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Blog Page 2015

Worcester "Big Dogs" denied queue-jump

Worcester JCR rejected a motion which would have allowed “Big Dogs” to queue-jump for entry to hall.

The motion was entitled “The Big Names Dinner Queue-Jump Motion” and was proposed by Will Grundy during the last JCR meeting of the term. 

In it, Grundy asked the JCR to note that “Worcester is dominated by a Big-Name culture, maintained by a small and powerful cultural elite of Big Dogs, Massive Lads, and Top Lasses.” He claimed that these “Big Dogs” are entitled to early entry to hall because of their vital role in college life.

“These crucially important personalities are solely responsible for maintaining Worcester College’s social reputation,” he wrote.

He said that queue-jumping was justified because “constant hounding takes up a lot of time for these Big Names, many of whom have much better things to be doing, examples of which include drinking 4 VKs at any one time, and looking down their noses at any one who has failed to scale the epic social heights that they have.”

Grundy now claims that the failed motion was intended as a joke. “It was extremely ironic…there’s always a few joke motions going around the JCR.”

“It was absolutely pasted at the meeting, and quite rightly so,” he said.

Ella Miller, Worcester JCR President confirmed that people who proposed the motion made it clear that it was a joke. She added, “Someone said there’s some weight behind it, but overall it was clear that no harm was intended.”

However, some members of the JCR did not take the proposal so lightly. One Worcester student, who asked to remain anonymous, said, “[There is] a growing sense of dislocation that has been troubling the college, as a small group of supposedly popular individuals increasingly try to assert themselves on their less attention-seeking peers.”

“Why should the JCR Committee…be trying to further the efforts of people whose university careers amount to desperate social climbing at the detriment of others?” he said.

Grundy was not able to offer a definition of what constitutes a “Big Dog”.

Legal aid offered by Oxford students

Oxford law students have volunteered to provide legal aid for clients within the city.

The scheme, a joint venture between the law faculty of the University of Oxford and Turpin & Miller Solicitors, aims to provide assistance to vulnerable local clients. Students will deal with a range of issues, including immigration, asylum and citizenship, housing and homelessness, community care, family, employment, debt and welfare benefits.

It is the first time that the Oxford Law Faculty has been involved in such a project and sixteen students were chosen from fifty applicants for the scheme. 

A spokesman from the Junior Lawyers’ Division said, “It is particularly commendable that the birth of this scheme originates with the students themselves, who not only recognised the opportunity to gain valuable relevant experience, but also the fundamental social responsibility of the legal profession.”

Those involved with the scheme also expressed enthusiasm at the opportunity to give something back to Oxford as a community.

Daniel Cashman, student Co-Chair of Oxford Legal Assistance said, “I want to be able to use the skills I am learning through my degree to offer practical help to those in need. The programme is pioneering and I’m very proud to be a part of it.”

Jo Renshaw, Partner at Turpin & Miller Solicitors added, “It is a great opportunity to work with our local university to provide additional assistance to clients within Oxford. We see it as a ‘win-win’ situation, enabling students to gain hands-on experience of dealing with clients while at the same time ensuring that tight legal aid budgets can be used to fund the more complex areas of our cases.”

 

Staircase 22: 6th week, part 1

Eleanor and Jools go to OUSU while Kati gets involved in an All Souls scandal. Will Sarah’s sex survey for Cherwell get enough responses to be a meaningful statistic?

Staircase 22 continues over the Christmas break. Don’t miss out on the upcoming episodes!

Review: Oxford University Sinfonietta

On Tuesday 1st December the Oxford University Sinfonietta gave their end-of-term concert in the Wesley Memorial Church.

The programme ranged from Mozart and his lesser-known contemporary Wanhal, to Schnittke and John Williams. According to the conductor, James Longstaffe, the choice of repertoire was designed to ‘showcase some of the bright young soloists of Oxford nd hear some Williams that isn’t Star Wars!’

As the respectably-sized audience trickled in, fragments of conversation hinted at the anticipation that almost always precedes OU Sinfonietta concerts. As the repertoire is less-than-familiar to most of the listeners, murmurings of scepticism usually emerge at the idea of an ensemble playing pieces without hummable themes. This concert was no exception, but proved more than able to answer those apprehensions.

The short Mozart overture (Der Schauspieldirektor) that opened the concert was – despite occasional tuning problems – a lively start, and the ensemble was generally well-controlled. Unfortunately the delay in staging arrangements afterwards led to this brief piece feeling slightly isolated, a false start in a programme of much larger works.

However this was soon forgotten in the midst of a magnificent performance of Schnittke’s Concerto Grosso No.1. Violinists Amy Tress and Isla Mundell-Perkins (Oxford University Orchestra leaders past and present) relished the technical demands of this work, and were sensitively supported by Daisy Fancourt on Harpsichord and Prepared Piano.

Wanhal’s Symphony in G Minor followed the interval, and, although probably a weaker point of the evening, was a rare chance to hear some underrated and underperformed music.

After this an enormous wind band crammed themselves into the always-tight performance space of the Wesley Memorial Church for a fine rendition of Williams’ Sinfonietta for Wind Ensemble. While this was for me a rather inaccessible piece, it served to indicate the wealth of talented wind players in Oxford at the moment.

Throughout the performance, Longstaffe’s conducting exemplified the clarity and reliability for which his instructor Peter Stark is so acclaimed, especially in the more challenging twentieth-century works.

Perhaps unusually for Sinfonietta concerts, the modern pieces were the more successful; the Concert Grosso in particular was a triumph. The savage energy of the violinists created in the “deranged-tennis match” cadenza was immediately absorbed by the harpsichord at the beginning of the rondo, leading to a moment of genuine, fragile beauty in a work full of parody and angst.

The almost theatrical power relations and the tension of the manic mood-swings underscored the raison d’être of the OU Sinfonietta. Such a gripping work cannot really be experienced through recordings, where none of the dynamism – or sheer physicality – of the playing is captured. The remit of the Sinfonietta is to perform works from before 1750 and after 1900, works that often fall outside of the realms of standard listening material, but this concert showed why: without performances of these works, they will never be understood or appreciated.

 

Join the debate: Is Christmas still fun?

Dhatri Navanayagam asks Oxford students what Christmas means to them, and what they love and hate about the festive season.

Staircase 22: 5th week, part 2

Ralph is high on something highly reprehensible while Paul is low on his essay crisis. Will Eleanor and Val’s coffee readings come true?

Staircase 22 is recruiting! We’re looking for actors, writers and sound managers to continue production of Staircase 22 next term as well a new producer and director.  If you’d like to know more about getting involved email [email protected] for more information.

Sugarplum charity Ball a success

Cherwell caught up with guests at the Sugarplum Ball in London’s Natural History Museum. Organised by the Oxford Aloysius society, the event aimed to raise money for SOS Children’s Villages.

Blue-sci research

Last night, the Times Higher Education ‘Blue skies ahead?’ debate brought together government science minister Lord Drayson and a panel of young scientists, including Oxford Physics’s own Suzie Sheehy, and the Twittersphere, to discuss the future of UK research funding.

The discussion was fairly unfocussed and more than a little ranty, as a handful of disgruntled scientists and teachers proceeded to lambast STFC, the new ‘impact’ assessment integral to grant applications, and science education and outreach. One couldn’t help but feel a little sorry for Drayson, who seemed rather to have been the victim of an ambush.

The biggest and most interesting question up for debate was that of how we should go about allocating money to scientific research. However, though there was plenty of unnerved squirming over research grants drying up, no-one addressed the big question of how to justify how much funding science should get, and how we should divide that between disciplines.

The biggest target of ire was (probably) the new-fangled necessity to justify the ‘impact’ of your research as part of the grant application process. Drayson justified this by saying that the statements provided helped fight the corner of researchers: ‘Impact assessment,’ he said, ‘is needed to help defend the science budget against those who would rather spend the money on something else.’ The question, of course, is how many of the hundreds of thousands of words of impact assessments written will actually make it into a given parliamentary debate—or, less cynically, how we can condense the reams of qualitative information provided into a useful measure of the benefits of our aggregate research strategy.

Many of the comments from scientists deploring the introduction of ‘impact’ assessment seem to be coming at it from the perspective of the persecuted: the implication seemed to be that this new criterion would see their research being cut. Firstly, this confuses me: does every scientist think that they are doing research with abstract and unquantifiable benefits? Is there a crack army of buzzword-tastic, short-term impactful, applied researchers waiting in the wings to come in and snatch all the funding from beneath the highly theoretical old guard’s noses? Since there is no accompanying overall cut in research funding—other than, with unfortunate timing, the ones which were coming anyway—why is everyone expecting that it’s their research which will be dropped?

It seems to me that the most likely outcome won’t be a significant restructuring of the research landscape: surely if you have the expertise to propose a research programme and the lab to back it up, writing a couple of pages about why your research may have ‘impact’ isn’t much of a challenge—and, given that this will be peer-reviewed by sympathetic scientists, explaining that your research is fundamental and hard to quantify will probably elicit a degree of sympathy; scientists understand that basic research is inherently unpredictable.

So, then, if this isn’t a big deal, the question is why we’re bothering at all. The vocal part of the science community, in this debate at least, want evidence that this ‘impact’ thing will help science. Drayson hits back that he wants evidence it will harm it, and scientists hit back back, saying that we can’t prove a negative.

What we need, if we’re to answer the big question of how to assess research money allocation methodologies, is some kind of metric. Against the view popular amongst scientists that some research outcomes are ‘priceless’, or at least totally unquantifiable, we must contrast the pragmatic need to assess how much funding science should receive overall versus defence, health, education and, ultimately, private expenditure as moderated through taxation; and then, how that pot should be split between physics, chemistry and biology, obviously-applied and possibly-useless, and so on. We need a way to measure the benefits of research—with evidence-based, probably-enormous, non-Gaussian error bars. If such an exercise is totally futile, let us find out by the scientific method, and not simply make hysterical objections to a well-intentioned, if possibly ill-founded, government initiative. We need to be able to make an objective assessment of impact statements versus the current system versus putting all the grant applications in a big spreadsheet and throwing darts at it…and so on. Without some numerical evidence, the debate degenerates into status quo bias and soundbites.

If such an assessment does indeed turn out to be impossible—and it’s certainly not inconceivable that it would be—then we need to ask ourselves the complex ethical question of what society is morally obliged to do when we don’t know what to do.

On a less intellectually grand note, I was also a little confused by all the comments regarding outreach—no-one seems to be able to get funding for their ‘out-of-the-box’ youth inspiration schemes. Call me woefully inside-the-box, but I don’t think it’s practical to take every A-level student over to CERN, and I can’t see many ways of engaging young people which aren’t basically talks, leaflets or posters. And, anecdotally, our talk and leaflets, explosions and beachballs science show Accelerate! got some dosh from none other than the squeezed STFC.

And finally, to finish with a dash of cynicism, Lord Drayson: though I am falling foul of my own strict criterion of requiring evidence, might I suggest that to be taken seriously by scientists, phrases like ‘a more flexible framework for assessing excellence’ should be purged from the lexicon at all costs!

Staircase 22: 5th week, part 1

Eleanor’s rat has gone AWOL while Kati’s discovering what exactly it is about hack Peter Renee that earned him his reputation. Will Paul ever get enough peace to finish his essay?

Review: Oxford Alternotives

Having heard a preview for the Oxford Alternotives’ end of term concert, it occurs to me that the a cappella genre has a bit of a bad reputation. Say “A Cappella”, and words like “cheesy” and “geeky” spring to mind, along with the vague notion that you might be locked into an auditorium for an hour and forced to listen to that Dell Advert over and over again. But, despite hearing songs like Want You Back and Don’t Stop Me Now within twenty minutes, I never heard a hint of ‘Lollipop’, and left the preview associating the Alternotives more with words like “entertaining”, “understated”, and “impressive”. Whether the music was fast and tricky or slow and luscious, they were always in control, and there were moments when their blend was breathtaking. This isn’t just some glee club concert for chronic shower-singers. This is Pop, Rock and RnB performed with style and ease by a group that has won awards for its arranging, performing, and soloists.

Were there problems? Certainly: occasionally the tuning slipped, the soloists could have smiled a bit more, and their sound sometimes lost cohesiveness in louder parts. But there is a certain amount of satisfaction to be gained from doing things the hard way – like making tea and throwing the teabag away without using a teaspoon – and watching a small group of guys and girls not just sing songs, but perform them entertainingly without the use of instruments or backing tracks, more than made up for tiny errors here and there. Not to say that the show only has gimmick-value – occasionally, you get to hear something truly magical that transcends anything you could ever do with instruments: their version of Bridge Over Troubled Water will leave you emotionally wrecked, tear-soaked, and smiling from ear to ear.

Four Stars