Saturday 21st February 2026
Blog Page 3

Oxford University to co-lead UK-Japan quantum technology projects

0

The University of Oxford has been appointed to co-lead one of the three flagship projects of a program of science and technology collaboration between the UK and Japan. This was announced by UK Prime Minister Keir Starmer and Japanese Prime Minister Sanae Takaichi during Starmer’s visit to Japan on 31st January. The projects will pursue the development of quantum technology in computing.

“Distributed and secure quantum computation”, a project led by Oxford’s Professor David Lucas and the University of Tokyo’s Professor Mio Murao, addresses the challenge of moving beyond isolated laboratory experiments towards large-scale, interconnected quantum systems. The project aims to “build the foundations of a quantum internet”.

Funded by the UK’s Engineering and Physical Sciences Research Council (EPSRC) and the Japan Science and Technology Agency (JST), the new quantum projects have received a total of £9.2 million. The EPSRC contributed £4.5 million, and the JST provided £5.2 million.

There will also be a project focused on “massive scaling of semiconductor quantum-dot technologies”, co-led by Dr Masaya Kataoka of the National Physical Laboratory in the UK and Professor Tetsuo Kodera of the Institute of Science Tokyo. Another initiative will work on “quantum control and sensing”, co-led by Professor Janet Anders of the University of Exeter and Professor Masahito Ueda of the University of Tokyo.

The main aim of Oxford’s project is to integrate advanced hardware with privacy-preserving protocols, enabling ultra-secure communication and faster scientific discovery, while training future specialists to strengthen global quantum networks over the next five years.

Professor Lucas is an experimental atomic physicist working in the field of trapped-ion quantum computing. This approach to computing uses charged atomic particles, or ions, as physical qubits, the fundamental unit of information in quantum computing, trapped in electromagnetic fields. Professor Murao’s Japanese team will contribute complementary knowledge of quantum communication theory, ion-trap hardware, and advanced manufacturing.

In a press release, Professor Lucas said: “Similar to how the internet connects classical computers, future quantum advances depend on networking quantum processors together. This presents profound scientific and engineering challenges, particularly in ensuring these networks are scalable, secure, verifiable, and integrated.

“By fostering deep integration between leading UK and Japanese teams and their respective programmes, we aim to create a coherent, full-stack architecture and deliver concrete integration outcomes that amplify the value of current national efforts, rather than duplicating foundational developments.”

Oxford Union Librarian steps down following ‘racist’ comments

0

CW: Racism, Islamophobia, strong language

The Oxford Union Librarian, Brayden Lee, has stepped down from his role after making comments described as “racist” by Oxford Union members in an audio recording shared publicly. Lee is heard saying “I don’t know of a time that a British person was running up against a non-British person and won”, and describes the conduct of BAME committee members as “highly tribal”. 
Cherwell has exclusively seen Lee’s resignation, sent shortly before 8pm to the President Katherine Yang and the President-Elect. The Librarian is effectively the vice-president of the Union.

In the recording, Lee remarks that many senior figures at the Oxford Union come from ethnic minority backgrounds. When asked for an explanation for this, Lee says: “The way they see it, for hundreds of years we’ve fucked them over… we’ve tortured them, we’ve killed them, enslaved them, did all these terrible things. 

“Why the fuck now they have some level of power [are] they going to give a shred of it to us, after everything we did to them? Of course, they’re gonna look out for their own when the last time white people had power, look what [they] did to them. They need to make sure that white people will never have power.” 

Cherwell understands that the recording was made covertly. Lee has stated on social media that someone was “deliberately trying to bait [him] into saying racist things” in order to blackmail him. He said: “I have said some terrible things, and I was totally wrong to do so. I am deeply sorry to everyone, especially those affected by what I said.” Lee was approached for comment by Cherwell.

When discussing Indian and Pakistani members of the Union committee, Lee said: “They’ve got the entire fucking Raj behind them no matter what. Why bother getting rid of one of the few people that isn’t a Taliban [sic] just to put another one? It’s stupid.” The Raj is an outdated colonial term used in the 19th and 20th centuries to refer to British rule in the Indian subcontinent. 

Lee also made remarks about former Union President Israr Khan. In the recording, Lee stated that Khan is from Balochistan, “a part of Pakistan that the Taliban operates in”, and alleged that “several of his siblings went on to be in [the] Taliban”. 

President-Elect Arwa Elrayess stated on her Instagram earlier today that “Brayden has made the decision to step down from the Presidential race and will resign from his position”. She “unequivocally” condemned racism and said that it requires “accountability and reflection”. Cherwell understands that Lee was going to run for President of the Oxford Union in the elections in week 7 prior to the controversy.

The Oxford Union Rules and Regulations rule 38 (b)(iv) state that officers who resign will be “succeeded by their immediate junior”, which in the case of the Librarian office is the Librarian-Elect, currently Prajwal Pandey. The Librarian-Elect has been approached for comment.

A number of senior Union officials publicly had called for Lee’s resignation. This included the current Librarian-Elect, who described Lee’s comments as “openly racist”. Some of them pointed out the “double standard”, considering the backlash towards former President-Elect George Abaraonye following his remarks about Charlie Kirk’s shooting and the fact that Lee supported the campaign against him during Abaraonye’s vote of no confidence.

The Oxford Union has previously faced allegations of racism, including an incident in Trinity term 2024 when dozens of senior officials had called the society “institutionally racist” after disciplinary proceedings had been “disproportionately targeting individuals from non-traditional backgrounds”, including the removal of, at the time, President-Elect Ebrahim Osman-Mowafy. 

The Oxford Union declined to comment.

Anna Olliff-Cooper on being a 76-year-old student, her three-month prognosis, and defying time

0

When Anna Olliff-Cooper applied to Oxford, she had just been diagnosed with a rare form of blood cancer. Doctors said she had three months to live, but she hadn’t quite processed that. “If somebody says to you that you are dying within a few months, it takes an awful lot of time to sink in”, Anna said. “You think, well, they’ve made a mistake. It’s quite bewildering.”

When we spoke, she was studying art history in the Next Horizons programme, taught by Harris Manchester College and Rhodes Trust. At 76 years old, Anna was one of the oldest students at Oxford University.

Growing up near London, she got a scholarship to her local grammar school and always thought she would love to go to Oxford. But she got an offer from medical school at a time when university education was uncommon for medical students, even less so for women. “I didn’t really feel I was worthy to come to Oxford because that’s where all the very bright people go”, Anna said. Overcoming self-doubt remained a work-in-progress for her.

As a young medic, Anna took care of people with leukemia, lymphoma, and related blood cancers at a time when patients had about six weeks to live. The newly established unit in Southampton only had a portable cabin with a professor and Anna on staff. “We didn’t have computers, but we had huge sheets of graph paper, and we had to plot how people’s blood levels were going up and going down”, Anna explained.

The frontier of medicine was tough. Once, a young boy had died in the middle of the night after receiving some drugs. So the next time Anna administered the drugs, she sat up with the patient and checked blood potassium levels throughout the night. “I saw it going up and up and up, so I gave him anti-potassium treatment, and he survived”, Anna said.

The portable cabin has grown into a major oncology centre today, but Anna, with her characteristic modesty, insisted that she wasn’t a ‘pioneering leukemia researcher’ as her son described her.

Her eldest son, Jonty, who had reached out to Cherwell about this interview, wrote that his mother is “shy as a mouse” and “crippled by self-doubt”. That was despite Anna’s adventures across geographies – and times.

She had some “hairy moments” when travelling the Sahara for six months with a boyfriend. When a spring on their Land Rover broke, someone had offered to swap the part for Anna. “Fortunately, my boyfriend said no, which was quite a relief”, she chuckled.

Then she caught dysentery. “We slept on a mattress on top of the Land Rover, and I remember waking up one morning to see this vulture sitting there. I might have been hallucinating, but I certainly remember seeing this bird and thinking, ‘God, I’m much sicker than I think I am, I need a doctor.’” The borders were closed, however, and the pair had to wait a month. Anna got better – a miracle she would repeat decades later.

“I’ve done time travelling, too”, she joked as she reminisced on her part as Lady Olliff-Cooper in The Edwardian Country House, a Channel 4 reality TV programme that sent her back a century to experience an authentic Edwardian lifestyle. When her family was chosen, the producers sent them train tickets but would not tell them the destination. “We just had to get on the train,” she said, and so she did.

For all her uncertainties, Anna was remarkably candid in our conversation. “I did have an affair with a married man”, she said. “It was a dreadful ménage à trois – so embarrassing in retrospect.”

Anna worked as a GP until her retirement at age 62. She discovered a talent for portraiture, but suddenly lost some vision in the centre of her eyes. With art off-limits, Anna started training to be a therapist, and soon she was working pro bono at a centre for rape and domestic violence survivors.

Then Jonty broke his collarbone while doing a master’s at Stanford University. Anna went over to help, and while there she heard about the Stanford Distinguished Carers Institute. She became a fellow and took courses on everything from blockchains to AI. 

Back home, Anna found herself “getting very tired, then extremely tired, and then ridiculously tired”, she said. “Things started to break: I took something out of the washing machine and broke one rib, twisted suddenly and broke another rib. When I finally got to the hospital, the nurse pulled me up, and another rib gave way.” She was eventually diagnosed with amyloidosis – a disease not unlike what she spent her early years treating. Doctors gave her three months.

Anna didn’t speak in detail about her chemotherapy, but Jonty wrote of the devastating process: “The treatment was gruelling, but it worked, and she bought herself a little more life. How long, we do not know.” She attended her son’s wedding in a wheelchair and applied to Oxford at the encouragement of a friend from Stanford, not knowing if she’d live to attend. 

Just before her course was due to start, she made a recovery. “Oxford is my bucket list thing”, she said. “Other people might want to go on a cruise around the world, but I wanted to come here.”

I told Anna that many students of my age think of Oxford as a stepping stone, a place to build experience for the CV while leaving ourselves little time to learn what we enjoy. Anna instead sees her studies on women’s self portraiture in art history as “of no practical use at all”, but something she’s doing simply because she likes it.

“But I may not have much time”, she said. “The outlook of my condition is not good. If they say it’s coming back, I can probably get re-treated, but you’ve got to go all the way through [chemotherapy] only to get maybe three months with good health again.”

That hasn’t stopped her from thinking about moving to Sweden, where her son is now living with his wife. “It would be another little adventure”, Anna smiled.

First patient treated in ground-breaking retinal gene therapy trial

0

A patient in Oxford has been treated for a degenerative eye condition as part of a new clinical trial by the genetic medicines company SpliceBio. The trial is testing a new gene therapy for Stargardt disease, a currently incurable inherited eye condition which leads to progressive vision loss and eventually blindness in children and adults. The condition affects up to 1 in 8,000 people worldwide. The patient in Oxford represents the start of the trial’s second phase.

Retina UK, a charity which supports people with inherited sight loss, told Cherwell: “Stargardt disease is most commonly diagnosed in children and young people and causes progressive sight loss that impacts every part of life, from education and careers to leisure and relationships.”  

A young person who has been living with Stargardt disease for ten years told Cherwell: “ A progressive eye condition means I do not know when my eyesight will dip and having to adapt again after loss of vision is very emotionally challenging for me and my family. Knowing that there is no current treatment or cure also has an impact on my family emotionally.”

The disease is caused by a mutation of the ABCA4 gene. SpliceBio’s therapy uses two harmless viruses to deliver a healthy version of the gene into the retina. Until this trial, the large size of the ABCA4 gene had made it impossible to replace using standard gene therapy methods. SpliceBio states that their gene therapy has the “potential to treat all patients across all ABCA4 mutations”.

SpliceBio secured $135 million in financing in June 2025, co-led by EQT Life Sciences and Sanofi Ventures with participation from Roche Venture Fund, as well as previous investors. EQT Life Sciences is one of Europe’s largest life sciences investors. Sanofi Ventures are investors in the early life biotech and digital health industries.

Dr Robert MacLaren, Professor of Ophthalmology at the University of Oxford, said: “The use of two viral vectors that recombine once inside retinal cells is a unique approach to restoring the large gene needed in Stargardt disease, and dual vectors might have implications for treating other retinal degenerations. This unique gene therapy modality has the potential to slow or even halt progression of this debilitating disease, which is the most common cause of inherited blindness in children. We are delighted to have treated the first patient here in Oxford, in the critical second phase of the trial.”

A representative from Retina UK told Cherwell: “Any progress in this research is exciting, particularly a clinical trial of a highly innovative approach such as SpliceBio’s. Our community would welcome treatments that have the potential to significantly slow or even stop disease progression.” 

A representative from Stargardt’s Connected, a charity which supports and connects those living with Stargardt disease, told Cherwell: “The Stargardt’s Community is very excited about latest research and developments in Stargardt’s, in particular that there are companies looking into a treatment for Stargardt’s Disease.”
The second phase of the clinical trial aims to treat 57 patients aged 12 to 65, and is predicted to conclude in 2028.

A bold choice for limited space: ‘Tick, Tick…Boom!’

0

Piezoelectric Productions’ Tick, Tick…Boom! was an ambitious attempt at a classic which ran into slight difficulties with the intimacy of the Pilch performing space. The show deals with the struggling composer Jon (Laurentien Jungkamp) – semi-autobiographically based on writer Jonathan Larson – as he labours to write the next great American musical while dealing with the conflicting hopes of his girlfriend Susan (Katie Gill) and best friend Michael (Noah Rudder). This version, directed by Alexandra Russell, featured a stripped-back set themed with musical notes, and a great deal of attempted comedy via multi-rolling. 

I suspect the fact that Tick,Tick…Boom! shares a lot of the same themes as the recent Playhouse show Company (also about a lost-in-life male lead, released 20 years prior) contributed to its inability to pack a punch. The opening scene in which Jon laments being almost 30 lacked the humour needed to reel the audience in, and didn’t feel like it added much to the script. The quick-fire introductions of characters Susan and Michael needed more energy to catapult the show forwards. This was a show that improved as it developed, rather than delivering instant impact. 

This was partially due to the limitations of performing such a quintessentially American script to a tired British audience: a lot of the jokes towards the beginning, for example the ‘Sunday’ number which dramatises brunch at a restaurant, simply weren’t landing. There is famously nowhere to hide in the Pilch. Its small stage space, combined with having the audience sat around three sides, meant that each potentially funny moment that failed to deliver was unfortunately all the more noticeable. Some attempts were made to include audience members sitting on the sides (for example, during an argument, Jungkamp and Gill stand back to back rather than facing forwards), but in general, the show’s forward orientation meant those not sat at the back of the space lost out. 

Having said this, the cast should be commended for their perseverance in this difficult space. Musicals are best suited for larger performance spaces where less convincing moments can be brushed over behind grand lighting and sound arrangements. The intimacy of the Pilch meant that each time a scene ended the audience felt like they were taking the same nervous intake of breath as the actors in preparation for the next scene, rather than being transported into the musical’s imaginary world. For such a light-hearted show, the unforgiving nature of the Pilch forced the actors to be subjected to a high level of audience scrutiny. 

The most powerful performance came from Katie Gill as Susan. Her commitment to comedic moments was exemplary, eliciting laughs in the sexually charged ‘Green Green Dress’ number, as well as in her several smaller multi-rolling parts. Her vocals were strong, delivering a beautiful rendition of ‘Come to Your Senses’ when playing Karessa. 

As the show progressed the actors settled into their stride. Occasional moments brought laughs from the audience, such as when Jon buys a ridiculous number of Twinkies. Ironically for a musical, I felt the actors’ talent shone through most when they weren’t singing. I believed in the care between  Jon and Michael as they confided in each other while ‘driving’ in a car. Tension was effectively created in the moment when Michael tells Jon he is sick, although it suffered from a lack of contextualisation.

Jon and Susan’s conversations also felt more authentic as the show progressed. The chemistry in their relationship felt most real when emotions became sombre – especially at the point where Susan catches Jon kissing his colleague Karessa.  The actors’ strengths lay more in naturalistic acting than they do in the over-the-top theatricality that Tick, Tick…Boom! demands. 

The show relies on multi-rolling, and Piezoelectric Productions chose to denote each new character with a small costume change. Costume designer Ben Adams used simplistic identity markers to this effect: for example, a cloak representing the character of Jon’s agent was worn by both Rudder and Gill, amusing the audience when Rudder took on a feminine role. The choice to keep these costumes on a box onstage made these transitional moments slightly clunky. 

The best part about this show for me was the underlying musical score. This can be credited to Caitlin Hawthorn, Meg Gu, and live musicians Ally Sheridan, Tom Murphy, and Tommy Watt. The live musicians’ presence onstage was a nice touch, and their talent undeniable. One choice I did question was to place a piano onstage for Jungkamp’s character which he barely played: at points this meant he was left standing near a piano with piano music playing in the background, which felt slightly misguided. Ella Wilson’s set design, adorning the stage with sheet music stuck on pillars and hanging from the ceiling, effectively conveyed Jon’s obsession with perfecting his compositions. 

Overall, Piezoelectric Productions’ Tick Tick….Boom! retained the underlying warmth the musical is known for, but failed to execute its nuances.

‘Fresh energy’: Corpus Christi’s Owlets on their revival

0

Owlets, Corpus Christi College’s drama society, has existed since the 18th century. Until COVID, Owlets was incredibly active, producing regular shows both in Oxford and at the Edinburgh Festival Fringe. Cherwell sat down with Clara Woodhouse, Owlets President, to discuss their resurgence.

“[Owlets was] properly big scale. Then, lockdown happened and kind of nerfed it,” says Clara.

Cherwell’s online archive holds two positive reviews of pre-COVID Owlets productions. Shakespeare’s As You Like It was directed by John Retallack and Renata Allen back in 2017. A playful, original satire, for legal reasons titled Redacted Arachnid, was put on in 2019. Redacted Arachnid was described by the reviewer as “one of the most enjoyable things I’ve watched all year.”

Post-COVID, Owlets was no longer producing its own shows, let alone staging original scripts. It did, however, continue to fund external productions, such as Analogia Productions’ Suddenly Last Summer in Trinity 2025. Clara’s predecessor, Logan Allen, told Cherwell: “after lockdown, the society seemed to slump […] it never waved the Owlets’ banner.”

Owlets made its “re-debut”, to borrow Clara’s words, in Trinity term 2025: a production of Euripides’ The Bacchae, with Logan Allen at the helm as President. Inevitably, with an inexperienced team attempting to resuscitate the poor dying Owl(et), there were some… hiccups. Saul Kesteven, actor and Owlets Treasurer between 2024 and 2025, calls the final result “an accidental comedy.”

“We had last minute substitutions, cast members dropping out the day before […] all sorts of technical and logistical issues which we didn’t have the experience to predict,” says Saul. “Originally, I was not intending to take an acting role [but] I ended up filling in the roles of Tiresias and a member of the chorus, something which I ended up enjoying immensely.”

The Bacchae was… something,” says Logan. “Very much our first pancake. It still did well financially, but we were all going in blind. It was a key learning experience for the whole committee and a starting point for what can hopefully be a revival of Owlets. [As President,] I wanted to reignite Owlets as a uni-wide drama name.”

After The Bacchae, it seemed like the revival might be over before it really began. “It seemed like Owlets was going to fall flat on its face moments into us bringing it back,” Saul explains. “Many of us on [the] committee were set on dropping it as soon as The Bacchae was done.” 

Instead, realising they “actually had a lot of fun”, the team committed to another production in the new academic year. In MT25, Owlets put on Shakespeare’s Richard III. “We’d already been through the fires of a fairly poor production and come out stronger for it,” Saul recalls. “We also had a variety of more experienced cast and crew members, including Clara [director of Richard III], who were an immense help.”

For Logan, who played Richard, there were still some challenges. The big problem? “The lines, mainly. I was definitely overconfident,” he recalls. “Our dress rehearsal was awful.” Regardless, Richard III brought a fresh energy to Owlets. “It set a precedent for what Owlets can do on a relatively small budget, and [it used] a majority Corpus cast, many of whom had not acted before or only had little experience.” 

One such Corpuscle was Nicko Lawrence. The first-year Classics student played Edward IV, and described how responsive Owlets was to scheduling demands: “The team involved in the production was incredibly flexible concerning the demands of our degrees.”

Owlets isn’t just for Corpus students: Clara highlights that anyone can audition for Owlets productions. Plus, a recent change in the constitution has meant that now only 50% of the committee must be Corpuscles.

In Trinity term 2026, Owlets will put on Tennessee Williams’ The Magic Tower. Clara describes “the disconnect” between the “dreamland escape” of Jim and Linda compared to their actual experience of abject poverty. “We’ve got a good vision,” she teases. “I want to keep tackling new things. We’ve done a Greek tragedy. We’ve done Shakespeare.” Owlets is keen not to get into a rut, so it seems.

When it comes to advice for anyone keen to get involved but unsure where to start, Clara says it’s about putting yourself out there even when it’s scary. “Just get involved and get applying for things,” she says. Describing the first time she applied for a crew role, she recalls: “I was so nervous. But everyone was so happy to help.” Corpus Christi students are offered more specific advice: “For Corpuscles, literally just send me a DM.”

On the future of Owlets, Clara sees things as a lot less bleak than post-Bacchae. “Everyone is quite keen for Owlets to be revived,” says Clara. Interest has been registered by Corpus alumni, who have fond memories of watching and performing in Owlets productions. “It comes with a lot of pressure. It’s [all] these years of history and it’s sat,” she puts her hands on her shoulders. “Here.”

Clara might be nervous, but it appears that Corpuscles have full faith in her. “I’m really excited to see what Clara and her new committee have planned,” says Saul. “It is likely that the next Owlets production takes a completely different approach, which I am very excited to see.”

Logan describes the Owlets’ ethos as one which balances quality with fun. “[It’s] a student drama group that is enjoyable and [puts] on developing productions whilst not taking itself too seriously all the time.” Logan embodied this as Richard during Richard III. As closing-night audience members may recall, Logan once improvised a shirtless fight scene. “We want to put on good, enjoyable productions, whilst also not expecting everything to be perfect […] there’s a playfulness in what we put on. They’re often passion projects for the committee.”

Logan’s goal as President was to build a new foundation for Owlets, centred around the Corpus community. “I think a lot of my time was, hopefully, setting a groundwork that can take Owlets into a positive direction,” says Logan. 

On his successor, he’s nothing but lauding. Clara joined Owlets as Secretary in Hilary term 2025, but immediately became a standout contributor. “She had already worked on productions with OUDs before and her experience was incredibly helpful,” Logan explained. “I have no doubt she will bring success to [Owlets].”

Oxford University and Google expand AI partnership

0

The University of Oxford and Google have announced a major expansion of their collaboration to embed advanced artificial intelligence tools across the University’s academic and administrative activities. Following a successful pilot, Oxford is now rolling out enhanced access to generative AI models, including Gemini for Education and NotebookLM, to students, faculty, and staff. The full rollout will begin this year. 

The initiative builds on a six-month pilot involving hundreds of University academics. During this period, participants presented case studies on using Gemini Pro, NotebookLM, and Google AI Studio to support work ranging from structured documentation and research to technical problem-solving.

Under the new arrangement, Oxford’s colleges and departments can secure Pro licences through their Google Workspace for Education accounts, giving users access to more features such as Deep Research, an AI assistant capable of developing multi-step research plans, scanning hundreds of sources, and synthesising findings into detailed reports with citations. The University emphasises that all AI tools will be made available within its secure enterprise environment, a key factor for protecting data and ethical use.

A central component of the collaboration is Gemini for Education’s Guided Learning mode, which is designed to promote “deep understanding through probing questions and tailored, step-by-step guidance rather than simply providing an answer”. This feature reflects a broader shift in AI integration: rather than replacing traditional study methods, tools like Guided Learning act as interactive companions that help users engage actively with material.

Oxford’s Head of the AI Competency Centre, Alwyn Collinson, said the tools will help ensure researchers and students can “harness AI’s potential to accelerate high-impact research, facilitate breakthroughs, and drive innovation” while using the technology “safely and responsibly” for study and work.

Ruth Chang: ‘If we keep going down this road, we are definitely going to get AI misalignment’

0

How do we make hard choices? Not the choices which are hard for us to make – because the right choice is psychologically difficult – not choices between options which we have incomplete information about, or choices that are incomparable. No. Hard choices are decisions between options neither of which is better, nor are they equally good. Let’s say, should I become a commercial lawyer or a philosopher? These options – in the words of Professor Ruth Chang – are on a par.

Chang is the Chair and Professor of Jurisprudence at the University of Oxford and a Professorial Fellow of University College. Law students will be familiar with some of the previous holders of her post at Univ: H.L.A. Hart, Ronald Dworkin, John Gardner. Before coming to Oxford, she was Professor of Philosophy at Rutgers University in New Jersey, United States. She has held visiting positions at Universities of California, Los Angeles and the University of Chicago. She holds an AB from Dartmouth, a JD from Harvard, and a DPhil from Oxford, during which she held a Junior Research Fellowship at Balliol. 

We had lunch in Univ’s beautiful SCR on a soggy Wednesday in the middle of Week 3 Hilary, where I had some chicken and potatoes, and a very delicious chocolate pudding.

“Take this pudding you’re eating”, she says. “What’s another dessert that you really like?” “Strawberry ice-cream”, I said. “Let’s imagine I asked you to choose between these two, what would you do?”, I’m not sure which I would pick. Neither seem to be obviously better than the other. Yet, Chang says, it also cannot be that these two desserts are equal in tastiness. Contrary to what some philosophers say, it does not seem right that we should simply flip a coin. These two desserts, then, are on a par. As there is some qualitative difference between them, I’m not simply able to say that one is better than the other.

This may seem intuitive. However, if she is right, the implications of her theory are enormous. 

“Our entire landscape of normativity is wrong”, she tells me. Everything from ethics, law, to economics rests on this fundamental assumption of “trichotomy”. That, given two values, one must be better than, worse than, or equal to the other. This might be true of quantities such as lengths, weight, and volume, but it is not true of values. Chang says we should instead be tetrachotomists, that we should allow the possibility of parity alongside greater, equal to, and less than.

What does this all have to do with AI? To understand the implications of her work, we must first understand what is known as the Value Alignment Problem. In other words, how do we make sure AI is not misaligned to our values? To grossly oversimplify, researchers are having a hard time making sure that AI systems behave in an appropriate way. For example, having been told it will be removed, Anthropic’s Claude resorted to blackmail. ChatGPT appears to amplify global inequalities. xAI’s Grok has continued to generate non-consensual sexualised images despite curbs. The most extreme example is that, one day, these models could be used to make weapons of mass destruction (if they are not capable of it already), and AI companies are struggling to make sure that they won’t. 

The goal, therefore, is to make sure that AI systems, as they get increasingly powerful and intelligent, have the same values that we do – values like honesty, compassion, fairness – and respect us and our lives so they won’t come around to destroy our world. This might all sound fanciful and sci-fi-y. However, the risk is real. It is serious enough that loss of control of AI systems was included as a potential threat in the Security Service’s (MI5) annual threat update in October of last year. Philosopher Nick Bostrom has called it “the essential task of our age”.

Chang doesn’t pretend that she has the solution to the entire problem. “No, what I’m working on is a very small part of it.” But she’s not optimistic about the current trajectory of AI research. “If we keep going down this road, we are definitely going to get AI misalignment.” Why? Because current AI systems fundamentally assume value trichotomy, she explains. They don’t recognise hard choices, and they simply force a solution, which may not be the solution that we want or that we would have made. 

I push back on this. I ask her, “okay, let’s say you’re right. But even in this misaligned world, isn’t it true that the AI will only make ‘misaligned’ or bad decisions in hard cases, and its decisions will be fine in most cases, or the easy cases?” But that’s not right, Chang replies. “Think of your parents.” We’re both Chinese. “Your parents, whilst well-meaning, might have this idea of who you are and what type of person you should become: you should grow up to be a doctor and make lots of money and make your family proud, you should marry this girl, or you should move to this city.”

It’s not that these are bad choices. Indeed, if the options are on a par, it would not be irrational for us to choose either. Rather, it is that we would not be living up to our fullest potential if we simply listened to our parents on everything: we are in some ways sacrificing our rational agency. Instead of fullest versions of ourselves, we would be the version of ourselves that our parents want. This might be okay, but it is certainly not a good idea if we swap parents for AI. When options are on a par, forcing a ranking is itself a kind of value distortion; and acting on that distortion at scale becomes misalignment. 

Chang insists this isn’t all doom. “Even though it is going to be expensive, there is a way to fix this.” How? She explains that we need to teach the models to first recognise hard choices, and to present them to us. The technical details are unimportant here, but she says that “the fix to design so that AI recognises hard cases is a necessary fix for alignment to be achieved”. Once we are presented with these choices, how are we to choose? After all, isn’t the whole point that these choices are hard? 

“Commitment”, Chang says. By committing to one of the choices of two that are on a par, we are able to generate reasons which weigh in favour of one option over the other, even if the objective reasons ‘run out.’ Once I am committed to becoming a philosopher, I have more reasons to be a philosopher than a lawyer by virtue of that commitment, which itself creates a (will-based) reason. We are able to do this, Chang says, because of our rational agency. Machines, however sophisticated, can’t exercise that normative power for us. We don’t have to commit, however. We can also just drift into a choice of least resistance. “But that would be a shame”, she says. 

I then asked her, if Sam Altman (CEO of OpenAI) walked into the room right now, what would she want to tell him? “The fundamental structure of these models are wrong”, she explains. They need to recognise that values, unlike things like lengths, can be on a par; this requires a fundamental rewiring of their architecture. “Think of it this way”, if we made these models without the possibility of equality, so that one choice always has to be better or worse than the other, we would obviously change their structure so that it recognises that sometimes two options are equally good. If she is right about parity, then we should make the same sacrifices, no matter the cost.

From topping charts to ‘The Traitors’: An ode to Cat Burns

0

The hilariously chaotic new season of The Traitors made me reflect on the celebrity version, and my personal favourite contestant, singer and songwriter Cat Burns. I remember being excited to see her on the line-up as she’s made my Spotify Wrapped top 10 multiple times now, and I liked the idea that a stint in the castle would enhance her fame. 

It was interesting to witness her in a reality TV show given the highly personal nature of her songs. Naturally, everyone interprets her lyrics according to their own experiences, but her songs in particular manage to spell out the way personal relationships affect her, while at the same time aiming for universal relatability.When interviewed, she is candid in explaining that her best music arises from her worst days. It was interesting, therefore, to watch her on The Traitors so poker-faced.

What I like about Burn’s lyrics is that they are not subtle. They outline typical student and young adult experiences without quite reaching the manic candour of Lily Allen. Rather than cloaking the song’s meaning in flowery language (which other similar pop artists fall prey to, sorry Taylor Swift) it feels like crystallised thoughts come straight out of her head.

Burn’s fame originated from her track ‘go’, which narrates her rushing over to a guy’s ’uni hall’ to find out he “f*cked up on a night out” – it starts blunt and no-nonsense and devolves into a really quite sad section about her concerns about meeting someone new. She has an equally candid song on the same album, ‘people pleaser’ in which she essentially self-therapises about her tendency to form opinions based on what others want to hear. It serves as a kind of wake up call for anyone who acts in the same way, as she is so clear with what that means for her: “When you say something’s wrong, I just want to make it better”. 

A common theme in her music is finding comfort in the things you still have after loss. The songs come across as if she’s trying to tell herself and her listeners that it will be ok. Naturally, this is not unique – songs in general are more likely to deal with pain than joy, and Cat Burn’s ‘indie pop’ genre is crowded with sadder lyrics (look at Olivia Dean’s The Art of Loving, for instance). Her music stands out because she pairs raw depictions of her own emotions with straightforward advice, as if she’s reflected on where she faced challenges and wants to share how she overcame them with those in need. 

I love the song ‘live more & love more’ – basically an exhortation to do whatever you want, since no one really cares, with the lyrics “if there’s something you want to do, just do it, don’t let your head stop your heart from moving”. It also makes a point about how much we all learn from others: “Maybe speak less and listen more.”. As the winner of Keble’s Biggest Yapper award, this is a personal favourite piece of advice. 

A more recent dimension to her musical voice has been the embrace of her queer identity. Her most recent album, How to Be Human, includes a range of releases reflecting on queerness and grief, choosing to collate songs on the challenge of coming out with those about the passing of her grandfather. Again, the lyric choice is hardly subtle, with one titled ‘GIRLS!’ – I’m sure you can guess its themes. Like her earlier tracks, the songs speak directly to those who need it. This album was released shortly after her Traitors experience was televised, meaning her personal experience was given a particularly large platform. Interviewed at the time, Burns mentioned the increased opportunities for queer representation that social media, which she sees as a relatively safe place for self-expression, provides.

The light-hearted tone of ‘GIRLS!’ is a counterweight to less hopeful tracks like ‘today’, depicting her first attempts to get back to regular life after a period of struggling to leave home. She tackles grief by appreciating the connections that helped her through its initial sharpness, again in a song with the obvious title ‘All This Love’, in her usual stream-of-consciousness style – “been going out more, I’ve been seeing friends more” and “lately I’ve been crying more”. It feels like a much more subtle, refreshing version of Taylor Swift’s ‘I Can Do It With a Broken Heart’. 

A great thing about the stories her music tells is they’re intended to make her audience feel seen, and feel good. Interviewed on Jamie Laing’s podcast Great Company , she spoke about the messages and shows of support from her recent album from others becoming comfortable with their queerness. 

Her music brings a definite sense of community, speaking directly to the listener as a kind of advice figure. So many mini-scenarios that she describes – anxiety at a social event, heartbreak, the difficulty of staying in touch with friends – are without doubt relatable to students.

I think Cat Burns is a great recommendation for this period in life, the university experience, because she doesn’t beat around the bush: her straightforward approach to explaining her emotions is revitalising. Music has long been heralded as a way to process emotions. Without veering into cliché, she reminds us to be kind, to ourselves and others. Amongst Sabrina Carpenter, Taylor Swift, and other overplayed pop ‘icons’, Cat Burns stands out because of her ability to outline her emotions in real depth. Listen if you like indie pop, if you need a reality check, or if you love The Traitors

Spoonerisms and malapropisms: ‘You Got Me’ in review

0

Oliver Martin (co-founder of Silent Tape Productions)’s new play You Got Me takes cues from Waiting for Godot’s nonsense dialogue and Woolf’s nonlinear narratives. The result is a hard-hitting story about memory, powerlessness, and the cyclical passing of time.

Alex (Cohen Rowland) and River (Charlie Heath) are stuck in a room, slowly losing their memories. Alex thinks they’re in hell. River believes the pair are being watched for entertainment. In River’s words (mocking the unseen audience for their depraved tastes) “put two idiots in an unmarked room”, and watch them go mad. Martin’s standout style is constant linguistic slippage. Alex and River, slowly losing their cognitive function, invert syntax accidentally, resulting in spoonerisms and malapropisms aplenty.

The pair put forward theories. Is this purgatory? Do they have “sementia,” despite their youth? To quote Martin, while the play “explores some of the comedic potential of memory loss”, it also acknowledges “the cruelty and horror of real diseases like dementia.” The show is dedicated to the memory of Kathleen Harrison. Martin describes her as “ a loving mother, grandmother, and spouse, and one of the best people that I have ever known. She was taken from the world in 2025, but dementia stole her life from her much earlier than that.”

As the play goes on, Alex and River grow more accustomed to one another, yet this progress is undone when, at the end of the play, their initial meeting is repeated word for word. The cyclical structure indicates Alex’s and River’s chronic amnesia, but it also alludes to the repetition of theatre as a medium, where actors repeat the same things to fresh minds each night. 

Ambiguity, therefore, abounds in two senses. There’s the basic facts of the story, which remain unclear. Alex and River are in the same boat as the audience; they don’t understand how or why they ended up in the room, and have limited access to their memories before entering the room. Then, there’s linguistic ambiguity, since Alex and River are constantly “flucking” up their lines (“if you can’t handle the Keats, get out the kitchen”). It was fascinating that these grammatical, syntactical, or semantic errors usually amounted to nothing more than a dialogic quirk: the audience laughed, but were always able to identify what was meant.

At first, Anna Ewer’s set leans into the domestic: two wooden chairs, a Persian rug, a coffee table. A large pile of vintage Penguin Modern Classics are strewn haphazardly across the table and floor, while a half-dead bouquet of roses lies on the table, dead petals littering the floor. Throughout the play, the Figure (portrayed by Maddy Howarth on opening night and then after by Saffy Hills), removes props. The stage becomes bleak, the eerie emptiness of the black box encroaching on the actors. The Figure, a Grim Reaper type clad in a wispy black gown and veil, seemed to be made of the same stuff as empty space. 

The play was filled with allegorical yet farcical moments, modernist in its broken logic and evident disinterest in the suspension of disbelief. Alex and River repeatedly try to leave the room, but always end up walking straight back in. Sometimes, when they re-enter, their state of mind has been altered. At various points, Alex and River slip into Woolf-esque characters. They assume the role of husband and wife arguing about their daughter Clarissa in an allusion to Mrs Dalloway. Alex (disgruntled mother) calls River a “deadbeat dad”, which River defends in a bread-winner diatribe.

Almost as soon as the episode starts, it’s over: neither Alex nor River can recall having slipped into their Woolfesque personae. I can understand audience members leaving this play feeling disoriented, even alienated by the slippage. Personally, I found the ambiguity incredibly alluring, a puzzle that demands scrutiny.

Cohen Rowland and Charlie Heath gave fantastic performances. Rowland’s character, Alex, is sensitive. He speaks French intermittently, sentimentalising the few memories he can remember. Heath’s character, River, is acerbic and discerning, scribbling in a red leather-bound notebook that his past self has filled with literary quotes. The pair had a captivating chemistry onstage. A testament to Martin’s expert direction, the actors kept the audience on their feet, creating variety in tone, body language, and volume. Together, they sold Martin’s premise successfully, absorbing the audience entirely with their distress.

Alex and River’s memory loss seemed to be imposed by some kind of distant dystopian authority, rather than be the result of a genuine physiological symptom. Whenever their memory hits a block, Méryl Vourch’s lighting design flickers in distress. The play is linguistically allegorical and resolutely playful. In one scene, Alex and River compete with each other for best proverb, mangling words along the way. 

A linguistically playful production on a stripped-back stage, You Got Me was a top-notch mind game which I’ll be pondering for some time.