Wednesday 20th August 2025
Blog Page 1418

Anger as All Souls’ closes pop-up library

0

There has been an angry response on social media after a pop-up library in London was closed by All Souls’ College.

Kensal Rise pop-up library, built on All Souls’ property, was raided early this morning. Photos from Kensal Green, in North West London, show books left on the pavement after agents from Cluttons, a property firm, took the gazebo holding the library down.

Despite condemnation by campaigners, a spokesperson from All Souls College said a “hysterical twitosphere” has misrepresented the incident. He noted that Brent Council had told All Souls’ that the library breached planning law, and that the College intends to convert 1,500 sq ft of the space into a new library for residents of Brent, which could not be built with the pop-up library in place.

He also commented, “We moved it because we had to. We moved the books, we did not destroy any books.”

[mm-hide-text]%%IMG_ORIGINAL%%8962%%[/mm-hide-text]

The building reverted to become property of All Souls in October 2011 after Brent Council closed the library. Campaigners then set up a pop-up library made of wood, metal poles and a tarpaulin against the building.

A spokesperson for Cluttons commented, “Following an extensive examination of the various options put forward for the future of the former library building, the College considers that a sale to Kensal Properties, and their proposals for the property, provides a viable long term future for the building.

“This proposal not only meets the College’s Charities Act obligations, but it also provides for a community library facility. In order to progress with these plans, and for health and safety and insurance reasons, the property has had to be cleared.”

Nevertheless, the incident was condemned on Twitter.

Loading the Canon

0

It’s January and everyone’s getting sick. There are about four hours of light each day, and even those are often impeded by rainclouds, lectures or a hangover that confines you to bed until 2pm when it starts getting dark. You’d love to go to the doctors but prescriptions cost £7.85 and you’ve just paid your battels. However, everyone on your floor is going to be ill too soon unless you sort it out. What better way to cure a winter ailment than by turning to the advice of our forefathers?

Bald’s Leechbook is an Old English medical text from around the ninth-century. Nobody knows who Bald was, but an inscription in the front proudly proclaims ‘Bald owns this book’. As in a modern medical book, there’s a handy index to help you identify the problem. There are remedies for sore throats, shivering fits, pain in the joints, bleeding of the nose, bleeding in general, spot eruptions and stomach ache. There are also remedies for other less common ailments: insanity, the atrocities of all fiends, and demonic possession. Hmm, maybe save those for later on in term.

The remedies are heavily based in common-sense, making them perfect for the busy student. For example, if you want your hair to grow faster, you can smear your scalp in a mixture of willow-leaves and dead bees (willows grow fast, and bees are hairy). To stop your hair growing, apply ant’s eggs (because eggs are hairless, obviously.) The name for an infection is ‘flying venom’, because contagious diseases are caused by elves or evil witches who roam the land shooting people with invisible darts. Another great thing is that most of the ingredients for its remedies can be found in Uni Parks or Tesco. Bald’s solution for ‘a woman’s madness’, for example, is to eat a radish every morning before breakfast. Honey is a cure for everything, including pox, obstructed birth and theft. A surprising amount of ailments can be cured by beer of various strengths (but we knew that).

The Leechbook is a must-have for all hypochondriacs, beauty queens, and those who have sold their soul to the devil (Topshop?). After all, possession by a fiend can be cured by a ‘pleasant drink’ of carrot, beetroot, radish and mint, which I’m pretty sure you can get in Prêt à Manger. 

Review: Anti-Slam Poetry

0

Anyone who’s ever cringed at their own teenage attempts at oh-so-meaningful poetry will find themselves in uncomfortably familiar territory at an Anti-Slam. This event, which was conceived in Berlin, and as Dan Simpson, one of our hosts for the evening, proudly told us, now takes place in “over four countries”, turns the poetry slam format on its head as performers compete for the lowest scores with the worst possible poems they can come up with.

From horribly strained metaphors – snooker as an analogy for western colonialism – to sage advice – ‘Grope a grouper, but don’t jack off a jaguar’ – to environmental angst – ‘Every time you dry your hair / You kill another polar bear’, the poets had us squirming and convulsing with laughter in equal measure. Endless repetition and painfully extended rhyme schemes were rife, as were character acts who entertained with their utter disdain for the audience. One poet stormed onto the stage, knocked over the microphone and performed a rage-filled poem in seven parts, ranting his way through objectification, censorship and the coalition government with such cringeworthy earnestness that I genuinely wept tears of laughter. Another read a (weirdly sweet) poem comparing his girlfriend to the pokémon Bulbasaur off the screen of his phone, stopping halfway through to read a text. One of the highlights of the evening was a young woman’s reading of her own teenage poetry, taken from her thirteen-year-old self’s diary, which was all the funnier for being unintentionally awful.

After everyone had performed, the three lowest-scoring performers went through to a final round, before which they were given ten minutes to write a new poem involving a place, object and person, crowdsourced from the audience, who offered up the moon, socks and Gary Barlow as the three topics. The deserving (anti-)champion was Sophia Brookner, whose first poem had contained such gems as “I love you like snowmen love snow, / like a super tampon loves a heavy flow” and “Roses are black, violets are white / When you’re looking at them in ultraviolet light”, and who delivered a stormer of an ode to Gary Barlow in the final, rhyming ‘Gary’ with ‘Carrie’ in yet another menstruation reference. However, her finest moment was surely coining the neologism “lovesludge”, which disgusted audience members and judges alike.

Despite some slight confusion over heckling – an important aspect of traditional poetry slams, in which poets can be shouted off the stage one they pass the two-minute mark, but which didn’t really work here as the deliberately terrible poems divided the audience between hecklers cutting the poets off before they could finish and those who wanted the fun to continue – this was overall a brilliant evening and a great chance to experience something outside the student bubble. I left with a smile on my face and the immortal opening line “I’m an environ…ist. BECAUSE I’M NOT MENTAL” engraved on my memory forever.

Interview: Hauschka

0

Hauschka – stage name of avant-garde innovateur Volker Bertelmann – is talking to me about childhood memories. “They are very powerful. Whenever I play I relate back to my childhood. The musical research that I do on the piano is something I did as a kid in the field.” Such a comment can come across as mawkish, especially for a reputed enfant terrible of the Cageian prepared piano. Hauschka is well aware, and wary, of sentimental pitfalls: “When I was younger I would have said, ‘Oh that’s completely clichéd.’ I would have felt unable to mention it, because it sounds so Hollywood.”

This is an apt dualism for his music, consisting of mutable vignettes that shift over a wide variety of genres and disciplines, intimating an innovative electricity in the array of colours and textures he has at his disposal. Hauschka favours simpler melodies, infused with nostalgia that runs on the edge of preciousness, sometimes even twee- ness. It is a tricky balance, achieving at its best a haunting instability, as in Silfra, his most recent collaboration with violinist Hilary Hahn.

But Hauschka is speaking to me to promote his upcoming album, Abandoned City. Battling through an unpredictable phone connection and jetlag – he has just arrived back in Germany from touring the US – he attempts to explain his artistic vision. Like his music, the title is inspired by an internal and emotional background, not concrete ghost towns, but his own creative process. “It’s a weird state of mind. This kind of alienation is beautiful, but also incredibly lonely. Abandoned cities have a similar dichotomy. They are romantic, but also tragic, exuding a hint of human temporality.”

Everything in Hauschka’s world has a deeply personal link. Descriptions are built out of instinctive emotional terms, yielding rich visual metaphors. The process of composing is painting, “loading up with feelings and images.” Even the sonically dark strain that runs through Abandoned City is inseparable from Hauschka’s own history, “It is a link to my past. I used to work with darker electronic elements, and I needed a colour that brought back this darkness, not aggressiveness, but something that could transform quickly into anger. I wanted to create an undertone of fear.”

It is precisely from this emotional experimentation that Hauschka derives creative excitement. He often talks about the dangers of conforming to expectation, and dislikes being classified by any particular genre: he defines his various influences as a “collection bag, full of disparate things that somehow work together.” By transcending conventional boundaries, similarly varied responses from the audience are evoked, “Everyone who listens to me has a different imagination. During a live show, I can see something happening in their faces but I don’t know what – whether they hear the music of an abandoned city, or a dark zombie movie. I don’t want to take this away from them.”

Given his desire to innovate against the constrictions of any singular genre, how does Hauschka feel about being termed “indie-classical”? It has attracted a wide variety of responses, viewed alternately as an emblem of positive diversity, or of hipster exclusivity. He laughs, commenting wryly, “The problem is that people need to categorise and orientate. Once they link you to a genre you are all boxed and ready to go. But if someone calls me ‘indie-classical’, and someone else disputes that term, then at least there is a discussion being had.”

Opera – Marriage of Figaro in Camera

0

Camera performance for Friday 31st January – SOLD OUT

YouTube link

[mm-hide-text]%%IMG_ORIGINAL%%8956%%[/mm-hide-text]
Cast photo (Facebook)

Review: Christ Church Picture Gallery

0

In a city that is well known as one of the cultural centres of Britain it takes a lot for somewhere to be considered of exceptional artistic merit. However, the Christ Church Picture Gallery is undoubtedly one of Oxford’s cultural highlights. Often described as one of the most important private collections in the country, it is full of art that proves that you don’t need a gallery on the scale of the Tate in order to show artwork of the highest calibre.

The collection, which is strongest in renaissance Italian art, was founded in 1765 after the generous donation of the entire collection of General John Guise, a former student of the college. Before the opening of the current building by the Queen in 1968, the collection was housed in the library. The building itself is of great merit; the contrast of the large glass windows in the central corridor with the stone columns within the main gallery itself mean that the gallery has a surprisingly modern feel. Despite the slightly gloomy low light levels that conservation necessitates, white walls allow for a building that is much less austere than one might expect (although it sits among the inescapable grandeur of Oxford’s finest architecture.) The drawings room works particularly well in showing the work; the drawings and sketches are lit by a strip of light that, in an otherwise dark room, highlights the art and means that you can make out the precise details of the craftsmanship. The gallery stands as an oasis of calm within a city, and indeed a college, that often seems choked with tourists, perhaps due to its ostensible lack of connection with Harry Potter. 

The collection starts in a small room with a selection of panel paintings and altar pieces dating from as far back as the pre-renaissance. The altar pieces are of particular interest; ‘The Crucifixion’ by D’Antonio being a highlight. The pale, muscled torso of Christ contrasts with the pure black background. This makes for a figure of Jesus that immediately stands out within the picture. The artist creates a portrait that is disturbing in its realism; Jesus is covered in blood and the depiction of a skull at the bottom of the cross leads to a much darker image of the crucifixion than one might normally see or expect. However, the highlight of this room is the large painting of ‘Five Sibyls seated in Niches’ by Lippi. The folds of their clothing and perfect representation of the stone columns demonstrate the artist’s mastery of renaissance techniques that allow for an increasingly realistic depiction of these ancient seers. 

The large room that forms the centre of the collection undoubtedly holds its best work. Works such as ‘The Butchers Shop’ and Lippi’s ‘The Wounded Centaur’ are examples of pieces that are undoubtedly world class in their depiction of anatomical detail. ‘The Butcher’s Shop’ in particular displays detail that is particularly eerie. The presentation of the meat hanging as a gruesome mirror image of the men cutting it up and the lamb upon the floor awaiting its death only add to a sense of unease. It is almost as if it becomes unclear that the meat is animal and not human. However, the room also offers a number of other works that shouldn’t be overlooked. Carazzi’s ‘An Architectural Fantasy with Fountain and Figures’ provides an impressive vision of a classical city. It’s monumental scale and ominous skies form an apocalyptic image; the translucent figures that wander through the square increasing its fantastical tone. These figures serve to demonstrate the impossibility of what the painting shows; it’s almost a yearning for this sentimental view of the classical world. Finally, Van Dyk’s ‘Soldier on Horseback’ is something else not to miss. Again, the artist makes use of contrast; the ghostly image of the soldier in armour stands out against the bright white of his mount. The horses rippling muscles and open mouth create a sense of movement that is a rival even to that seen in the later work of Stubbs and Degas. Following on from this gallery is a small room devoted to the collection’s drawings, a selection of which changes every few months. Currently there is an exhibition of around thirty drawings related to the Florentine artist Borghini. 

Considering that the gallery is free to any current member of the university, there really is no excuse for anybody interested in art not to visit. Without doubt, this is the perfect place to find some excellent art without the daunting scale of galleries that one might visit in London.

 

Oxford Climate Forum in sponsorship controversy

0

Activists have criticised Oxford Climate Forum, after it emerged that the main sponsor invests millions researching oil extraction.

The main strategic partner of the event is IBM, which promotes research in tar sands, a controversial and expensive form of sourcing fossil fuels. The Oxford Hub, which helps organise the event, has also received criticism for its partnership with Barclays, which is an investor in tar sands.

The conference, which is due to be held from 7th-8th February at the Saïd Business School, will have a particular emphasis on careers in sustainable industries.

IBM’s sustainability initiative, ‘Smarter Planet’ recently opened a Natural Resources Solution Centre in Calgary, Canada to promote “smarter” processes for the petroleum and mining industries. According to a document recently released by IBM, “The Canadian NRSC has the distinction of being the first Centre of Excellence to focus specifically on creating solutions for Canada’s resource industries, such as oil sands petroleum production and Canadian hard rock mining”.

The news comes a week after the OUSU Council passed a motion at its 1st week meeting, requesting that the University “puts safeguards in place to ensure the University does not indirectly invest in fossil fuel companies”.

A spokesperson for the Forum said, “IBM will be present at our event and hold a stall at our careers fair because they have been very generous in their sponsorship with us and the Hub as a whole, but the message of our event is very clear.

“The large companies that will be present at our careers fair will be offering positions in their sustainability departments rather than advertising the usual consulting positions.”

Several local activist groups have criticised the partnership. Louise Hazan, Climate Campaigns Manager for People and Planet, an Oxford-based, nationwide student activism network, said, “If it’s wrong to wreck the climate by extracting fossil fuels, People & Planet believes it’s wrong to accept sponsorship from companies who profit from and actively support the continued extraction of fossil fuels.

“Those of us working to create solutions to the climate crisis must model the responsible behaviour that we expect of others, which is why it’s frustrating to see worthwhile events like the Oxford Climate Forum lending their valuable social license to the very companies responsible for causing climate change.”

Danny Chivers, environmental researcher and author of the No-Nonsense Guide to Climate Change, questioned the message that the partnership was sending out. “If wewant to maintain a liveable climate, we simply cannot afford to extract tar sands oil. By providing services and resources to the tar sands industry, IBM is actively pushing us all towards climate meltdown.

“I spoke at the Oxford Climate Forum a few years ago and it seemed like a useful event. However, by accepting sponsorship from IBM, they are undermining any good the event is doing by helping to greenwash this polluting company.”

He concluded, “I hope that this sponsorship deal was simply an error, and that the OCF will realise their mistake and drop this inappropriate sponsor.”
Ruthi Brandt of the Oxford-based UK Tar Sands Network also criticised the decision. “We are very glad to see students questioning sponsorship deals and using them as an opportunity to discuss the human rights abuses perpretrated by the fossil fuel industry.”

The Oxford Hub has defended its partnership with Barclays. A spokesperson said, “We’re working with IBM because the climate forum shares their ambitions of building a smarter planet, as it were. We can’t control the investments that they make, but what we can control is the quality of the conference, which will be very, very high.”

They continued, “[Tar sands] in particular may not be the most environmentally sustainable process, but broadly speaking, IBM and other organisations working at the conference, for example Unilever, are really committed to a more sustainable future, and that’s the point that we’re trying to get across here.”

OUSU has so far been advertising the Oxford Climate Forum. An email shown to Cherwell from the organising committee to a member of OUSU Environment and Ethics’s Divestment Campaign justifying the decision read, “We are by no means indulging in green wash nor trying to justify IBM’s involvement with fossil fuel extraction. I hope you understand our position and that you are still willing to help us advertise our conference so that we can have as big an impact as we can with both attending companies and students.”

Many students at Oxford have responded negatively to the news. Abi Enlander, Environment and Ethics Trustee at Magdalen College, told Cherwell, “It’s a tricky one with the Hub because they do a lot of good work here and it must be hard getting enough funding without resorting to big companies that often, unfortunately, have these sort of ties. Obviously it’s ideal for any charity to ensure they’re only funded by ethical sources, but in today’s financial environment this often isn’t a reality that can be achieved.”

She added, “There also seems to be a big difference in receiving money from companies that invest in tar mining than, as investors, actually giving this project the money it uses to sustain itself; perhaps the Climate Forum should reconsider its sponsorship from IBM as it does seem somewhat ironic given what the event is trying to achieve.”

Tar sands are loose sands containing bitumen (tar) – a dense and highly viscous form of petroleum. According to the 2009 study by IHS CERA, the production of bitumen and synthetic crude oil emits more greenhouse gases than conventional crude oil. The environmental issues associated with tar sands range from water pollution to soil erosion to possible carcinogenic effects. Tar sands have only recently become viable for oil companies due to the high extraction costs involved.

IBM and Barclays were unavailable for comment when approached by Cherwell.

Sir Christopher Chataway passes away

0

Sir Christopher Chataway, record-breaking athlete and Oxford alumnus, passed away last Sunday at the age of 82. Chataway, who had been suffering from cancer for two and a half years, was best known for his success as a track star. In 1954 he broke the world record for the 5,000 meter distance and won the Commonwealth Games three miles title. That same year Chattaway was credited with helping pace Sir Roger Bannister to break the four-minute mile barrier. These accomplishments lead him to be named the first-ever BBC Sports Personality of the Year.

 Born in Chelsea in 1931, Chataway came to Oxford to study philosophy, politics and economics at Magdalen College. While at Oxford Chataway served as the President of the University Athletics Club and was good friends with Sir Roger Barrister, for whom the Iffley track is now named after. 

During his athletic career Chataway also worked in broadcasting, beginning as the first newsreader on Independent Television and later with the BBC. He then entered politics, representing Lewisham North as a Conservative MP between 1959 and 1964 and again from 1969 to 1974. Chattaway held several ministerial positions, including Parliamentary Private Secretary and junior Education Minister. As an MP he used his maiden speech to urge the England cricket team to refuse to play in apartheid South Africa and championed issues relating to refugees.

 In 1974, Chataway retired from politics to concentrate on his business career, becoming managing director of Orion Bank, before leaving in 1988 to work as chairman of the Civil Aviation Authority. He was knighted for his services to the aviation industry in 1995.

 Chattaway is survived by five sons, Mark, Matthew, Adam, Charles, and Ben, one daughter, Joanna, and his wife Carola.

 

The wealthy should pay for top state schools

0

The highest earning parents in the country should have to pay the same fees to send their children to a high-ranking state school as they would to send them to a top independent school, according to radical reforms proposed by a leading Headmaster this week. 

Anthony Seldon, the headmaster of London’s Wellington College, is calling for a drastic change to the country’s education system in proposing these reforms. He also suggests that independent schools should put aside a quarter of their places for children from the poorest families, in order to enhance their chance for social mobility whilst reducing the current domination of the top state schools by the wealthiest families. 

These suggestions have been proposed in response to a growing divide between exam success rates of the students of state and private schools, as well as a decline in social mobility between the upper and lower classes, stating that, “only radical proposals such as these will address this problem. And they are long overdue.” 

Seldon also believes that these reforms would be a good way of introducing more money into the state school system, as well as providing a good incentive for state schools to improve on their overall performance whilst offering a more well-rounded and better quality of education to a higher number of students across the UK. He is quoted as saying, “these proposals are sensible, workable and fair, and if enacted would result in much better and fairer education for all.” 

Part of his proposed reforms would include the means testing of state schools, resulting in the wealthiest section of the population being charged to send their children to the schools with the best performance. Families who earn over £80,000 a year would be asked to contribute part of the fees in order to enroll their children, whilst the top earners with an annual income above £200,000 would be asked to pay the full price of an independent day school. It is said that this would generate surplus funding for the state schools in question – one quarter of the profits would remain in the possession of that school, whilst the rest would be distributed across other schools in need of the money. 

In order to create a unified education system, Seldon suggests that independent schools need to bond with state schools, sharing facilities and teaching methods, and that state schools should adopt certain features of private schools, including house systems and the option of boarding. 

However, many Oxford students do not agree with Seldon’s proposals. Ellen Robinson, a first year Classicist at Worcester, commented, “Seldon’s proposal completely ignores the possibility that if a high quality state school education costs just as much as a place at an independent school, high income families who would otherwise have opted for a state education may just as well choose an independent school to access the benefits in terms of prestige and reputation which such an education generally has. Ultimately it won’t resolve the issue, just drive an increasing number of people towards private education.” 

Jack Lennard, a student at Keble, largely agrees, commenting, “it’s a good idea in principle, but hardly realistic – there’s enough deliberate confusion over catchment areas to get into the best schools, with this idea you’ll just have people pretending to be poor”. 

Finally, Rebecca Borthwick of Brasenose College showed her disapproval, commenting, “that’s like charging a rich person £100 for a freddo”.