Wednesday, May 28, 2025
Blog Page 1884

Oxford faces "brain drain"

 

Concerns have been raised that Oxford is loosing its competitive edge when in come to attracting quality researchers and lecturers.

Professors at Brown, an Ivy League University in the USA, are paid a base rate equivalent of £83,450, while their counterparts at Oxford  are paid only £62,621, excluding collegiate benefits.

A recently advertised post for a Tutorial Fellowship at Merton contained details of a combined University and College salary of between £42,563 and £57,201.

Annual salaries given out by the University of Cambridge for professorships are also greater than those given out by Oxford.

The minimal professorial salary for a Professor in Cambridge is £64,379.

There is, however, a degree of ambiguity when it comes to salaries in Oxford, as both the University and colleges can contribute towards the salaries of academics.

A spokesperson for the University said, “the salary range for lecturers, which is the main career grade at Oxford University, does not include college salary and benefits on top.

“Most academics draw a salary from the University plus a salary from their college, the level of which will vary between colleges.

“College membership also brings various benefits such as use of college facilities. Other benefits include responsibility allowances for the heads of departments.”

Allowances for books and entertainment are often included in academics’ salaries.

The book grant for the advertised post at Merton is worth £814 per annum alone, and the tax-free entertainment allowance on top of that is worth £450.

There is also a remarkable difference in the amount paid to the heads of institutions.  Oxford’s Vice Chancellor, Andrew Hamilton, is paid £382,000 per year, but his counterpart at Stanford in the USA is paid $702,000 in 2008, the equivalent of £435,500.

At Brown, the starting rate for a lecturer is the equivalent of £37,314, whereas in Oxford, faculty lecturers can be paid as little as £21,367.

Last term, several academics voiced their concern that Oxford was becoming a victim of the ‘brain drain’ as academics fled to other universities worldwide.

Brian Foster, Professor of Experimental Physics, noted that Oxford could suffer an exodus of academics as better funding became available elsewhere.

Despite the recent passing of legislation allowing universities to charge up to £9,000 a year, this is still a fraction of what students pay in the USA.

At Brown, the 2010-11 academic fee was £24,776 excluding accommodation and other costs.

 

The Color (or Colour) of Spellcheck

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                One of the most basic differences between American English and British English spelling is the ‘u’ included in words like colour, honour, and valour in the latter, and the lack thereof in the former. It’s a simple variance and one that is both often noted and rarely noticed.

 

                Until, that is, you’re a speaker of the American tongue who forgets to change the settings on their computer to the proper language when writing an essay for your tutorial. You usually remember to do this; that way, you can rely on spellcheck to catch all the words you’d never even think to change. When that happens, all hell can break loose. You’ll head to your tutor’s office, read out your essay, get through an hour’s discussion, and hand in the sheaf of paper on your way out the door. Perfectly normal, right?

 

                Well, yes. But then, as you walk back towards your own college, you’ll suddenly realize that you left the wrong language settings intact because you’d been filling out an internship application and used the American spellings for that document. Maybe your tutor won’t notice, you think, and even if he does, it can’t be that much of an issue, can it?

 

                If that’s the kind of thought process that would be running through your head, then you’re a lot like I used to be – up until such an occurrence befell me in the middle of my first year. The following week, when I received my essay, my tutor had very carefully underlined each and every instance of misspelling involving such a “u” and then written, in bold, at the end of my essay, that such words as I had used did not exist in the English language on this side of the pond.

 

                So I was careful not to do this again; until a week or two ago, that is. I haven’t gotten the essay back yet, but I’m prepared for what might happen. It’s rather like coloring (or colouring) outside the lines when you make such a mistake, and I prefer to believe it makes me an original.

 

 

Who needs to import when you can buy homegrown

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With the last week’s extraordinary events both on and off the pitch, many would be hard pushed to look beyond the financial muscle, attraction and phenomenon of the Barclays Premier League for entertainment, controversy and eye-catching football. But if they were to have a cursory glance at the top half of the Npower Football League One table, then they’d find a phenomenon of a different kind and an encouraging one at that: the emergence of a group of ambitious, albeit inexperienced, English managers. As it stands, half of the top ten clubs in the league are managed by English managers and what links Chris Powell at Charlton Athletic, Keith Hill at Rochdale, Lee Clark at Huddersfield Town, Lee Bradbury at Bournemouth and Karl Robinson at Milton Keynes Dons are five factors: a shared nationality, enthusiasm, a playing career of some description, youth and, most notably, all are in their first managerial stints.

For years now, the media and press in this country have been bemoaning a distinct lack of talented English managers let alone players, most notably in the Barclays Premier League. While many only seem to care about what is happening in what is perceived to be the best league in the world, the lack of recognition for bright young English managers in the lower leagues is quite frankly disrespectful. The reality is that young talent, be it managerial or personnel, is there. You only need to take one look at the recent January Transfer Window and, in particular, the frenzy surrounding the highly rated Southampton winger, Alex Oxlade-Chamberlain, as an example of top-flight clubs fighting it out amongst each other to secure the best and brightest talent in England. Thankfully, for the Npower Football League One club’s sake, Chamberlain remains a Saint, at least for now. But whilst young English talent is a matter for another week, young English managers have, in recent years, been causing somewhat of a stir. Burnley’s new manager, Eddie Howe and Paul Ince, now of Notts County, are just one example of this.

Forced into an early retirement by a persistent knee injury, Howe, an ex-defender at Bouremouth, at the age of 31, having spent a few years coaching Bournemouth’s reserve team including a brief spell as caretaker manager, was hired as the club’s youngest ever permanent manager. Since then he hasn’t looked back. Within the space of a year he remarkably guided the Cherries to promotion, to Npower Football League One, this despite the club having a transfer embargo placed on it, and was recently named the Clarets new manager. Howe does he do it? For Ince the story was somewhat different. Having enjoyed a successful spell at Milton Keynes Dons, guiding them to the Johnstone’s Paint Trophy and achieving promotion back to Npower Football League One in the space of year, the lure of the Barclays Premier League was one which he could simply not turn down. His brief spell at Blackburn Rovers, just 17 games at that, was a huge disappointment but a learning curve in itself.
Significantly, Ince became the first black British manager in England’s top flight division and his experience did not put him off management. Indeed he returned back to his old stomping ground within the space of eight months. While Ince may have eclipsed Howe at this moment in time by taking up the mantle in the Barclays Premier League, it is a step which the former is certainly very much capable of taking.

Nonetheless, both cases highlight two important factors: firstly, the lower league is a more than apt environment for managers to learn their trade and secondly, top-flight clubs are, albeit in all honesty only a minority, willing to take a gamble on lower league managers with years or, crucially, although very rarely, months of managerial experience. I say top-flight clubs but most recently the ex-Sheffield United manager Gary Speed even surpassed that by somewhat surprisingly being named Wales’s new national manager, last September. While Speed’s case in particular certainly raised some eyebrows, it points to a wider question of just how important ‘managerial experience’ is when it comes to appointing a manager. Certainly what links the likes of Speed, Ince and the five English managers in question in Npower Football League One is playing experience of some sort. This can be attributed more so to Speed, Ince, Powell and Clark who themselves have represented their countries at international level, be it at under-21 level in Clark’s case. Thus, although the requirements demanded are of a different kind and the transition from player to manager is a big one, it seems that as a general rule, some sort of playing experience is an important asset to have.

Nevertheless, what is refreshing to see, far more so in the Npower Football Leagues than in the Barclays Premier League, is that people with no previous managerial experience are being given a chance to prove their worth. I deliberately say people because even non-footballers have over the years broken into the managerial set-up. Look no further than Dr. Les Parry and Nigel Adkins – Tranmere Rovers and Scunthorpe United’s managers/physiotherapists respectively Of course one can argue that the stakes in the lower-leagues are no way near as high as they are in the Barclays Premier League and so chairmen are allowed some leeway when it comes to appointing a manager, which is itself a perfectly valid argument. Yet, the very fact that there are currently, according to the latest list published by the League Managers Association, 60 English managers out of work, underlines that chairmen do not necessarily need to take a perceived gamble on young, inexperienced managers. Out of the five inexperienced managers in question in Npower Football League One, Karl Robinson of Milton Keynes Dons is the most interesting case. His playing career was spent in the very lowest echelons of English football with the likes of Marine, Oswestry Town and Kidsgrove Athletic but he had coached at both Blackburn Rovers and Liverpool and had been assistant manager to Paul Ince during his second spell in charge of the club. Nevertheless the decision to appoint Robinson at the age of just 29 was seen as a bold step taken by Chairman Pete Winkelman. What Robinson does not possess in lower-league football experience, he more than makes up for with both his ambition and coaching credentials. Milton Keynes Dons currently find themselves just outside the play-off places, albeit only on goal difference, alongside Paul Dickov’s Oldham Athletic and Chris Powell’s Charlton Athletic in what is proving to be another exciting promotion chase in Npower Football League One. Regardless of where Milton Keynes Dons finish, for their sake hopefully in some form of promotion spot, Pete Winkelman should be applauded as a chairman who believes and, more importantly, trusts in youth – a philosophy which should be replicated at higher league levels.

Of the five managers in Npower League One, the one huge advantage they have is youth. The mean age of messers Powell (41), Hill (41), Clark (38), Bradbury (35) and Robinson (30), is 37 – mere kids in managerial years. And like kids, over time they will mature, learning through their experiences, accumulating knowledge and coming to love Hannah Montana – say what? Mind you Miley Cyrus… Anyway, such an upbringing has certainly worked to Speed, Ince and Howe’s advantage. However, the big fear for chairmen of clubs who possess these young bright managerial talents is that a higher placed club will eventually come to snatch them away from under their noses. A pattern unfortunately reciprocated with that of young lower league English talent. In some cases, like that of Paul Ince, the opportunity to work in the Barclays Premier League was one which even Pete Winkelman at Milton Keynes Dons could not begrudge him. Yet, like young English players, one should question whether a step up, particularly so early in ones career, is an absolute necessity. Surely a few seasons in the lower leagues, moulding your own team together, achieving stability and experimenting so as to find out about your own strengths and weaknesses as a manager would provide a better learning curve than being thrust into the spotlight at a ‘bigger’ club where results are effectively everything. Some quarters would perceive this as being overtly negative and a wonderful opportunity, but in some cases reputations which may have been built up over many years on the pitch, have consequently crumbled within the space of a matter of months off it – ain’t that right Keano?

It is my belief that too often in this country, especially in the Barclays Premier League, there is an all too familiar tendency for chairmen to look abroad to both fill managerial vacancies and invest in foreign talent. Yet, given the ever increasing importance of either staying or challenging for European places in the Barclays Premier League, primarily driven by monetary factors, it appears that the prospect of a young English manager given the chance to manage in the top-flight is slowly diminishing. In most cases a safe pair of hands with plenty of experience is the correct formula and it would take a brave chairman to go against this trend. Yet, ever since England’s dismal showing in last year’s World Cup, the Football Association’s focus has very much been on investing in England’s future in both managerial and personnel circles. Of course English football as a whole needs a serious looking at but the FA could do no worse than investing serious time in nurturing the young, upcoming English managers in the lower leagues. Call me jingoistic, but if English football really has its sights set on challenging for major honours then the time to start planning for the future must begin now. The former Manchester City manager, Stuart Pearce, is already an important part of the England set up, managing at under-21 level and acting as a coach for Fabio Capello’s England team whilst the former Middlesbrough manager, Gareth Southgate, was recently appointed alongside Sir Trevor Brooking as the FA’s head of elite development. Change is happening in the highest echelons of English football and now that change must continue to be instigated down into the Barclays Premier League and beyond.

There is no doubt that a wealth of managerial potential exists within the Npower Football Leagues. If this potential is channelled in the right direction, then we could, premature I know, be witnessing the birth of a future England manager. It is abundantly clear that there are people out there who are desperate to give something back to a game which, in itself, helped to mould their own careers. What the game needs are chairmen like Pete Winkelman who are willing to give these people an opportunity, to share their ambition and trust their judgement. If such an approach is taken then the English game will only be better for it. So come on, lets give youth a chance.

The Lion, the Witch and the…Closet?

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As a six-year-old in New York, I was sophisticated enough to know what a wardrobe was when I first happened upon the term in the title of the most famous of C. S. Lewis’ Narnia books. But it surprised many of my friends in Britain to hear that such knowledge isn’t universal among American kids.


The reason for this is, of course, that in most American homes, wardrobes are the exception, not the rule. Closets in which to hang your clothes, line up your shoes, and organize any and all other manner of wearable items are de rigueur. Like wardrobes, closets vary in size – though in my own experience have been much larger, some as small as a midsized wardrobe, others as large as a very small specimen of a fresher’s room here in Oxford.


But unlike wardrobes, closets are built in to a house; you can’t take one with you when you leave a house behind. And they’re something you step into, not up into – which can make all the difference to a child. I wanted my parents to go out and buy a wardrobe for months after reading The Lion, the Witch and the Wardrobe – of course they didn’t, but I begged because I thought that I too could discover Narnia, if only I had the proper gateway at my disposal.


I never once considered the possibility that a closet might lead me to this land of magic in the same way. And throughout the rest of my childhood, though I spoke in the American tongue and read many books written in a decidedly British tone, I never fused the ideas of the two objects together, never quite conceptualized the notion that to have one was to replace the other, that to have both would be impractical.


Until, that is, I came to Oxford, and discovered in my room a pale wardrobe – much smaller than my closet at home. Struggling to shove all of my things into it at every possible angle, I found myself for the first time yearning for a closet instead. My dreams had come full circle – twelve years later, I was in the land that was once the home of the man who created Narnia – and I no longer wished for a wardrobe.

God, silence and plant porn

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Picture this – a successful writer and philosopher undertakes the project of filling a room with rhododendrons, while projecting down from the ceiling film footage specifically designed to be as sexually ‘titillating’ for the audience (the plants, obviously) as possible. In other words, creating the world’s first plant pornography theatre. Taken out of context, this perhaps seems to be the work of a clinically eccentric gardener, with a chronic attachment to the liberal welfare of his vegetables. However, what if I told you this were a work of conceptual art, throwing in a venerable institution like the Tate Modern for good measure? Heck, let’s even say Mr Hirst himself is in on it, with franchises in testosterone implanted chlorophyll (not strictly true).

This isn’t Performance Art with a capital P, but this is an art project – with a difference. Jonathon Keats aims to use the traditional philosophical method of a thought experiment and play it out in real time. There is only one thread which appears to tie together the diverse and multifarious projects he undertakes, and that is an unabashed cultivation of the absurd. ‘The world is a fairly ridiculous place, so the absurdity is rather easy to come by – it’s almost the default.’ Keats aims to stretch, contort and unravel the assumptions underlying our everyday lives – to rewind our cerebral hemispheres back to their childlike states of curiosity about the world around them.
Keats earnestly explained to me what led him to fill this apparent gap in the film industry. Having become interested in filmmaking, he realised that in such a competitive field already overpopulated by many very talented directors, his chances of success were not exactly astronomical. ‘So I thought perhaps I should look towards an audience that they had not.’ As well as being somewhat more populous than humans, plants are ‘incredibly adept at perceiving what film uses as the medium of expression – light.’

Keats however came upon something of a brick wall: ‘I’m not a plant and I don’t really know what they’d like or enjoy.’ However, it then dawned on him that ‘an awful lot of [directors] got their start in pornography and that’s something that really seems to appeal to a lot of people and would also probably appeal to a lot of plants.’ Having acknowledged that ‘what would titillate them would not titillate us’, Keats set about filming a plant’s-eye-view of the lighting effects created as bees hover over flowers during the lusty act of pollination. ‘Taking out all the extraneous information such as colour and shade’, the resulting black-and-white footage was projected at plants from high above and run for several weeks firstly in a Californian gallery, and later at Montana State University.

Deciding that ‘I don’t want to be a pornographer my entire life’, as well as feeling some sympathy for plants (such as asexual ferns) which may not actually enjoy porn, Keats took on a new mission. ‘Plant roots are firmly in the ground, they don’t get to go anywhere. So I decided to make them travel documentaries – filming in Italy. If you’re a plant, of course you don’t really care about the Eiffel tower or the usual tourist hotspots, what you care about is the sky. So over the course of about a month or so I filmed the sky in various weather conditions in Northern Italy.’ This footage was then shown to plants resident in New York at the AC Institute in the lower West side area of Chelsea. Keats solemnly declares total ‘commitment and integrity’ towards this project – ‘I would never film the skies in San Francisco and say they were from Europe, although that would be more convenient. That would be cheating the plants and cheating the art.’

After this intriguing, yet amusing discussion we move onto the somewhat sober trail of discourse this piece aims to raise among the humans observing and talking about such an ‘experiment’. Keats is no idiot and evidently he has deliberately cultivated humour in his work: ‘there’s a sort of reorientation and it starts usually with laughter! It gets back to this very basic idea of absurdity, and back to this very basic way in which I go about my thought experiments creating these fabulistic worlds and alternate universes that feel very much like ours. We think we know our ways around but something is really amiss. Generally the world we experience is by and large on a screen. So putting the plants into our position becomes a way that we can look at the world as if we were foreign to it – we can look at and explore what we do on an everyday basis from outside of ourselves.’

At the heart of his work is a craving, driven by his horror at the ‘cloistered’ activity that academic philosophy has in his mind become, to take his training in philosophy out to the world at large, luring it back into the eggshell-laden sphere of public discourse. He is a philosopher in the most traditional sense, but also a self-confessed ‘dilettante.’ In his exploits to create absurd ‘counterfactual’ situations where ‘all the furniture is on the ceiling rather than on the floor’ he has dabbled in nearly every industry around. This ranged from the intentionally pseudo-scientific (attempting to genetically engineer God in collaboration with scientists at the University of California: God is apparently a form of cyanobacterium), to the financial (creating an antimatter economy according to the laws of quantum physics), to real estate (selling property in the fourth dimension), to theatre (choreographing a ballet for honeybees at the Armand Hammer Museum) and most recently accomplishing NASA’s next aims in space travel a decade or two early (the catch? The astronauts were cacti).

One of the most intriguing of all Keats’ projects however was very much a part of himself. He patented his own brain. Designating it the status of a sculpture created through the act of thinking, he explains, ‘my mind is formed through the act of thinking and is unique to my thought processes.’ The roots of this project lie planted in the traditional struggle of the artist for immortality. Since copyright law gives 70 years of intellectual property rights post-death, Keats reasoned that this would at least give him a seven decade post-life extension.

When contemplating which industry would humour such wacky exploits, Keats settled on the art world. As a channel through which to present his ‘real time thought experiments’ to the public he decided ‘there really isn’t any space in society that is open to that kind of vague proposition except perhaps for the art world. The art world doesn’t really know what it is up to and hasn’t for about a century – ever since the academies gave way to various forms of modernism. This confusion – which is a problem in its own right in some respects – also affords enormous freedom to anyone who decides to be an artist.’ He has not escaped the claws of public criticism altogether, although he is somewhat intrigued at their choice of target. ‘More people got angry because I created a 4 minute, 33 second silent ringtone (read: John Cage remix) that I made available for free, than did when I attempted to genetically engineer God in a Petri dish.’

Although he appreciates any public input into his work, he aims to avoid people ‘thinking that [he] must be making fun of them,’ which he sees as the cause of such resentment. ‘People say, ‘it can’t be that simple, so therefore he must be doing something to show he’s smarter than I am, and therefore he must be making fun of me, and therefore I hate him.” He is not blind to the fact that this is certainly a problem in the world of conceptual art as a whole, although feels that much of this work is probably not quite as frank in terms of what it aims to address. ‘I don’t think art becomes valuable because it is set apart from life, I think it becomes valuable because of the way it is integrated into life. Art has for millennia been one of the most enriching experiences any society has and to lose that would be a sad thing.’

Not wanting to confine himself to the art world of only one planet, Keats was soon exploring the art world of life from other galaxies. He translated signals picked up from outer space into colour, translated time into space, and projected this visually onto a canvas. ‘What it looked like to me was perhaps extraterrestrial abstract artwork, with the caveat that I of course don’t know yet what this would be like, so it could be a still life or portrait for all I know!’ Having exhibited this in a museum shortly after, he wanted to ‘reciprocate on this generous intergalactic loan’ and sent out his own signals of abstract art into the cosmos. ‘I was interested in what goes on in our everyday communication, by taking the extreme case of extraterrestrial communication.’ What he did mirrors the fact that we can never communicate with each other without bringing in our own assumptions – ‘which is how we end up with warfare, but also how we end up with poetry.’

Keats makes the large majority of his living through his successful role as a writer and fabulist. He notes that this in no way clashes with his role as a conceptual artist and philosopher: ‘This is a fantasy world that I create, I am a fabulist.’ Essentially Keats has made a life of not only indulging in childhood curiosity, but ‘returning back to life and acting on it.’ He sees his approach to the world as more banal than most people would allow themselves, rather than that of a surreal maverick. ‘I try to provide a space, aside from that within which we live ordinarily, that may allow us to distance ourselves from life a little bit, to peer in, alter a few measurements and then step back and make a few changes.’ For the sceptics there is always Plato, but I think this guy seems much more fun.

Virtual Words: Language on the Edge of Science and Technology (Oxford University Press) is out now, RRP £12.99

First night review: Troilus and Cressida

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This week the Magdalen Players, in association with OUDS, perform Troilus and Cressida. One of William Shakespeare’s ‘problem plays,’ the play lurches from comedy to tragedy all under the guise of presenting a history of the Trojan War. The modernity of the play is striking — most of all for its refusal to ape Shakespeare’s formulas. There is no Fortinbras here; nor any final tragic act to reunite feuding families. The play leaves much unresolved, almost stubbornly refusing to force a melodramatic ending. As the director, Rafaella Marcus, points out in the programme, “this is Shakespeare at his most starkly realistic.”

It is quite fitting that Marcus, a veteran in the Oxford theatre community, decided to modernize the presentation. The set was minimalist (four crates, three ladders, and two banners), the play was in the round, and the costuming was anything but period. These decisions lent an edge to the play which succeeded in Marcus’ desire to resonate “so completely with our modern conflicts.” The images of manipulation and betrayal, present throughout the script, were highlighted by these directorial decisions. The power of the words and of the performances were plain for the audience to see, unobstructed by sets, and undistracted by elaborate scene changes. Marcus went a bit far, however, with some of the modernizations. The inclusion of a radio announcing battlefield events and of air-raid sirens to announce attacks jarred in juxtaposition with swordfights and ritualized battlefield meetings between Greek and Trojan heroes.

The titular roles, played by Chris Adams and Charlotte Salkind, were well cast and subtly acted. Adams and Salkind didn’t balk at the strange chemistry required of Shakespearean lovers — giddy joy, o’er-expressed feelings, and simple naïveté. They never lost the sub-text, and it was a delight to watch both negotiate the fine line between hiding their characters’ feelings from their stage partners while simultaneously revealing the inner turmoil to the audience. However, it was Richard Hill, in the role of Pandarus, who really stood out. While Hector, Patroclus, Diomedes, and countless other parts were over-played, Hill’s portrayal of an ambitious, loving, and manipulative uncle was consistently refreshing. His subtlety, as well as a brilliant choice to draw out a homosexual subtext in his relationship with Paris, made his character deep, moving, funny, and endearing. Even more than Hector’s death, Pandarus’ fall from grace is the true tragedy of the play. Rightly, its Hill’s acting that represents the play’s finest moments.

As a whole, the performance and direction are impressive. Yet the whole falls short of the sum of its parts, mainly because of issues with the script. The play didn’t translate into the social structures of the early seventeenth century, and it still jars the viewer with a mix of cultural norms which are hard to reconcile. There’s a reason it wasn’t performed until the mid-nineteenth century (and only rarely after that). Shakespeare had a way with words, but Homer simply told this story better.

The fight continues…

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(Lauri Saksa)

 

 

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Cowley complaints

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Local residents have spoken out against plans to redevelop the site of a defunct gym on Cowley Road to create twelve en-suite student flats.
For the plan to go ahead, it must be sanctioned by Oxford City Council, but four councillors, including Council Leader Bob Price, have referred the matter to the Cowley Area Committee for discussion.

Price said, “We are never certain on the dimensions on planning applications like this in East Oxford, or the impact they will have on the community. So members often call in proposals like this so we can look at them closely. It gives the public and council members a chance to look at everything in detail, and potentially ask for necessary changes.”

He cited the concerns felt by local residents as, “collection of rubbish, maintenance, noise and parking,” adding that, “all plans need to be looked at carefully in respect of the area, especially in a crowded community like that on Cowley Road.”

The developers have sought to placate local residents by assuring them that students accommodated in the new apartments will be forbidden from bringing cars with them.

Elizabeth Mills, Chairperson of the Divinity Road Residents’ Association, complained that this policy is “completely unenforceable.”

Earlier this week, residents also held meetings with the University over other plans to demolish three buildings in order to make way for a new medical research centres.

Members of the local community fear that the £57 million development will only fuel the traffic problems.

Some students have branded the current outcry over accommodation mere “scapegoating”.

“They’re just taking the opportunity to whine about the students,” said Tom, a second year student at Brookes’ Headington Campus, who lives near the Cowley Road, and brings his car with him to university. “It’s a student area; if you don’t like students, maybe you shouldn’t live here”.

Elizabeth Mills, however, worries that “the University is turning Cowley Road into a student union. More houses for families need to be repossessed from students, who do not contribute to the local community.”

Julia Hamilton, a Visiting Student at Mansfield College, sees the increasing levels of student accommodation as a positive development.
“At the moment private buy-to-let owners have this monopoly offering substandard housing at a premium because students have no choice but to take it,” she said.

“Perhaps if students were offered nicer accommodation, there would be more of an incentive to look after the local area.”

A residents’ meeting about the plans was held on Wednesday night and public consultation over the application continues.

Stash gets cleaner

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At an OUSU meeting on Wednesday evening two motions were passed in favour of ethically manufactured student stash.

Cherwell originally reported on the dubious ethical credentials of university branded clothing last term, and since then the campaign has been consolidated under the name ‘Buy Right’, part of OUSU’s Environment and Ethics committee.

It aims to ensure the Oxford crest does not appear on any clothing which has been made my people who have been exploited in sweat shops.

Sean Robinson, a student at the Queen’s College who proposed the motions, said that the fact that both motions passed unopposed “shows the support this issue has amongst the student community”.

The first motion resolved to “encourage common rooms to mandate Environment & Ethics reps to be responsible for ensuring that … all clothing that is bought by the common room or groups related to the common room is ethically produced”.

The second motion noted that “it is not uncommon for (often female) factory workers to be sexually abused at their work place, not have the right to unionise, receive no healthcare and/or education, earn wages as low as five pence per hour, work up to 18 hour shifts and 80 hours per week”.

The motion mandated the E&E committee to campaign for Oxford Limited, a business subsidiary of the University responsible for the global licensing of the Oxford brand, to affiliate with the Workers’ Rights Consortium (WRC). The WRC is an independent US organisation which monitors companies in order to protect the rights of workers in garment production.

Robinson told Cherwell, “If Oxford Ltd want, as they claim, to ensure good conditions for their workers, why are they keeping those conditions secret? Harvard have done it, Princeton have done it: 188 colleges and universities have signed up to the Workers Rights Consortium: why won’t Oxford?”

Campaigners have drawn attention to the cause with fundraisers such as a 2011 calendar various sports teams and societies posing nude with the slogan, “I’d rather go naked than wear sweatshop”.

Robinson said, “The campaign is gaining momentum with many things scheduled this term such as a make your own stash event and the release of an ethical procurement handbook for JCRs”.

Oxford invests in healthcare

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Oxford University will invest over £11 million to re-house the Jericho Health Care Centre in the site of the former Radcliffe Infirmary as part of the University’s plan to “accommodate new teaching and learning space over the next twenty years”.

Proposals for the move described the existing healthcare facility in Jericho as “a building that has become unsuitable for the services it provides.”

The new health care centre will have three GP Surgeries as well as “training, education, visiting consultant services and approved complementary health services”.

Students have agreed about the inadequacy of the existing building.
“I think the facilities that exist currently are inadequate to meet student demand” commented a second year Medic at St Peter’s.
“Every time that I’ve tried to book an appointment, there’s always a delay.”

A player for the University rugby team said, “It will be good to extend healthcare facilities outside the hospital.

“It’s quite inconvenient for a lot of people to go all the way to the JR for physiotherapy. I recently did in my shoulder and moving follow-up care to Jericho would save me a lot of time.”

The University purchased the the Radcliffe Infirmary site in 2003 in order “to provide facilities befitting its international reputation as an institution of learning that will positively reflect upon the historic city of Oxford”.

The new centre is part of a purchase arrangement with the National Health Service which legally obliges the University to provide a site for a health centre.

A spokesperson for the University commented, “The new health centre is being built to honour an agreement arising from a condition of the sale of the Radcliffe Infirmary site to the University, and space in the building will be leased to support the costs.”

“The result will be a larger health centre with modern facilities, a very considerable improvement on the present surgery, and this will benefit all patients.”

The surgeries were contacted but were unavailable to comment.