charm rivals the price, and unless we do manage to break into 007’s or Elizabeth Bennet’s closet, there may be no simple solution to the noninclusive nature of Oxford balls.

Initiation

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Photography: Richard Wakefield

Concept and Styling: Emily Pritchard

Artistic Direction: Emmanuelle Soffe

Props: Virginia Russolo

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Location: Balliol dining hall

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Silver sequin dress, left, River Island. Gold maxi, centre, Miss Selfridge.

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White chain collar dress, Topshop.

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Gold T-Shirt dress, left, Asos. Metallic slip dress, centre, Asos. White chain collar dress, as before, Topshop.

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Silver dress, Missguided.

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Rose patterned metallic dress, left, Miss Selfridge. Silver dress, as before, Missguided.

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Rose patterned metallic dress, left, Miss Selfridge. Gold maxi, as before, Miss Selfridge. Metallic slip dress, as before, Asos.

All animal heads constructed from designs by Wintercroft, http://wintercroft.com

Models:

Irenne Ighodaro

Daniella Schutze

Angelina Eddington

Jem Bosatta

Fashion assistant: Michael Lucero 

 

Gant: Change the world, not the shirt

Photography: Ben Bransbury-Hare

Styling & Production: Emily Pritchard

Styling & Artistic Direction: Emmanuelle Soffe

Approached at the end of summer by all-American brand GANT, we wanted to do two things with our fashion supplement; showcase GANT’s range of autumn/ winter clothing, and explore the tagline “Change the World, Not the Shirt.”

Explore the range at http://www.gant.co.uk

You can’t beat the crisp, plain lines of a beautiful white shirt; styled over or under other layers, tucked in or out, classic or slightly quirky. Using some of the most beautiful locations in Oxford (all indoor shots taken at the Oxford Union), we created a classic background against which the tailoring and quality of the GANT clothing speaks for itself.

Here, we approached five Oxford undergraduates, all studying for different degrees, and all making waves in their creative involvement outside of their respective courses.

Tom Humphrey

Tom started developing apps at the age of 15. At 17, he had developed his own language learning app, Lingo. In Trinity term of his first year at Oxford, Tom and his best friend Freddie created ‘Social 150’, a social network “for the people you care about.” In just 24 hours, it racked up 10,000 hits.

Tom wears:

GANT Academic Oxford Shirt- White
GANT Cotton Wool Crew Sweater
GANT Chip Moleskine Jeans
Nicole Rayment
Discovered on YouTube by X-Factor mentor Sinitta in 2011, Nicole’s girl band Say No More opened for JLS, Jessie J and Union J in front of 25,000 people at the Madejski stadium in Reading. Scouted by M+P models when in London, Nicole’s modelling career is soaring.
Nicole wears:
GANT Diamond G- The pinpoint Oxford shirt- White
GANT Kate super stretch denim jeans- Dark blue worn in
GANT Double breasted coat- Grey
GANT winter shores turtleneck sweater- Sage
Electra Lyhne-Gold
Electra is an Art student at the Ruskin. Having spent the summer working in London art galleries and regularly attending auctions, Electra likes to create fictional narratives within her artwork. She paints from her own dramatically-staged photographs, inspired by Vermeer and film stills from the 50s and 70s. Electra then transfers these into short films.
Electra wears:
GANT Scalloped Collar poplin shirt- White
GANT Velvet Dress- Navy
GANT flat cable jumper- Cream
Henry Tudor Pole
Henry is a member of the Oxford-based band ‘Keep it Trill’. Playing specifically jazz, blues and funk, the band are fast gaining popularity after performances this year at both the Union and MedSoc balls.
Henry wears:
GANT blue fitted poplin shirt
GANT Green lambswool cable crewneck sweater
GANT The Harrison coat- brown/ green
GANT Brown tailored urban comfort pants
With special thanks to:
Michael Lucero, fashion assistant
Sheri Scott at Betty and Bee
The Oxford Union
Check out GANT’s extensive collection:

FOI requests uncover Oxford pay

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Following a nationwide investigation by the TaxPayers’ Alliance, it has been revealed that many UK university staff receive six-figure annual salaries. In staff pay league tables, Oxford is near the top. The university maintains this is necessary to maintain its high academic standards.

As part of a broad-based campaign to promote taxpayers’ right to transparently evaluate how their money is being spent, the Tax Payers’ Alliance has made a series of Freedom of Information requests to UK universities. The result of this investigation has been an unexpectedly high proportion of academic staff and offi cials receiving six-figure salaries.

Out of the 7554 employees earning at least £100,000pa, 622 work for Oxford University, approximately double the number of six figure salary staff at Cambridge. One Oxford payee, earning £630,000pa, took second place on the individual staff members’ high pay league table.

High pay is not restricted to Oxbridge, with London Metropolitan University’s former Vice Chancellor earning over £600,000pa.

A University spokesperson told Cherwell that high pay packages are necessary to remain the world’s second-best academic institution. As a consequence of its position as “a global leader for research and teaching”, the “exceptional minds” the University is looking to attract are “also sought-after by international competitors”. Protecting Oxford University’s acquired status of excellence and potentially rising up the league tables ultimately requires the organisation to “reward their talent appropriately”, the spokesperson said.

The TaxPayers’ Alliance warns the high tuition fees currently paid by students make it imperative that tax money is spent according to academic merit. Chief executive of the Alliance, Jonathan Isaby, told Cherwell, “It is vitally important that money is not wasted [particularly since] the tax burden is very high …for those on low incomes (including students).”

The Alliance values transparency in university affairs and insists on the importance of a system in which “hard-working taxpayers can judge whether they are getting value for money from the public sector’s senior employees”.

Children’s services cuts planned

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Last Saturday, 500 protesters marched across Oxford city centre place to fight against proposed reforms to children’s services across Oxfordshire. The potential changes notably include the closure of all children’s centres through cuts in funding to the Oxfordshire County Council’s Early Intervention budget.

The proposals would close all 44 childcare centres in Oxford to achieve a £8 million saving by the 2016-17 budget. Despite the extensive cuts to children’s services planned, the council would still be obliged to provide some services by law, such as services to children on child protection plans.

Although Oxford University students with children are currently able to use nurseries at Balliol, Wolfson, Somerville and St Anne’s Colleges, access across other colleges is limited. However since these nursery services are distinct from the children’s services currently offered by the council, even student parents at these childfriendly colleges would likely be affected by the proposed changes.

Replacing the existing centres would be eight ‘Children and Family’ centres, which the council claims would “support children and their families who need help and will integrate the work of the Children’s Centres, the Early Intervention Hubs and Children’s Social Care”. Many of Saturday’s demonstrators have been vocally critical of this measure, protesting that these new centres would be available by referral only. The current children’s services provide universal access.

The ‘Save Oxfordshire’s Children’s Centres’ campaign, “a concerned group of parents with young children, child minders, grandparents and the general public”, has also emerged to condemn the proposals. In a recent statement, the campaign raised concerns about the ambiguity of any departure from the current system, stating, “there is no information on who will be able to access the services if any of the three proposals is implemented”.

Tamsin Browning, a childcare service user and campaigner, highlighted the plight of parents who move to Oxford for work and careers. “Lots of people who move here for work only have networks relating their jobs. After having a child, this means people can become very isolated and at higher risk of post-natal depression.”

Browning also raised broader concerns about the implication of proposals, telling Cherwell, “I don’t think the government really understands the pressure they’re putting the council under by cutting services like old people’s homes or subsidised bus routes – these are really important services. I think it will lead to so much more need in the future. I want to live in a society that looks after the most needy. The children’s centres were a lifeline to me and are one of the few places you can go to with a community. That’s the kind of world I want my son to grow up in, where people care for each other through these centres.

Another childcare service user, Jah Huish, highlighted the particular issue of accessibility in Oxfordshire, with its mix between urban and rural. “We want to see all 44 services open. You are supposed to be able to walk to your children’s centre.”

Huish went on to suggest what the longer term effect of the cuts could be. “By the time my daughter gets to primary school children will be so bogged down which should have been caught by child services. There will be less time to actually teach. It will also create a huge strain on nurseries which will have to provide 30 hours of care per child.”

Oxford University research on children’s centres was recently published in a report on child services entitled ‘Organisation, services and reach of children’s centres’, concluding that children’s centres are an effective means of reaching vulnerable children.

Pembroke concerns over security

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Students at Pembroke have expressed concerns to the college over security and safety at Pembroke’s off site accommodation, the Geoffrey Arthur Building (GAB), following a number of bike thefts just outside and a lack of lighting on the towpath and Folly Bridge on St Aldate’s.

Residents of Pembroke’s annex have also raised issue with security cameras outside of the building, which do not work. However, the GAB does have an ‘airlock’ double gate entrance to avoid tail-gating and there have been no thefts from within the grounds of the GAB for three years. Pembroke College has been corresponding with students regarding those issues raised.

Helena Gilchrist, a third-year undergraduate living in the GAB, told Cherwell, “I can understand that crime rates may not be higher in the area in comparison to around college, but that does not mean that the crime rates are low. In college it is very easy to get to the porters quickly, whereas here it is much harder. The walk – which is lit for the entirety of the journey-back suggested by college is sensible, however we feel that it is unrealistic to expect all students to walk back this way as it adds an extra 10-15 minutes to the walk.

“Apparently they don’t have lights on the bridge because 15 years ago people didn’t want the added light keeping them awake. I think it’s ridiculous that the issue hasn’t been addressed in 15 years when safety is an on-going issue. The same goes for the redundant security cameras. I think that our perception of safety is important, regardless of statistics. Being students at university with little other option of places to live, feeling safe is important to minimize stress levels in an already highly pressurized environment.”

JCR President Joseph McShane commented, “We have been promised cooperation on the issue and this is the approach that we really want to take as working with the council on issues such as these is considerably easier with the support of college.”

The home bursar at Pembroke, Mike Naworynsky, commented, “On an annual basis we ensure that all students are given advice and information about safety and security in and around the city centre. As part of that process we give specific advice to students who live in our Annex, mainly due to the proximity of the river, and we point out the potential risks of travelling alone at night anywhere in the city. We strongly recommend certain routes and sensible precautions in line with experience of the area. In addition, we have resident Junior Deans who are available to talk to students if necessary and we engage with students on a one-to-one basis if there are any particular concerns.

“There have been no reports of serious crime in the area of our buildings; in September 2015, there were three reported minor crimes in the area close to our Annex and three reports in the vicinity of the College main site. We have suffered from issues such as bike thefts, which are endemic in Oxford, and we offer excellent advice on how to prevent bikes being stolen as well as providing secure bike racks within our sites and access to discounted high security locks.

Pembroke also added, “Ad Hoc meetings are held as required (with the next meeting due to take place on the 23rd November) where students can raise concerns directly with the Home Bursar.”

On behalf of the City Council, Councillor Bob Price told Cherwell, “No one from Pembroke has raised safety issues with the local councillors. The City Council has no real locus on safety issues: the County Council deals with street lighting and highways/footpath matters and the police with ASB (Anti-Social Behaviour) and fear of crime. “There is a considerable incidence of drug dealing in that area and the police do what they can to disrupt it, but the cuts in their numbers have definitely resulted in less patrolling

Mondrian, the Abstract and Fashion

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Vogue Paris 1965.

Yves Saint Laurent has once again designed an item of clothing that every woman in the western world would pay a lot of money to get their hands on. It is unusual for Vogue to have full-length shots of a model on the cover of their magazine, and even more unusual to have the model tilted at an angle. Vogue Paris of September 1965 has then, done so for a reason. The dress that the mannequin is wearing is clearly of some vast importance. It is a familiar design, to people then as now. We recognise the crossing over of geometrical lines, boxes of red, yellow and blue colour. A Mondrian artwork of course! Everyone is familiar, to an extent, with Mondrian. Even now Mondrian’s influence remains heavy in the world of fashion. Nike’s Dunk Low sneakers or their Vans competitors are just two examples.

Mondrian merchandise is endless, and this is perhaps because there is something timeless about Mondrian’s designs; they do not, cannot, grow old. It is ironic that it so often manifests itself in the fashion industry; an industry which is itself a process of seasonal ageing. The fashion industry clings onto Mondrian’s timelessness, and this in itself reveals the importance that lies behind the surface of his art. Mondrian noted himself that his neo-plasticism influence extended out a great deal more to poster art, advertising, layout and industrial designs, than to painting or sculpture.

Vogue Paris’ 1965 cover is important therefore, in revealing something particular of Mondrian’s work, as opposed to Mondrian’s influence on Yves Saint Laurent or fashion as an entity. The white edges of the dress blend into the background of the white studio; the model and the background become one. The way she is tilted at an angle gives her the appearance of a cut-out paper doll, pinned to a background. Even the caption title ‘Collections Hiver 65’ runs out onto the white of the dress . The way her head is at an unnatural angle, with a large round earring, heightens the illusion that she has been pinned to some sort of board. The effect is that there is no sense of depth to the picture. The paper-cut-out doll is pinned to the surface of the magazine cover, and there is no separation between the dress, her body, and the background. This is a play of depth which Mondrian would, had he still been alive in 1965, vastly approved of. This has however changed in some more recent Mondrian adaptions in the fashion-industry, such as Francesco Maria Bandini for example.

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His designs take Mondrian entirely out of context and have created them into moving, walking three-dimensional sculptures. The black lines of Mondrian’s work that we are so familiar with, reach out into the space around the model. Bandini has subverted what I believe, to be fundamentally at the heart of the abstractedness of Mondrian’s art; the loss of depth and three-dimensional space.
Or has he?

Take Mondrian’s ‘New York City 1’, completed 1942.
The criss-crossing symmetry of yellow strips, underlined by blue and red, is cut off by a grey border line. Yet the seemingly white background beneath these grid-like patterns is not in fact, properly white. There is a tinge of grey which is only a few tones lighter than the borderline. The effect is that there is no sense of depth within the picture, but strangely, the lines seem to spring out towards the viewer instead. “The white is not flat enough” Mondrian complained once to his friend Naum Gabo in relation to ‘New York City 1’.

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Mondrian’s paintings prevent any possibility of entrance at all. The frame is set behind the canvas, pushing the area forward instead of letting the spectator into the wall. The geometrical lines he uses instead, push out towards the viewer; therefore rather than giving the impression of pictorial inner three-dimensionality, he instead creates exterior fourth dimensionality. Returning to Francesco Maria Bandini’s fashion designs, one begins to see why Bandini may have used the black lines from Mondrian’s canvas as a three-dimensional element to the outfits. These lines do in fact, jump out at the viewer; whether from the canvas, or from the runway show.

So can the destruction of depth and space within the canvas, account for Mondrian’s move towards abstraction? I think so, yes. Through his move away from depth, Mondrian developed his abstract philosophy and characteristic style that we identify with him today. Most importantly, there is arguably a parallel between Mondrian’s concept of pictorial depth and the notion of time.

What he has created in his art is an accumulation of centuries; into one moment, into a single object. Time is directed back to depth. If time is reality (time being the past manifest in the present), and time is parallel to pictorial depth, then the removal of pictorial depth from his canvas both strips it of age and renders it immortal; whilst abandoning it to a new-born notion (a Mondrian notion) of what reality is, or should be.

Correspondently this is once again reflected in Mondrian’s legacy in the fashion industry. People still wear Yves Saint Laurent’s Mondrian collection, if they can afford to get their hands on the originals. Mondrian designs are echoed throughout the decades of fashion, even last summer’s Victoria’s Secret Mondrian-inspired bikini range being one example of many. Mondrian’s designs are ageless and timeless; but this was always his intention. He wanted to destroy time, in the same way he wanted to destroy space and depth; and in doing so, has immortalised his subjective philosophy on the objectivity of time, emotion, art, life and reality.