Sunday 10th May 2026
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Common Ground holds its annual symposium, ‘Reclaiming Spaces’

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Common Ground has been held its first ‘mini’ symposium, and first partially online symposium, over the course of last week. The group has held symposiums each year since its founding, but was unable to hold one last year due to the COVID-19 pandemic. This year’s symposium is made up of 3 panels and 1 social focused on the theme ‘reclaiming spaces.’

Common Ground is a community group that defines itself as “a movement that sets out to examine Oxford’s colonial past in the context of its present-day inequalities.” Past symposiums held by the group have included ‘Oxford, Reparations and the Global Class Struggle’ and ‘Revisiting the Past, Envisioning the Future: Race, Class, and Oxford’.

Speaking to Cherwell about the theme of the symposium, Common Ground said: “Reclaiming Spaces will interrogate our relationship to and experience of different places, whether that be historical, institutional or natural space. We hope to examine how the experience of space is mediated by legacies of colonialism, climate degradation and factors such as race, gender and class, as well as exploring ways of transforming and reimagining hostile or damaging places into more constructive and creative environments. 

“This year there hasn’t been so much opportunity to physically be within certain spaces, but the concept of space and the idea of reclaiming it will always be present.”

The first panel took place on Monday night, and was focused on the theme of ‘Reclaiming Institutional Spaces.’ It featured speakers including councillor Shaista Aziz and community activist Michelle Codrington-Rogers, who spoke on issues including their experiences growing up as women of colour in Oxford, and navigating the divide between the city and the University. 

The other two panels, hosted on Wednesday 9th June and Friday 11th June, were titled ‘Reclaiming Green Spaces’ and ‘Reclaiming Historical Spaces.’ These panels featured speakers including representatives from Rhodes Must Fall and Osney Hydro Lock Project. In the past, Common Ground has been involved in campaigns for the removal of the Cecil Rhodes statue, and it was recently announced that Oriel College would not be taking the statue down despite the recommendations of an independent commission. 

Speaking on the significance of the symposium, Common Ground told Cherwell: “It provides a great opportunity to come together at the end of the uni year and to collaborate with community activists, academics and other liberation campaigns. Maintaining links with the local community is very important to us as it helps to build institutional memory, which is often difficult within student activism. We also want to do our part to hold space for challenging conversations around the legacies of colonialism in our city.”

Image Credit: Common Ground

Student Profile: Jade Calder

I open the call unaware that the student I am about to interview is actually in self isolation. Jade (she/they) appears on camera with a juice box one of her flatmates picked up – she laughs at how she feels like a kid with a packed lunch when drinking it. Jade is a second year History Student at St Peters, and Co-Chair of Class Act, the SU Campaign intended to support, represent and campaign on behalf of students from working class, low income, first generation and state comprehensive school backgrounds.

Yet, how they got involved is somewhat unconventional: “I sort of joined by accident”, Jade laughs. “I mean I was always aware of Class Act; I had seen their stall at the Freshers Fair, and was looking to support them and get involved in any way I could – I didn’t know how to. Then throughout the year, they had some drop in sessions, I messaged and they were always super friendly! I saw that the SU had campaign elections and I wasn’t quite sure how the elections worked so just put myself down for a Class LGBT intersection rep and then forgot about it. I think I meant to apply for LGBTQ Soc, because I thought it was the same thing. So, I had applied for Class Rep for Soc and Class Rep for Campaign, and no one ran against me, so I got it by default.”

Jade reflects, “It was one of the best accidents that has ever happened to me at Oxford, because I found a group of people I could relate to and talk to honestly about our experiences. For me, this was being part of both Class Act and LGBTQ Campaign. And we were actually getting involved with the issues, getting on with things and it’s a group of people who aren’t doing things for their own CV. It was like, alright we have got some issues at this university, let’s work on it and actually fight for something better.”

Jade’s passion shines through as we delve deeper into some of the projects that Class Act is currently working on: “There are quite a few! Class Act are really keen to do a report or investigation into the realities of lived experiences of Oxford students from the broad under-privileged social-economic class umbrella. It gets parroted so much at open days and in access literature that ‘it doesn’t matter which college you go to’ – I think there is a lot of reasons why that is a myth. If you are a low-income student or an independent student, it can have a significant effect on the cost of living, the state school to private ratio, hardship funds, the general atmosphere and whether you feel supported coming from a particular background. When I was applying to Oxford, I was told to apply to Mansfield where there is a lot of state-school students; instead I went to St Peters which is 50% private school and it doesn’t have a lot of money to support people financially. There is a lack of information and transparency, and the experience of applying for the hardship fund is different at each college. So, this is something that we really want to tackle.”

Jade pauses for a moment, before going on to articulately voice a wider issue they think this speaks to, “Personally speaking, a lot of people have a two minded opinion of access. On the one hand you want to make sure Oxford is open to everyone, regardless of background, ensuring the people who would get something out of it, have the chance to come here. My concern is once you are at Oxford, is there support in place? Is there a healthy, supportive environment for you once you are here, and can I honestly say that is true? For some students, if they find the right people or are at the right college, they will really enjoy their time here and will encourage people to apply. Other people have had really nasty experiences, and therefore well-reasoned reservations as to why they may think ‘am I just leading lambs to the slaughter here when I tell them to apply to Oxford’ even though they are capable of the work. So when I think about access, I think about access as in improving the accessibility and experience of students when they are actually here. And that’s what Class Act is all about, we are not about outreach but about improving the experience of students who are here.”

“On top of the report, I have been working with a friend to create a working-class magazine for creatives, featuring poetry, art and essays, which has been a long time coming,” Jade continues. “I think the creative scene at Oxford can feel a bit impenetrable, private school London dominated, and it doesn’t speak much to my experiences. It appeals to a certain type of person, and often doesn’t involve many people from the class umbrella background. And that cycle is perpetuated in the real world, where so much attention is given to the middle class creative world in London, and more provincial creative institutions outside of London are not given as much of a look in or funding.”

They laugh as they say, “Of course, us putting out a little magazine isn’t going to fix all of that. But hopefully in some small way, it will give people a bit of confidence. I think that is something that is really lacking in people, they’ll think ‘oh this isn’t for me’ but if you give someone a platform, help someone gain confidence by saying ‘you are really good – maybe no one has said you are really good before but you are, and maybe you should pursue this? you might not have gone to a private school with a really top of the range creative faculty and your own school arts magazine, but that doesn’t mean you can’t create and that doesn’t mean you aren’t worth listening to, or it’s not worth exhibiting your work.’ You need diverse voices.”

As the interview draws to a close, Jade reflects on the discussions of class at Oxford: “I think more broadly, class as a topic, as a discussion point, is something that people should be aware of. I don’t think it is on minds of the student population as much as it ought to be.” They continue, “which is interesting because when a lot of people think of Oxbridge, in the media and the wider general public’s view of the institutions, they often think of it as elitist, with the image of the Bullingdon Club coming to mind. Yet when you get to oxford, people don’t necessarily show a nuanced awareness beyond one off comments about Eton or private schools.”

“Talking to privileged people about class, and their ideas of what a working class person is are so far removed from my own experiences,” Jade continues, “and they mean well, a lot of people mean well, but there are still people who have said to me ‘I have never met people from your background before’ and that concerns me. That concerns me because I don’t view myself as some sort of street urchin from some Dickensian novel. I am not some outlier, but to these people I’m the lowest of the low they’ve ever met in terms of wealth – which is just bizarre. I don’t view myself as particularly underprivileged at home, I’m just a normal person, but when i get here, these are the people who have aspirations to be MPs, policy advisors, involved in powerful institutions, to run the country… but they’ve never met a person who comes from a family in the North, whose family income is less than the national average. That’s what scares me.”

“And if I’m the first person who they meet, the first interaction, someone that has to educate them … how do I educate someone about that? How do I respond to that, how do I act? I have my own perspective, my own experiences, my experiences aren’t typical because I am an ethnic minority, and from the LGBTQ+ community, alongside other things – all those nuanced, unique things that everyone has. But I have made it to Oxford and the postcode where I’m from, 50% of the people don’t have five good GCSEs, yet I’m at what is ranked as one of the best universities in the world.”

“I sometimes feel like I have a sort of responsibility that I didn’t ask for and I also don’t know how to navigate it. Before Oxford, I have never had to be the ‘token poor person’.”

To get involved with any of the projects mentioned above, or Class Act more generally, you can go to the SU website. You can also contact them via email [email protected], or visit their Facebook, Twitter, or Instagram.

“Rotterdam is anywhere, anywhere alone…”: A Literary Pilgrimage

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When I read a book, I like to imagine that I’m in the place the author describes. Once I lose myself in a book, that’s pretty easy. I’m not in my room or the park anymore – I’m gone, I’m there, I’m lost in the place the writer has taken me to. I’m in New York with Addie LaRue, or in Ketterdam with the Crows. Looking up from my book always comes as a surprise. Coming back to my own thoughts and life is disorienting, and realising I’m back in my own space is sometimes a disappointment. I like to imagine what it would be like to really live in the worlds I read about. The closest it’s possible to get to this, though, is to go to the place where a book was set or written, to try to glean some secret information from the walls and stone and trees that reveal something new, something special, about the books we love so much. 

I love the gothic, so going on holiday to Whitby, where Bram Stoker has Dracula’s ship crash against English shores to terrorise the reading public, seemed pretty exciting to me. Sleeping in a Whitby hotel, I was half-convinced that a vampire or ghost would burst out from behind the curtain at any moment and eat me. But walking around the little seaside town, there was nothing there to remind me of the bloody horror of the novel. I was surrounded by tourist traps, happy families, fish and chips. The only thing to remind me of the book was the Dracula Experience, an incredibly cheesy and mildly cringey tourist trap that has been there since at least the 1980s, and which was, whilst hands down the best thing in Whitby, pretty unrelated to the book itself. 

Even walking up to the Abbey, which Whitby’s tourism website claims inspired Stoker’s whole novel, I didn’t feel that spark of connection. The breeze was cool coming off the ocean, the sun shone bright in the sky, but there was no Gothic darkness or moody rain. This wasn’t Stoker’s Dracula – this was a nice day out with my family. Staring out at the coastline could tell me nothing about the book. Being in Whitby was wonderful, but it didn’t make any difference to my reading experience at all. 

For some books, though, there isn’t even the option to travel to the place that they’re set. Fans of Wuthering Heights can go to the Yorkshire moors, but if your favourite book is Game of Thrones, chances are you won’t be able to book a flight to King’s Landing any time soon. But, knowing full well that I’m setting myself up for the disappointment of reading an escapist book and then remembering I can never actually exist in that universe, I read fantasy books anyway. I know I’ll fall in love with the setting and spend the next day on TikTok watching cosplayers act out scenes from Leigh Bardugo’s Six of Crows duology, wishing I could go there and live such a high-stakes existence. There’s a sort of accidental masochism that comes with this disappointment. But the thing that makes me connect to fantasy books isn’t really the places. The place doesn’t make me love the book – it’s an interesting aspect, but detached from the reading experience. I don’t read to be in Ketterdam, I read to spend time with Kaz and Inej. What makes me love Six of Crows is my connection to the characters – how I recognise myself in them, how I love them and care about what happens to them. City streets are the same whether it’s modern New York or 18th century Paris or the totally fictional Kribirsk; they’re just the backdrop of a book. But people change from the beginning to the end, and seeing how they do is the reason why I read stories. 

When I think about going on holiday to Whitby, I don’t think about Bram Stoker’s seminal Gothic novel. I think about going through the hilariously awful Dracula Experience. I think of how we climbed up all the steps to Whitby Abbey and how the most exciting thing about it was probably getting chips afterwards. I think of the beautiful necklace I bought there, that I still wear now. I think about how odd it is that my family’s incredibly southern history is so connected to this part of the Yorkshire coast: my mum going there for the folk festival as a kid in the 80s; how my gran, as a kid herself in the 50s, used to go just up the coast to Runswick. The place stopped being Stoker’s, and became mine, a part of my own life and memory. 

This isn’t to say that there’s no point in a literary pilgrimage – my friend and I are desperate to go to Bath and Chatsworth because of our mutual love of Jane Austen. We plan trips and think of all the places we want to go to, laughing because we know, as true Austen fans, that the author herself disliked Bath immensely. And yet we still think about our weekend getaway to the city that we can’t help but associate with the Regency era, and with her. Maybe when we finally get there, it will stop being hers and become ours, as Whitby has already. There’s no way to know whether Bath will be a place where I think of good food and better friends, or my favourite books, until I go there and find out. 

A book can make me want to go to a place more – reading Dash and Lily’s Book of Dares and the Goldfinch nearly made me drop out of university and move to New York, and reading Six of Crows, even though it’s a fantasy book, makes me desperate to visit to the Netherlands. I want to sit in the New York Public Library and the MoMA, or read a book sitting by a canal in Amsterdam with a bunch of tulips beside me. But what I really want is to live a life that would be written about in these stories; I don’t even want to go to the MoMA, I want to sit in a museum and fall in love. I don’t need to go to Amsterdam, or even Ketterdam, I just want to pull off a fun, elaborate heist with my friends. We read to experience something different, and also to feel something familiar – to feel love, but in a different world, where things are more magical or beautiful than they feel in our own world. If I never visit all of these places, books still matter because of their magic. And if I do go to these places, I won’t need to be transported to a fictional world for them to be magic. They’ll be wonderful because I went there, and had fun, and lived a life that is far less exciting than those of the characters, but was good all the same. 

Image credit: wwwuppertal on Flickr, licensed via CC BY 2.0.

When streaming becomes scrolling

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‘Your design is clean, elegant, tight, and fast. While it’s clearly lacking some important features (the social stuff you alluded to, etc), I think you’ve done a great job with sequencing. You nailed the core experience around which everything else can later be built.’

Such was Napster founder Sean Parker’s first reaction to Spotify in 2009. Parker was so impressed by Spotify, he penned a ‘1700-word love letter’ to the music streaming service’s founder, Daniel Ek, in which he praised the product’s ‘core experience’. He considered Spotify the first and only digital music service to ‘meet and exceed the bar set by Napster’ before the latter’s untimely collapse in 2001.

12 years after Parker’s love letter, another functionality lies at the ‘core’ of Spotify’s product: the ‘social stuff’ which Parker only parenthetically mentions. Though it’s early days, there are already tell-tale signs that Spotify is morphing into a social media platform which causes users to fall into the same addictive, repetitive patterns associated with Instagram, TikTok, and the other usual suspects.

Social media platforms typically start out with noble(ish) intentions. Namely, making it easy for people to connect and share content with others. That this capability goes too far and the platform metamorphoses into an uncontrollable beast, ensnaring its users worldwide, is a tale as old as time (or as old as Facebook). Though we may think of it as ‘just’ a music streaming service, Spotify could be heading in the same direction.

Spotify’s 2018 integration with Instagram is an overt example: for the first time, Instagram users could post what they were listening to on their Instagram Stories. As a result, the same harmful habits which Instagram is frequently accused of cultivating crossed over from the visual realm and into the audio. Now it wasn’t just our peers’ appearances, social lives, and material affluence we could judge; it was their music taste, too. There’s also the capability to link your Spotify account to your Facebook profile. Upon doing so, you automatically follow dozens of ‘friends’ – another instance of Spotify’s services going beyond just ‘streaming’, and spilling into the ‘social’. Last month, Spotify and Facebook developed their partnership further by announcing ‘Project Boombox’, which will enable users to share what they’re listening to on Spotify directly via their Facebook News Feed. Whilst Spotify is notorious for failing to pay artists fairly, it is ensuring that non-artist users get more than their fair share of cross-platform social capabilities. It’s perhaps unsurprising that Spotify is so cosy with social media’s biggest conglomerate, given that when Zuck himself first used Spotify in 2009, he took to Facebook to express his admiration, setting his status to ‘Spotify is so good’.

So, there are clear signs that Spotify is shifting its focus to prioritise the ‘social stuff’. Why is this a problem? Does it impede our ability to just enjoy the music? It certainly could. Aside from its integrations with Facebook and Instagram, stranger still are the covert ways in which Spotify is affecting how we listen to music and share our listening habits. We are told time and time again that nobody’s life is how it appears on Instagram. We may continue to use them, but we are to some extent aware that social media platforms provide an inauthentic snapshot into others’ lives. The same can’t be said for Spotify. Spotify works on the premise that music, that deeply personal entity, is a true reflection of ourselves, our state of mind as we listen. For me, ‘authentic’ listening is selecting the music you listen to based solely on your own emotion and volition – your mood, a recommendation you want to investigate, a memory you want to re-stir. It’s personal and should not be fabricated.

You can, in nine out of ten cases, have a good guess at how someone is feeling based on the music they’re listening to. To draw on anecdotal evidence, I have met with friends and been able to predict what mood they’ll be in based on what they were listening to before we meet, which is shown in real-time in Spotify’s ‘Friend Activity’ sidebar. Your friends’ digital activity correlates to their real, present emotion.

Though this ‘Big Brother is watching’ sensation could be considered unnerving, I wouldn’t say it’s what worries me primarily. In many ways, this is how Spotify fulfils its core ‘social’ purpose: to let people share what they enjoy listening to with others who are interested. Soundcloud allows you to do the same when you ‘repost’ tracks. But in this case, ‘sharing’ music via Soundcloud is a conscious act, whereas on Spotify, the mode of sharing is automatic. Provided you haven’t turned ‘Share my listening activity’ off, you are broadcasting your listening habits to the world, in real-time. That you can then try and decipher someone’s frame of mind based on their listening habits is more insidious. Because, when this is the case, it’s no longer that you’re sharing what you ‘enjoy’ listening to; you’re sharing what you want others to see that you’re listening to. This becomes a slippery slope, heading towards an inauthentic representation of yourself, the kind typically associated with Instagram. We can select the music we listen to as a means of sending messages to our followers about what we’re doing, how we’re feeling, instead of selecting the music because we truly want to listen to it. In the process, we also risk commodifying the music which provides the soundtrack to our most personal and raw moments. Music enables us to channel our authentic emotion. The moment we start using it for performativity and exhibitionism, we jeopardize authentic listening.

The rise of the ‘playlist’ facilitates our communication via Spotify, and in turn, is partly responsible for the shift from streaming to social. The way we consume music has changed thanks to music streaming services: 40% of us prefer listening to playlists than albums. The reasons for this are manifold, but the trend is certainly in part connected to our increased use of social media and our obsession with user-generated content. Not everyone can readily create an album; musical talent and technical ability restrict us. But we can all create a Spotify playlist. We can gather an assortment of tracks, group them under a fitting title, even give it a 300×300 image, reminiscent of an Instagram square. Again, the customisable playlist is a great feature made possible by digital listening and is not overtly problematic. We should be allowed to create them and share the ones we’re proud of. The problems arise when the need to circulate these playlists via Stories, News Feeds and Friend Activity sidebars eclipses the reason for us creating them in the first place. Are we creating playlists which we truly want to listen to, or are we subconsciously pandering to a social audience?

In our collective defence, Spotify deliberately blurs the lines between social and personal listening to the extent that it’s tricky to tell the two apart. The Spotify algorithm is ensuring that its users listen to the same music as their friends, whilst the individual user is under the impression that they have made a ‘discovery’ all on their own. Comparing my ‘Discover Weekly’ playlist to my friends’ confirmed this. Why were we all suddenly listening to Caribou, Khruangbin, Men I Trust, Maribou State? All great artists, but not ones I’d ever heard of before, and I was surprised to learn that my friends also knew them. The user thinks that they have unearthed a hidden gem in their Discovery Weekly. Except these tracks aren’t ‘hidden’ at all: chances are, your friends are also just ‘discovering’ them. Spotify generates your Discover Weekly based on the content of every playlist created on its platform. This means that every playlist you create, personal or private, is fuelling the algorithm which creates Discover Weeklys for over 150 million Spotify users. We operate under the guise that we’re making these playlists for ourselves, but Spotify is also capitalising on our content to improve its own product. It’s an intrusion we permit to continue getting spot-on recommendations from Spotify, but it’s a phenomenon which makes me feel like we’re being duped. The unique pleasure of ‘discovering’ a new artist is abruptly curtailed once we realise that we are not alone in this discovery. The ‘deep cuts picked for you’ which Spotify promises us with Discover Weekly are part of a charcuterie board we have to share with the world.

Spotify’s shift from a music streaming service to social network platform is fully underway. And this brings some astounding possibilities for its users. Spotify has undoubtedly made it easier for audiophiles to access and share the music they love. But this comes at a cost, and not just for the artists whose salaries are side-lined by Spotify in favour of engineering-intensive integrations with social media giants. The individual user also suffers as Spotify becomes an increasingly social platform. Parker may have only made throwaway reference to it, but Spotify’s ‘social stuff’ could see us fall victim to the same dangers of ‘conventional’ social media sites: compulsive usage, false depictions of reality, and an inability to say whether our digital behaviour is truly for ourselves, or for our followers. Spotify promises to ‘soundtrack your life’. We must be wary of how it’s shaping it.

Image credit: Jay Kogami via Flickr/ CC BY-SA 2.0

Out of the Frame: Botticelli’s La Primavera

Approaching the end of term and after a period of delay, spring has finally sprung. It is a time of the year which is universally related to themes of rebirth, freedom, and vitality. This week I have chosen a painting which I think encapsulates these concerns perfectly: Botticelli’s ‘La Primavera’ (Spring) is a tempera painting (a process involving the mixing of egg and pigment to create paint), completed around the late 1470s to early 1480s, depicting a scene of mythological frivolity and laissez-faire attitude. One can only look at the painting in envy as we await our eventual release from national restrictions, which makes this painting for me all the more tantalising as it celebrates the joy of dance, festivity and freedom, its characters intermingled in a setting far beyond the reach of social distancing rules.

The composition of the painting is complex and crowded, resonating strongly with the hustle and bustle of eager Brits trying to mingle in the outside world. The overall aesthetic confronts us with a mix of reality and fiction, speaking particularly to us as an audience who for the last few months have done nothing but fantasize. The silvan environment in which the scene is situated boasts a number of accurately depicted plants, with at least 138 species identifiable, such as orange and laurel trees. While such painstaking attention has been paid to the accurate representation of these plants, the overall effect is fairly flat, almost like the set of a play. Furthermore, the arrangement of the trees appears to form an archway framing the central character, Venus. This helps to draw the eye directly to her, as does her position being slightly higher up than the rest, but the archway is reminiscent of other paintings where the characters are situated in a rather more architectural setting, like a niche, inside a building. This provides somewhat of a perfect parallel to our situation for the last few months, where our surroundings, both interior and exterior seemed to blend into one: restricted travel meant we could only travel so far from our homes, transforming the nearby vicinity into an extension of our own homes. Venus looks out to the viewer, almost inviting them to join in with the festivities as she points her hand towards the twirling Graces to the left. These three women, for me, embody the feeling of freedom, their hands interlocked gently, dancing at close proximity, their clothing like clouds resting above their skin. Beside them, Mercury, dressed in red, raises his caduceus, a small staff adorned with two intertwining serpents, to banish a small storm in the sky. Not only is he banishing the bad weather, he is banishing the bad times that came with it.

You may still be somewhat confused about why you are reading an article drawing parallels between a 21st century pandemic and a 15th century painting and you would be totally justified in sustaining this opinion. But the important point I am trying to make here is that an approach to art is not always something that can be taught, nor is there a right way to think about it. To read in our own interpretation, to make our connections, is part of what art is all about. Even today, the true meaning of this piece, with its complex composition, eludes scholars today. Our personal close engagement with individual artworks can make such interaction that much more enjoyable. Of course, I am not suggesting that this piece has anything to do with Covid, but the themes and emotional responses it inspires are just as relevant to our current situation as they were to concerns in 15th century Florence. As the last piece in my column, my hope is that my readers will come away from this feeling less intimidated by art and realise that no one should feel unable to interact with it for fear that they will not understand or interpret it correctly. Our art is one of the key pieces of evidence for the emotions of the past and with it, we can see that through the millennia, many aspects of life remain quite the same. It accompanies or human development not only by reflecting our primary focus, but by documenting our technical advancements. For so long, the world of art was purely one of pigments, stones and bases, but with the rise of technology, we are still redefining our perception of what constitutes an artwork. In a few decades or centuries time, I am sure we will look back on the first NFTs and draw parallels encapsulating our contemporary concerns and the concerns of the future. Cultures may rise and fall, fashions may change, as may aesthetic values, but the fact remains the same that art will stay with us and will keep recording our development as a species. Who should not feel entitled to explore our human nature in a form so readily available to us? The only tools you need are your eyes and your imagination.

University announces that it will hold 2021 interviews online

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The University of Oxford has announced that it will be holding its 2021 interviews online, as it did for the 2020 admissions cycle. This comes as some concerns have been raised over the rate at which COVID-19 cases have begun to rise in the UK. 

Prior to the COVID-19 outbreak last year, interviews were held in person for all but some candidates with difficulties travelling to Oxford. Last year, the decision was made in June to hold interviews online for the 2020 admissions cycle. 

A University spokesperson told Cherwell: “As part of our response to the ongoing social distancing and travel requirements introduced to control the spread of COVID-19, considerable thought and time went into adjusting our interview process last year, in order to make it as fair and accessible as possible for all our applicants.” 

“The same consideration has been given to arrangements for the 2021 process, and it has been agreed that it is in everyone’s interests for all interviews to be online again this year. We hope that taking the decision early and in time for the University-wide virtual Open Days on 30 June and 1 July will reduce uncertainty and any resulting anxiety for applicants, whilst at the same time ensuring transparency and giving them maximum time to prepare.”

“Overall, the feedback from last year’s process was that the remote format worked well and we are confident that the same will be the case this year. As usual we will offer support so candidates feel as prepared as possible, including subject-specific sample questions, FAQs and top tips from tutors and current students. Information on, as well as targeted support to access the technology which will be used will also be available, just as it was last year.”

Image Credit: Billy Wilson / CC BY-NC 2.0

Oxford has second biggest bicycle theft rate in UK: numbers and effects

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Last year Oxford had the second highest rate of bike theft in the UK, with Cambridge first on the list, evaluations of ONS data have found. Oxford saw just under 8 thefts per 1,000 citizens in the period September 2019 to September 2020, while just over 18 per 1,000 were reported in Cambridge. Both of these numbers are above the average bike thefts of similar towns in the UK.  

Bar graph depicting the amount of bike thefts per 1,000 residents in one year in the period September 2019 – September 2020, in Oxford and similar areas Bristol, Cambridge and Reading. Source: ONS Data. Graph credit: Jennivine Chen and Matilda Gettins

Despite lower travel rates and a reduced student population due to COVID-19 restrictions, the highest amount of bicycle thefts occurred in central Oxford. There were over 220 thefts in the six months from October 2020 to March 2021. Oxford East and Cowley had around 90 reported thefts in this same period, and Oxford North and North East both saw between 60 and just over 70 thefts.

Bar graph depicting the number of bike thefts per Area of Oxford in the period October 2020 – March 2021. Source: FOI request. Graph credit: Jennivine Chen and Matilda Gettins

A member of the Oxford social enterprise Broken Bike Spoke Co-op, Sam, said: “I think the main cause of bike theft being so particularly high in Oxford is that it’s been established. My instinct would initially be because of all the students with cheap locks. But even without students here recently, it’s still a huge problem and happening loads. I can only think there’s a long established organised bike crime in Oxford as has been the case for years.”

A spokesman of Thames Valley Police force said: “Thames Valley Police take all reports of this crime type seriously and will investigate when such reports are made. Local officers conduct bike marking events for the public, details of which can be found on our social media channels before they take place. More recently, in 2020, the Police and Crime Commissioner successfully bid for funding from the Safer Streets Fund, of which some of this money will be dedicated to installing better street lighting, CCTV and dedicated cycle storage areas. The single biggest way for owners to reduce bike theft is to purchase robust D-locks and use them. Further tips and information on how to keep your bike safe can be found on our website.” 

An official council e-petition running from August to October 2020 demanded Oxford City Council take stronger action against bike theft. The petition said: “The council should take a much more proactive approach to finding solutions. Be that introducing better facilities for securing bikes in the city centre and/or making funding available for the police to properly tackle the problem. One should be able to lock up a bike in town for an hour or two without constantly worrying whether it will be there upon return. Enough is enough.” The petition received 180 signatures.

Cabinet Member for Zero Carbon Oxford, Tom Hayes said: “The Oxford Bike Crime Partnership, made up of the police, Universities, City and County Councils, has been working to improve the security of cycles in the city. Recent initiatives have included the installation of on-street cycle parking pods on some streets in east Oxford as part of the Safer Streets trial. Oxford is a cycling city, and the City Council wants to encourage this  form of green healthy transport alternative, illustrated by an additional 130 cycle parking spaces provided during the pandemic. Once the pandemic is over … the Council will look into the possibility of installing more high-security cycle facilities across the city.”

The median cost of stolen bikes in England and Wales is around £200, according to the Crime Survey for England and Wales, which can be a significant financial hurdle for bike purchasing. Cowley resident Suffia Hussain said: “I’ve three children, and it’s the initial outlay [on bikes] for me and them, and then helmets and any maintenance or repairs that gets expensive. And there’s quite a lot of bike theft in Oxford, I’m afraid to save up the money, get the bike and then have it stolen.” 

Oxford’s bicycle theft rates might also be preventing people from adopting sustainable transport methods like cycling, suggests Becci, Coordinator of the charity Cyclox. She said that of the 345 key workers for which Cyclox furnished bikes during the pandemic, 21% reported that they had stopped cycling prior to the project because their bike had been stolen. 

The Crime Survey also asks participants about the extent and type of the emotional impact to bikes theft. Around a quarter of participation said they were “quite a lot”, and around half said they were “just a little” emotionally affected. 79% reported feelings of annoyance, 55% reported anger and 26% reported shock. The Crime Survey, however, looks only at household data, and hence does not cover the experiences of students living in halls of residence.

Image credit: Jose Antonio Gallego Vázquez on Unsplash

Oxford Polish Society apologise for abandoning rubbish in University Parks

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Students from the Oxford University Polish Society have issued a public apology after rubbish was abandoned in University Parks last weekend. 

The society held a Presidents’ Drinks event at Parson’s Pleasure Bathing Place on May 30 after which litter was left overnight. Images, seen by Cherwell, were posted by a Facebook user on the society’s page showing plastic cups, pizza boxes and other litter abandoned on tables. 

Oxford residents criticised the littering of the popular green space, prompting an apology from the presidents of the society. Co-Presidents of the Polish Society, Igor Wasilewski and Szymon Gorczyca, posted an apology on behalf of the society on the Oxford Community Facebook group. 

In the apology, the Presidents “sincerely” apologised to “the whole community of the city of Oxford” for the “mess” that was left in University Parks. 

They said: “We are very disappointed in ourselves that we didn’t clean up and left all the rubbish in this public space. We intended to clean it up in the morning, but unfortunately this has been too late and we found the place already cleaned up. We do admit that we have forgotten the rules of decency and we promise this will not happen ever again.”

They added: “We are aware of how disgraceful our behaviour is and we are willing to face the consequences and do everything in our power to make up for it to the community of Oxford.”

President of the society, Igor Wasilewski, emphasised that the society is a community of students and asked people not to “transfer the feelings of disappointment and anger to the wider Polish community in Oxford”. He added: “The adults have had no part in this and we – the students – bear all the responsibility.” 

Members of the Oxford Community Facebook group praised the group for their apology with social media users commending them for coming forward and others suggesting that the group organise a litter picking or tree planting event.   

Wasilewski, Co-President of Oxford University Polish Society, told Cherwell: “We are sorry about not cleaning up, we regret what we’ve done and we promise this will not happen ever again.”

Image Credit: Stu Smith / CC-BY-ND-2.0

Anti-vaccine protest held during Oxford G7 Conference

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CW: antisemitism, mention of rape

Protesters marched through Oxford on Thursday to express their concerns about potential COVID-19 vaccination policy in light of the G7 health ministers’ summit, hosted by the University of Oxford from June 3-4th

Piers Corbyn, a vocal critic of the UK government’s coronavirus policy and brother of former Labour leader Jeremy Corbyn, spoke at the protest, telling the Cherwell that the protest’s intention was “getting arrests of people who are coercing anyone into vaccination because that is against the Nuremburg code, which includes all these health ministers.”

The Nuremburg Code is a ten-point ethical war crimes code created in 1947 enshrined in UK law by the 1984 Public Health Act, setting out standards that physicians must adhere to when conducting medical research on humans. The first point of the code is that patients must give voluntary consent when participating in medical experiments.  The Pfizer vaccine – the first to be approved by the MHRA – was tested on 43,000 people, with no serious safety concerns being observed. As of June 5, 41.9% of the UK population were fully vaccinated.

Corbyn said he wanted to prevent the government from “coerc[ing] anybody against their will or without full information into a medical experiment.” Corbyn was arrested in February on suspicion of malicious communications and public nuisance for comparing vaccines to Auschwitz in distributed leaflets. The protest also made comparisons to the Nazi regime, claiming that the G7 health ministers were “war criminals” in violation of the “Nuremburg Code,” and protestors expressing concern that the government would force unvaccinated children to wear “yellow stars” as a method of coercion.  

When asked for examples of coercion, Corbyn said, “If you’ve got a job and they say if you don’t get the jab you’ll lose your job that is definitely coercion. At lower levels, you won’t get promoted if you don’t get the jab. Your children, if they don’t get the jab or don’t wear a mask they’re going to wear a badge, and then they’re going to be ostracised.”

Currently, vaccinated citizens can use the NHS app to show proof of their vaccination status when travelling abroad, however the UK government has acknowledged that arrival countries may still require predeparture COVID tests or quarantines. There are currently no legal requirements for venues to ask for proof of vaccination, however venues can ask for proof if they wish, provided they do not break equality laws. The Prime Minister has previously floated the idea of vaccination passports for pubgoers. However, over 70 MPs have deemed vaccination passports to be “dangerous, discriminatory and counterproductive.”

Some protesters expressed concern about the safety of the vaccine. A man who wished to be known as Dave said he was protesting because “[the G7 ministers] are rolling experimental treatment out, it is not a vaccine by any means, and they are not telling anybody it is still in experimental phases. Most people maybe know that the trials haven’t finished yet and they’re not finishing until at least the end of ‘22 maybe ‘23 but no one is really being told this before they’re being vaccinated.” 

The Jannsen vaccine has joined the Pfizer/Biotech, Moderna and Oxford/AstraZeneca vaccines as being approved for use in the UK. Thanks to concerted funding and administrative efforts, these vaccines were able to reduce the waiting times to pass Phase 1, 2 and 3 trials in the space of a year. Pfizer’s phase 3 clinical trial for example, which began on July 27 last year, has had 43,661 participants to date. While the Pfizer vaccine was approved according to the safety protocols, Pfizer will continue to collect data on the vaccine’s safety and efficacy over the next two years. 

Protesters were also concerned that patients with vaccination side effects were leaving their symptoms unreported, sharing anecdotes about friends’ vaccinations gone awry. The government has a Yellow Card website where vaccine patients can report symptoms, however, they note that “the nature of Yellow Card reporting means that reported events are not always proven side effects. Some events may have happened anyway, regardless of vaccination.” 

Thursday’s protest marched from Cornmarket Street, past the Bodleian and to Mansfield college, where the G7 summit was meeting. The main discussion on the agenda how countries could prepare to boost their future pandemic resilience.Matt Hancock said that “Future diseases that spread from animals to humans are inevitable. The question is how we can be better prepared as a world so it doesn’t have the impact this one has had.” 

Corbyn was joined by figures from the political Right, including Jeff Wyatt, former UKIP parliamentary candidate who told the crowd “I’m unashamedly from the Right, Pierce is unashamedly from the Left.” 

Jennifer Wilson, a finance manager and mother of three, also spoke at the protest, claiming that the government “want to divide us. Look at all the people out here today; black and white, gay and straight, Left and Right, they want to divide us.”

Like most protests, there were many people with various aims. Gurcharan Singh from the Khalistan World Food Programme told Cherwell that “lockdown has played a key part in food shortages.” Singh said that “what the lockdown did, coupled with Bill Gates and his institution, is systematically destroying the harvest.” 

Singh’s claims that COVID is “a political agenda” are not alone. Many protestors spoke with mistrust about The Great Reset 2021 agenda set out by the World Economic Forum, claiming at various points that Charles Schwab created the pandemic, the WEF wants to see the destruction of humanity and that the UN was purposely starving nations. Perhaps all these claims can be understood by words from speaker Jennifer Wilson, who shared her frustrated that power was “concentrated in the hands of the very few.” 

Several women at the protest held signs inscribed with ‘My body, my choice,’ which has traditionally been used as a slogan used for abortion rights. Corbyn wore a badge that said “coerced vaccination is medical rape.” When asked how they felt about the COVID vaccine being compared to rape, a woman who declined to be named said she thought “it was just as bad.” 

Julie Guest, a member of the UK Council for Psychotherapy who runs her own practice, said she came to the protest to “stand for medical freedom and bodily integrity. Nothing is allowed to enter our body without our informed consent so to be able to give informed consent then we need accurate information, we need the truth, about the impacts of the side effects of vaccination.” 

Images: Angela Eichhorst

In Conversation With Dr. Robert Lefkowitz

Eight-year-old Robert Lefkowitz was a man (well, boy) with a plan. Inspired by his family physician, Dr Feibush, he knew he wanted to become a doctor.

“At a very early age, I decided I wanted to be just like this guy and I never wavered from that. In retrospect I felt that as a true calling, meaning something which I felt that, at a very deep level, I was destined to do. Not that I can explain why.”

Whilst Lefkowitz is now one of the most well-known names in the medical world, it isn’t for being a practising doctor. Sitting before me is a Nobel Laureate in Chemistry and one of the most cited researchers in the biological sciences. After completing medical school and some years of residency, Lefkowitz went from bedside to bench to focus on a research career. He was awarded the Nobel in 2012 for the discovery of G-protein-coupled receptors (GPCRs). GPCRs are molecules on the surface of membranes that enable communication between cells, and are therefore central to biological function. For example, one subset of GPCRs enables our response to the hormone, adrenaline. Another for responding to serotonin and so on.  Importantly, GPCRs can also be targeted by medication, and nowadays more than a third of drugs approved by the FDA target these structures first identified by Lefkowitz and his team. While he may not be seeing patients as he once envisioned, I’d say his career isn’t too shabby. He says it was an accident. 

“I had no intention of becoming a scientist,” Lefkowitz tells me. His first foray into research was one of necessity: a loophole that allowed him to avoid being drafted to Vietnam in the 1960s. 

“It was a very unpopular war. Nobody wanted to go over there – some for ethical reasons, some for moral reasons. Maybe they were cowards, I don’t know. Certainly, no physicians wanted to go because we, as a group, didn’t support the war at all. But there were very few legal ways around getting shipped out to Vietnam for a year. One of the few was to be drafted into the public health service because they had a number of positions here in the United States including some very sought-after ones at the NIH and the CDC, as examples.”

Armed with a strong academic record, Lefkowitz received a two-year Public Health Service Commission and began working at the National Institute of Health (NIH) after completing two years of medical house training. It’s safe to say he hated it. 

“I met with unremitting failure,” he states with a long pause, “and that was a new experience for me. I had never experienced sustained failure at anything in my life and I must say I think I got a little depressed there.”

In his last few months at the NIH, though, Lefkowitz had his first taste of success and began publishing in high-impact journals such as PNAS, Nature, and Science. However, it simply wasn’t enough to sway him from throwing himself into a senior medical residency at Massachusetts General Hospital, Boston. He had always loved clinical medicine, and his residency was no different. Six months in, though, he tells me he had an “epiphany”.

“I had this feeling something was missing. I was not as content as I expected to be. I had this feeling every day that there was something I wasn’t doing that I wanted to. I realised I missed the laboratory. I missed the day-to-day excitement of planning experiments, grappling with a scientific problem, analysing data, forming hypotheses. I realised I needed to change my career plans so that research played some role in my career.” 

From then on, Lefkowitz gradually incorporated more and more research into his career. After completing his cardiology fellowship, he started his own lab at Duke University. As he concludes, “the rest is history”. 

Now, Lefkowitz describes himself as a clinician-scientist, but I wonder whether his focus on fundamental concepts in molecular biology leaves much room for patient-centred thinking. 

“I think there’s a linkage. I have both MDs and PhDs in my laboratory. Many of the PhD scientists don’t have any overarching vision of human biology in an integrative sense. I really do think that the only way to get that is to go to medical school. Even though the research I do is very basic, fundamental, biochemical, cell-biological, biophysical, there are always clinical ramifications to it […] Now, did I set out specifically to develop drugs or cure any diseases? No. But I did have this abiding sense that if the kind of receptors I thought would exist and then proved did exist then If I could make headway in understanding them there would have to be therapeutic implications of that.”

Whilst Lefkowitz has certainly made a huge, albeit unintentional, clinical impact through his research, I ask how he feels about leaving his first calling behind. Was all that time (and stress) at medical school really worth it? He has absolutely no regrets.

“Becoming a physician was one of the greatest privileges of my life and the opportunity to care for people and relieve suffering … to me that’s the highest privilege you can have. 

“That said, the practice of medicine is not an innovative and creative enterprise. It’s set in stone and as long as you follow what’s set in stone you’re going to be ok.  What about research? Exactly the opposite. If you do anything the way anybody else did, that’s called confirming somebody else’s findings. You’ve got nothing original. You’ve got nothing to publish.

“So you have the difference between not daring to do it differently and if you don’t do it differently, you’ve got nothing. I think if you have a creative spark, if you have creative yearnings, if you have a desire to write the book rather than read the book, you’re eventually drawn to the research side of medicine.”

Whilst I won my primary school art competition (two years in row, no less), I imagine this isn’t the sort of creativity Lefkowitz is on about. Indeed, he says it’s all about the question – choosing a question and figuring out how to answer it. Or, indeed, whether it is even possible to answer it.

“There is probably no more important set of decisions that a scientist makes in their careers than what to work on. In the moment that you choose the problem, you are setting the upper limit of what you could ever achieve. Let’s say you choose an essentially trivial problem and you succeed at the highest level – you write a hundred papers, you define everything you possibly could about what you were studying. Nobody cares. You have a trivial question, you’re going to have a trivial answer. Nobody’s ever going to care.

“At the other end of the spectrum, you could choose a really important question but in general the more important the question is, the riskier it is, the more difficult to solve it is. If you go so far over in choosing a non-trivial, important problem that you’ve chosen something which neither you nor anybody else is going to figure out in fifteen to twenty years because conceptually we‘re not even in the place to even approach that yet, then you also fail.”

“The secret,” Lefkowitz tells me, is “to proceed as far as you can on the spectrum from triviality to importance. Without falling off the cliff in terms of whether it’s even doable.”

All this sounds pretty simple. In theory, at least. Choose something that’s important but not impossible. But how do you tell if something is important and if it’s even doable if it has never been done before?

Lefkowitz has clearly been asked this question many, many times (the downsides of winning a Nobel, I guess). He chuckles as he answers.

“You can’t! It involves having a certain sense of taste doesn’t it.”  Lefkowitz puts forward a neat analogy about going into an art gallery and being able to distinguish “a piece of crap” from “a work of art”.

He is unequivocal about the importance of mentorship in developing this sense of scientific taste, citing the prevalence of research lineages as evidence. 

“You learn from a mentor. Does that mean the mentor explains it to you? No, because nobody can explain this. You watch them for x years, live with them. In the laboratory you watch what they choose to work on, what they choose to put the emphasis on, when do they choose to give up on something, when do they choose to soldier on even in the face of repeated failure […] You gotta know when to hold ’em, and you gotta know when to fold ‘em.

“These are judgement calls nobody can write down the set of rules for, but if you watch a talented mentor month after month for several years you begin to internalise their value judgement system. I believe that this is precisely why we have lineages in science which are very important. That is to say if you look at the scientific category of people [who] have been very successful in science and you ask, ‘who did they train with?’ Nine times out of ten you’re going to find they trained with an equally or even more successful and important scientist.”

Lefkowitz points me to an article he wrote a few years ago in which he traced his own scientific family tree, and an impressive one it is indeed. Three Nobel Laureates spanning just four generations. He also traced the ancestry of eight other NIH clinical fellows, and it is really quite extraordinary. I can’t put it better than Lefkowitz: it’s “studded with superstars”. The fact one of his “mentees”, Brian Kobilka shared the Nobel with Lefkowitz is perhaps a testament to how important mentoring is to him. And this certainly comes across this evening, as he reads me an email he had just sent to one of his “scientific grandchildren”, congratulating him on his recent work. 

While this idea of a nurturing scientific community is certainly appealing, research is ultimately fuelled by competition. In his recently published (and brilliant) memoir, A Funny Thing Happened on the Way to Stockholm: The Adrenaline Fueled Adventures of an Accidental Scientist’, Lefkowitz conveys how unsettling fierce competition can become. Though he certainly sees the good in competitive spirit, he admits to me that research “is not for the faint-hearted”.

“There are some people in the scientific field who would have you believe erroneously that everybody behaves in a perfect fashion all the time, we’re all gentlemen and gentleladies and we’re all above the fray. And that is abject bullshit.

“[…] You name any important scientific discovery, the more important, the more intense the competitiveness. Why is that? Because it’s just part of human nature. Is it a good or bad thing? Within limits it’s a good thing because science happens more quickly than it otherwise would, because you’re driven by the competitiveness. The time when it becomes bad is when people are so driven that they steal each other’s data or do dishonest things, et cetera et cetera. Those things, fortunately, are rare but they do occur.”

Lefkowitz takes a moment to reflect on his own experiences in the race to determine the structure of GPCRs and touches on an almost ensnaring quality to discovery, perhaps offering a reason why some might take an under-handed route to success.

“When you make a discovery and you know you’ve made a discovery, it’s addictive. It doesn’t have to be a Nobel prize-winning discovery like a family of GPCRS. It can be some trivial little thing. But standing there in front of a counter or spectrophotometer or whatever piece of equipment it is, seeing the numbers come out and realising you’re the first person in the world to ever appreciate this tiny little thing. Wow. I mean that’s great, that really is. And that’s what becomes addictive.”

Lefkowitz has been in the research game for quite some time and we move to discuss how science has changed over this period, and even the last year during the pandemic. 

“Things are progressing exponentially faster. I’ve been in science [a] little over fifty years. When I look back on the first decade it was almost like a leisure sport compared to a frenetic baseball game today. It was almost leisurely compared to what we have today. I think things do move much more quickly. Granted it was not fundamental research, but the development of the Covid vaccines is dazzling. It’s one of the greatest triumphs of applied biomedical research in history.”

As a Laureate I had imagined Lefkowitz as having some degree of inside scoop on the Nobel. I ask whether the Covid vaccines had a chance of winning. Whilst he tells me he does not know more than the next person, he has clearly thought about it to some extent.

“There’s a shot. If a Nobel prize is awarded related to Covid it would not be to any of the people who developed the vaccines. It would be to the two scientists who developed the mRNA technology about a decade ago and had nothing to do with the covid vaccine. If that happens, you could make the case that it could happen this year, which would be unheard of. In a moment in 2020, that research went from backwater significance to kind of saving the world. It would not amaze me if they won the prize right out of the gate.”

Whilst Covid research has exemplified the power of modern science, I wonder what the future of research holds beyond the pandemic, half-expecting a non-committal answer about the vastness of human biology or perhaps a nod to Lefkowitz’s background in cardiology. As a neuroscience stan (is that embarrassing to say/admit?), I am happily mistaken. 

“I’m not a visionary. I know the things which I find the most fascinating, but they are so far from being worked out. The whole basis of neurobiology, of mind, the way the nervous system works … is just mind-bending.”

And on that somewhat prophetic note, Lefkowitz tells me he has to dash off to a meeting. I quit the Zoom call and have another look at his diagram of scientific lineages and wonder how long it must’ve taken him to map out.