Blog Page 1366

Oxford University Hospitals in genomic project

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Oxford University Hospitals NHS Trust has been designated as one of 11 Genomic Medicine Centres across the country, NHS England announced earlier today.

A government scheme implemented by the NHS is setting up Genomics Medicine Centres in 11 English hospitals. The aim of these Centres is to collect DNA samples to be used to help devise more tailored treatments for a wide range of diseases, focusing primarily on cancer and rare genetic diseases.

Overall, the target of the initiative is to collect and decode 100,000 human genomes (complete sets of people’s genes) in three years, allowing doctors a greater understanding of specific conditions. The aim is for this to lead to greater specificity in diagnosis and treatment.

The project has the potential to transform the future of healthcare, by improving how diseases are predicted and prevented, enabling new and more precise diagnostic tests, and allowing personalisation of drugs and other treatments to specific genetic variants within the population.

Anna Schuh, Oxford University Hospital (OUH) Consultant Haematologist and Director for Molecular Diagnostics in the University’s Department of Oncology and Head of the Oxford Molecular Diagnostics Centre, told Cherwell, “We have a long history of genome sequencing in Oxford. This presents us with a great opportunity to be part of a wider programme through Genomics England which is unique in terms of its scale and ambition. We are pleased to receive this designation so that we can continue to contribute to improving clinical outcomes for patients with cancer and rare diseases by innovating diagnostics for precision medicine. This programme will transform NHS diagnostic services and will help train a new generation of diagnosticians and researchers.”

Life Sciences Minister George Freeman added, “Our understanding of genomics is transforming the landscape for disease diagnosis and medicines research. We want to make the UK the best place in the world to design and discover 21st century medicines which is why we have invested in the 100,000 Genomes Project. We also want to ensure NHS patients benefit, which is why we have now selected NHS hospitals to help us sequence genomes on an unprecedented scale and bring better treatments to people with cancers and rare diseases for generations to come”.

The 11 hospitals that have been named as Genomic Medicine Centres have been designated as such following evaluation by NHS England. The evaluation found that these hospitals have a track record of providing excellence in genomic services, and meet the requirements needed to deliver the project.

Around 75,000 people will be involved, including some patients with life threatening and debilitating disease. Recruitment to the project will begin from February 2nd 2015, when doctors will offer suitable patients the opportunity to take part in the scheme.

Patients that volunteer for involvement in the 100,000 Genomes Project will have to agree to allow drugs companies and researchers access to their genetic code and medical records, after any identifying elements have been removed.

After samples are collected, they will be securely sent to Illumina, an American biotechnology company, who have been procured by Genomics England to sequence the whole genome and to analyse it. Results will be sent back to the NHS for validation and clinical action.

The 11 Genomic Medicine Centres (GMCs) are based across the country, covering Cambridge, London, Liverpool, Manchester, Newcastle, Exeter and the South West Peninsula, Southampton and Birmingham, in addition to Oxford. Throughout the project, NHS England’s ambition is to secure over 100 participating NHS trusts. Consequently, a second wave of GMCs will be obtained to ensure a more comprehensive coverage across the NHS in England.

Scotland, Wales and Northern Ireland are not taking part in the Project.

St Hilda’s applies for civil marriage license

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Last Wednesday Oxfordshire County Council invited members of the public to offer their opinion on whether St Hilda’s College’s application to hold civil marriage ceremonies and civil partnership registrations on its premises should be accepted. 

During this period of public consultation, people will be able to view the full application and plans at the Oxfordshire Register Office in Tidmarsh Lane from Monday to Friday (excluding Bank Holidays) until 31st December.

If the application is successful, St Hilda’s will join St Edmund Hall, Mansfield College and the Bodleian Library who can already hold civil marriages and civil partnerships ceremonies on their premises. 

St Hilda’s Domestic Bursar Gerri Cane told Cherwell of the College’s decision to apply for the civil marriage and civil partnership license, “We already hold receptions at the College; the application for a licence seemed a natural progression from that as one or two couples had asked if we provided this service.

“Our chapel is very small and so we could only consider that for very small groups wanting religious ceremonies.”

She also added that all weddings and civil partnerships would abide by St Hilda’s current policy with regard to receptions being outside out of term time and usually outside of the working week.

Oxfordshire County Council have invited members of the public to comment on whether St Hilda’s should be awarded this license in accordance with “The Registrar General’s guidance for the approval of premises as venues for civil marriages and civil partnerships”. 

The legal guidance states “As soon as is practicable after receiving the application authorities are required to publicise the application for a period of 21 days. This can be through placing an advertisement in a local newspaper [or] publishing notice of the application on the authority’s website.”

Head of Registration, Coroner’s & Music Services at Oxford Register Office Jacquie Bugeja was keen to underline that this period of public consultation was common legal practice, although the Council has progressed in how it chooses to publicise the application.  

She commented, “This is a requirement that has been in place since the regulations came into effect in 1996. We have in the past placed a notice in a local newspaper but more recently have placed it on our website.”

Cane told Cherwell she was supportive of the public being able to offer their views on the College’s application. 

She declared, “With regard to the decision to allow the public to offer their views on the application, this is an accepted part of any licence application, including- for example- when an application is made for a premises licence, and I am fully supportive of the public’s right to offer their views and comments.”

History Undergraduate Flora Raybould likewise supported both the public’s right to comment on the application and the application itself.

She said, “I’m so pleased that Oxford colleges are willing to embrace civil marriages and civil partnerships. I really hope that lots more colleges will follow suit and show interest in applying for similar licenses.”

“I also believe it’s really important that the public get a chance to look at the plans; not just as a legal requirement, but so that the local community have a say as to what’s happening in their town and the university that’s part of it.” 

Anyone wishing to object to the application can write to Oxford Register Office stating the reasons why they object within the declared period. Although Bugeja also told Cherwell that she was not aware of the Council ever receiving an objection in the past. 

No Mr. Hitchens, Russia is not acting peacefully

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A recent comment article in the Daily Mail struck me as just one of the many misguided views of the ongoing Ukraine crisis. Mr. Hitchens appears to be convinced that it is the EU which has acted aggressively, not Russia; on closer examination such arguments are not particularly convincing.

For one, there are plain factual errors. Mr. Hitchens writes that “since 1989, Moscow, the supposed aggressor, has – without fighting or losing a war – peacefully ceded control over roughly 180 million people, and roughly 700,000 square miles of valuable territory.”

Mr. Hitchens appears to be either forgetting that the Soviet Union did not simply decide to liberate its member states; it experienced a total economic collapse, leaving disintegration unavoidable.  

The word ‘peacefully’ is a surprising choice. Take the example of Chechnya; the Russian Federation fought two wars to prevent its independence– one of which it did lose, costing the lives of around 100,000 Chechnyan civilians according to human rights groups. Very peaceful indeed.

Other errors are rife. This is perhaps one of the few instances where conflating NATO and the EU is a mistake, given that the two have disagreed over the pace and scope of sanctions.

Stating that the EU wants Ukrainian wheat is a nice subtle way to accuse the EU of imperialism (going after a country’s natural resources is, after all,  commonly seen as one of the main reasons prompting imperialism), but is also a bit of an odd claim to make; the EU produces over seven times more wheat than Ukraine, and wheat is hardly one of the world’s most valuable commodities.

There is however a point to be made concerning the acquisition of resources. The current conflict area contains around fifty advanced Ukrainian arms factories which can produce weapons compatible with Russia standards and, before the crisis, helped supply that country’s military. One incident overlooked by Western media is how the ‘aid convoy’ sent by Russia this summer returned home carrying large quantities of factory equipment it had stolen from Eastern Ukraine.

However I am probably being too harsh on the writings of a single person, so it might be useful to consider the pro-Kremlin stance in general. Much is made out of the fact that the EU has supported the newly elected Kiev government (usually known by some combination of the words ‘fascist,’ ‘western’ and ‘Junta’ to those opposed).

Perhaps the best way to counter this is to compare the scale and method of foreign involvement. The Western world has largely declared open support for Kiev, has provided it with aid to avoid total economic bankruptcy, and has frequently considered arms sales to Ukraine.

Meanwhile Russian involvement in Ukraine includes tanks, hundreds of Russian ‘volunteer’ soldiers as well as intangible Russian aid such as training the rebels. While tanks are easy to spot, the presence of soldiers is harder to confirm, as, according to the BBC and various human rights organizations, the fallen Russians are buried in secret.

The Scottish comparison

Mr. Hitchens illustrates the EU’s presence with an example of Russian politicians appearing in Edinburgh to urge Scottish independence (presumably according to Mr. Hitchens both Scotland and Ukraine naturally ‘belong’ to England and Russia respectively, which enables the comparison to work).

The example can be built upon. Imagine that Scotland had voted for independence, but that the Shetland Islands had remained strongly against. A week after the referendum, English forces land in the Shetlands, remove the Scottish administration from there and forcibly pass a local referendum which annexes the Shetlands to England. The one pro-Scottish radio station on the island is silenced and its journalists are intimidated before the vote.

Encouraged by the Shetlands and financed by England, rebels in Dumfries and Galloway– a border area where the majority want to remain in the UK– rise up and throw out the Scottish administration. Worried about a pending disintegration of the country, Edinburgh (a.k.a. the ‘fascist Edinburgh junta’ by those who reject the referendum result) decides to send in soldiers to recover control of the area.

Following initial defeats the rebels are saved at the last minute by the miraculous appearance of tanks, military equipment and friendly ‘volunteers’ from the south of the border. After months of bitter fighting which leaves parts of southern Scotland devastated, a ceasefire is agreed under which English influence over Dumfries and Galloway is de facto recognized.

In the following year, despite the ceasefire, thousands more are displaced or killed as English backed forces continue their offensive, intended to cripple Scotland and thus destroy its legitimacy as a nation on the international stage. Eventually a full peace deal is negotiated, under which Dumfries and Galloway become an autonomous and quasi-independent part of Scotland. The road is now set for the area to be fully annexed by England in future.

Of course the above scenario would not have occurred had Scotland become independent, as it was clear all sides would respect the result. However it does provide a more functioning analogy to Ukraine than Mr. Hitchen’s one.

To be entirely fair on Mr. Hitchens, he does succeed in making one correct statement in his article. Mr. Hitchens is entirely right in saying that comparisons between Hitler and Putin made by “stupid, ill-informed people” are cheap clichéd ways to make President Putin seem more ‘evil,’ even if admittedly both share a common theme of nationalism, restoring a once-fallen Empire through military means and exploiting ethnic tensions to fulfil territorial goals, all while acting callously towards the democratic world.

It would have been nice had Mr. Hitchens also spoken out against those calling the Kiev government ‘fascists‘ and ‘Junta,’ — some kind of confused attempt to link the government with General Franco’s one during the Civil War.

That said Franco and the Kiev government do share one similarity, namely that they are both up against Russian troops and ‘volunteers.’

The original comment article by Peter Hitchens can be accessed here

Breastfeeding, facesitting & patriarchal control

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Recently, Lou Burns was instructed to cover up while breastfeeding her baby in the Claridges restaurant in London. Soon after, Nigel Farage suggested that women should “do it in a corner”, stating, “It isn’t too difficult to breastfeed a baby in a way that is not openly ostentatious.” It almost sounds like Farage has some experience in this area. Maybe he should write a new book, ‘How to be a mother – the British way’. You never know, it could be a bestseller.

But I doubt it. Thankfully, women are not going to be ‘put in the corner’ by a white, privately-educated, former-banker cis-male who has about as much identification with women (or indeed any other underprivileged group) as a teaspoon. In response to the incident, a group of forty mums organised a ‘nurse in’ protest outside Claridges. One protestor, Clare Mariscal, carried a banner saying: “That’s what breasts are for, stupid.” As she pointed out, “No-one has any problem with breasts when they’re displayed in a dress. Boobs are everywhere – people only object when they are used for their normal and natural purpose.”

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The responses of Claridges and Farage are symbols of how patriarchal considerations of ‘appropriateness’ are used to control women’s freedom of action.

Why should you be offended or embarrassed by breastfeeding in public? Ironically, covering up with a napkin almost draws more attention to the fact that you are breastfeeding. It seems to me that the only answer is that breasts are portrayed in our culture almost exclusively as objects of sexual desire for the gaze of men. This is a blatant manifestation of patriarchy: female sexuality is deemed appropriate and acceptable only when viewed through a patriarchal lens – when within male control. Breasts are deemed ‘appropriate’ when women are being perceived as sex objects, but ‘inappropriate’ when women are acting as subjects – whether through breastfeeding, or expressing their own sexuality.

In other words, female sexuality is deemed ‘inappropriate’ whenever it smacks of female autonomy. Through an amendment to the 2003 Communications Act, the UK government recently banned a list of sexual acts in porn. It is interesting that this list of “content that is not acceptable” banned female ejaculation alongside strangulation and aggressive whipping. It is both baffling and enraging that female sexuality is demonised in this way.

I personally feel that porn is symptomatic of our dysfunctional and voyeuristic attitude to sex – in an ideal society, there would not be a need for it. But if it is going to be circulated, it should be fully representative of the sexual experiences of both women and men.

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The legislation also banned facesitting in porn, to the outrage of many. Itziar Bilbao Urrutia, a dominatrix who produces porn with a feminist theme, asks: “I mean, why ban facesitting? … [because] its power is symbolic: woman on top, unattainable.”

Women’s sexuality has become a battleground.

Women’s freedom of action is constantly checked by considerations of patriarchal appropriateness; they must cover up when breastfeeding in public, and they must not ejaculate in pornography. In Chimamanda Adichi’s powerful words: “We say to girls ‘You can have ambition, but not too much. You should aim to be successful, but not too successful. Otherwise, you will threaten the man.’… We teach girls that they cannot be sexual beings in the way that boys are.” It seems we are also saying to women, “You can express your sexuality, but not too much. You can breastfeed in public, so long as you cover up. You can enjoy sex in porn, but not so much that you ejaculate.”

These incidents also demonstrate how our definition of what is ‘appropriate’ for women is filtered through other structural inequalities of class, race and heteronormativity. The idea that breasts are for lads’ mags, not five-star restaurants, relates not only to the division of men and women, but to the division of class. Pippa Middleton recently criticized Kim Kardashian for exposing her “booty” in the media, conveniently ignoring the fact that her fame was significantly furthered by the nation’s objectification of her own, ‘classy’, white-lace-and-silk-covered derrière.

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Regarding  the structural inequality of race, famous women of colour are more prone to being regarded as ‘inappropriate’ in their expression of their sexuality. Beyoncé has attracted significantly more criticism for embracing her sexuality than Miley Cyrus, when both claim to be feminists. As Lauren Rankin argues: “When white women get to decide who is ‘feminist enough’, particularly around women of color, they are perpetuating racism. They are policing the boundaries of who is acceptable and who isn’t. This is nothing more than a tool of racist patriarchy wrapped in feminist rhetoric.” 

The structural oppression of heteronormativity also informs what we consider to be ‘inappropriate’; it creates a hierarchy in which heterosexual acts are privileged and elevated, while non-heterosexual acts are stigmatized and labelled ‘inappropriate’.

The fact that ‘appropriateness’ is filtered through these privileged assumptions shows that the struggle against the patriarchy has to be an intersectional movement – in other words, it has to address other related forms of oppression, such as class, race and heteronormativity.

The porn legislation effectively demonises the sexual activity of those without privilege – whether male, heterosexual or ‘vanilla’ privilege. Charlotte Rose says that it “certainly makes me wonder if this is all about white knight syndrome: blokes who don’t understand anything other than straight, lights out missionary position sex, believing they’re somehow doing the rest of us a favour by banning whatever grosses them out”.

We should stop this obsession with ‘appropriateness’ and focus on the bigger picture. All the time we spend bickering about whether Beyoncé is really a ‘better’ feminist than Emma Watson or Taylor Swift, or whether Pippa Middleton is a more respectable sex symbol than Kim Kardashian, we are getting more bogged down in patriarchal prejudices born of structural inequalities. Instead of applying the criteria of ‘appropriateness’ for admission into the field of ‘serious feminism’, we should be thinking about what an anti-patriarchal society would really look like. Such a society would surely be founded upon the principles of equality, freedom, and solidarity with those without ‘privilege’, rather than the demonization of these groups.

The fact that women are prevented from breastfeeding in public and ejaculating in pornography shows how the battle against the patriarchy is not over. The struggle against oppression calls for an intersectional movement against systems that elevate the privileged and label others as ‘deviant’ or ‘inappropriate’. If that movement is ‘inappropriate’ or ‘inconvenient’ for the privileged, then so much the better.

Review: Love Is Enough – William Morris and Andy Warhol

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Turner Prize winner Jeremy Deller’s exhibition contrasting William Morris with Andy Warhol, two of the most recognisable artists of the past two centuries, opened at Modern Art Oxford last week to a keen audience. The exhibition offers a lot more than the expected, presenting the viewer with an alternative to the popular idea of these artists. William Morris has long been regarded either as a staple of fashionable vintage-style curtains, wallpaper, and umbrellas or alternatively seen as a grumpy, taciturn fellow whose socialist leanings were perhaps undermined by his own wealth. Here, he is revealed as a hard working, multi-talented, and at times charming artist and designer, whose socialism was reflected in his attitudes towards his own work.  Scribblings of medieval knights and doodles on a page of notes from a political lecture present a touchingly human image of Morris. Meanwhile, Deller has noted that he wants the exhibition to help people see Warhol as more than just a profit-seeking artist, but as an artist of integrity. The comparison with Morris certainly helps with this.

The viewer discovers parallels between the two artists’ practices, photographs of Warhol’s Factory are interestingly presented alongside images of Merton Abbey, where Morris and Co, the company that Morris founded, produced their fabrics, wallpapers, and designs. The original blocks used to print Morris’ wallpaper are displayed and it is easy to see the link between them and the acetate sheet used to create the Marilyn prints that Warhol is pictured holding up for our inspection in the Factory. The craftsmanship of the artists’ work is highlighted, despite their differing respective aims.

A work that particularly stood out was Morris’ tapestry, The Attainment: The Vision of the Holy Grail to Sir Galahad, Sir Bors, and Sir Percival, which greets you as you climb the stairs up into the gallery space.  Morris’ vast tapestry, over twenty feet long and eight feet high, woven from mohair, camel hair, wool, and silk, dominates one wall of the exhibition space, and depicts the climax of the story of the Holy Grail as told in Morte d’Arthur.  With the typical Pre-Raphaelite mixture of naturalism and symbolism, the piece revives a medieval art form, which in its day was far more popular than painting.  The opening text of the exhibition notes the interest that both Morris and Warhol found in mythology, that of Arthurian romance and medieval legend for Morris, and that of Hollywood for Warhol. This is reflected in the numerous photographs from Warhol’s autograph collection, including a signed photo from Shirley Temple, addressed to ‘Andrew Warhol’, and a number of his famous celebrity silkscreen prints, one of Joan Collins, another of Dame Elizabeth Taylor.  Warhol’s Marilyn Tapestry, 1968, offers another form of that famous image, staring across the gallery towards Morris’. Warhol’s however is created more like a carpet, hinting at the banal domesticity ‘celebrities’ are consigned to, an image embodying the idea of the ‘household name.’ Warhol’s morbid interest in the almost mythologized Kennedy clan, Jackie Kennedy in particular, is also explored, the mythological aspect reflected in Jackie Kennedy’s coinage of the name ‘Camelot’ to describe her husband’s presidency. 

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However it is not the exploration of celebrity in Warhol’s work that proves to be the most interesting, but that of his more overtly political works, such as Map of Eastern USSR Missile Bases, as it offers a more unexpected view of the artist.  The simple monochrome piece gave a sense of the fear surrounding the facts surrounding the USSR during the height of the Cold War.  The work, created a handful of years before the fall of the USSR, still has the power to unnerve, even after the fall of its subject; one can imagine the abandoned concrete buildings each cartoon like missile depiction refers to.  The silkscreen prints of Warhol’s electric chair images which are displayed, further emphasise the argument of Warhol as a politically engaged artist, one who was by no means entirely commercial in outlook but who was willing to unnerve and unsettle with his artwork in a more explicit manner than Morris.

While the works of these two artists may at first seem an odd juxtaposition, Deller’s appreciation of the two has brought about an interesting contrast. The exhibition draws out different strains of the artists, and brings an awareness of artistic process. Although some comparisons seem a little flippant, such as the display of a set of Warhol’s Mao prints above a case of pamphlets and leaflets which serve as testament to Morris’ socialist activity, it is an overall fruitful and pleasing comparison, which leads the viewer to a greater appreciation of both artists. The exhibition is open until March 8, and is free to enter. 

Review: J. Cole – 2014 Forest Hills Drive

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★★★★☆
Four Stars
 

The title of J. Cole’s third album, 2014 Forest Hills Drive, makes reference to the North Carolina MC’s childhood home. As a setting, it provides a fitting backdrop for a record which is intensely personal. Well-established in hip-hop’s mainstream consciousness, Cole’s decision to look inwards rather than outwards for his subject matter is a bold gamble, into which he throws himself with confidence and vigour.

Cole namedrops his contemporary Kendrick Lamar on the album’s second track, “January 28th”, and it’s in the vein of Lamar’s 2012 work good kid, m.A.A.d city that Cole places his story: a three-act movement, from dark beginnings through to a final realisation. Despite his ambition, Cole isn’t quite as insightful a storyteller as Kendrick, but this framework lets him channel his best quality as an MC, namely his powerful, introspective honesty; his striking tales of a fatherless childhood in “03’ Adolescence” (“Four years or so from now I’ll probably cry / When I realise what I missed, but as of now my eyes are dry”) embrace sensitivity, and with it offer nuances of humanity to Cole’s early tracks. Likewise, “Wet Dreamz” finds him losing his virginity; his reminiscences on “watching pornos trying to see just how to stroke right” inject his childhood tales with much-needed self-deprecating humour.

Cole’s lyricism in the album’s first act matches his honesty and dedication; he eschews the immature wordplay of his previous records for a more tightly crafted focus on storytelling and mood. It’s a decision reflected in his delivery – often a foible for Cole on records past – which shifts from youthful innocence to a grittier timbre in “A Tale of 2 Citiez”. Similarly, Cole’s assured self-production moves smoothly through the record’s changing tones; drawing on myriad samples, Cole uses Japanese easy-listening to soundtrack the dreamy “January 28th”, but flips a shuddering drumbeat from Pusha T’s “Blocka” for “A Tale of 2 Citiez” just as adeptly. “Fire Squad”, the album’s highlight, channels ‘90s hip-hop with an insistent piano loop and boom-bap percussion backing both braggadocio and incisive commentary on cultural appropriation, imagining Cole watching “Iggy win a Grammy as I try to crack a smile”.

Yet as the album progresses, it’s hard to shake the feeling that Cole is stretched too thin. On “No Role Modelz”, he clumsily tries to turn suspicion of a girl into a discourse on female role models, and his venture into singing, albeit endearing, is a bridge too far for Cole’s independent designs. Although a bold choice, the refusal of guests falls somewhat into self-indulgence, demanding that Cole be at once the relatable everyman and the “god” that his ambition impels him to be.

However, even as 2014 Forest Hills Drive falls short of the classic status Cole desires, it remains a powerfully personal album, and Cole’s most focused effort so far. It may not be worthy of the lengthy final credits sequence “Note to Self”, which apes Cole’s mentor Jay-Z’s “My First Song”, but its integrity and bravery create an imperfect but highly enjoyable experience.

Oxonians outside Oxford

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It’s not the prettiest conclusion, I’ll warn you now. It’s all because of the Varsity Ski trip which I soon grew to understand needs a disclaimer-tagline. Varsity: the breeding ground for the pretentious and concentrated, the ironic-but-am-I-actually-being-ironic. You think you’ve heard it all,and then you go on Varsity.

I will start by clarifying. I enjoyed the trip. A lot. I plan on returning next year. But there are perils. One meets many “characters” at Oxford. Characters you learn to humour, whose hair you can fondly ruffle and question whether they reeeeeeeeaally should have said what they indeed just said. When I meet a St Benet’s student who is wearing a stiffly ironed shirt under their ski-suit, (“It’s excellent for keeping warm you know”), I laugh, and applaud them for not giving a fuck. But by the end of the week, my sweet meek sensitive self is lost to a grumpy, sassy hair-flicker.

What is most evident is that there are a few sectors of people who choose to go on Varsity. I had foolishly assumed that we would all think similarly – ski, drink, sleep, repeat. What could be better? But for some, the hubbub ‘Var-cité’ is where it’s at. All day. Every day. Essentially being purely a bar taken over for the week, with live ‘music’, I was definitely understood the appeal of après-ski. Sure. But pre-ski, during-ski, no-ski? On a skiing holiday?

Skiing. Holiday. A holiday to ski. I grit my teeth to think how many people spent less than half the week skiing. To think how many people actually skiied more than a single run.

Characters from the trip still haunt me. A fresher in the queue for the fittingly named ‘Melting Pot’ (a sweaty, underground club). His loud eruptions of ‘thought’ refused to let me go. At one point he even dared try and involve me in the ‘conversation’. Ha. Good one. Everything was ‘totally sweet’, the not quite concealed staccatoed enunciation revealing the comfortable middle-class background behind uncomfortable 90s chat ‘n’ hat.

“You have to like learn to dig the vibe, I feel.”

Don’t you just. 

Varsity is about vibing. Shredding metaphorical pow. Making some friends (who you avoid making eye contact with months later in Bridge).Yes. You certainly have to get used to the vibe. The chat goes on and on. And on. A girl makes a loud passive-aggressive joke to her boyfriend about a pink dildo. Elsewhere a fight nearly starts as the queue sways swiftly forward and back, like a tree caught in a fierce gale. That is, if gales keenly shoved, and blew toxic fumes of beer-fuelled-self-assertion, sexual frustration, and a lopsided, bemused me. Are these really some of the most intelligent students in the country? Are people around me going to be running the country? Writing venerable works of Post Post Modernism?

It takes until a week later, as I sit on the tube, watching people race on and off through slicing doors, that I realise. Without the framework of ‘important dates’ to pretend to rush to and between and from, essays to indulgently ignore, Tesco bags to lug home, pre-drinks to squeeze into evenings,… – we lose our control. We are left to the freedom of time. And so the champagne bottles pop and pour over floors, (“To debauchery!” each cork quietly shrieks) and I am left to snap my goggles on. It’s the only way I’m going to be seeing things rose-tinted.

Oxford first in the UK for university research

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Oxford University has been rated number one in the UK for the quality and volume of its research.

The 2014 Research Excellence Framework (REF), a large-scale assessment reviewing the quality and impact of research in different subjects at universities across the UK, found that Oxford has the largest volume of world-leading research in the country.

52,000 academics at 154 institutions across the UK were included in the two year long public assessment of university research output.

2,409 members of Oxford University’s academic staff were submitted for assessment in the REF, researching in 31 academically diverse areas. The analysis, produced by Research Fortnight, graded the research using a four star system, where four stars was the best (world-leading), and one star represented research that was recognised nationally. 48.1 per cent of the University’s research was categorised as four stars, while a further 39 per cent was rated 3 stars.

The University also ranked first in 12 individual academic subjects for volume of world-leading research. These covered all the University’s main academic divisions: the medical sciences, humanities, the social sciences and maths, physics, and the life sciences.

Furthermore, the University performed strongly in the new impact category of the REF. Examples of the impact of Oxford University research ranged from a new malaria treatment which has helped save more than a million lives globally to a major database of ancient pottery and gems, used by museums and the antiquities trade around the world.

Professor Andrew Hamilton, the Vice-Chancellor of Oxford University, said, “I welcome our superb REF results, which clearly reflect our outstanding world-leading research. It is pleasing to be ranked in first place, but even more pleasing to see recognition of the fantastic contribution Oxford researchers make to knowledge across a huge range of subjects and of the real impact they have on health, prosperity, policy formation and culture around the world.”

“It is vital — if the full economic, social and cultural benefits of this research excellence at Oxford, and elsewhere in the higher education sector are to be realised — that strong and sustained public investment in leading university research is maintained and indeed increased.”

On Twitter, the University of Oxford declared itself to be “very proud”.

The results of the REF are to be used by the four UK higher education funding bodies to allocate £2billion of block-grant research funding to UK universities from 2015–2016. As Oxford ranked first, it is set to accept the largest share of the funding.

The periodic assessment of the quality and impact of university research in the UK ensures funds are distributed selectively on the basis of quality and volume of research carried out at each university. This was previously known as the Research Assessment Exercise (RAE), and was last conducted in 2008, where Oxford also placed first.

However, despite Oxford remaining in the top position, London universities are dividing Oxbridge. University College London, which in 2008 ranked 3rd, is now placed 2nd, between Oxford and Cambridge, thus breaking up the historic dominance of these universities.

The London School of Economics was found to have the highest proportion of world-leading research, with 49.9 per cent of its research given four stars (compared to Oxford’s marginally inferior 48.1 per cent, and Cambridge’s 46.8 per cent). Oxford was ranked higher in the REF due to a greater of research, and for a higher score in the impact category.

Students have reacted positively to Oxford receiving the highest funding for research of any UK university. Second year Chemistry undergraduate, Harry Bush, commented: “as an undergraduate it’s evident I had no contribution towards this, but it really excites me for the prospects of being part of some world class and novel research in my 4th year and perhaps beyond”.

Meanwhile, James Blythe, OUSU VP for Access & Academic Affairs, and Louis Trup, OUSU President, were also pleased with Oxford’s performance.

HEFCE release the exact funding respective universities receive in Spring, so, as the University commented to Cherwell, “While we are clearly in a strong position, we will not know exactly how HEFCE works out the formula until it is announced in March.”

Review: Morrissey – O2 London

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They came, presumably, from all corners of the country, maybe from beyond. They had their Smiths shirts, their quiffs, the odd gladiolus, those glasses; mostly they were men, some were old, but the majority (it seemed) were young. As I got off the tube at Greenwich, a great chant filled the station, a choir of wannabe misfits and old timers singing “And if a double-decker bus crashes into us…“ and so on. In the air: a sense of remarkable jubilation, festive almost… almost, indeed, religious. So in they came, electric and chanting, flooding the O2 arena, here to gawp at and worship one Stephen Patrick Morrissey.

Witty, spikey, a man of Olympian irony and outrageous opinions; the contrarian vegetarian, homoerotic, surly and shy in equal measure, self-deprecating, cheeky and pathologically narcissistic all at once; disgusted with life and sex and yet bewitched by desire for carnal contact: Morrissey is a unique individual, the eccentric uncle of modern British music.

2014 really hasn’t been a good year for Morrissey. Firstly, although attaining pretty saleable reviews, his new album World Peace Is None Of Your Business was withdrawn from iTunes and Spotify after a bumptious spat between Morrissey and his label, Harvest (it still hasn’t been re-released). His American tour was cut short due to illness and yet more quarrels (this time with support acts). To top off the misery, Morrissey revealed in October that he had been treated for ‘cancerous tissues’. Despite this, his European tour this November has been quietly successful, and his performance at the O2 on the 29th proved to be no different.

The show began with the most Morrisseyesque collection of videos imaginable: Jimmy Clithero sketches, scenes from A Taste of Honey, clips of The Ramones and New York Dolls – and, predictably, pictures of the late Lady Thatcher set to the tune of ‘Ding Dong The Witch Is Dead’. After this, Morrissey makes his grand entrance – he’s wearing a white tracksuit – and teases the crowd with two classics: ‘The Queen is Dead’ and ‘Suedehead’. With the crowd primed, Morrissey begins what he came here to do – what he was put on earth to do: promote his latest album and make meat-eaters feel very guilty indeed. He succeeds on both accounts.

He sings almost all of his new material, some of which is very good: I’m thinking particularly of the thundering ‘I’m Not A Man’, ‘Kiss Me A Lot’ (a typical Morrissey ballad of stunted desire) and ‘Neil Cassidy Drops Dead’. Some aren’t so good. The title song ‘World Peace Is None Of Your Business’ is a howler of particular note, a jangly little number full of banal politics and Brandisms (‘each time you vote you support the process’).

As a performer, Morrissey is as good as he’s ever been. His voice is stronger than ever before. His movements, gestures and swoops are glorious to behold: each head-flick, each tragic turn and genuflection is choreographed to transform Morrissey into the doomed, romantic figure he has always longed to be. The crowd buys it; many swoon and weep as he twists and writhes. There is an atmosphere of exquisite fatalism, the electrifying miserablism that has been Morrissey’s stock-in-trade for over thirty years. Morrissey has always fetishized death and illness (existential and physical), but here he excels himself: he ends with an astonishing rendition of ‘Asleep’, urging the crowd: ‘Remember me, but forget my fate’, an echo of Dido from Purcell – a reference to the fatal course of his illness? Perhaps.

A woman next to me quite seriously breaks down in tears for the remainder of the show. By the end of the whole thing, I too am a little weepy, leaving all at once exhilarated and dejected, buzzing and sorrowful. Well, what else would you expect from Morrissey? 

State school colleges are a belittling suggestion

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Lorna Finlayson recently argued in The Guardian for the need for state school colleges in Oxbridge. As a state school student myself, I felt patronised and belittled by her suggestion.

She talks of her concern for the disproportionately low number of students from “non-traditional” backgrounds, or, in other words, less advantaged backgrounds. I could not agree more. She also talks about busting stereotypes, but this is exactly what the introduction of state school only colleges would not do.

When it comes to the issue of access, statistics about background are often bandied about, such as the fact that 5% of students from private school went on to study at Oxbridge in 2011, as opposed to 1% from state school. However, when people cite these statistics, they often do not contextualise them with the fact that a much lower proportion of state-educated students apply. The problem is not that “private school students obtain higher grades,” but rather that state school students are not receiving enough support from their own schools to undergo the application process. I agree with Finlayson that action is necessary to shake the oppressive structures still present within the university, but I feel that creating a form of social segregation within the university would not achieve this. 

The argument that state school colleges are comparable to women-only colleges becomes redundant when we consider that the latter were only introduced because women had previously been banned altogether from enrolling at university. As sexual equality in education has gradually improved, sex-segregated colleges have mostly become co-educational. As a member of a former women-only college, I revel in the pride of being part of a progressive body, reflected by the college’s decision to embrace gender equality and to fight against sexual discrimination.

A move to women-only colleges would be a move back into the past. In the same way, the creation of state school colleges would be a step backwards for the University, serving only to reinforce the hierarchy that already exists. All too often I have been the brunt of comments such as, “Oh, you’re from state school? It must have been easier for you to get in then, they favour state-schoolers,” or belittled by notions of us being “less intelligent” than our private-school counterparts. Creating a college where only state-schoolers can apply would simply seem to prove that right.

One of the most exciting parts of coming to university, for me, has been meeting people I never normally would have: those from worse-off backgrounds than my own as well as, yes, those famous Etonians discussed by Finlayson. And, indeed, some of them do live up to the stereotype. But to create a divide between state and private school pupils would simply deny us the opportunity to prove them wrong, and deny both of us the opportunity to make friends with those we otherwise might have dismissed as clones of our own stereotypes.

Finlayson talks of a continued division and inequality between state and private school students, and condemns the society to which it belongs. It is not this that I disagree with. In fact, I do feel keenly at times this state/private division in Oxford, although due less to antagonism, I believe, than to lack of shared experience. However, further entrenching this division by the introduction of separate colleges would only support the stereotypes of there being any distinction at all. So please stop patronising state school students. We are just as capable as our private school counterparts, and we do not need to be told otherwise.