OUSU’s Vice-President for Access and Academic Affairs has been reprimanded by the Returning Officer after attempts to promote a new initiative violated electoral rules.
James Lamming is responsible for a new section of OUSU’s website where current students can submit profiles of their experiences applying to and being interviewed at Oxford.
At hustings held last Friday, Lamming asked the candidates for President to send in profiles of themselves, suggesting that it would provide good publicity and that he would publish on his blog the order in which profiles arrive.
However, Returning Officer James Dray ruled that Lamming was in direct violation of electoral rules as the blog would give unequal publicity on a media platform.
Lamming said, “Early on Saturday afternoon I sent each of the candidates who had said yes to my request an email reminding them of their promise in hustings the previous day, and explained the details of what was needed in an interview profile.”
He added to candidates that by doing so they would be engineering positive exposure for their up-coming election.
“In the emails, I said that I would publish in my blog on Monday the order in which profiles arrive, giving the implied threat that the student body would know which candidates matched their words with deeds. I also offered ‘bonus points’ for candidates who solicited further profiles from their friends to help me collect dozens and dozens of profiles,” he said.
The Returning Officer was forced to contact Lamming as his actions flouted electoral rules.
Dray said, “I banned the candidates from submitting the profiles as soon as I heard what was happening, as it violates the restrictions on certain types of electronic communication as well as the need for fair and equal coverage.”
Lamming criticised the regulations’ implications, saying, “James Dray is justified in enforcing the rules, which turn out to be fairly clear against what I was light-heartedly suggesting to do. However, on a more serious point, I think it is a shame that students can’t discover which candidates are just hot air; promising much but doing little.
“The website is becoming really valuable, so it is a shame some of the candidates aren’t helping out when they said they would, but I hope other students across Oxford will act and send in a profile,” he added.
Access blog breaches rules in OUSU election contest
For heaven’s sake, why doesn’t anyone update 24?
I was excited to come across this page on N24.de, the website of one of Germany's two main 24-hour news channels. (The other one's n-tv). It looks like a selection of BBC-style blogs by the people we see on the box.How wrong I was. The whole point of blogs, as I hope to be demonstrating with this series, is that they need to be frequently updated and timely. So why haven't the 24ers added any posts to the "Reporters" section since August? They seem to have got some good catches there – Katrin Sandmann, as her online CV proudly tells us, has been a correspondent in Jerusalem, Amman and Baghdad. So why aren't we hearing from her? The only real blog on the site that seems to be active is Political Editor Michaela May's May Blog, but it reads like a few rushed pieces of incoherent smalltalk.The blogosphere has been a huge plus for the media in Britain and revolutionised the way some of us approach the press. How long's it going to take for N24 to realise its importance?
Cherwell 24 is not responsible for the content of external sites
Diabetes Professor Wins Japanese Award
A Professor of Diabetic Medicine at Oxford has been recognised in Japan for his research into the medical condition.
Professor Rury Holman, founder of the Diabetics Trial Unit, was awarded the ‘Outstanding Foreign Investigation Award’ by the Japan Society of Diabetic Complications after launching two major studies: the ongoing
4-T trial compares the safety of insulin treatments for those suffering from Type 2 diabetes, whilst the UK Prospective Diabetes Study assessed over 5000 patients, with its findings providing more insight into how the condition can be controlled. Professor Holman said that he was ‘delighted’ on receiving his award.
by Katherine Hall
Blood pressure drug hope for MS sufferers
A drug prescribed for decades to help reduce blood pressure may develop into an important treatment for MS, say researchers at Oxford University.
Amiloride was found to reduce degeneration of nerve tissue in mice by limiting the amount of calcium entering cells and the research team are now planning a trial in MS patients. However, Professor Lars Fugger from the Medical Research Council Human Immunology Unit said that progress will be slow.
“To develop a drug from scratch takes 10-15 years and a billion dollars and some of them are abruptly halted by unexpected side effects”, he warned.by Joshua Harris
Centre for Early Modern Studies launched
A new Centre for Early Modern Studies was launched this week at a reception in Jesus College.
The Centre, based in the English faculty, brings together specialists in a range of disciplines including English, history, theology, music and oriental studies to promote research and study in the Early Modern period. A conference on ‘Rethinking the Early Modern’ is planned for Trinity term and the Centre is keen to develop greater graduate involvement.
Dr Paulina Kewes, Fellow in English Literature at Jesus, said that the Centre offers “significant intellectual as well as career-development opportunities” for students.
by Joshua Harris
New Therapy for Depression to be Trialled in Oxford
The Universities of Oxford and Bangor have together launched a million pound study into a new therapy designed to help prevent patients relapsing into suicidal depression. Rebecca Crane, of the Centre for Mindfulness Research and Practice, said that the team was “optimistic” of establishing a new preventative approach to tackling depression. The treatment, based on ‘mindfulness’, encourages individuals to accept emotions and to approach experiences with openness in order to reduce stress. The therapy is to be trialled in both Oxford and North Wales.
by Rob Pomfret
First Night Review: Duchess of Malfi
By Jay Alexander Hilton Butler
The Dutchess of Malfi is truly a study in disintegration. By the play’s end we have witnessed no less than seven gruesome murders through means as fantastical as a poisoned Bible, and the play’s central sibling trio (the Duchess and her two brothers) are finished off in an odd mix of madness, maniacal scheming, and revenge. It is this tremendous sense of decay that seems best to encapsulate the present production. It starts strong and ends farcically.
The first half is excellent. Scene changes are fast and maintain dramatic momentum. Titas Halder’s direction displays a keen sense for blocking that never leaves the large stage of the Playhouse feeling too empty and the musical effects are well chosen. Mention must also be made of the Duchess herself. Sian Robins-Grace is stunning. She produces an emotional range unmatched by anyone else on stage. And her carriage commands our attention even when Webster has nothing for her to say. Owen Findlay also bears note as the strongest male actor in the cast for his charming and yet complex Bosola.
However, these two performances hid faults that began to increasingly detract from the production as it proceeded. Brian McMahon’s Ferdinand is abysmal. Always agitated, he blunders through many of the most sensuous lines in the play and does little to convey the romantic interest in his twin sister (the Duchess) that fuels his jealous and yet self-destructive rage against her. Unfortunately, his final lunacy was hardly shocking, since the only contrast in his delivery throughout the play was one of volume rather than tone, cadence, or manner.
This deficiency was not particularly noticeable in the first half because the play worked so well as a whole. However, such faults became increasingly apparent after the intermission with the breakdown of its other positive elements. Scene changes were slower, music was not used as skilfully, and the play dragged. It seemed almost as though there had not been as much time devoted to rehearsing the latter half since many of the interactions between characters were unnecessarily awkward.
The dramatic climax was certainly the execution of the Duchess (a tremendously gripping scene) and yet the play carried on for quite some time afterward with little character development apart from Ferdinand’s transformation into a werewolf. This is largely, of course, a fault of the play as Webster’s crude love of needless gore is aired fully. Yet, a bolder director might well have simply ended the play immediately after the Duchess’ death or played the final scenes with more subtlety. Instead, what followed was something of a comic circus with bodies splayed across the stage. After Bosola stabbed the scheming Cardinal, for instance, the latter fell awkwardly at the top of a staircase and was forced thereafter to prop himself up (so as not to fall down the stairs entirely) while chiming in occasional lines.
In short, the play was perhaps forty-five minutes too long. Some more insightful cuts and a more polished second half would not so disappointingly have detracted from the production’s many commendable attributes.
Hood to Stand Down as Vice-Chancellor
Vice-Chancellor of the University, Dr John Hood, has announced today that he will be leaving his post at the end of his five-year term in September 2009.In a statement made earlier, Hood said: "I continue to believe that five years is the right period. That was the commitment I made on my appointment as vice-chancellor and it remains my view today… "Oxford is making huge progress on so many fronts and I look forward immensely to helping it to make further substantial advances over the next two years."Hood came into the role in 2004, after leaving the University of Auckland in New Zealand. Considered the first "outsider" to take the position, his tenure has been marked by controversy as he worked to change the way in which the university was governed.Chancellor of the university, Lord Patten, praised Hood's clarity of vision and strength of commitment during his years, commending his "remarkable job" as vice-chancellor.
Palin to Open New Pitt Rivers Extension
Drama Review: Mojo
by Frankie Parham
One of the hardest things to achieve dramatically is a period-driven piece: it offers an audience the chance to criticise something that is either anachronistic or lacking in credibility. Jez Butterworth’s Mojo, a period drama, set in the dingy back alleys of 1950s Soho, immediately presents this challenge to those who attempt to stage it. However, this production, directed by Adam Grant and Kate Antrobus, manages to pull it off. From the moment the lights are up, the viewer is yanked into this grimy world, full of kitsch silver chairs and sleazy clothes. The juke box in the corner (cleverly made out of cardboard boxes and colourful foam floats to simulate the outer rims) is not just a cheap attempt to evoke the period, but rather a reflection of the base typicality of Ezra’s Atlantic Nightclub.
Despite all this satisfyingly understated grime, the play would have failed had it not been for the ceaselessly energetic performances given by a highly able cast. Potts (Nat Gordon) and Sweets (Will Giller) are hatching a plan to make money out of their hottest property, the rising star Silver Johnny (Dan Rolle). Gordon speaks with a fantastically intimidating backstreet London accent, constantly fuming in a drugged up stupor as he obsessively sniffs and chews gum. Giller is similarly effective in portraying a feeble night-club bouncer (sidekick to Potts’ assumed superiority) on way too many pills. His speech is so convoluted and rushed, he is barely understandable. These two are the solid foundations of the cast, unwavering in their performance, keeping up a staggering amount of vigour throughout. Meanwhile the son of Ezra (the owner of the bar) comes in the unstable form of Baby (Sam Kennedy), aptly named for all his childish antics. Even before finding out his dad has been chopped in half, and disposed of in separate dustbins, Baby has already gone out to buy everyone toffee apples, having just stripped Skinny (Jack Sanderson-Thwaites) almost completely naked (as if things could get any more disturbing). Kennedy and Sanderson-Thwaites make a great double act, the latter in a consistently agitated state, biting his nails, nervously muttering, tantalised by the deranged Baby.
Into this crazed mixture arrives their colleague Mickey, solidly brought to life by Gerard Miles. He appears at the beginning of the second scene, while Baby is frantically wielding a sword and Potts and Sweets are raving to ’50s rock tunes, and he provides the icy demeanour that cools the uncomfortable heat of the drama. Indeed, this scene is another example where Grant and Antrobus choose to drag their audience right into the midst of the repulsive action, however unwilling we are to be. Things become richer with Silver Johnny’s entrance and, climaxing to its bitter conclusion, the play only really suffers from rare moments of static blocking. It seemed at times that Gordon and Giller, emitting as much energy as they could, were constricted by various blocking directions, while other characters, like Baby, had it easier to breeze about the stage. Nevertheless, for hyperactive drama and limitless swearing (both necessary to induce such a besmirched setting) this is the play to see. Not for the faint of heart.
7:30pm, BT Studio: Run ends on Saturday 17th November