Tuesday 1st July 2025
Blog Page 426

Oxford archaeologists help achieve access to satellite images of Israel and the Palestinian territories

Two Oxford archaeologists have contributed to the declassification of satellite images of Israel and the Occupied Palestinian Territories, with “huge implications” for visual access to the areas.

A 24-year-old US prohibition has restricted access to these high-resolution images. While most international satellite imaging is available to a resolution of 0.4-0.7 meters per pixel, the Kyl-Bingham Amendment (KBA) meant that US companies could not share – commercially or privately – images more detailed than 2 meters per pixel.

This is the difference between being able to make out the blurry outline of a block of flats to seeing clearly the people walking next to it. This has limited the detail in which archaeologists, climate experts, humanitarian groups, politicians, and Google Maps users can view these areas.

Two Oxford archaeologists – Dr Michael Fradley and Dr Andrea Zerbini – headed the pressure movement to overcome this. Their main argument was that the KBA should have been dropped already as companies like the French Airbus were already producing high-quality images, making the KBA invalid. Despite this, no moves were made to amend the KBA until Fradley and Zerbini’s research paper was published, limiting research due to US predominance in the field.

Fradley and Zerbini were involved in the Endangered Archaeology of the Middle East and North Africa Project. But the potential for the declassified images stretches beyond archaeology. Dr Fradley has called this development “a big win for science”, as it will affect many areas outside his own research.

Climate studies can monitor crop change, desertification, soil conditions, erosion, water tables, and pollution. Cultural heritage professional can assess looting, urban development, preserve heritage, and map sites. Politicians and humanitarians can monitor potential human rights abuses.

The original impetus for the KBA came after images of an Israeli nuclear ‘research’ plant, suspected by some to be a weapon-manufacturing plant, were released in 1995. Senator Kyl, a co-author of the KBA, said that instances like this could be used by “enemies of Israel… to target Israel for long-range attacks or assaults by terrorists”.

The head of Israel’s Defence Ministry, Amnon Harai, told Israeli media that their government is looking into “what exactly the intentions are” are the loosening of restrictions: “We would always prefer to be photographer at the lowest resolution possible. It’s always preferable to be seen blurred, rather than precisely.”

Reuters reports that Israel is worried about how Lebanon’s Hezbollah and Gaza’s Hamas militants could “plan rocket strikes on key civilian and military infrastructure” using commercial satellite imagery.

Zena Agha writes in Foreign Policy that the enhanced quality of the satellite images means Israel “can’t hide evidence of its occupation anymore”. Agha says that the restrictions were “implemented under the guise of protecting Israel’s national security”, but were actually “more an act of censorship”. Dr Michael Fradley tweeted his support of Agha’s article.

Dr Zerbini passed away from a rare form of cancer in July last year, before finding out that the restrictions had been lifted.

Image Credit to Axelspace Corporation / Wikimedia Commons. License: CC-BY-SA-4.0.

Tracing apps effective at reducing deaths even with low uptake, Oxford researchers find

Epidemiologists have suggested that contact tracing apps could reduce the transmission of infections, even with low levels of app uptake. Modelling by Google Research and Oxford University’s Nuffield Department of Medicine showed that infections could be reduced by 8% and deaths by 6%, with just 15% of a population using the app.

These findings were based on a combination of Oxford’s epidemiological model, OpenABM-Covid19, and data from a study conducted in Washington State which engaged in the usage of the Exposure Notification Systems contact-tracing application. Real-world data taken from the three largest counties in the state – King, Pierce, and Snohomish – were used as sources for this study.

The study shows that a higher number of Exposure Notification Systems regular app users led to greater reductions in the number of COVID-19 transmissions. The study includes different scenarios and outcomes which allow policymakers to anticipate phased re-openings and the loosening of COVID-19 social restrictions, while still attempting to keep the pandemic within control.

Professor Christophe Fraser, scientific advisor to the UK Government Test & Trace Programme and Group Leader in Pathogen Dynamics at Oxford University’s Nuffield Department of Medicine, said: “We’ve been exploring different digital contact tracing uptake levels for some time in the UK. We see that all levels of exposure notification uptake levels in the UK and the USA have the potential to meaningfully reduce the number of coronavirus cases, hospitalisations and deaths across the population.”

He also adds that contract-tracing apps should not be standalone initiatives, but should be integrated with other preventative measures such as social distancing and restricted travel. 

Similarly, Dr David Bonsall, scientific advisor to the UK Government Test & Trace Programme and senior researcher at Oxford University’s Nuffield Department of Medicine, stated: “Lockdowns and travel restrictions are damaging to society so we need smarter, more efficient systems that notify only the people at risk and keep the rest of us moving freely.”

In regards to cross-border collaboration and contact-tracing interoperability, senior researcher Dr Robert Hinch, from Oxford University’s Nuffield Department of Medicine, said: “We’d like to gather further evidence to assess to what extent coordinated deployments of digital exposure notification applications and public health policies result in the more effective COVID-19 infection control, and continue to find ways to ensure the maximum impact for often limited testing, tracing and isolation resources.” 

Image credit to Card Mapr/ Unsplash.

World-class concert hall to be built in Oxford

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Though Oxford may have a world-leading university, it is yet to have a world-leading concert hall.

In a bid to change this, the university has chosen acoustic consultant Ian Knowles to design a world-class multi-space performance hall. It will feature a 500-seat concert hall, a 250-seat performance space, and a 100-seat ‘Black Box’ lab for experimental performance.

It is due to be unveiled by 2025 as part of the £150m Stephen A. Schwarzman Centre for the Humanities.

Dame Hilary Boulding, Trinity College President and former Principal of the Royal Welsh College of Music and Drama, is a chief adviser to the project. She cites the lack of an internationally-renowned music hall as a critical barrier to drawing in world class musicians into the city.

Dame Boulding says the concert hall will “attract the leading artists from across the world” and “transform the concert life of Oxford”.

However, the hall will not only facilitate musical performances from international stars. Music students, local groups, drama groups, dancers, recording artists, and others will have access to the space.

The aim is to not just accommodate traditional recitals, but to cultivate innovation in the field. Knowles has previously built the UK’s first Soundlab, a 3D-sound studio purpose-built to improve concert hall and building design.

The ‘Black Box’ will be the primary hub of novel performance creation. Its design incorporates acoustic devices and technology that will enhance electroacoustic and experimental music production.

This is part of an effort to create a new “hub of humanities” in Oxford, in the form of the Schwarzman Centre for the Humanities, a large development to be built in the Radcliffe Observatory Quarter which will house a library, learning spaces, and a dedicated AI research centre.

The Centre was announced in 2019 after a £150 million donation from Stephen A. Schwarzman, which sparked protests from students and staff. An open letter was signed by 130 Oxford residents and staff and students at the University expressing concern over the acceptance of this donation.

Schwarzman is a major donor to President Donald Trump. The UN has accused his investment company Blackstone of worsening the global housing crisis and an investigation by The Intercept claimed that Blackstone played a role in the deforestation of the Amazon. Blackstone denies both claims.

The Vice-Chancellor has previously defended the donation: “It’s really important to me that this gift is a real endorsement and a vote of confidence in the humanities. STEM has been getting all the attention lately – there’s nothing wrong with that, but it’s great to be reminded how critical the humanities are too.”

A spokesperson for the University said: “This gift was accepted after consideration by the University’s Committee to Review Donations, whose members include Oxford academics with expertise in relevant areas like ethics, business and law. As with any donation, academic activity in the Centre will not be influenced by the donor.”

Image credit to Martin Addison/Wikimedia Commons. License: CC BY-SA 2.0

Be more Banksy: how the UK continues to fail refugees in need

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Louise Michel was a French anarchist and revolutionary born in a commune in North East France in 1830. Deeply involved in feminist campaigns, Michel went on to play key roles in the Paris Commune and the anarchist movement, taking inspiration from her belief in a world based upon humanity and justice, one in which there would be no exploiters and no exploited.

Louise Michel died in 1905, yet over 100 years later her name is now the name stencilled onto the port side of the M.V. Louise Michel – a ship, as pink as the Japanese cherry blossoms in Spring, that has been funded and transformed by the street artist Banksy.

Born in Bristol in 1974, the anonymous British artist is famed for his political activism and works that have appeared across the world from Palestine to New York, addressing topics such as war, capitalism and greed. Yet his most recent project has been rather different – instead of painting on concrete or on the insides of underground carriages, Banksy has recently converted the old French patrol boat Suroît into the rescue ship the M.V. Louise Michel for use on the Mediterranean.

The mission of the M.V. Louise Michel and her crew is one of solidarity and resistance. The ship’s aim is to reach distressed parties crossing the Mediterranean from Libya to Europe, before the Libyan Coastguard, in order to prevent unnecessary, pointless and callous loss of life and to obstruct the return of refugees to Libyan detention centres that are, in all but name, prisons, in which refugees may find themselves detained indefinitely.

Not to be outdone by Banksy, the British government have too launched new responses in reaction to refugees attempting to reach the UK, although in many ways these have been the antithesis of the work of the crew of the M.V. Louise Michel and other vessels often run by NGOs.

In 1950, the UK signed the European Convention on Human Rights, a document drafted by the newly created Council of Europe, holding that individuals have the right to life as well as the right to liberty and security. Yet on the 9th August 2020 the British government again demonstrated that the UK’s commitment to human rights is a wafer thin and precarious one at best, liable to be forgotten when the parties in question do not carry a passport with the Royal Arms emblazoned onto its front or hold British citizenship.

Home Secretary Priti Patel is not renowned for her open mindset or for her internationalist outlook, yet on the 9th August 2020 she exceeded herself by appointing former Royal Marine Dan O’Mahoney to the role of Clandestine Channel Threat Commander, tasking him with the job of ‘making the Channel route unviable for small boat crossings’.

As of the 11th August 2020, 4343 migrants have arrived in Britain after crossing the channel from France. These refugees arrive having fled persecution and violence in their homelands in countries such as Yemen, Eritrea and Chad. Their journeys are usually long and gruelling, most commonly involving transit through war-torn and corrupt Libya before the perilous, often lethal journey across the Mediterranean to Italy can be attempted. If individuals arrive safely in Europe, they then face a punishing passage of thousands of miles to Calais, with the Channel acting as the final hurdle standing in the way of reaching Britain.

Despite what the government would have us believe; these refugees are not monsters. They are people. People who are coming to the UK not to invade Britain or to undermine our security or to, God forbid, waste the precious taxpayer’s money, and they’re also not coming here to steal our jobs, our healthcare or school places. Refugees attempt to come to countries such as Britain most often because they have no viable alternative. These people are brave and courageous and have often faced traumas and hardships that the vast majority of us would pale in the face of. Britain claims to hold that the rights to life, liberty and security are sacrosanct and yet when refugees attempt to realise these rights, we turn our back on them. Instead, our Government has the audacity to manufacture the role of a ‘Clandestine Channel Threat Commander’, artificially and dangerously constructing an image of refugees as hostile, threatening aliens. 

These people are not hostile or a threat and still they continue to be grossly and inexcusably let down by Britain and Europe’s xenophobia, racism and nationalism. The treatment of refugees by Britain and the rest of Europe reveals the darkest parts of our political culture, scrubbing away any impression that we may have that our society is one of acceptance and justice as easily as one may scrub away the thin covering of a scratch card bought from a station kiosk.

In order to limit crossings across the channel, Patel recently called upon the Ministry of Defence and the Royal Navy for assistance, seemingly oblivious that the dangerous refugee crossings, usually undertaken in small, overcrowded boats and dinghies, will continue unless Britain implements safe and legal routes to allow individuals to reach the UK.

There are many possible courses of action that the UK could take in order to limit channel crossings and prevent refugees from unnecessarily risking their lives. For instance, in June 2019, Sajid Javid announced that a new resettlement scheme would commence in Britain in 2020, aiming to resettle 5000 vulnerable refugees in Britain during its first year of its operation. However, due to the Covid-19 pandemic, the scheme was suspended in March 2020 and despite the government’s easing of restrictions, the opening of pubs, beauty salons and restaurants, no date has yet been given for the commencement of the resettlement scheme, spelling out in writing that is as bold as a Banksy stencil, just how little the government cares for those who risk their lives trying to reach Britain.

Our priorities, attention and efforts in the UK are severely misplaced and poorly directed. Rather than directing our attention towards making the Channel and our nation inhospitable towards refugees, we ought to be opening our doors, massively expanding programmes such as the resettlement programme, and offering a place of safety to refugees from across the world and supporting them in their resettlement. 

Britain is not alone in its culpability and neglect. Indeed, the other nations of Europe continue to turn a blind eye to their responsibilities and to allow, and therefore to facilitate, the futile suffering of those who need our protection the most. But just because we are not alone in our negligence towards refugees, does not in any way diminish our responsibilities towards them.

Birth is a lottery and we have done nothing to earn our privilege to live in a secure and predominantly safe country. In an alternative universe it quite easily could have been you or I fleeing war and turmoil, setting off across the sea with no more protection against the wind and waves than the strained canvas of an overcrowded boat, as the world turns its back and pretends that it cannot see.

Oxford places first in The Guardian’s annual university guide

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Oxford University has been ranked the best university in the UK by The Guardian, for the first time in a decade. This is attributed to improved employment data, as more Oxford students take graduate-level jobs.

Cambridge University has dropped to third while the University of St Andrews stays in second place, splitting up the “Oxbridge duopoly”.

The Guardian’s guide to Oxford highlights the Vice Chancellor Louise Richardson’s description of the university as not just an “outdated ivory tower” and having “a real entrepreneurial culture”.

Oxford is ranked second place for job prospects, tied with Cambridge and the London School of Economics. Imperial is placed first based on employment data.

The employment data is collected by the Higher Education Statistics Agency, rather than by individual universities. It is also collected 15 months after graduation, in comparison to the often used metric of six months post-graduation.

Matt Hiely-Rayner, who compiled the data, said: “With Cambridge’s advantage for career prospects eliminated, Oxford’s advantage in the value-added metrics shines through to elevate the university to top spot.”

The Guardian also attributes Oxford’s high position to its “superior track record” of taking in students with lower grades. Oxford comes fourth when ranked by a ‘value added score’, comparing entry grades to final degree classification, which The Guardian links to the university’s efforts to widen access.

“We attract students who are, I think, predisposed to be successful,” Louise Richardson told The Guardian. “I have sat in on these interviews, and these are [conducted by] academics looking for people who of course are smart but who also care, and are forceful, about their subject. So the manner of selection is quite unusual, highly personalised, with enormous commitment by academics.”

This success comes in the same week that Oxford University was ranked the top university in the world by Times Higher Education.

Image credit to Alfonso Cerezo/ Pixabay

Saïd Business School takes over Oxford Playhouse for Michaelmas

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Oxford University’s Saïd Business School has reached an agreement with the Oxford Playhouse allowing it to use the Beaumont Street theatre’s auditorium to host lectures for its Masters of Financial Economics students. The theatre remains shut due to the impact of coronavirus.

The agreement is initially just for Michaelmas term, but Playhouse Chief Executive Louise Chantal says it may be extended “depending on the feasibility and practicality of presenting live theatre to socially-distanced audiences in the New Year”.

A spokesperson for the Saïd Business School told Cherwell that they “recognise that the Playhouse wants to return to operating as a full-time theatre as soon as is practical, but this arrangement allows the building to be used in the meantime”.

The Business School has had to expand available teaching spaces as a result of social distancing measures which require group sizes to be reduced from 80 to 20. Many of their lectures have been moved online, but a spokesperson says: “In-person teaching is a quintessential part of the Oxford experience, and we would like to restore this for students, while keeping them and our wider community safe.

“The Playhouse gives us space for larger groups than elsewhere, with 2m distancing, and we will observe the same health measures that we do in other buildings including one way flow systems and temperature checks on entrance.”

Whilst theatres have been allowed to re-open since mid-August, the Oxford Playhouse is one of many theatres which has decided that it is not economically viable to re-open with social distancing in place.

Louise Chantal said that social distancing would mean cutting capacity from 632 to 140 for couples spaced two metres apart, or to 170 for one metre.

Despite the agreement providing some income for the Playhouse and meaning that more staff can return to work, Ms Chantal told Cherwell that the “future remains uncertain because we cannot second guess audience behaviour and when (or if) people will want to come back to live performances”.

As well as receiving “a nominal rent” from the Business School, Ms Chantal says that the theatre is also waiting to hear the result of a bid for additional funding from the Culture Recovery Fund.

Ms Chantal adds: “We have been overwhelmed by the public response to our Playhouse Plays On appeal, which has raised over £170,000 so far.” She also credits the Government’s furlough scheme for enabling them to continue to employ 85% of their permanent staff throughout the closure period.

The Playhouse is trying to adapt to the post-Covid world with socially-distanced performances, and lots of digital work including 10 new commissions and co-commissions this Autumn.

Productions put on by Oxford University students, which are sometimes shown at the Oxford Playhouse, are having to adapt to the restrictions imposed by the coronavirus.

President of Oxford University Dramatic Society, Alasdair Linn, told Cherwell: “OUDS is currently working with the University Drama Officer and other University drama organisations to offer opportunities within the regulations. At this stage, we hope to go ahead with a reconfigured Cuppers, and we have a few other opportunities in the pipeline for all students.”

Image credit to Oxford Playhouse/ Wikimedia Commons. Licence: CC-BY-SA-3.0.

Oxford study finds immune memory of coronavirus in patient T cells

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Oxford University researchers have found that infection with coronavirus leads to a significant T cell response. This includes T cell ‘memory’ to “potentially fight future infections”.

This paper, published in Nature Immunology, is based on the work of the Medical Research Council Human Immunology Unit and the Oxford Institute of the Chinese Academy of Medical Sciences.

It was already clear that infection with coronavirus leads to a B cell antibody response, but previous research had been less perceptive regarding whether coronavirus prompts the production of virus-specific T cells. Antibodies destroy the inciting agents – viruses and bacteria – while T cells latch onto cells in the body which are already diseased. This includes virus-infected cells.

Professor Dong, who led the study, said: “By studying the T cell immune response in depth and breadth, we will begin to build a better understanding of why some individuals develop milder disease, and how we might be able to prevent or treat infections.”

He added that “T cells may also be longer lasting than antibodies, and so could offer alternative methods to diagnose whether someone has had a past COVID-19 infection, after antibody levels have waned.”

Study co-lead Professor Graham Ogg, Interim Director of the Medical Research Council Human Immunology Unit, said: “We found that individuals with mild COVID-19 had a different pattern of T cell response when compared to those with more severe infection; this could help provide insights to the nature of immune protection.” He continued that “the research demonstrates the power of bringing together many clinicians and scientists to address a global challenge, and we are extremely grateful to all of those involved, especially the research participants.”

Other scientists across the country were enthused by the new paper. Professor Peter Openshaw from Imperial College London, the Immunology Lead for UK ISARIC, said: “It is exciting to see the speed with which UK scientists can generate such novel findings and the spirit of collaboration that underpins it. T cells are important in clearing the virus and recognise parts of SARS-CoV-2 that are not seen by antibody. The role that they play in disease is not yet fully revealed, but this study provides the tools for studies to be done. This landmark study opens many new areas of work”.

Professor Paul Moss of the University of Birmingham, who leads the UK Coronavirus Immunology Consortium, added: “This paper is highly important in the fight against SARS-CoV-2. The team demonstrate that cellular immune responses develop in most people after infection and are particularly strong in those with more severe disease. This provides the foundation for new approaches to assess immunity and also for optimisation of vaccine design”.

The team’s next steps include investigating how long T cell immune memory lasts and whether this has implications for new diagnostic tests and future treatments.

Image Credit to National Institute of Allergy and Infectious Diseases / Wikimedia Commons. License: CC-BY-2.0.

Will there be a COVID-19 novel?

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As an English student, much of my time is spent convincing myself that literature is necessary. The idea that the literary world is intrinsically linked to the world of current affairs underpins my own motivation to read and study; we need novels and poetry to grieve, to understand, to find comfort. And yet, when faced with the aftermath of a pandemic which swept through the world on a global and on the most personal of levels, we’re left with a nagging thought – will we ever be ready to relive it?

A ‘COVID-19 novel’ felt, perhaps, inevitable as lockdown began. The wave of ‘lockdown productivity’ and the concept of experiencing a new kind of reality, where we were left simply to nothing but our own thoughts, seemed ideal for dusting off the old manuscripts or experiencing sudden inspiration. “Shakespeare wrote King Lear in quarantine”, a favourite though dubious fact, led to the idea that every author, now suddenly blessed with time, would finally get around to putting pen to paper and producing their magnum opus. Indeed, even as early as the very beginning of lockdown, literary agents and publishers were receiving soaring numbers of submissions. An Irish publishing house, Tramp Press, reported in March that they were averaging twice as many submissions per day as novelists finally turned to their forgotten projects.

The question, however, remains how far these novels can directly tackle coronavirus and the catastrophic path that it cut through life as we knew it. Lockdown, a novel first written in 2005 by Peter May, marks the start of a possible surge in mainstream literature surrounding the pandemic. Finally published during lockdown for the first time in 2020, May described how he “told [his] publisher about it and my editor just about fell out of his chair. He read the entire book overnight and the next morning he said, ‘This is brilliant. We need to publish this now.'” May’s novel is described as “inescapably relevant” by The Scotsman, and its publication history suggests that literature can perhaps provide a mechanism to ground the surreal nature of the pandemic by finding similarity in fiction. Dismissed in 2005 for describing what seemed impossible, Lockdown now finds itself as the first publication surrounding coronavirus to take the apocalyptic energy haunting the news and make it digestible for the public.

Another significant publication surrounding COVID-19 was intended just for kids. Coronavirus – A Book for Children originated as a free digital information book for primary schoolers produced by Axel Scheffler, iconic illustrator of The Gruffalo. Now being taken to a wider physical release, it appears to me as an interesting building block in the ongoing construction of the pandemic in literature. Scheffler discussed how he “asked [himself] what I could do as a children’s illustrator to inform, as well as entertain, my readers here and abroad, about the coronavirus”. Unlike Peter May’s Lockdown, which has an eerily familiar yet fictional illness dominating its narrative, the children’s book incorporates the hard facts surrounding COVID-19 into the classic comfort and warmth of Scheffler’s illustrations.

It is this blend of COVID-19’s harsh reality with the everyday that has characterised many of our approaches to the outside world as we move forwards and out of lockdown. The mantra of the “new normal”, of masks and distancing in the most mundane of circumstances, is beginning to be drilled into the public, and it is this idea that will most likely have the strongest impact on literature. In past examples of global crises, the presence of the after-effects was keenly felt in the writing produced. World War One allowed for the gritty, detailed, and graphic poetry of Wilfred Owen, alongside the birth of modernism, as seen in the evocative presence of the war in novels like Woolf’s Mrs Dalloway. Both Lockdown and Scheffler’s illustrated work suggest that it is inevitable, just as it was after the First World War, that the effects of the coronavirus pandemic will be felt in every aspect of our reading. As these new works begin to shape the literary identity of COVID-19, they have reiterated to me that directly or indirectly, literature comes from experience. After months of quarantining, of Zoom calls and empty supermarket shelves, it feels foolish to suggest we’ll emerge from this crisis as the same people as we were when we entered it. Consequently, our writing must also change: children’s books becoming laced with traces of social distancing; our dystopia centred around flu and vaccinations.

Coronavirus has turned the experience of reality into one we may not recognise anymore. As we settle into our new normal, I look forward to the manifestation of this in our novels and poetry. Will every new publication centre around London under lockdown and a mysterious flu-like disease? Perhaps not, but in a society touched by mass grief, isolation and separation, will our new publications start to reflect the impacts of the pandemic? I would say yes.

The Sword-Cross

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A warrior of Palestine
Traversed with a Cross for sword,
From Babylon to Jerusalem,
Until he spoke not word.

His nascent thought was born again;
Yet, dragging gladly back,
He found his journey onward going
Under a sky like a sack. 

The metered step he paced withdrew
Into itself, at last,
And the eyes in his head, all glassy through,
Looked into their thoughtful task. 

The Cross that scratched against the ash,
He would not stop to clean
For, sparking on the soil or Nile,
It taught him that he lived.

Aye, if it still was sharp enough,
Then further forth he tramped
To slay the soul that cursed him thus:
Forever-on, to stamp. 

If Cross had weight to strike a head
Or numbered nails to spike,
Or sharpened stake upon the end
To gouge a throat, he’d try it.

If arms had power to strike a blow,
Or legs the hate to sprint,
The warrior who used them all
Would waste them till unbent.

Shame that the Cross was never light
Throughout his glaring day!
It grew a vine to gnaw his sweat
And prophesied defeat.  

So, when arrived so very late
Upon a view not far
From the gateways out of Nazareth,
It was a sword no more.

The Cross had foe to pierce, yet still
It stayed in its warrior’s hand
To grow as dense in vengefulness
As him who dropped it now;

Till meeting sand, it sturdied there
And sprouted as a tree
That one of many seedlings spare
Had strived its life to be. 

Here then, the blood-tired warrior fled
To lie within a cave,
And watch the Cross begin a fire
That smouldered on his gaze.

Retiring, the warrior 
Saw men at arms and mad,
And criminals carried down and up
And the boil of the Cross’s blaze;

Then, glimpsed, at last, with pale a wroth
Among the crinkled leaves
His foe, whose name he had forgot,
In a garment redly greased;

And by the time the night arrived,
He could not help but start
To wonder how the upturned blade
Had turned against the lord.

Artwork by Edward McLaren

Christ Church dean exonerated after safeguarding allegations

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CW: Sexual assault

The Dean of Christ Church has been exonerated by the Church of England after investigation into claims that he mishandled sexual assault allegations at the college.

In March, allegations were made that the dean, Martyn Percy, had not fulfilled his safeguarding responsibilities in handling four separate disclosures made by survivors of sexual assault. These claims were brought by the college to the Church of England, as an independent QC advised that this fell under the Church’s jurisdiction.

The investigation conducted by the National Safeguarding Team (NST) of the Church concludes that the Dean “acted entirely appropriately” in each case.

Martyn Percy has tweeted: “Thank you to everyone for their support and prayers. It is good to have a line firmly drawn under this.”

Christ Church states that they will “be reviewing the NST’s findings with regard to Christ Church’s safeguarding responsibilities.”

This investigation report comes amid an ongoing dispute at Christ Church over Percy’s position. The dean was suspended in 2018, reportedly after conflict over pay, and he was reinstated after an internal tribunal in August last year. The Charity Commission ordered the two sides of the dispute to enter into a mediation process in June after academics called again for the dean to be dismissed.

The Guardian reports that Percy’s supporters label Christ Church’s referral of allegations to the NST as part of a ‘black ops campaign’ to discredit him.

The full Christ Church statement reads: “The Church of England’s National Safeguarding Team has announced the outcome of its independent investigation into the handling of four disclosures to the Dean of Christ Church, made by survivors of sexual assault. The NST has now informed Christ Church that its report concludes there has been no breach of the Church of England’s protocols.

“Safeguarding is of the utmost importance at Christ Church, and it is our obligation to report such concerns appropriately. After a query from a national newspaper regarding a serious sexual assault, an independent QC advised that a referral should be made to the Church of England as the handling of such disclosures fell within its jurisdiction. It is vital that everyone has the confidence to report safeguarding concerns. We will be reviewing the NST’s findings with regard to Christ Church’s safeguarding responsibilities. 

“Our thoughts are with all survivors of abuse. If anyone affected by this news requires support, they should contact the police or the relevant safeguarding authority.”

Jonathon Gibbs, the Bishop of Huddersfield and the Church’s lead safeguarding bishop, said: “An independent investigation into allegations that the Dean, Martyn Percy, failed to fulfil his safeguarding responsibilities has concluded the Dean acted entirely appropriately in each case. The National Safeguarding Team, NST, followed the House of Bishops guidance when the four separate allegations were referred earlier in the year relating to the Dean, a senior office holder. At no point was there any allegation or evidence that the Dean presented a direct risk to any child or vulnerable adult.

“I am aware this has been a very difficult time for all parties, particularly Martyn and his family, and I would like to thank everyone for their cooperation. There will of course be lessons to learn about the processes, as there are with any safeguarding case, and that is an essential part of our guidance to make the Church a safer place for all. We welcome the Dean’s commitment to taking part in this. Now the investigation has concluded and the Dean has been exonerated of these safeguarding allegations, the NST’s involvement has come to an end. I continue to pray for his ministry and the life of the Cathedral and its mission in the diocese and wider Church.”

As I have said before, the NST has no view about, and is not involved in, the wider issues relating to the College and the Dean at Christ Church, Oxford and this remains the case.”

The Bishop of Oxford states: “I welcome the news that the investigation by the National Safeguarding Team (NST) has concluded and that Martyn is exonerated. The investigation process was not without pain, and could have been concluded more quickly, but it is entirely right that allegations against clergy and church officers are properly investigated when they are made. This investigation brings full closure to the matter put before the NST, though these continue to be testing times for all at Christ Church. My prayers remain with Martyn and Emma, the Chapter and wider College at the start of this new academic year.”

Image credit to Bernard Gagnon.