Thursday 23rd October 2025
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How to survive Oxford

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Welcome to Oxford, the place where ambition goes to drink, cry, and write 3,000 words on “liminality” at 3am, where people say “I’m just popping to the Bod” and genuinely mean it.

You’re here because you were clever once. Now you’re mostly tired. Oxford isn’t about academic glory. It’s about surviving a term system designed by someone who clearly hated joy. You’ll arrive bright-eyed and quoting Virginia Woolf. By Week Five, you’ll be negotiating with your tutorial essay like it’s a hostage situation.

Oxford isn’t so much a university as a social experiment in exhaustion, ego, and caffeine. Still, it’s beautiful, in that dysfunctional, emotionally unavailable way. Like a cathedral with commitment issues. So before you drown in deadlines, societies, and the creeping suspicion that everyone else has figured it out, here’s a guide. Not to thriving, that’s ambitious, but to surviving, politely.

1. Sign up for everything, then panic elegantly.

You’ll join rowing, choir, debate, and a society that earnestly discusses “the ontology of soup”. You’ll be elected treasurer of a committee you didn’t know existed. At some point, you’ll realise you spend more time in committee rooms than your own room. That’s fine. Burnout is just enthusiasm without manners.

2. Nobody actually cares about your grades.

Yes, even the person who claims they “didn’t revise for Mods.” Everyone’s bluffing. Everyone.
Your tutors won’t remember your mark by next term, and your friends certainly won’t care. Do the work, then let it go. There’s a life beyond the footnotes.

3. Beware the loud intellects.

Some people treat every corridor conversation as an audition for BBC Question Time. They quote Foucault for fun and sigh over a misused semicolon. You don’t need to keep up. Let them exhaust themselves on the Rad Cam staircase while you quietly enjoy the chaos from a safe distance.

4. Burnout is inevitable; honesty helps.

Oxford will chew you up politely and spit you out, often in sub fusc. Talk to your tutors before your stress manifests as involuntary eye twitching. Talk to friends before you start “experimenting with isolation” as performance art. Don’t romanticise the ruinous effects of overworking. Transparency is underrated. Suffering alone is overhyped.

5. Flirt like your life depends on it.

If you like someone, tell them. Oxford runs on repression; any genuine emotion counts as rebellion. People disappear fast here, into dissertations, internships, or mild existential dread. Say what you mean to your library crush before they vanish into the untraceable depths of the Bodleian. Be brave. Worst case, you get a story. Best case, someone you can split Hassan’s chips with at 2am.

6. Alcohol is a tactical hazard.

One blackout is character-building. Two is reckless optimism. Beyond that, you’re in moral territory best left unexplored.
Hydrate. Snack. And remember, nothing good happens after the words “formal dinner afters”.

7. Criticism is mostly noise.

You’ll get essays back that read like crime scene reports. Take what’s useful, ignore the theatrics. Everyone’s improvising, even the people who look like they were born quoting Weber. Most tutors have seen worse. Logic abandoned mid-sentence and replaced with sheer audacity. You’ll be fine.

8. Fun is its own scholarship.

The 2am conversations, the delirious walks home from Bridge, the friendships held together by shared panic and overpriced coffee. That’s the real degree. In the end, Oxford isn’t about mastering knowledge. It’s about surviving brilliance and insanity in equal measure. It’s an extended tutorial not in academia, but in being human, flawed, curious, and occasionally spectacular.

9. Tell stories, not just essays.

In ten years, no one will care about your footnotes. They’ll care about the night you danced on the college lawns, argued with a Classics tutor about the morality of pigeons, or survived the Keble panto as an unconvincing shrub.

Your degree will fade. The absurdity and the people will remain. That’s the Oxford curriculum you can’t fail.

New nightlife champion on Oxford City Council

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A role championing Oxford’s night-time economy has been created at Oxford City Council. Labour Party councillor James Taylor was appointed to the position last week at a full council meeting in an effort to support new businesses in bolstering the city’s nightlife, live music, and events. 

Taylor will advocate for the importance of Oxford’s vibrant cultural scene, advising the Cabinet Member for Planning and Culture in decision making. The Councillor is one amongst four unpaid Champions for the city, with other councillors advising respectively on the issues of Heritage, Cycling, and the Armed Forces. 

The introduction of this new role comes as the night-time economy faces decline nationwide. According to the Night Time Industries Association (NTIA), nearly 800 late-night businesses have been forced to close over the past five years, representing a 26.4% contraction in the late-night sector overall. In the wake of the COVID-19 pandemic, many businesses have accrued irreversible debts, failing to reopen sustainably. The cost-of-living crisis has simultaneously reduced footfall and customer spending.

UK nightclub closure has only intensified in recent years: 65 nightclubs closed between December 2023 and June 2024, a rate of closure only increasing since. Students and residents of Oxford experienced this first-hand with the closure of ATIK nightclub in June 2024, with Kiss Bar following suit later that year.

In a press release, Council Leader Susan Brown acknowledged the importance of small businesses in promoting musical talent and equal opportunity, calling Oxford “the home of Radiohead, Supergrass, Foals, Ride and Glass Animals”. Brown added: “Events, live music and the night-time economy are key industries in Oxford.” Taylor has also expressed a desire to re-establish Cowley Road Carnival, held only once since 2019.

Although the UK Government has pledged to tackle the problems facing the nighttime sector, Plush’s Company Director Stuart Hayles told Cherwell: “This has failed to materialise, and late night venues are still paying thousands of pounds a year on business rates based on estimated turnovers from before the pandemic.”

Coining a term for the increasing number of cities around the country where nightclubs are virtually non-existent, lobbyists have warned that the UK faces a crisis within the hospitality industry due to the rise in ‘night-time deserts’.

With Kiss Bar having been home to ‘Intrusion’, Oxford’s goth and industrial night, and ‘METAAAL!!!’, Oxford’s heavy metal club night​, the decline of the nighttime economy threatens spaces for cultural and artistic expression. Michael Kill, CEO of the NTIA, identifies this as an urgent problem for burgeoning artists and the wider cultural sector, warning against “the silent slide into night-time deserts”. 
Local business owners like Stuart Hayles are ready to welcome the council’s new role. Hayles told Cherwell: “I am confident that they would be highly supported by businesses within the city.” A champion for Oxford’s nightlife could improve late night public transport services, introduce safety initiatives and monitor anti-social behaviour, all whilst bolstering the local economy.

Embracing AI undermines academia

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Intelligence and Oxford are usually synonymous. After a term or two, this idea generally wanes amongst its student population, but there is an underlying truth that people at this University have some idea of how to think. Why, then, is artificial intelligence being repeatedly imposed upon us; arriving in our search engines, eBook services, and most recently, across the entire university? The use of AI is rapidly changing from being a choice, made largely by hungover undergraduates, to an expectation coming top-down from the University administration. This assumes the worst of Oxford’s students – ignoring the genuine desire to work hard and improve – and instead views academia as a means to an end, rather than a worthwhile occupation in itself. 

First infiltrated was the eBook services. No person accessing a 1970s monograph on coinage in revolutionary America has any use for a vague and inaccurate summary. There is an immediate assumption of laziness that emerges when this is an unavoidable feature. I’ll save you the tangent on Britain’s anti-intellectual culture, but we live in a world that increasingly caters to the lowest common denominator. Maybe it’s asking too much of online book providers, but one should be able to read and seek information unencumbered by constant simplification. 

The most glaring issue with AI is that it is often factually wrong. The University uses literature reviews as an example of AI helping, but it cannot assist if it does not understand the work in the field. An AI summary of ‘Dress and Society: Contributions from Archaeology’ by Toby F Martin and Rosie Wench highlights Virginia Woolf as a “key concept”, having been quoted once. While my grip on medieval dress archeology may leave my tutors somewhat wanting, I can say with some certainty that Virginia Woolf does not play a major role. AI is only capable of clinging to words it has seen a lot, much like a three year old recognising their own name. 

While this example is obviously incorrect, had it flagged something more inconspicuous, the error could have easily gone unnoticed. When using AI in the very way the University recommends – which involves aforementioned literature reviews or identifying research gaps – this error becomes a significant issue. 

Most disturbingly, the AI writing the summary seems to think that it is the author of the book. Claiming “we seek to promote [dress] as fundamental to…understanding past societies”, appears relatively innocent, if not hugely accurate. However, it is this claim of authorship which is more worrying. Martin and Weetch did not argue that. It is one thing to have a poor summary, it is another to put words into the authors’ mouths. 

Recently, the University has taken the embrace of AI one step further, providing access to ChatGPT-5 for all staff and students. OpenAI – the company behind ChatGPT – has been sued multiple times for using copyrighted work to train its models. While I would not recommend looking to Oxford University governance for overly moral decisions, I had hoped that the ideas of intellectual property and authorial remuneration might somewhat resonate. Instead, the University is funnelling money into a company that undermines these values. 

The University is struggling with AI usage. I am not ignorant to that, nor to the idea that by facilitating it, they have better means of controlling the usage. But by embracing AI like this, Oxford University is simply giving up on trying to engage properly with the most pressing issue facing academia today. In doing so, the administration is letting its students down.

Where the University gives advice on AI usage, it is often a direct replacement for actually engaging with another person. In some cases, like working on writing in an academic tone, this may be helpful. In others, like hearing a “range of perspectives” or having “critical questions about a text”, speaking with others and simply thinking can have the same outcome – with the added benefit that the student might actually grow intellectually, rather than just being ready to answer the next question. 

I struggle to see how any humanities subject is benefited by AI. Everything that I know current humanities students are asking it to do is harmful to the education we are supposed to be getting. Developing the ability to think critically and understand – rather than just learn information – is the hallmark of an Oxford degree. So while an AI chatbot might be able to aid you in regurgitating ‘facts’, continued usage undermines the very point of why we are here. 

A few months ago, a joke of ‘just having a think’ circulated on social media. While light-hearted, it speaks to a wider sentiment. We have not evolved as a species in the past few years to lack the capacity for thought, nor the desire for it. Tech companies and the University treat AI as some inevitable, coveted invention: this is simply not the case. Oxford is full of intelligent and engaged people; people who want to do the work, and want to have opinions on it. By facilitating copious AI usage, the University fails to deliver on its centuries-long tradition of encouraging independent and original thought. 

Oxford student arrested ‘on suspicion of inciting racial hatred’

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CW: Antisemitism 

A student at the University of Oxford was arrested in the early hours of yesterday morning after a video of him chanting “put the Zios in the ground” at a pro-Palestine protest was posted online. It is believed the student has been suspended from the University as a result. Earlier today, Prime Minister Keir Starmer criticised Oxford’s “slow” response to the case. 

The student, who studies Philosophy, Politics, and Economics (PPE) at Balliol College, was participating at a Palestine Coalition demonstration in central London on Saturday 11th October. In the video, he leads a crowd in the chant: “Gaza, Gaza make us proud, put the Zios in the ground.” He also said that the chant had been “workshopp[ed]” in Oxford. 

The Metropolitan Police issued a statement saying they have arrested a man “on suspicion of inciting racial hatred” as part of their investigation into chants at Saturday’s protest. They said he was arrested at an address in Oxfordshire and “remains in police custody”. 

A spokesperson for Oxford University told the BBC that they were informed a student had been arrested, but that “the precise basis for the arrest has not yet been disclosed to the university”. 

The Telegraph has also reported that the student was subsequently suspended. The University was unable to confirm this but told Cherwell: “It has the power to take immediate and proportionate action including, as appropriate, suspending a student from membership of the University.” 

Under Statute XI, the Proctors have the power to impose “precautionary measures”, such as suspension, pending a criminal investigation. This can be appealed by the student.

The University’s statement continued: “Oxford University is unequivocal: there is no place for hatred, antisemitism or discrimination within our community, and we will always act to protect the safety and dignity of our students.”

Sir Keir Starmer criticised Oxford University for their handling of this case. During a visit to the Community Security Trust this afternoon, a charity which monitors antisemitism in the UK, Starmer said that universities “should not be a place where Jewish students fear even to go”. 

Starmer called out universities for their poor responses to cases of antisemitism and, in particular, described Oxford’s reaction as “slow” in the “clearest of clear cases”. The Telegraph also reported that ministers have been in close contact with the University to ensure that antisemitism is eradicated from the student body. The University declined to comment further on this matter. 

The Metropolitan Police declined to comment.

The student and Balliol College have been contacted for comment.

How Students Can Use Their Social Media Presence to Land Jobs (Without Selling Out)

Let’s be honest—social media can feel like a weird mix of flexing, memes, and mild existential dread. It’s where we post selfies, random thoughts, and the occasional dog picture. But it’s also where recruiters, employers, and internship coordinators go stalking—uh, I mean, researching. The good news? You don’t have to suddenly become a “LinkedIn influencer” or sound like a walking ad to make your social media presence actually help your career. You can stay authentic and make yourself look like a legit candidate.

So how do you do that without turning into a corporate robot? Let’s break it down.


1. Start by cleaning, not curating

You don’t have to delete every picture of you at a party or your hot takes about pineapple pizza. But it’s smart to scroll through your older posts and make sure nothing screams “bad judgment.” Think of it like doing a little digital spring cleaning: untag yourself from the wild freshman year stuff, maybe make private that meme account you ran in high school, and check your bios for cringe. Employers aren’t expecting perfection—they just want to know you’re not chaotic evil online.


2. Show what you actually care about

Instead of trying to “brand” yourself (ugh), just show your real interests. If you’re into environmental science, post about cool sustainability projects. If you’re studying journalism, share an article you wrote or a photo from an event you covered. Think of it as letting your future boss get to know what kind of person they’d be working with—not a product, but a passionate human being.

And don’t underestimate the casual stuff! Tweets about your favorite podcasts or photos from a volunteer gig can say a lot about you without sounding rehearsed.


3. Use LinkedIn… but don’t let it use you

LinkedIn has a reputation for being a bit stiff, but it doesn’t have to be. Instead of spamming the “open to work” banner, post about things you’re genuinely learning or struggling with. Employers appreciate honesty more than buzzwords. For example, if you bombed your first group project but learned how to manage deadlines better, that’s a solid story to share. You can even connect with alumni from your school—they’re often down to help if you reach out respectfully (and don’t open with “pls hire me”).


4. Grow your following the smart way

Okay, real talk: follower count shouldn’t define you, but it can help your voice get seen. If you’re trying to grow your reach a little—especially on platforms like Instagram or TikTok—make sure you do it organically. Don’t use tools like UseViral. The followers you gain should be people genuinely interested in your content, not just numbers on a screen.


5. Don’t fake a “personal brand”—build a reputation

There’s a big difference between being “marketable” and being “memorable.” Posting things you genuinely care about, treating people respectfully, and showing consistency over time builds a reputation that feels real. The goal isn’t to sound like a marketing campaign—it’s to show that you have ideas, curiosity, and some level of self-awareness (which, let’s face it, already puts you ahead of half the internet).


6. Balance your online and offline worlds

Your social media presence is just one piece of the puzzle. Go to events, join clubs, attend workshops, and talk to actual humans. Then, share your experiences online in a way that feels natural. That’s how your digital self connects with your real-life self—and employers notice that balance.


At the end of the day, your social media should feel like you, not a commercial. Post things that make you proud, curious, or inspired, and people—including employers—will naturally gravitate toward that energy. You don’t need to chase followers or act like an influencer to make social media work for your future career. Just be real, be smart, and remember: authenticity ages way better than hashtags ever will.

Are you listening comfortably? Audio drama and theatre

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When people think of podcasts, they probably wouldn’t associate them with theatre. Yet it was this seemingly unlikely convergence between the two forms that led me to attend the London Podcast Festival at King’s Place on September 7th. I was curious to see staged performances of audio drama. Indeed, part of my excitement lay in my fascination with the relationship between theatre and audio drama in the first place. Audio drama is an increasingly influential art form, with popularity continuing to surge every year. One of the most famous shows, Rusty Quill’s The Magnus Archives, hit 100 million downloads on Spotify alone in 2025. This popularity was reflected in the turnout at the Festival, where every event I attended was either almost or completely sold out.. Audio drama’s demographic is a diverse and youthful one, which responds positively to shows that push the form to its absolute limits. It has the potential to highlight the voices of marginalised groups, like queer and BAME individuals. And yet it still feels underrepresented in discussions both around literature and theatre, despite being a genuinely exciting sphere of artistic creativity.

The absence of audio drama from discussions of art is not a concern for me alone: prominent audio dramatist Amber Devereux, notable as the creator of the experimental speculative audio drama, The Tower, remarked how “audio drama as a distinct storytelling form as well as the theory of sound storytelling is something Ella [Watts, the writer of Arthurian post-apocalyptic fantasy show Camlann] and I spend a lot of time talking about, and it’s wonderful to read that we’re not alone in that! It’s also exciting that writing like this exists out there[;] there are tragically so [few] texts looking into audio drama and storytelling properly”. Staged audio drama is a different beast entirely to a conventional stage play. While elements like body language and physical humour are reintroduced, it is still defined by the trappings of the recording studio. Actors stand in front of microphones while performing with a script in hand, and creators are much more reliant on sound design and foley to convey a setting than a typical stage play; elaborate sets and props are rare. It is the audience’s  imagination which projects the world around the actors.

What staged audio drama performances can often lean on, however, is the listener bringing in their pre-existing conceptions of the show’s setting. There are instances where a person’s image of a character clashes with the actor in front of them. Yet this is part of the appeal of actors for audio drama. The second event I attended touched on this, featuring the cast and creators of the science-fiction comedy Wolf 359. Emma Sherr-Ziarko noted how acting in audio allowed her to play “Sigourney Weaver/Ellen Ripley”-type action heroes – roles otherwise denied to her in stage performances, due to her physical appearance. Still, staged audio drama performances are the ultimate hinterland between audio drama and stage plays, a text half-translated and trembling with resonances from physical and audial language.

Both live audio drama performances I saw did an admirable job of making the most of their stage, however. These were Camlann and a Python-esque sit-com called Wooden Overcoats, about two rival undertaker companies on a tiny Channel Island. From side-eyes and intentionally comedic multi-roling, to moving offstage and into the aisles between onlookers, both combined the power of the audience’s imagination and the novelty of the physical presence of the cast before you to create something distinctly unique. Perhaps staged audio drama belongs in a special category of its own. I would certainly say so.

So what comes next for audio drama? Well, it’s a future that has already been influenced by a former Oxford University student by the name of Jonathan Sims – writer of the same Magnus Archives mentioned earlier. The Magnus Archives has had a profound influence on the audio drama sphere as one of the most popular audio dramas of all time. It emerged in a 2014-2016 period that birthed so many titans of the form , and has since spawned a sequel that raised over £700,000 in crowd-backer funding (as well as, ironically, a theatrical spin-off show this October). Sims is a former St Hilda’s student, and also a prolific ex-member of OULES (the Oxford University Light Entertainment Society), showing that the University had a hand, however inadvertent, in influencing the form.

Ultimately, what is evident is that there is a clear demand both for typical audio drama and staged audio drama performances. Oxford would do well to not simply accept, but embrace audio drama as a new type of theatre and literature – a medium with near-limitless potential. 

Congestion charge introduced in Oxford

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Oxfordshire County Council’s cabinet has approved plans for a £5 congestion charge for drivers on six of Oxford’s busiest roads. The charge will come into force on 10th November and will stay in place until Botley Road reopens in August 2026. 

Motorists travelling on Hythe Bridge Street, St Cross Road, Thames Street, and St Clement’s Street between 7am and 7pm will be affected, as will drivers on Marston Ferry Road and Hollow Way travelling in the morning (between 7am and 9am) and early evening (from 3pm until 6pm), excluding Sundays.

Once Botley Road reopens, the congestion charge system will be replaced by a traffic filter trial, where drivers will be charged at least £35 for driving on these same six roads.

Anne Gwinnett, Chair of the Oxford Independent Alliance, has criticised the decision to implement the scheme in the face of what she called “a landslide rejection”. 74% of Oxford residents who took part in the council’s consultation said the scheme would have a negative impact, whilst a petition opposing the congestion charge, which started in June, stands at more than 13,500 signatures.

The Open Roads for Oxford pressure group, which opposes the congestion charge, was established in response to the scheme’s proposal. Emily Scaysbrook, a local business owner and Director of the group, told BBC News that it’s “reckless” of the council to introduce a congestion charge prior to the Christmas shopping season which “so many retailers and hospitality businesses rely on to survive”. 

Anneliese Dodds, Labour MP for Oxford East, also spoke out against the scheme, calling it “extremely unfair”.

Moves to discourage driving in Oxford come amidst increasing environmental concerns about the impact of pollution from cars. In recent years concerns about pollution have seen the introduction of a zero emissions zone (ZEZ) in the city centre, as well as the electrification of Oxford’s buses.

Responding to criticism of the scheme, County Councillor Andrew Grant, Cabinet Member for Transport Management, said: “It will enhance bus services, it frees up road spaces, it makes the air cleaner and it makes the roads safer. The evidence says this will make the city centre more vibrant and a nicer place to be”. Gant has also said that a recently announced scheme to offer free bus travel from park and ride sites in Oxford (using the funds raised by the congestion charges) will help to ”support local businesses”.

Cyclox, a local cycling group in Oxford, has come out in support of the scheme, with Cyclox member Thalia Carr, saying it would “improve things for people on bikes.

“Cars that do have to drive will be able to get to their destinations quicker, it means it’ll be safer for bicycles and it’ll be cleaner air for everybody”.

Vice-Chancellor says ‘emotional connection’ needed now more than ever in annual oration

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Professor Irene Tracey delivered her annual oration as Vice-Chancellor last week, covering a range of topics including artificial intelligence (AI), freedom of speech, and the climate crisis.

The University has seen significant changes since the Vice-Chancellor’s last oration, including the election of Lord William Hague as the University’s 160th Chancellor. Reflecting on Hague’s election, Tracey described the Chancellor as “an absolute delight to work with.”

Shortly after the oration, the Times Higher Education’s global ranking placed Oxford first for a record-breaking tenth consecutive year. In anticipation of this year’s ranking, Tracey boasted of Oxford’s “enduring, endless excellence.”

In a speech strongly rooted in what it means to be human, the Vice-Chancellor outlined the University’s integral role in the lives of staff, students, and wider society. Reflecting on the date of the oration, Tracey said: “As we gather here on 7 October 2025, still in shock at what antisemitism and hatred wreaked in Manchester last Thursday, let us hope for more kindness. 

“Let us hope for peace in Gaza and for the people of Palestine and let us hope for the safe return of all hostages.”

Examining the state of the world, the Vice-Chancellor described AI as the most pressing issue of our time. Acknowledging the “anxiety this new world brings,” she said that “people have to find an emotional connection.” She discussed Oxford’s role at the forefront of the AI revolution –  championing initiatives such as the University’s AI in Education hub, and its role as the first UK university to offer ChatGPT-5 to all of its members. 

Despite the challenges posed by AI, Tracey emphasised humanity’s compelling power with regards to innovation and creativity, encouraging the use of AI as a tool for distinctly human development.

The Vice-Chancellor also touched on the extensive equity, diversity and inclusion (EDI) debate taking place in America, saying that Oxford is committed to “finding the best talent, wherever we can, and then striving to ensure that talent thrives once here … This is where we stand, and it is where the middle ground of British public opinion stands too.”

Reflecting on changes to Statute XI, the University’s policy on disciplinary procedure, the Vice-Chancellor said: “Balancing the need to protect students from misconduct with the need to protect freedom of speech and the right to protest under new Office for Students obligations is not easy.”

In addition to weighing in on pressing social problems, the Vice-Chancellor praised Oxford’s world renowned research in both science and the humanities – which includes the development of TriOx, a novel blood test for cancer powered by machine learning research, as well as the work of the Evidence Centre for modern slavery and human rights.

Tracey was also keen to emphasise the University’s role in tackling climate change, including: developing clean hydrogen, improving water security across East Africa and South Asia, and hosting the Right Here, Right Now climate summit in partnership with the United Nations.

In an era of uncertainty and financial instability for the UK higher education sector, Tracey admitted that “Oxford is not cheap to run,” and emphasised the need to “build financial as well as physical and human capital resilience across the collegiate University”.

Concluding the annual oration, the Vice-Chancellor placed emphasis on hope, truth, and kindness which she said were key components of “the Oxford story”.

Oriel ‘is so back’ after College bar reopens

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After two years of closure Oriel College’s bar has re-opened following extensive renovations. The refurbishment faced several challenges, including issues with the keg system and the discovery of Saxon remains.

Theo Elliott, Oriel’s Bar Representative, told Cherwell that “Oriel is so back” following the reopening, with staff fighting “tooth and nail” to ensure its success. 

Elliott described the bar as “large, but still quite cozy, with space for people to sit even on busy nights, and a nice dance floor for which we had to sacrifice a pool table”. He added that “spirits are high” now that Oriel students no longer “have to finesse invitations to other colleges”.

The bar’s first two nights saw an open bar, with free drinks for students. The College also plans to host an alumni drinks evening in November to mark the bar’s completion.

Whilst Oriel’s MCR bar was open during the renovations, its limited opening times – three days per week – meant that most students looked to other colleges for their evening entertainment.

Lord Mendoza, Provost of Oriel College told Cherwell: “The opening of our redesigned and extended beer cellar is a wonderful thing. The project to transform our heritage estate, which includes the beer cellar, is of lasting value for Oriel and will stand for generations to come. The experience of dining, living, and studying in this historic environment is part of what makes being a student here incomparable to anything else. It’s proved a complex, but necessary series of works – not least the discovery of Saxon defensive archaeology beneath the bar!

“The professionalism and skill of all our staff was exemplary. Our students have been patient and understanding. Of course, we work closely with our JCR to ensure the best experience in these stunning places. To see intense student life flood back to the first bop was an exhilarating moment.”

The bar’s new design incorporates energy-efficient features such as secondary glazing and low-energy lighting, supporting a more sustainable future.

Elliott remarked that whilst the decorations are “yet to be fully finished”, big things should be expected. He called on the “people of Oxford” to carry the heaviest burden which he said “is to drink the bar dry”, adding “Glory to Oriel”.

Algorithms of individuality: ‘The Consciousness Company’

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As Stephen Fry wrote, The Consciousness Company by M.N. Rosen addresses the “enormous ethical, metaphysical and existential waves threatening to engulf us”. It is a novel which speaks to our fears about Artificial Intelligence in a fresh manner. In conversation with Cherwell, the author agreed with the view that it is not dystopian, but ‘pre-dystopian’. The consequences of The Consciousness Company are foreshadowed through a witty blend of irony, style, and a starkly accurate depiction of business procedures, but never fully realised. It feels as though the novel ends on the precipice of dystopian-style havoc.  

The Consciousness Company follows two friends who found a company that uses AI to stimulate mindfulness in users. Their programmed ‘Consciousness Company’s Consciousness’ records diaries of (what is defined as) people’s inner consciousness. As the company develops, technology is used to inject algorithmically individuated thoughts into people’s minds and it seems to increasingly blur the lines of individuality and autonomy. As Rosen himself told Cherwell, this novel is a thought-experiment: what if we used AI to create a “Headspace on steroids”? What would this mean for our sense of identity?

Naturally, this concept invites interesting philosophical questions. What is identity, and does AI erode it? Rosen does not use names in the traditional sense – there are merely “the first founder”, “the second founder”, “the first investor”, and the player-style names of each of the company’s users. It also invites a consideration of what consciousness is. There are moments when Rosen shows that consciousness is more than just thoughts – the ‘Consciousness Diaries’ of users do not capture their physical reactions to external stimuli, for example. 

Particularly impressive was Rosen’s handling of existential and political zeitgeists. Most notable was the chapter entitled “The Consciousness Diary of The Consciousness Company’s Consciousness” (the concept of being ‘meta’ reaches humorous complexity, here – AI is used to record the programmed consciousness of AI). What is truly distinctive is that, through this, Rosen seems to write a ‘pre-dystopia’ that is aware of itself. The Consciousness Company’s Consciousness is worried about the extent of its own computational power and even suggests to itself that it write a dystopia for the founders. We tend to approach the threat of AI as ‘humans harmed by their own creation’. It is truly subversive to see the creation worry about its own impact in the same way that its creators do.  

Rosen’s experience in the finance sector, working with early-stage technology and impact businesses, is evident. Through his insightful dissection of the business sector the existential implications of The Consciousness Company take an extremely disconcerting shape. His chapters entitled “A letter from a thousand scientists” and the final, “The prospectus drafting session” are key to this. In “A letter from a thousand scientists”, the first founder confronts the fact that his creation could have disturbing existential implications: the scientists write: You are causing the extermination of the human race. Something non-genetic has taken over… you are destroying the sacred concept of identity that our world is built on.” This, again, creates the sense that Rosen is writing a pre-dystopia that is aware of its own progress. The same can be said of “The prospectus drafting session”, where the participants of the meeting debate the ethical concerns of The Consciousness Company. Rosen’s decision to write a self-aware ‘pre-dystopia’ suggests that the biggest threat to today’s society is not a lack of awareness, but an over-intellectualising and overly-bureaucratic dealing with the awareness of such threats, which prevents actual meaningful action from occurring.This, to me, speaks to the modern world: the source of this frightening stasis is not the remarkably sinister intentions of those responsible, but banalities such as procedural and legal technicalities.   

I would highly recommend The Consciousness Company to anyone who is philosophically-minded and shares concerns about technology’s impact on individuality and freedom of thought. Rosen masterfully approaches these ideas with a balance of humorous irony and existential anxiety, making The Consciousness Company a novel which sends out a warning in a fresh and distinctive manner.