Monday 9th June 2025
Blog Page 2142

Oxford donor offers up to $50m

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The technology guru James Martin has offered to match every donation to Oxford University for the next year – up to a maximum of $50m.

He says he hopes his pledge will enable research into the impact of technology on society, and encourage others to keep giving despite the recession.

The businessman is already the University’s biggest donor in modern times. In 2005 he donated $100m to found Oxford’s James Martin 21st Century School.

Martin’s latest contribution will go towards the target of £1.25 billion which Oxford has set itself in its latest fundraising campaign, Oxford Thinking. If successful, the scheme will be the most lucrative in European history.

Let teens sleep, says Oxford don

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Russell Foster, a professor of neuroscience at Brasenose College, has concluded that teenagers naturally need more sleep than adults and children.

Speaking up against the stereotype of teenagers being simply too lazy to get up on time, he told the BBC, “there’s a biological predisposition for going to bed late and getting up late. Clearly you can impose upon that even worse habits, but they are not lazy.”

Russell said his tests showed students performed better in the afternoon. He suggested opening schools an hour later to catch pupils at their natural peak, claiming this could reduce truanting and depression.

Auntie’s science bloomers

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My new hobby seems to be complaining. I’ve twice been appalled by science articles on the BBC News website in the last few weeks, to the point where I’ve been compelled to get off my apathetic arse and e-mail them suggesting a correction.

The first and worst was on a video report about climate change. The reporter suggested that elevated emissions of greenhouse gases could be catastrophic, especially if they led to ‘negative feedback’ processes.

However, as any good GCSE biology student knows, negative feedback processes are those like thermostats, which maintain a system’s delicate balance if it wobbles—if the climate were full of these, we’d be laughing! Positive feedbacks (like warming which melts polar ice, which in turn makes the surface of the Earth less white and reflective and thus leads to amplified warming) are the kinds of things which lead to catastrophic, irreversible, runaway climate change.

You can understand how this transposition could occur—I mean, these feedbacks are bad, right? Some might even say ‘negative’? But it demonstrates that the journalist, as well as any producers, editors and researchers involved have all missed an utterly crucial lynchpin of the argument—a lynchpin that a sixteen year-old might well be able to explain.

The offending vid seems to have been removed; though, having received no correspondence, I am unable to ascertain whether this was as a result of my complaint. A text version, which makes no mention of feedbacks, seems to have remained.

The second article was one last week about the possible antidepressant effects of salt. ‘The body needs sodium,’ the article explained, ‘the chemical which along with chloride makes up salt.’ There is, of course, no such chemical as ‘chloride’. If you asked a chemist for a bucket of chloride, they would ask you which one—perhaps sodium chloride (table salt, obviously), or hydrogen chloride (just add water for a pleasant bath of hydrochloric acid), or whatever. You might jump to the Beeb’s defence, citing the other common use of ‘chloride’, referring to the chloride anion, Cl—but again, you would not describe this as a chemical, but a constituent thereof.

This one is admittedly more of a minor quibble, but the point is exactly the same—sodium chloride, with its ionic crystal structure is a stalwart of GCSE chemistry, and below. Dissolve NaCl in water, pop in some electrodes, and watch the chlorine bubbles pile up on the positive one. I said chlorine, there, did you notice?

To the Beeb’s credit, they did alter this fairly rapidly, though not to my satisfaction—they rephrased it in a slightly awkward way, and refused to make any further changes, citing a page from the Food Standards Agency which said ‘the chemical reactions inside our bodies need sodium—one of the two elements that make up salt (with chloride).’ I’d be grateful if the FSA or BBC could point me to a periodic table with ‘chloride’ anywhere on it.

This worried me on two levels—firstly, that the BBC engages in ‘churnalism’ (the mindless rehashing of press releases), but secondly, that the presumably-reputable FSA were in fact the source of this, er, elementary error.

What concerns me isn’t the details of the mistakes themselves—neither is likely to significantly detract from the understanding of the articles they’re from—but the culture of science reporting they betray. Both are perhaps pedantic points but, crucially, they are mistakes that no trained scientist would ever make. The implication is that every member of the BBC science chain, from press-release scraper to editor, doesn’t have the scientific proof-reading skills to outwit a competent GCSE student.

I realise that sounds harsh and more than a little bitchy, but that is because I am truly appalled. How can we trust the media’s appraisal of the important scientific results which these reports went on to deal with if their creators could not proof-read a GCSE exam?

Despite reading rather too much of the BBC News website, I refuse to believe that this is an exhaustive audit of their errors. Conversely, I am sure that the BBC is not the worst offender—but this is no excuse, especially from such a high-profile, widely-read and widely-regarded news source. If we can’t trust the public service broadcaster in this turbulent world of ours, where can we turn? I would, of course, be willing to be swayed by an exhaustive audit if it turned out that I was unfairly tarring Auntie over typos when most of the content was factually sound. I suppose this is the difference between me and a journalist—I think facts are more important than press releases.

Suicide risk increases with exposure

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Exposure to suicide in the workplace or in the family increases the risk of people killing themselves, joint research by the University of Oxford and Stockholm University concluded.

The researchers discovered that people exposed to a colleague’s suicide at work are more than three times more likely to end their own lives.

It was also shown that anyone who has a family member who’s committed suicide is more than eight times more likely to take the same path.

Professor Peter Hedstrom, a researcher at Oxford University said, “Since there are so many more individuals who experience a suicide in their wo

rkplace, the aggregate effect is greater than what can be ascribed to the family, even though a suicide in the family obviously has a greater impact on the suicide risk of the individual in question.”

 

Police say Hertford Fire still under investigation

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Police have confirmed that they are still treating last term’s second fire at Hertford as a possible case of arson.

At around 4:49pm on Friday of 8th week, black bin liners full of rubbish in the basement around the Radcliffe Square entrance to the college burst into flames. Soon, tall flames and plumes of smoke surrounded the building, scorching and blackening the outside walls of the college.

Fire engines soon arrived and succeeded in extinguishing the fire within ten minutes. Aside from some melted guttering, the damage was merely cosmetic. The fire brigade remained in the area for another hour, to ensure no smoke had entered the building and that the building was safe to be re-entered. Students were soon allowed back in.

Police arrived on the scene shortly afterwards, later confirming that they were treating the blaze as suspicious. A spokesman from the fire services stated that “arson is still being investigated… the details of the fire appear suspicious”.

A spokesman for Thames Valley police said in a statement “the causes of the fire are still unknown”, and that “investigations are ongoing”. However, college bursar Peter Baker denied this, claiming “police have ruled out arson, and are satisfied that the fire was accidental”. As yet, nobody has been arrested or taken in for questioning.

This fire was the second to have broken out on Hertford College property this term. In the early hours of Tuesday, Week 2, a fire outside the Warnock House property on St Aldate’s forced the evacuation of 100 , although there were no injuries in this incident either. Again, arson was initially considered as the cause of the fire, although police then ruled this out.

In spite of the two fires, college sources say they remain satisfied with Hertford’s fire safety and have no plans to alter their fire procedures. Sources in the emergency services have emphasised that they do not blame the college for the either incident.

Oxford’s fire service described Hertford’s response to the fire as exemplary, saying they were “very satisfied with the college’s fire measures” and were impressed by the speed and efficiency with which buildings were evacuated.

After-show parties

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Finally, you’ve made it. You’ve struggled through dawn rehearsals, hours spent learning lines, and hundreds of pounds wasted on inspirational G & Ts. This is it, the culmination of all your momentous efforts: the after-show party. Already, you’ve stood outside the theatre greeting the droves of adoring fans as they leave, teary-eyed and trembling after the emotional battering of your performance. The director’s reign of terror is at last over and all of a sudden, instead of insults, it’s fake smiles, flowers and great big thankyous. The drink will flow, the cast will be off their proverbial faces, the previously delicate sexual politics will disintegrate to lustful, wanton anarchy and the lighting technician will be sitting in the corner wishing he were more talented.

First, all of the long-repressed animosities of the past term gets gleefully stirred up, and then the girl whose part wasn’t quite big enough for her ego smashes her Lambrini against the wall, in a fit of jealous pique, and unceremoniously bottles Desdemona. This is where drinking games really come into their own: what’s the point in spinning the bottle and being forced to kiss someone you’re already comfortable with? It’s all about the slight awkwardness only to be overcome by getting semi-naked, furiously snogging and admitting far more about yourself than you ever would to a friend, safe in the knowledge that out of the context of college life, you are essentially anonymous.

There is one even more important function of the after-show party, however. Now, at last, after so many fruitless hours of longing; meaningful, lingering glances and erotically-charged chit-chat, you’ll get your one opportunity to fulfill your fantasies, seduce the protagonist and hopefully get him to drop trou. At least, if it all goes to plan.

The problem is, however, it never does go to plan. Inevitably, he’s got a girlfriend, and even though it became increasingly evident that he was enjoying that passionate, on-stage kiss a little too much, for some reason, it’s a different world off-stage. One where, sadly, passion doesn’t reign. So, dejected, drunk and full of the bitterness of cruel rejection, you cut your losses, choose the easy option and go for the lighting technician instead.

Learning Lines

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Inevitably in any Oxford student cast, there will be one poor mite who has never set foot on a stage before. Though this isn’t necessarily a problem overall, never is it more of a problem than on the opening night. Whilst other, more weather-beaten actors calmly beat their heads against the wall, confident of their time-honoured techniques of getting into the mad Ophelia mindset, the faces of the newbies blanch with the one fear they’ve never encountered before: the terror of drying up on stage.

However, although it could go either way with an acting virgin, at least they’ll be scared enough to actually bother learning the lines. If there’s one thing I’ve learned during my years of working with arrogant theatrical upstarts, it’s that the better an actor thinks he is, the finer he’ll cut it when it comes to knowing by heart what he’s supposed to be declaiming. I know this because I am one such arrogant upstart myself. When you know you physically can learn it all on the night of the dress rehearsal – because you’ve done it before – you know you surely will. It becomes a sort of game. An Eton scholar once told me how, when taking public exams, he and his friends used have bets with each other about how long each one could hold out before turning over the paper and beginning, simply because they knew they could. One finds the same such tomfoolery with learning lines.

What truly marks the amateur out from the expert, however, is the ability to claw it all back when you’ve literally lost the plot. When putting on a play, no matter how much your cast take the piss, you need to know that if someone does have a mental blank, they’ll be able to cover their tracks. And there’s only one way to do that: improvisation. When starring in Tom Stoppard’s light-hearted, abridged version of a Shakespeare classic in this year’s Cuppers, one befuddled Hamlet came up with: “Dog will mew and cat will have his day… apparently.” However, making light of the situation only works if it’s a comedy. If the play is in earnest, that’s when you really have to think on your feet. As did a certain friend of mine who, having completely forgotten her thirty-line monologue supposedly in response to someone on the other end of a telephone, said “I’m sorry, I can’t really hear you… I think you’re breaking up.” The audience didn’t notice a thing; desperation is sometimes the most fruitful muse.

 

The Just Assassins

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Four stars

The Just Assassins, by Albert Camus, isn’t a play for our times. Terrorism nowadays really is terrorism: creating fear by targeting ordinary people, a dark opposite of mass peaceful protest, aiming to change people’s views by making them wonder of they’re going to be next. Instead, it tells the story of a group of terrorists in 1905, plotting to assassinate a Grand Duke and unsure if killing innocents is justified if it gets the result they want. For Camus, former editor (just five years before this play was first performed in 1949) of a French Resistance newspaper, at a time when his organisation was passing information on targets to the RAF, this was a real question.

The play is cramped, set in confined spaces and with action happening elsewhere, never going out onto the streets. The dialogue is tortured and often quite pretentious: it could seem unbearably precious in some voices, but the major advantage of this production is a fine ensemble cast, with nuanced, muted acting, without a feeling of exaggeration or sensationalism: that’s left to the content. Especially notable is Sam Buchdahl as the head of the secret police: he has a lot of fun with a ludicrously sinister role, clearly defined as separate from all the other characters: even though this play has relatively little suspense (it reminded me of musical settings of the Passion) the impact of his character’s misdirection and tricksiness is startling, and the decision to dress all the terrorists in different black clothing adds to its muted, incisive atmosphere. Also, though the dates of performance in the listings section are wrong (it starts Tuesday) the information about this play’s origins are true, honest.

At the Burton Taylor Studio from 10th-14th March at 19:30. £4 for students

 

An Independent Mind comes to Oxford

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Monday March 9th, Phoenix Picture House (Jericho), 6.30pm, with Q&A session with Rex Bloomstein after the screening

‘Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.’

These are the well-travelled words with which Rex Bloomstein’s latest documentary, An Independent Mind, begins. But as well as offering the film a literal point of departure, these words are also a thematic foundation for the series of well constructed case studies that are to follow.

Significantly all the individuals depicted are allowed to tell their own stories with little directorial intervention. This has a powerful effect on the audience, ensuring that An Independent Mind comes across not as a film about the general concept of ‘freedom of speech’ with a number of case studies offered up as diverting examples, but as a film whose ultimate concern is with what ‘freedom of speech’ actually means in the lives of a whole host of men and women – from the protest singer from the Ivory Coast to the sex blogger from China, the cartoonist from Algeria, the revisionist historian from England (yes, that one), the comedians from Burma. Out of this emerges, not a sense of any bias in what the subjects say, rather a sense of their confessional honesty, of their desire to offer some explanation for the way what they say and do has impacted upon their lives.

Bloomstein’s decision to tell the stories of people whose reasons for defending the right to freedom of speech are arguably less palatable to a British audience (denying the holocaust, support for terrorism), alongside the more traditional figures of the rebel poet and the courageous journalist is laudable, and makes for a fuller understanding of what freedom of speech actually entails.

The opportunity to see a director of such experience and talent screen his own work this Monday is one well worth exploiting – and the prospect of a Q&A session with Bloomstein after the screening is exciting to say the least. With a film that depends so heavily on the rapport between its subjects and the camera, it will be very interesting to hear how Bloomstein approached the individuals involved, and how he got them to talk so frankly about their lives. If you have the time, this is an event well worthy of your Monday evening.

five stars

For the Love of Film 8

The humorous film podcast returns. In this episode Ben and Laurence review Gran Torino, take us throught the latest in film news and Laurence impresses us once again with his one minute review of the Che films.