Thursday 26th June 2025
Blog Page 1411

Wrapped-up Winter

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Hilary Term ’14 – Issue 1

Photographer and Stylist: Kate Hodkinson
Models: Charlotte Forster & Ashleigh Carter

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"I interned at NASA"

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YouTube link – Sam Wilkinson studied the effectivness of NASA’s open innovation programme this summer as part of a three month internship. A fresher at Oriel, Sam met his NASA boss at an event in Oxford before he was even an undergraduate. He worked closely on the Space Apps Challenge, and says the best space innovation he saw was a martian weather app, built over the course of a weekend by hackers at the event.

Syria: A perspective from the Middle East

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In conflict, children are undoubtedly the priority. The welfare of children affected by the Syrian conflict has been the focus of much international attention. Losing a whole generation to poverty and dislocation would be a humanitarian tragedy. Despite the UK’s recent decision to grant asylum to 1,000 Syrian refugees and the considerable work of charities and UN organisations, the facts speak for themselves. In November, the Oxford Research Group published figures revealing that 764 children had been summarily executed and that 389 had been killed by sniper fire. There had been 112 reported cases of child torture, with some victims under the age of five. 11,400 children had been killed since the conflict began.

All we can do is provide aid and hope that diplomacy and dialogue will yield a positive outcome. Given the recent events in Geneva, it would appear that any peaceful transition of power or conclusion to this dreadful conflict is unlikely.  Even if a deal is negotiated, the future remains bleak. If Assad remains in power, the chaos and destruction will continue. If he is finally deposed, the Syrian National Council will take control of a divided country, ravaged by poverty, famine and disease. None of this is to say that a potential successor would have the answers to Syria’s problems, as has been witnessed in other North African and Middle Eastern countries following a revolution.

To take Libya and Egypt as examples, the situation inherited from a tyrannical reign is far from simple. Egypt finds itself in the midst of its own labyrinth, desperately seeking a way out of the chaos that followed Morsi’s removal from power. The country is undermining itself, shifting from tyranny to failure to General Sisi, whose army continues to wield its authority amid chaos over constitutional reform. Libya has hardly been mentioned in the British Press since Gaddafi was killed, as if the country made the miraculous and seamless transition to a functioning democracy overnight. The reality is somewhat different; lawlessness rules the state as militia groups, many of which did not exist before Gaddafi’s capture and death, force their agenda on the government. A new saying has emerged among the Libyan people: “Before we only had one Gaddafi, but now we have hundreds.”

While outsiders incessantly analyse and discuss the geopolitical implications of a civil war that threatens to spill over into neighbouring Lebanon, the perspective on the ground provides a closer insight into how people have been affected, in particular the seemingly overlooked older generation who are disproportionately at risk. Data obtained from the Za’atari refugee camp illustrates that only 2% of the refugees are aged 60 or over but they account for 7% of the Syrian population. This suggests that many have been internally displaced or have decided to remain in their own homes. These people are particularly vulnerable during the winter, when heavy rains and sub-zero temperatures aggravate their daily struggle. Life for a refugee in Jordan is unquestionably safer. However, a Syrian farmer in his sixties, one of my English students at the Jesuit Refugee School on the outskirts of Amman, told me that there are psychological consequences to relocation, if not physical ones.

Faiz Ahmed Abdul Rahim could hardly string together a group of words let alone form an entire sentence in his first class. Despite his linguistic inexperience, he had, nonetheless, prepared a paragraph of immaculate English about his hopes and aspirations back in his hometown of Mahaja, a small town in the Daraa region. He spoke with distinguished pride about his farm, the various trees growing on it, and his dream that one day, his two sons will take the reins from their father. His eyes lit up as he mentioned the olive groves and lemon trees he has seen flourish in years gone by. He hasn’t returned for more than a year, but has already requested that I visit him in two months’ time, when he believes the conflict will be over. I read a tweet posted three weeks ago that stated: “Daraa: Mahaja: Fierce tanks shelling the northern area of the town from Majbal checkpoint”. Perhaps my visit will have to wait.

Faiz’s farm is his anchor, his compass and his home. Without it, one feels that he has been robbed of what is most precious to him. The refugee school is another farm, albeit a temporary one, in which he can cultivate his ability to learn new English words and phrases. While it gives him purpose and something to be a part of, it is clear that this is only a temporary solution. He needs to return to Mahaja to have some chance of leading a fulfilling life in his senior years. While children shouldn’t be robbed of a childhood, the older generation should be able to live out their years at home and in peace.

Review: The Dig

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Badger baiting, death, farming: The Dig by Cynan Jones concerns itself with earthly matters. Having perfected his craft through writing children stories, Jones’ first gained notice with his first novel, The Long Dry (2006). The Dig reaps the rewards of Jones’ polished craftsmanship with tight, sparse and poetic prose in which no word goes unconsidered. In spite of all this, The Dig was nearly dissected after a lackluster reception from his publisher, only to be revived after Jones sent off a segment of it to Granta in the form of a short story. This story then went on to be shortlisted for the Sunday Times Short Story Award, the biggest reward for short fiction (currently) in existence. From this serendipitous happening arose this novel.

Centered around a farming community, The Dig accumulates its explosive power through the poetic resonance it builds between its various characters and subjects. It is a novel which moves effortlessly between the minds of young and old, memory and the moment. The novel finds both the isolation of the individual and the similarities between the masses – both human and animal – through implication rather than statement. It is stark and barbaric at times, but the form is perfectly matched to content, subtly weaving its multitudinous strands together before reaching a conclusion which continues to provoke awe even days after reading.

The Dig feels like reading something Faulkner or Cormac McCarthy might produce if they were Welsh rather than American: Jones’ writing carries their same epic quality where carefully observed moments about shoes or mink pelts take on the tinge of the universal. In a talk at St Anne’s last year, Jones spoke of his concern that writing should be about death and the grit of life above all else. This focus on the raw could perhaps be said to be driving force behind this unsentimental but brilliantly realised novel. The ‘dig’ of this novel is far more than literal: Cynan Jones mines well known themes with a unique voice and fresh perspective. The Dig is worth a read: there’s a lot down the badger hole worth exploring. 

The trouble with Tarantino

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On Wednesday 22nd January, the award for ‘Best Hissy Fit’ went to Quentin Tarantino, for his infantile sulking and selfaggrandising affirmation of his own creative brilliance. This tantrum came in the wake the script for his latest project, a second Western named The Hateful Eight, being leaked.

The self-indulgence of this tantrum can be traced back to single moment – 5th March 2003, when Tarantino released Kill Bill Vol. 1., and his career veered violently off-course. Prior to that fateful day, his work was inventive, sassy and comparatively restrained; this was his classic period. Now, a Tarantino film is merely a shadow of its predecessors, characterised by its excess, self-congratulatory tone and inexplicable running time.

What could possibly have caused such a dramatic drop-off in quality? The decline shows all the signs of a director preened and pampered as the hip darling of the art-house scene – a true auteur with mainstream appeal. But those compliments went straight to his head. The fact that Quentin now struts around Hollywood with an ego the size of a small moon does much to explain why his films have gone off the rails.

Humour has always been an integral part of all of Tarantino’s works, but it’s very difficult to do humour from such a position of over-confidence. Thus, it’s no coincidence that the wry, black comedy of Pulp Fiction and Reservoir Dogs has devolved into middling one-liners and supposedly snappy comebacks. Any director who thought that an interminably long cameo of himself, doing a fantastically bizarre and perplexing attempt at an Australian accent, would be an amusing addition to Django Unchained blatantly no longer has a sense of humour.

You can even quantify the decline in Tarantino’s sense of cinematic focus, and the growth of his self-inflated importance, if you chart the ever-increasing running time of his films. Remember that Reservoir Dogs was a paltry 99 minutes; a mere blink compared to Django’s 180 minutes and the combined running time of Kill Bill 1 and 2, which manages to stretch itself to a scarcely believable 250 minutes despite lacking even the semblance of a story or half-finished characters. (And if you think it’s unfair to compare the two films, remember Quentin originally visualised it as one movie before realising the extent of his own brilliance).

The problem seems to be that Mr Tarantino, with all his tremendous talent and torrential love for cinema, has forgotten the meaning of the word restraint. He has surrounded himself with people who only pander to his whims; flunkies who are as in love with his films as he is with himself, meaning that no-one is around to crack the whip or say no.

Look at Inglorious Basterds, for instance, a film that more closely resembles a montage of individual sketches than a coherent narrative arc. I’m convinced you could rearrange those sketches and you wouldn’t even notice. Even the most enjoyable of those singular moments, and Christoph Waltz’s great performance, cannot save you from watching Inglorious and at every moment asking ‘where is this going?’ The answer is to confusion and immense anticlimax. That was a film that needed to have a lot more left on the cutting room floor and a drastic revision of the script – but obviously no-one was around to tell Quentin that.

Maybe we should cut him some slack. This might only be the terrible teens of Quentin’s career and the period to come when he must rediscover his cinematic identity and direction. There’s no doubt he is talented, with an ability to get performances from his actors that few other directors can. John Travolta, for the first (and last) time in his career, didn’t seem abundantly weird in Pulp Fiction, a sign of Tarantino’s talent if ever there was one. To all the Tarantino fans, there is hope. And we can all rest a little easier knowing his second attempt at a Western has been canned for the moment. But if you see Kill Bill Vol. 3 in a cinema near you, run. And don’t look back.

Review: Inside Llewyn Davis

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It’s the ’60s, a particularly cold February in New York, and Llewyn Davis is not having a good time. He is a folk singer, hoping to make a break in Greenwich Village but his singing partner has committed suicide and, despite his efforts to break into the business on his own, his first solo record isn’t selling. Money is scarce, and he has no home; he has to resort to sleeping on his friends’ couches while the weather outside grows increasingly hostile. 

Llewyn spends his evenings playing gigs at the Gaslight café, a basket house where musicians such as he hope to get paid from what the audience is willing to contribute. Interestingly, many of the places (including this café) and biographical details (the film is partly based on the experiences of folk singer Dave Van Ronk), are taken from real life. There is even a very poignant moment towards the end when a (then-unknown) Bob Dylan pops up. However, the achievement of the Coens in writing this film comes from their seamless blending of real-life with their own fictional extensions, all with a sharp eye for period detail.

This is Oscar Isaac’s debut role and he has evidently been overlooked as an acting talent. Singing all of his songs, mostly live, is an achievement in itself but it is his performance that really stands out. His character is a deadbeat with an unappreciated talent and an unfortunate tendency of screwing up (as his friend’s partner Jean – a wonderfully arch Carey Mulligan – puts it, “Everything you touch turns to shit!”). He’s difficult to like but impossible not to sympathize with. He is tired, worn down by the endless ‘soldiering-on’ without actually getting anywhere, as his life falls to pieces.

Special mention must be made of the cinematography (for which the film has received one of only two Oscar nominations). Bruno Delbonnel, who shot the much-loved Amelie, creates an atmosphere of pale, hazy colours, of cold winter light and smoky nightclubs. Llewyn’s world is one of narrow, whitewashed corridors in apartment buildings and roads that seem to stretch beyond the horizon, leading nowhere. As we watch, we wonder how long he will be able to continue struggling and whether things will begin to look up. In a lesser movie, the answer to that question would be predictable, but the Coen Brothers are too clever, and care too much about their characters to allow for such a straight-forward, cathartic ending.

To make film-making of this quality seem as effortless as the Coen Brothers do requires extraordinary skill. Only three years after their successful remake of the John Wayne classic True Grit, and only eight since the release of their most recent masterpiece, No Country For Old Men, they have hit the ground running yet again. The extended road-journey in the second third of the film is arguably some of their finest work, and an entire essay could be written about that ginger cat. Inside Llewyn Davis is a film unassuming in its brilliance, tightly focused and incredibly deep, with a light touch and a great wealth of deadpan humour. It is honest, achingly sad and near-perfect.

Oxford is not to blame for alienated international students

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Reading Cheriel Neo’s article, ‘We need to rethink the treatment of international students’ made me extremely uncomfortable – I am an international student and I found the blame she lays at the feet of Oxford University and the UK both unfair and troubling. Ms Neo sees hostility in the most commonplace of British administrative acts and business decisions, and while it is true that foreign students can feel alienated at Oxford, it is not for the reasons she has chosen to focus on.

The main thrust of her argument seems to be that foreign students feel alienated because of differential administrative treatment of foreigners; having their fingerprints taken at the airport, being saddled with higher tuition fees, and being left out of financial safety nets. I am not entirely sure how Ms Neo expects to be treated as a foreigner in another country. Does she imagine that these practices are phenomena particular to the UK? If so, I would advise against visiting any country other than her own – attempting to enter Israel, for example, may give her a particularly nasty shock; any foreigner passing through Ben Gurion Airport receives a bar code stuck to their passport and luggage denoting their respective ‘threat level’.

Two of her points, I read with especial incredulity. First, the likening of fingerprinting at the airport to ‘…an act that said…tabs must be kept on you because you do not belong here’ is not only slightly histrionic, it is also very ironic. Ms Neo mentions she is a Singaporean – I, too, am a Singaporean citizen, and have been repeatedly fingerprinted at Changi Airport in my own country. I’m not sure if Ms Neo feels similarly unwanted when she undergoes the same process back home, but I don’t think this is a particularly helpful example of the British being unwelcome. Second, Ms Neo states: ‘Yet Oxford is privileged, in the global market for education, to have a near monopoly on the highest standards of learning in my subject; the price I pay for my time here is not that which I am happy to pay, but that which I have to pay.’ Essentially, she is unhappy that a global market leader in education sets its price high, and that she has to pay it because she wants the best. There are a number of very good universities in Singapore at a far more affordable price; to complain about having to pay for the very best at Oxford is unfair and suggests a sense of entitlement.

At the same time, I find Ms Neo’s focus on these arguments strange because I don’t think they go to the heart of why some foreign students do feel alienated. Financial concerns like high fees or being left out of social security nets are legitimate, but there’s a difference between the financial status of one’s family or parents, and the individual purchasing power of a student, who is more concerned, I would imagine, with how to afford the next meal or night out. I’m not saying that young people don’t care about wider financial implications, or that they shouldn’t care, but I think the real root of alienated internationals lies elsewhere. It is uncontroversial that students can be negatively affected by financial stress, but to assert that foreign students feel alienated because they have to pay higher fees than their local peers seems peculiar.

The main reason why I think some foreign students feel left out is for social reasons – a far more immediate problem, than the abstract question of which category of student you are, and so how heavy the financial burden on your sponsors is. Ms Neo grazes over this issue in a vague way throughout her article, but never really engages with it. I acknowledge that it is difficult for foreign students to break into certain social circles at Oxford – in part because of the London private school mafia, in part because cultural differences are inevitably difficult to break down. It can be very dispiriting attempting to make friends with people who have no interest in speaking to you, because they are already in well-established cliques. At the same time, I’ve found in my time in Oxford a wealth of individuals  who are very interested in becoming friends, who have gone out of their way to show me human warmth, and who respond to my overtures eagerly – you just need to put some effort into looking.

A lot of foreign students only have themselves to blame. They often alienate themselves, by refusing to partake in British social activities like attending bops or going to the pub, which are great opportunities for shared experiences and making friends. I can call to mind, with shame, several instances of my fellow Singaporeans expressing puzzlement or even disgust that I hung out with British people, or as they called it, ‘white people’. This is an attitude I absolutely abhor but is something I see with depressing frequency.

Could the university do more to help foreign students? Current structures, at my college, Somerville, are pretty good. There’s an internationals officer and I remember with fondness the international students’ dinner before my first Michaelmas, where I met a lot of people who I remain close to me today. Maybe even more could be done. But friendships, unfortunately, have to be organic – it’s impossible to force people together, and attempting to micromanage them can just make it worse. As visitors to another country, it really is up to us to take the first step.

What’s on your mind?

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It’s the tempting question Facebook asks us every day. “What’s on your mind?” The more philosophical among us may take a quiet moment to contemplate just what exactly is on their mind, or what the mind really is, or whether or not we truly can rack the depths of our subconscious and pull out an answer like a rabbit from a hat. But for the more most of us, the answer is quite simple.

We want to show off. A Facebook status or a tweet is one of the easiest methods for self-aggrandisement. Or, at least, this is what it has become. We submit our daily practices and experiences into a lottery of outbidding one another for the most exciting story to tell. Whether it be via a carefully mapped-out lexical boast or an expertly photoshopped selfie, we fight for the throne of the newsfeed. The pressing question is: why do we do it?

If you think about it, there’s something incredibly tragic about turning the minute-by-minute experiences of one’s life into an attempt for approval, quantified by a number of ‘likes’ or ‘favourites’ each one receives. We all (whether we can admit it or not) love the sense of satisfaction in knowing that somebody somewhere has read something which we created and found it so riveting that they were compelled to click the “like” button. But is this suitable justification for feeling publishing every thought which comes into our minds.

Inevitably, social networking sites do not advocate privacy. But surely there are some things which we must keep to ourselves. Do we really care that Trevor from basketball practice is “chilling with [his] bro”? Or that our best friend’s girlfriend “need[s] a hug”? It’s not that we don’t want to know what people are up to (we are all naturally – and somewhat dangerously – inquisitive about each other’s lives), it’s just that we really don’t care if they’re doing something so menial as listening to some old school Shaggy on Spotify. Social networking has become an outlet for airing one’s dirty laundry in public, and then expecting people to marvel at the filth on their bed sheets.

Perhaps a status is some kind of preservation technique… so that one can scroll down the page in years to come and reminisce about that pizza that they had on 22 February 2012. But isn’t that what our, erm, memories are for? Admittedly, sometimes it’s nice to look back at photos or times shared with friends or family, but what’s wrong with a good old-fashioned photo album? We treat our ‘friends’ and ‘followers’ as if they are our disciples, hanging off our every word – waiting to be filled in on the latest gossip from their unquestionable leader.

Statuses certainly suit this generation, which likes to stand on the roof and shout at the top of its voice. Most interestingly, the phenomenon of the status raises deeper questions about whether happiness can truly be experienced unless it is shared. And whether there is something inherently selfish about being happy.

All we can say is that there is a cathartic aspect to publicising one’s feelings, to restricting them to one hundred and forty characters. This is not an attack on Facebook or Twitter or any other social networking platform. God knows, we all love them. It’s just an attempt to ascertain why we avid modernists feel so comfortable with them that we can trust them, and all their users, with our deepest – or not so deep – thoughts and observations. I don’t know, perhaps I’m being too old-fashioned or pedantic. But if you have the overwhelming urge to document everything that comes into your head, get a diary – she’ll listen.

New Oxford City Council construction scheme

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Oxford City Council is piloting a new scheme to outline the proposed shapes of buildings with poles before they are built, in order to increase public awareness of they will look like.

The scheme is inspired by a similar Swiss initiative called Bauprofil, which erects poles to show shape and height of proposed buildings. With buildings over three stories high, the aim is to use balloons in order to indicate height and dimensions.

City Councillor James Fry, who put forth this idea to the Labour Group on the City Council, outlines the motives for the proposal, “What triggered this proposal was the clear evidence I had, as a new councillor elected in 2012, that many residents were shocked when they saw the actual scale of developments that had been approved after planning applications.”

He further commented, “I thought that there must be better ways to let people see the true scale of a proposed development on the site where it is actually proposed to site it, rather than having to rely upon architects’ diagrams placed on the City Council website.”

The scheme aims to allow residents a chance to comment on proposed building plans, to relieve residential concerns and to allow an opportunity to change contentious applications once concerns of the impact of the planning schemes have been raised.

Oxford University and the City Council received criticism in 2012 when the ongoing Castle Mills controversy was sparked due to graduate housing being built upon Port Meadows. This was widely criticised as ugly and spoiling the view of Oxford’s ‘Dreaming Spires’. The resulting building has been subject to countless public condemnation and an independent review that concluded that both the consultation procedure and application of the proposal were inadequate.

In light of this, some are sceptical about the new scheme. A member of the Save Port Meadow Campaign, Matthew Sherrington, told Cherwell, “this story is something of a distraction on the part of Councillors. It is interesting to see the Council’s rush to “learn lessons” when Councillors say on one hand they didn’t know what they were approving, one Councillor describing it as “a disaster”, while saying on the other they were not misled by Council officers, and did nothing wrong.”

He went on to say that, “What the people of Oxford want to see is the Council and University taking action to put right the wrong they have done the City, with meaningful mitigation measures on the height and visual impact of the Port Meadow blocks.”

The University of Oxford Press Office also spoke to Cherwell, “As the most frequent planning applicant in Oxford, we support efforts being made to improve the consultation process.”

The proposed scheme is set to be implemented on a pilot basis with a planned new block of flats in a car park site in North Oxford to be the first pilot.

Oxford jailbreakers Tokyo-bound

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Three New College participants in the RAG jailbreak weekend are en route to Tokyo, after receiving free return flights from Virgin boss Richard Branson.

After leaving Oxford early this morning, the three students, Charlie Parkes, Rob Harris and Caitlin Place, made their way to Heathrow before catching the 12.00pm flight to Narita International Airport, Tokyo.

The team, ‘No rest ‘til Budapest’, have seemingly surpassed even their own expectations. It is believed that Sir Richard Branson’s generosity came after a chance meeting with one holidaying team member over Christmas. The team have attracted particular interest, featuring in an article on the Virgin website’s homepage, and a tweet of support from Branson.

Just after noon Rob Harris posted confirmation on his raise2give page, “Just boarded our flight to Tokyo! See you on the other side. #JailVirgins #OxJailbreak”.

The three students are in their first year of studying PPE together at New College, and have previously uploaded a promotional video to Youtube.

New College is enjoying further jailbreak success, with three second year females currently in Belgium after “getting a lift in the back of a van feeling like we were being people smuggled”. As one of the three informs Cherwell, “We’re on the way to Germany with two chain-smoking Germans who we’re struggling to talk to but seem quite friendly, and keep offering us beef jerky”.

Destinations reached by other jailbreak include Calais, Birmingham International Airport, and Manchester.

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