Sunday 23rd November 2025
Blog Page 2146

The power of a bag

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Mary Poppins knew it – a bag really is all you need. The staple of any stylish wardrobe, an amazing bag can lift an outfit from dull to dazzling in one swipe of a student overdraft-enhanced debit card.

Now, before you get all cynical on me, I am only a recent convert to the bag dream. I floated around for years carrying a Gap brown leather tote (‘just because it’s useful and it goes with everything…’), Asian fakes, a cloth ‘gap year bag’ and everything in between. At one point, I even had a black handbag and a brown handbag to go with different outfits, breaking the first law of fashion: don’t match all your accessories unless you are the Queen or Margaret Thatcher.

I was vocally scathing of my two best friends, with their bags that cost more than, well, a lot of things. I came back from my gap year with ‘experiences’; they stayed at home and earned enough to buy a shoulder ornament. But the more I looked at their bags, the more I saw how beautiful and, dare I say it, functional, they were. It was undeniable that they gave any outfit a bit of class, a bit of style. Somehow, even leggings and a baggy hoodie become slightly cool, slightly off-duty celebrity, when combined with big sunglasses and a gorgeous bag.

So, ready for ridicule, I announced my intention to buy a nice bag. Not outrageous money, but still a distinct investment. Luckily I had expert advice on hand to point me in the direction of some names that ‘you’d probably like’. It’s always good to find a designer that suits you and I did my research quite thoroughly. Starting on somewhere like netaporter.com gives you an overview of what’s around, then you can Google the designers you like the look of. There are a lot of bag blogs out there, as well as forums where you can ask questions about your would-be-purchases.

I found my nice bag. It leapt out at me: shape, colour, material, quietly ostentatious and classic. The very fact that I liked it set off warning bells in my mind, so I quickly forwarded the link to my much more tasteful friends, who confirmed the unthinkable. I had fallen in love with the right one! A few weeks on my favourites list, where it sat, waiting to be clicked during essay-related Wikipedia searches and Facebook sessions, and I knew it was to be mine. Not one for making such an important purchase on the Internet, I waited until I was in London to abuse my bank balance and bought The Bag in Harvey Nick’s, after playing with it in front of the mirror for a few minutes. And within a few short days, it became a part of my life.

There is something undeniably lovely about having a bag that goes with everything and improves any outfit. Whilst you might argue it’s a waste of money to spend a lot on something that could cost next to nothing on the high street, if you get the right one, you will probably have made a wise investment in terms of wears to the pound. A good, classic bag will last for years and will not date like a Topshop equivalent, which everyone has anyway. And you will join the quietly superior club of people who just know that what you’re carrying is a little bit special.

So if you have one expensive item in your wardrobe, let it be a good bag. It really will have the power to do anything – except, perhaps, to hold your hat stand.

Royal Academy Summer Exhibition 2009

Summer wouldn’t feel like summer without the The Royal Academy’s Summer Exhibition. For those not in the know, now in its 241st year, the summer exhibition consists of a huge range of works in different media including painting, photography, sculpture and architecture from both established and unknown current artists. It is this which makes the exhibition so remarkable – a priceless silver Damian Hirst sculpture of St Bartholomew might be exhibited next to a watercolour by your aunt Sally who lives in Bognor Regis – it’s all judged by the same panel.

Every room is like a magnified version of an eccentric grandmother’s house with frame upon frame upon frame cluttering the walls. Each work is labelled with a number that corresponds to a printed list of works, giving it the funny feel of a guessing game at which is the most expensive or well known in the room. As always, there is a lot of chaff among the wheat with derivative Degas-esque ballet dancer sculptures, glorified wallpaper designs and soulless commercial photo-realist paintings. However these add to the authentic feel of an art fair in which every budget and taste is accommodated with works ranging from £70 to £700,000.

There are some charming works of more obscure origins such as Tom Phillips’s A Humument: Scribe the story, (no. 121 in the large Weston room), which uses a page of a mysterious-sounding book, The Human Document, as a canvas, linking various words across the page such as ‘changes made … the book…continue’ by leaving them uncovered in natural-seeming forms. The established gems are also well worth seeing, bold architectural paintings by Tony Bevan, some humorously kitsch works by Tracy Emin including a painting of piglet entitled I want it back, that feeling again (no. 579), and some strangely beautiful cartilage-esque architectural models by Zaha Hadid.

Nevertheless, the exhibition’s 1266 works are much too much to see in one afternoon so if you are to see one thing then the room dedicated to video art is definitely worth a visit. It is the first year that such a room has been included and the 19 short works featured range from Art Attack style arial image-making to digital Pictionary. The film gallery, curated by Richard Wilson, projects each clip onto Wilson’s own installation, which he describes as ‘a wall ripped from another interior space’. This other wall, with its torn edges and slanted position has the effect of removing each film from the context of the room, enhancing the sense of dislocation and surrealism that unite this otherwise disparate collection.

Two short films by Matt Calderwood, Gloss and Strips (Vertical), show the methodical dipping of a light bulb into a pot of black paint at increasing degrees until the light is snuffed out and the systematic smashing of a row of white tube lighting until the lights are all broken and we are left in darkness. The meaning isn’t clear but the effect is eerie and cathartic. With Strips (Vertical) the light fills the frame at the start so that we see a white screen and each time a light is smashed we begin to see lines – it is only near the end that we see in three dimensions and realise what has been shown. This defamiliarisation of quotidian objects creates an unexpected beauty that is simple but poignant. It somehow distils life, the passage of time, beginning and end, much as a Beckett’s Breath does.

This contrasts with the highly polished Surprise by Ben Dodd, which depicts a woman surprising a man with a birthday cake and sparklers at which point he is so shocked he falls backwards and smashes the glass shower guard. This sequence is shown in reverse. As the film goes through the event in slow motion accompanied by dramatic classical music, the initial scene of a man lying in broken glass is explained and shown to be unexpectedly trivial. This again upturns convention by depicting a farcical moment as mysterious and scenic. Guy Oliver’s Boythorn, His Thoughts Can Kill is similarly unexpected and darkly hilarious, but I won’t give away the punch line.

The Summer Exhibition 2009 is open until Sunday the 16th August from 10am -6pm daily (last admission 5.30pm) with late night openings until 10pm on Fridays. Admission is £7 full price and £5 NUS.

 

Open-access rocks

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You may have noticed a couple of months back that ‘scientists’ (whoever they are) discovered an extraordinary ‘missing link’ fossil, a strut in the bridge between primates like us and the rest of the mammals. Go on, read about it, it’s brilliant—there’s even a surreptitious deal in a vodka bar to inject a bit of spy-thriller intrigue if finding a spectacular piece of our evolutionary jigsaw isn’t enough for you.

However, rather than further add to comprehensive and generally competent coverage of Ida’s lovely bones, (even my favourite newspaper doesn’t humiliate itself too much), I’d like to talk about the journal in which discoverer Jørn Hurum chose to publish his findings.

Dr Hurum released the study in open-access journal PLoS ONE, which means that you can go and read the paper right now, even if you’re not on a university Internet connection. You may be surprised to learn that this isn’t the norm. Most scientific research—which we all pay for through our taxes—cannot be read unless you have a pricey subscription to the journal it’s been published in, which basically means you have to belong to a rich educational institution in a developed country.

You don’t have to be particularly woolly and liberal to experience the knee-jerk response that this is transparently inequitable. Indeed, my initial reaction upon learning about the open-access publishing movement was to be thoroughly captivated by the struggle to throw off the shackles of the scientific oligarchy and make the sum of human knowledge available to all. Why should Nature and Science get to set the agenda for the rest of the scientific world, and profit handsomely from doing so?

It’s also stupid. Science is an immense part of the sum total of human knowledge, and giving greater access to this knowledge allows it to be built upon, rather than forcing scientists to reinvent the wheel because ‘Cylindrical apparatus to facilitate horizontal motion’ is published in some weird journal the library doesn’t have the subscription to at the moment. What about scientists in developing countries, whose libraries can’t afford any subscriptions at all? Moreover, shouldn’t science journalists have access to the papers they’re writing about, and doctors have access to the latest medical research? The open-access movement makes a compelling case.

However, there’s no such thing as a free lunch—if journals don’t make money from subscriptions, you have to pay for journal administration and publication some other way. ‘Open-access’ is therefore a possibly-glamorised term for a change in business model—what it really signals is a change from ‘pay-to-read’, where the revenues roll in from subscriptions, to ‘pay-to-write’, where authors of papers foot the bill instead.

This alteration does come with some attendant disadvantages: what if the authors can’t afford the fees? It would seem to bias publications towards large collaborations: individual researchers in theoretical fields on personal grants which basically cover a computer and some stationery might be left in the shade. It may also hit those same scientists in developing countries we were worrying about, though some journals will waive their fees if you come from a poor nation. (Pay-to-read journals too could waive their charges in developing countries—though they seem not to.)

Pay-to-write journals may also emphasise the already-pervasive phenomenon of ‘publication bias’—where scientists are less willing to publish negative findings due to a perceived lack of impact—by adding a further financial disincentive to writing up your tedious null result. Further, publishers are no longer compelled to publish good works and maximise their profits by compelling institutions to subscribe to their must-have collection, but merely to publish lots, since they’re paid per paper published.

On the beautifully-symmetric contrary, making writers pay might dissuade them from adding to the already-intractable volume of science being produced: scientists might be encouraged to bundle a few, smaller results together into longer, ‘review’-style articles which may be easier to digest.

If you, like me, are already experiencing crippling cognitive dissonance because the ‘right’ answer seems light on pros, we should probably ask the big question: what benefits will universal access to research afford? Sadly, I’m sceptical. If you did try to read Dr Hurum’s paper, you may have found it a bit, er, intractably dry. Scientific articles are often littered with jargon which, if it doesn’t make a paper unintelligible to the non-nerd, certainly makes it boring. Doctors wouldn’t really find access to cutting-edge studies that helpful, because much new research turns out to be wrong, and there’s simply too much of it to read—what medics really need is a flowchart-like prescription of what to prescribe, based on the best meta-analyses available. Science journalism is probably too jaundiced for access to original papers to help much. Even where research is open-access, there’s little evidence that time-pressured, non-specialist journos do much more than re-word press releases, let alone read or link to the original articles. The key unknown quantity, it seems to me, is how many practising academics cannot access the long tail of less-prestigious journals, either from the developing world or the worse-funded institutions in the west. This number, which I can’t find anywhere (probably because it would be hard to estimate), could be the deal-breaker.

The other key unknown which could come down in favour of open-access is whether the financial incentives in the currently-dominant pay-to-read paradigm do indeed encourage journal editors to pick the best articles any more than they would otherwise. Why would they ever publish anything but the best?

Clearly there are reams of pros and cons—the point is that it’s difficult to know what a shift from reader-pays to writer-pays would do. Worse, it’s very hard to know what is actually desirable—what distribution of paper lengths, publication frequencies and article types allows the fastest, most thorough assimilation by scientists and thus the most rapid progress of their own work? Is that even a precise enough statement of the objectives of scientific publishing? Like many aspects of public policy, you don’t know what a given option’s effects will be and, worse, you don’t know what effects you’d actually want anyway.

The only obvious thing in this whole debate is that it’s clearly wrong for science publishers to effectively siphon public funds—be it via institutions paying to read or individual scientists paying to write—into their own profit. Cutting out the middle-man and making the whole industry public seems not to be on the table—but would an appropriately-incentivised, state-funded, open-access portfolio of journals be the ultimate in Creative Commons free-for-all science goodness?

The beautiful irony of Dr Hurum’s case is that, in spite of his noble choice of journal, his research involved two years’ hush-hush huddling in a bunker with his fossil and a hand-picked team of elite researchers. Maybe science isn’t ready to be thrown wide open just yet.

A touch of class

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Hooray Henries and riff-raff have been replaced by sloanes and chavs, but we still seem to need words that essentially differentiate between ‘us’ and ‘them’. Most societies have their aristocracies and their proleteriats, but it is a very particular society that can subtly distinguish between middle-middle class and nouveau riche, upper middle and trying too hard.

And in England we have lots of ways of distinguishing between our classes, whether it is brand names like Kappa and Reebok, Ralph Lauren and LK Bennet, or accents, first names and slang. A ‘chav’ might be called Tracey, wear a full tracksuit, gold hoops and a Vicky Pollard Croydon facelift ponytail, whilst Sloaney Mimi might wear a cashmere jumper, a pashmina and loafers. But there are so many variations and few hard and fast laws.

The Jack Wills problem, for example. One, quietly logoed pair of tracksuit bottoms could sit perfectly well on upper-class legs, ‘not because it’s Jack Wills, just because they’re so old and comfortable…’ but woe betide the top-to-toe JW wearer, who is likely to be painfully middle-class. The more logos, whatever they are, the less classy the look. Just look at the WAGs compared with Kate Middleton. You’d never know where half her clothes are from, but you know they’re not cheap. In short, there are so many rules and so many exceptions.

So, if you want to find out the Seven Deadly Sins (according to social anthropologist Kate Fox) that will show you up as a pretender to the upper echelons, read on. But it’s worth noting that if you care too much about them, then you’re probably trying too hard (another cardinal offence and symptom of class pretensions). Oh dear…

1) Pardon

Jilly Cooper wrote in her 1981 book ‘Class’ that “I once heard my son regaling his friends: ‘Mummy says that pardon is a much worse word than fuck.'” The word ‘pardon’, to the upper and upper-middle classes, is an unacceptably lower-class signal. If you’re upper-class you’ll say ‘What?’, and if you’re upper-middle, you might say ‘Sorry?’

2) Toilet

The higher classes say ‘loo’ or ‘lavatory’, the middle classes might say ‘ladies’ or ‘bathroom’.

3) Serviette

A ‘serviette’ is a pretentious middle-class word for what the upper-classes call a ‘napkin’.

4) Dinner

The word dinner itself is fine, but only to describe an evening meal (using it to describe a midday meal is sniffed at). Dinner is a more formal term than supper, which might be an informal family meal. Using ‘tea’ to mean an evening meal, rather than scones (not sc-owns, but scones with a short ‘o’) and jam, is also frightfully lower-class.

5) Settee

‘Settee’ is common, sofa is upper-middle or above. Couch is American.

6) Lounge

Settees normally come in lounges or living rooms, sofas come in sitting rooms or drawing rooms.

7) Sweet

Amongst the upper classes, the sweet course at the end of a meal is always ‘pudding’, not ‘a sweet’, ‘afters’ or ‘dessert’ (although ‘dessert’, as an Americanism, is the least offensive).

It is clear that the English, whilst we bang on about integration and inclusion, are always coming up with new ways to discern between upper and lower, haves and have-nots, pretentious and effortless, us and them. And each subclass has its own fashions and faux-pas.

And, at Oxford, where we’re supposed to make new friends from all walks of life (OUSU euphemism for ‘from all classes’), the truth of the matter is that we all end up with fairly similar circles of friends from fairly similar backgrounds.

In Fox’s words, ‘every English person (whether we admit it or not) is aware of and highly sensitive to all of the delicate divisions’ of class that surround and mould us.

But to successfully navigate through all of these different kinds of people, neither offending nor pretending, with enough self-confidence to feel fairly comfortable anywhere? Now that is a real sign of a touch of class.

 

Swine flu fears cause further cancellations

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Two Oxbridge teaching camps to China have been cancelled following the concern over the spread of swine flu.

Oxford Cultural Exchange Project (OCEP) and the Oxbridge China Education Programme (OCSEP) were due to send students to teach in China during the summer.

However, OCEP has called off the programme as a response to fears over H1N1 swine flu. The email sent to students by the co-ordinator of the project, Thomas Hayward, expressed regret at the cancellation. He also admitted that it is not “likely that the schools will change their minds.”

Hayward explained that OCEP would send back all deposits and would cover the cost of flight cancellations or refunds. Alternative camps have been suggested for students who are keen to teach over the summer.

Hayward confirmed in a statement, “OCEP and our sponsors have been able to offer compensation from our contingency funds to those teachers affected by the cancellations. We hope very much to continue these projects next year once the current situation with H1N1 Swine Flu has been resolved.”

One student disappointed by the cancellation said, “It’s very frustrating. I know some of the teachers had already spent hours planning lessons. We’re very disappointed. I’ve had to reorganise my whole summer and I’m having trouble claiming back the price of the flights with my insurance company.”

Many were satisfied with OCEP’s conduct over the issue. “Obviously I was absolutely gutted when it was cancelled as I had spent a lot of time doing lesson plans etc., but OCEP treated me well in that they offered to refund all the costs incurred through flight cancellations and refund the deposit we paid,” said Amy Chapman, one of the participants of the programme.

“My only criticism of OCEP throughout the whole process was that we were left in the dark for a long time about what was going on with the swine flu situation. If we were told earlier then reorganising our summer would have been a lot less stressful.”

However, Chapman found another placement thanks to OCEP. “As it happens I am still going to China on a programme called ‘Intochina’ to teach English still, which was recommended to us by someone in OCEP, so in that sense they were very useful in helping us find something else to do with our summer and our flights,” she said.

OCSEP’s programme in China was has also been cancelled, but alternatives are being arranged for students involved with the trip. In an e-mail sent to participants, a representative of the organisation apologised for the changes saying, “We’ve tried all means to save our program, but now we will have to cancel our planed OCSEP”.

The r

epresentative confirmed that a substitute solution is sought. “Our Chinese partners have been working on arranging an alternative camp so that all of you will still have a chance to teach and have a chance to experience China. We now have a substitute solution, where you will be teaching in an organized summer camp, teaching Chinese middle school students. We haven’t finalized our teaching plan yet but we expect all of you will have a chance to teach your prepared teaching materials.”

The new arrangements mean that students may now be separated between two cities, and will be teaching younger students. Those involved with the trip were given the opportunity to withdraw following the changes.

This is not the first time that summer trips to China have been cancelled due to the fears of swine flu. In early June Oxbridge Summer Camps Abroad (OSCA) charity has been forced to cancel a teaching camp to Hong Kong.

This was due to the ruling issued by the Hong Kong government, which stated that any school found to have swine flu would be closed for 2 weeks. OSCA felt the need to cancel the camp, as they couldn’t assure students that they will be able to teach. It is understood that many students who intended to go on the OSCA camp have nonetheless traveled out to Hong Kong.

Other trips, such as that run by Study China, are going ahead as planned.

 

 

New healthcare centre for the university

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Oxford University has announced plans for a new £8m research centre that will provide personalised healthcare.

The centre will facilitate the improved study and treatment of conditions such as asthma, liver cancer and strokes.

An example of such individualised approach to healthcare is mobile phone technology developed at Oxford, which will allow those suffering from long-term conditions to constantly monitor their health and receive personalised advice. It is hoped that the centre will provide the opportunity to extend this to the developing world.

“Much of the 20th Century was devoted to developing treatments that are broadly effective in most people. However, it has become clear that long-term conditions such as diabetes, asthma and cancer are best managed by taking into account how the individual is responding to their particular therapy,” commented Professor Lionel Tarassenko, Director of Oxford’s Institute of Biomedical Engineering.

 

 

Oxford Union plans memorial event for Jackson

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The Oxford Union is planning to host a memorial talk in honour of Michael Jackson. The singer, who spoke at the society in 2001, died last Thursday in Los Angeles.

Committee members are already contacting Jackson’s friends, family and entourage. Illusionist Uri Geller has indicated he will take part in the event if available, describing it as “a great idea, a gallant idea, and daring and sensitive.”

James Dray, the president of the Union said, “Our new programme starts on October 10 and we would like to schedule a talk.”

He added, “Michael Jackson’s visit was quite an important day in the history of the Oxford Union, and we want to stage something to mark that occasion.”

 

 

Vegetarians less likely to suffer from cancer

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Vegetarians are 12% less likely to develop cancer than meat eaters, according to research carried out at Oxford University.

The new study, published by scientists at the Cancer Research UK Epidemiology Unit, followed more than 61,000 people over a 12 year period. During that time 3,350 of the participants were diagnosed with cancer.

The risk of being diagnosed with cancers of the stomach and bladder were found to be lower in vegetarians compared to their meat-eating counterparts. The widest disparity was found in cancers of the blood, such as leukaemia, multiple myeloma, and non-Hodgkin lymphoma, where the likelihood of the disease was reduced by 45% in people who abstain from meat.

These differences in risks were found to be independent of other factors such as smoking, alcohol intake, and obesity.

The leader of the study Professor Tim Key however pointed out that “More research is needed to substantiate these results and to look for reasons for the differences.”

 

 

University ups swine flu alert to red

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Oxford University has upped its swine flu alert status to the red 3 phase, signalling that there is a pandemic occurring.

Pandemic refers to a sudden outbreak of the disease that then spreads over a wide area. The alteration of the status does not reflect any change in the severity of the illness.

The upgrading of the status follows the news of several diagnosed cases of the H1N1 virus in Oxfordshire, including a second student at the University. According to Oxfordshire NHS Primary Care Trust, the total number of cases of swine flu within the county as of last week stands at 33.

Dr. Ian Brown, Director of Occupational Health, said in a statement, “There is no evidence for transmission of this infection within the University.

“Given the size of the University and the number of academics and students who travel overseas, this is not an unexpected development and is not a cause for concern. The University remains very well prepared.”

 

 

Review: Blur’s Reunion Tour

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Blur’s headline performance at this year’s Glastonbury Festival exceeded the expectations of press and public alike and will be remembered as a classic. A set t

hat perfectly combined the obvious hits with some carefully chosen surprises was played with an energy that made the songs sound fresher and more relevant than ever.

At Hyde Park, for the last UK date of their reunion tour, the band was in the same mood, on the same good form, and the setlist was the same, however the overall effect was very different.

As Albarn remarked in a break between songs, this was the first date of the tour to be announced and go on sale. You might have guessed from half a glance around the crowd. The typical audience member was a one-time Blur fan who had somehow remained on their mailing list in spite of the fact that they had long since ceased listening not just to Blur but indeed to any music at all, and who thought it would be a fantastic laugh to hear the band play together again.

They got their laugh. With the lager flowing all day long in the relentless sunshine

and the cloudless sky marked only by the jubilant criss-cross of hurled bottles, the scene was immaculately set for a one-off reunion gig that would have an overriding ‘novelty’-flavour. Whatever the reformed quartet could conjure up in the way of vitality and energy, they were never going to compete with the expectations of the crowd; that this was to be a nostalgic journey through a host of familiar classics.

The vitality and energy from the band were there, if anything, in greater measure than was seen at the festival appearance. The opener ‘She’s So High’ had Coxon kicking the air, ‘Oily Water’ saw him tumbling around on the ground, and he belted out ‘Tracy Jacks’ with impressive vigour. Albarn charged about the stage, so fired up with emotion that tears often marked the conclusion of a song. He jogged his way through ‘Sunday Sunday’, spent ‘Parklife’ in lively interaction with special guest Phil Daniels, and into the first encore was still leaping off the drumkit to the sound of ‘Popscene’.

To say that the quality of the performance was lost on a large part of the audience might suggest that the band was attempting some sort of sophisticated redefinition of themselves which went over the audience’s heads. In fact their intention was clearly to be nothing but the essence of themselves. The emblem of the greyhound in goggles that was projected from the screens harked back to what is arguably their definitive album, Parklife, while the twin maps of London and the British Isles emblazoned at either side of the stage proclaimed their Britpop roots.

The setlist was designed to match. Heavily focused on Parklife (eight songs) and the underrated Modern Life is Rubbish (five), and including of their many slower numbers only the essentials (‘Tender’, ‘The Universal’, ‘To the End’, ‘This is a Low’, ‘Out of Time’), it was by and large a set of simply-structured, tuneful but rocking pop songs. The brilliance of this approach to a string of come-back performances was stifled by the fact that the audience was hoping for (and therefore ensured it was) something predictable.

So this concert was good but not sublime. From the godlike heights to which they attained with the Glastonbury set, they fell to mere demi-godlike status, and leave us unsure not only whether they will carry on, but whether we want them to, or if they’d be better off bowing out now on a high.