Thursday, May 15, 2025
Blog Page 467

The era of digital drama

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When you imagine ‘going to the theatre’, an image of you in your dressing gown, sitting on the sofa and eating popcorn probably doesn’t come to mind. When I watched the NT Live recording of One Man, Two Guvnors, it was an experience of theatre that fought with these expectations: free, easily accessible online and available globally for anyone to watch. In an age of Covid-19 with our communities affected at every level and the world facing an unprecedented amount of human loss, the arts have become essential. They allow us to creatively immerse ourselves, escaping momentarily from the challenges of everyday life: but above all, to do this knowingly, together. In an interview for The Stage, the NT’s executive director Lisa Burger said the new NT live screenings were intended to “lift the spirits, bring people together and become something to talk about”. Chris Whitty, the government’s Chief Medical Officer, said that he expected society to cope with the coronavirus with “extraordinary outbreaks of altruism”. It would be fair to say that providing world-class theatre for free is a significant gesture of goodwill, especially as venues for an NT Live screening charge roughly double the price of a normal cinema ticket.

Britain’s National Theatre Live, or NT Live, is an initiative established just over ten years ago that, on its most basic level, broadcasts live theatre productions directly to cinemas across the world. Unlike earlier forms of theatre recording, it represents an attempt to recreate the typical experience of seeing a play performed, with camera angles following the drama live as it plays out. According to a 2011 report by the National Endowment for Science, Technology and the Arts (NESTA), “until NT Live…it was felt that theatre could never benefit from the transition [of theatre to film], that acting for the stage and screen were different disciplines, and that previous examples of live recordings had been cold and static”. According to NESTA’s survey, this was not the case; “eighty-four per cent of NT Live cinema audiences ‘felt real excitement’ because they knew that the performance they were watching was taking place live that evening.” The popularity of NT Live, and other initiatives like it such as The Met: Live in HD, is not unique, nor only due to the current crisis. Many such schemes are well established and globally successful. According to The Stage, the streaming audience for the coronavirus broadcast of One Man, Two Guvnors was 209,000 people, four times the initial cinema audience for the first-ever NT Live screening of Helen Mirren as Phèdre. But the fundamental difference now is that there is no longer ‘liveness’ in watching these productions; NT Live has, for the first time, made the decision to make some of their previously closely-guarded recordings accessible, releasing videos of productions every Thursday at 7pm BST for the next two months.

These recordings – distributed via Youtube – are prefaced by the statement “theatres around the world are closed and facing a devastating impact from coronavirus. Theatre and the arts are a positive force for our community in turbulent times. As you enjoy this recorded performance, please consider a donation to support this great industry.” This made me wonder whether such large – national – theatres have any kind of moral duty to make such recordings of shows accessible, or even free. What’s lovely about student theatre is that in a world of comp tickets, low-budget costumes, and learning lines at the last minute, productions usually have less at stake; those involved are not relying on the play as their sole source of income. But being a professional in the theatre industry, whether an actor, stage manager, costume designer, or any of the other workers involved in a production, inevitably comes with managing unstable earnings. For audiences, it is often also the financial difficulty that prevents theatre from becoming a more pervasive cultural presence. With online streaming services rising in commercial power, with content instantly available and at affordable prices, how can the mass cultural value of theatre compete? Netflix charges a minimum of £5.99 per month for access to “unlimited films, TV programmes and more”. In comparison, to watch a show at the National Theatre audience members pay between £15 to £70 a ticket, depending on the quality of the seats. When NT Live first started broadcasting productions, the primary focus was expanding financial accessibility. According to the NESTA report, “NT Live appears to have drawn in larger lower-income audiences than those at the theatre…A quarter of the [NT Live] cinema audience earned under £20,000 per year’. Twice as many people earning over £50,000 per year saw shows in the theatre rather than via NT Live. More than a decade later, it seems that many of the aims of NT Live remain the same in a world affected by coronavirus. Alice King-Farlow, director of learning at the NT, said that “given the unprecedented challenges we are all currently facing across the globe, we want to ensure that pupils, teachers and academic institutions are supported during this time and can continue to have access to a range of learning resources during the school closure period.” In a statement on their website, NT Live announced that “the National Theatre Collection, including 24 full filmed plays, will now be available to pupils and teachers at state schools and state-funded further education colleges.”

NT Live is not the only initiative that aims to make theatre freely, and digitally available during the Covid-19 Crisis. In terms of theatre now available for free, according to Chris Wiegand, “Hampstead theatre and the Guardian have teamed up to stream a series of acclaimed productions for free” available to stream on the Hampstead Theatre’s website, and Emma Rice’s adaptation of Wise Children is available on BBC iPlayer for three months “as part of the Culture in Quarantine programme.” Even though Shakespeare’s Globe has rentable recordings on its ‘Globe Player’ website, Wiegand reiterates that on the Globe’s YouTube channel, the theatre is broadcasting “a series of free streams, each available for a fortnight”. This is significant, as the costs of producing material for broadcast, securing rights to distribute it, and covering marketing and satellite broadcast fees are substantial and out of reach to all but a few international companies. This type of charitable response is not feasible for all theatre companies; some smaller, independently funded organisations are struggling to respond to the economic damage caused by coronavirus that threatens its future productions and staff. Despite this, some venues are committed to the financial safety of their artists. As well as furloughing the majority of its staff, the Cambridge Junction, an urban arts centre, is attempting to compensate artists who would have been performing: “we remain committed to supporting artists and as far as we can we will be paying fees to them for cancelled performances.”

It is inspiring that as a response to the virus, many big-brand theatres and organisations, like NT Live, have offered up their creative content freely (or at least at low costs). This generosity, often funded by philanthropy, not only ensures that theatre and the arts remain relevant in an era critically dependent on scientific and medical advances but that by using new technology, often represented as a dominant threat to the arts, the internet can become an instrument to allow everyone, regardless of financial status or previous knowledge of theatre, to experience high-quality drama risk-free, from the comfort of their homes. It is hard not to imagine the cultural benefit to us all if this access was the theatre’s usual role in our lives.

Image credit: Marc Brenner

Government pledges £20 million towards Oxford coronavirus vaccine

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Matt Hancock announced this afternoon during the government’s daily Coronavirus press conference that £20 million in funding will be allocated towards a vaccine research team in Oxford, led by Professor Sarah Gilbert.

Along with a team at Imperial College, Hancock described Oxford’s vaccine research as “promising”, announcing the government’s plan to “back them to the hilt and give them every resource that they need to get the best possible chance of success, as soon as possible.” The vaccine from the Oxford project will begin its human trial on Thursday, with Hancock adding that “in normal times, reaching this stage would take years.”

Hancock described the UK as leading the global effort to produce a vaccine, adding that “we’ve put more money than any other country into the global search for a vaccine.” In addition to the £20 million allocated towards Oxford’s research, the team at Imperial College will be granted £22.5 million to support their phase 2 clinical trials. Both teams were described as making “rapid progress”.

Although he reassured the public of the government’s commitment towards supporting the search for a vaccine, he warned that success is not a guaranteed outcome. He said: “Nothing about this process is certain. Vaccine development is a process of trial and error, and trial again. That’s the nature of how vaccines are developed. But I’ve told Sarah Gilbert and Robin Shattock, two of our most inspiring scientists, that we are going to back them to the hilt and give them every resource that they need to get the best possible chance of success. As soon as possible.”

The benefits of pioneering the production of a vaccine would be great, he declared: “the upside of being the first country in the world to develop a vaccine is so huge that I am throwing everything at it.” Hancock also announced that the UK will invest in manufacturing capability so that, if successful, the vaccine can be made widely available to the public.

‘The Yellow Wallpaper’: A study of depression during confinement

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TW: discussion of mental illness, suicide

“It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.”

As the sun beats down on the outside world, millions of us are confined to the great indoors. We are in the midst of a pandemic and to go outside is to risk lives. Many of us have a mountain of vac work slowly gathering dust which we daren’t even think about as we wait for another email from the university about new arrangements for Trinity term, or whatever will be left of it. The ennui starts to set in as we’re bombarded with new phrases becoming standard – “social distancing”, “self isolation”, “flattening the curve”. Spending our days indoors with little to no face-to-face contact with others is, however, a sure-fire way to exacerbate symptoms of mental illness. Many of us have found ourselves slowly losing our grip on reality, fuelled by both the seemingly apocalyptic news coverage of the crisis and the measures which have been put in place by the government and which make the coronavirus outbreak feel just like a bad dream.

“I sometimes fancy that in my condition if I had less opposition and more society and stimulus – but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.”

Charlotte Perkins Gilman gave birth to her daughter Katharine in 1885, and detailed her experience of what we now know to be postpartum depression in a number of her works, most notably the novella The Yellow Wallpaper. In so few pages, Gilman captures in harrowing detail the impact of the “rest cure” on the anonymous narrator’s psyche as she is made to stay in a single room, with a bed bolted to the floor and fixates on the sickly yellow, bizarrely patterned wallpaper, the only object of interest. This obsession with the wallpaper – brought about by her solitary confinement – and the female figure she believes is trapped within it, is what triggers the narrator’s descent into madness.

“Nobody would believe what an effort it is to do what little I am able – to dress and entertain, and order things.”

I hit rock bottom just over a year ago – my depression had become so bad that I’d spend most of the day sleeping, and would go for prolonged periods of time without eating actual meals, washing, or cleaning my room, much to the irritation of my scout. I would deal with this by cutting myself off from my friends – which, naturally, only made me feel worse. I did, and found that my experiences were anything but unique, that isolating oneself is hardly an unusual coping mechanism. I thought that a year on from hitting this low point, I’d be able to look back on it and be proud of how far I’d come, but now I feel like I’m back to square one. The only difference is that this time, I have no choice but to stay at home, or else I risk getting ill or transmitting the disease to those who are more vulnerable than me. Lockdown is not a misogynistic “cure” for the “hysteria” that women in the 19th century (such as Gilman herself) were supposedly afflicted by – COVID-19 is real, and deadly, and it is more important than ever that we make sacrifices to reduce pressure on the NHS and potentially save lives – so this is a sacrifice we absolutely must make.

“I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me. But I find I get pretty tired when I try.”

I’m sure we’ve all been periodically reminded that Shakespeare supposedly wrote King Lear while in quarantine, and that while the UK is on lockdown each of us simply must get to work on our own magnum opus. By contrast, as part of her “rest cure” treatment, Gilman was told to “never touch pen, brush or pencil as long as you live’. In her case, these limits on her creative expression only caused her condition to deteriorate. However, as I see more calls for coronavirus-inspired short stories, scripts and poetry, I find myself frustrated by the pressure on creatives to respond to the crisis by being productive. It seems rather tone-deaf to expect people to react to this pandemic by generating art rather than simply expressing fear, worry or grief as any human being would. In many cases, depression and productivity don’t exactly go hand in hand – so as a mentally ill writer, this is hardly the ideal situation in which I could write the next great British novel about my experiences of social distancing. 

“I cry at nothing, and I cry most of the time.”

I know I’m incredibly lucky that my family and I are not at an especially high risk of becoming seriously ill, and I’m sure that for many, being unable to see their friends or stuck in a creative rut is the least of their problems. However, we are too quick to overlook the impact of lockdown on mental health – since our vac has begun, a 19-year-old took her own life as she was “unable to cope with her world closing in”. In spite of all this, it is more important than ever to hold out hope – to remember that although we don’t know how long things will take to return to normal, this period of fear and uncertainty will pass. Now is the time to make sure to reach out to one another. So many of us are suffering in silence, missing our friends, family and partners more than ever as we have no idea when we’ll see each other again. Having taken part in countless Zoom or Houseparty calls and Netflix parties over the last few days, I feel reassured by the idea that friendships and relationships may come out of the lockdown period stronger than before.

“I’ve got out at last,” said I, “in spite of you and Jane. And I’ve pulled off most of the paper, so you can’t put me back!”

The Future of Satire

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We’re currently living in a satire of Orwellian proportions; a rampaging demagogue in America has succeeded in convincing millions that measures put in place to protect them are in fact harming their lives, the UK health secretary seems to believe that a tin badge is a substitute for PPE and Big Brother is starting to watch our every move. It would appear that in these troubling times, a laugh is just what we need. However, though satire has always had the purpose of pushing boundaries and exposing the hypocrisies and fallacies of societies, its limits often expose the boundaries which “free speech” cannot cross. 

From Voltaire’s Candide which assaulted the unrelenting optimism of Leibniz to Orwell’s Animal Farm and Jonathan Swift’s A Modest Proposal, which satirised the British government’s approach to the Irish potato famine, satire has had a role in exposing the weaknesses in our own thought processes and political policies. For example, A Modest Proposal imagines the Westminster government’s laissez-faire policy pushed to extremes to the point where the Irish were imagined to be eating their children in lieu of potatoes. By shocking the reader through its vibrant language and imagery, the article intended to mobilise the population to force the government to act. Though it didn’t succeed in this case, it did cement Swift’s role as the father of modern satire. 

Today, satire remains popular; how many people tune into Mock the Week and Have I Got News for You? The availability of Have I Got News For You demonstrates that satire is needed even in these serious times. Though some areas may be off-limits – the health of Boris Johnson wasn’t up for debate – others deserve to be mocked for their ridiculousness. For example, the irony of a Prime Minister whose government wanted to introduce a points-based system excluding some NHS workers being saved by two foreign nurses. Add Matt Hancock’s pride at his new NHS pin which he seems to view as being akin to a Batman badge that can magically protect the user in a way PPE can’t, and you have a minefield for satire just waiting to be exploited. However, though the scope for satire may seem limitless, satire does nonetheless have its boundaries. 

Satire can easily be misunderstood. Charlie Hebdo encountered a backlash in 2017 when it published comments on the irony of anti-gay rights activists from Texas believing that natural disasters are caused by God punishing a subversive society. The magazine was immediately attacked by people who seemed to believe that the satirical image portrayed real editorial opinion, demonstrating a lack of understanding about what satire is. By its nature, satire is about exaggeration and pointing out the ugliest parts of our society. If a satire makes you angry, it’s better to focus on why it makes you feel this way- is it because, perhaps, it hits too close to home?

Satire is designed to shock us from comfortable complacency into action. Therefore, it should elicit strong reactions. However, there are lines around which even satire should tread carefully, with the Charlie Hebdo attacks revealing that certain people, at least, felt that religion was one area which ought to be off-limits- I doubt Voltaire would agree. The beauty of satire is that, by its nature, it offends and so demonstrates the lines which free speech should be wary of crossing. However, next time we’re offended by a satire, we should remember the old adage attributed to Voltaire: “I may not agree with what you say but I’ll defend to the death your right to say it.”

The other BPL: Belarusian Premier League

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Amidst the Coronavirus pandemic, major sports events the world have been delayed or cancelled, necessitating eager sports fans to divert their attention elsewhere. While replays of classic matches or eSports tournaments are interesting in their own right, there is something irreplaceable about live action sport. It was thus quite reasonable when viewers turned their attention to the Belarusian Premier League (BPL), possibly the only professional league still playing matches – and with live support.

The BPL was formed in 1992, and the first season featured clubs from the Higher League (formerly known as the Soviet Top League), the leagues below, as well as clubs from the Belarus SSR First League. Perhaps its best-known club is BATE Borisov, which won 13 consecutive league titles from 2006 to 2018. Dinamo Minsk is the other relatively famous club, with seven league titles and nine second-place finishes to their name. These are the only two Belarusian clubs to ever have reached the Europa League group stage, while BATE Borisov is the only Belarusian club to have played in the Champions League group stage.

Unlike many leagues in Europe, BPL seasons are completed within a single calendar year. This is good news for its (many newfound) followers, since it means the league has just begun, with the first matches having been played in mid-March. With Dynamo Brest winning the 2019 league title, their first ever, it is possible that there could be further disruptions to BATE Borisov’s domination of the league this season.

However, the novelty of the BPL cannot mask its lack of quality. In 2013, BATE Borisov beat Bayern Munich at home, making some headlines, but overall, Belarus remains a weak footballing nation. On the international level, the nation has never qualified for a World Cup or a European Championship, and its most (and arguably only) notable player remains Alexander Hleb, an Arsenal legend who had several spells with BATE Borisov across his long career.

The contrarian arrangements of the BPL are also due in no small part to the Belarusian response to the pandemic. The president, Alexander Lukashenko, who has continued to play ice hockey, even embracing other players on the rink, has downplayed the need for social distancing in a country which has recorded over 4000 confirmed cases of COVID-19. He even claimed that “no one in the country will die from coronavirus”, in direct conflict with official statistics.

Some in the BPL circles may hope that increased international attention, as an unexpected consequence of the pandemic, will improve the level of the league. That is a benevolent wish, but in the grand scheme of things, there are far more important concerns. Ultimately, the ‘other’ BPL is unlikely to do more than distract sports enthusiasts for a season or two.

Image credit: Homoatrox

The Real Cost of Eating Out

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It’s a familiar feeling. You enter a restaurant, sit down, and by the time you open the menu and see the outrageous pricing, it’s too late for escape. “£15 for a pizza!” you exclaim. You try and do the maths – the ingredients can’t cost more than a few pounds and they can cater in bulk, so why is it so expensive? When we head out to eat, the prices can often seem inexplicably high. So, where does our money actually go? Are these businesses making a fortune selling reheated ready-meals, or are hidden costs the culprits for these inflated prices? The closure of around 750 pubs last year would suggest that the truth is closer to the latter.  

Before I started working in a café, I imagined there to be some kind of capitalist conspiracy for cafés and pubs to take as much of our hard-earned money as possible – I mean, £3 for a coffee must be a rip off, right? Needless to say, I didn’t understand the economy, but getting a job helped to change this. Run by a lovely University of Oxford graduate Claire Hawkins, and going by the name ‘Indigo,’ my workplace opened my eyes to the many unexpected financial pressures on small business.  

So, let’s break it down: a toasted ciabatta will set you back around £5, a couple of pounds less if you have it to take away. Already, £1 (20%) is taken as VAT. The ‘cost of sale’, i.e. the price of the ingredients, can vary between 90p-£1.40. Unlike supermarkets, Indigo does not mass-produce their food and uses higher quality, locally sourced bread and fillings, leading to a higher cost of sale (but tastier toasties!).  

The next biggest costs are the overheads: salaries, rent, bills and insurance add up to 12% of Indigo’s turnover, with staffing representing the largest cost overall. These vary greatly between businesses and can often be subject to big and sudden increases. Indigo faced a series of break-ins, resulting in the business insurance quadrupling to an annual cost of £4000. In a worst-case scenario, a business frequently vandalised or broken into can be blacklisted and unable to find insurance. Restaurants don’t just need rainy-day money but must also account for these sudden and uncontrollable events.

The unexpected costs continue. Any restaurant or café playing music must pay for ‘public performance licensing,’ based on the size of the seating area within earshot. For Indigo, a café with 18 seats in total, this works out to be £500 a year. Larger restaurants pay thousands just to legally play some background music. Similar costs include banking charges and losses due to power cuts, both of which sets Indigo back around £1000 and, in the case of the latter, causes a significant amount of food waste as the contents of fridges are ruined. Smaller costs, such as replacing stolen or broken crockery – yes, people really do steal dirty mugs and plates – repairing furniture and buying decorations add up too, and take a cut of that original £5 for a sandwich. All this leads to a perhaps surprisingly low profit for the restaurant, yet still higher prices for the consumer. Costs aside, we must also remember the huge amount of stress for the owners of restaurants and cafés who are responsible for both their own wellbeing and income as well as that of their staff.   

As with all aspects of economics, supply and demand invariably contributes to the differing prices of food and drink at restaurants and cafés across the country. You can expect to pay more in cities like London and Oxford where both the rent and the demand is higher. An afternoon tea at The Ritz will set you back at least £60, in part because it’s what people, especially tourists, are prepared to pay for such an experience. People are increasingly turning their backs on materialism in favour of these ‘experiences’ and this, in addition to the growing wealth of the middle class has led to the development of unique and expensive fine dining opportunities. Restaurants can also provide an easy way of trying foods from different cultures – you can hardly walk a square metre in London without coming across a specialty restaurant which is almost as good as grandma’s cooking.  

With all these costs to consider, both for the businesses and the consumer, why do people still choose to eat out and how are these businesses able to stay open?  We all know why: people love going out! From catching up with friends to family celebrations and romantic evenings, restaurants provide an ideal setting for these special moments – and artsy Instagram food photos – making people more willing to spend money on a meal. 

In spite of the frustrations of these seemingly unfair prices, when lockdown is lifted, I suspect that restaurants and pubs, along with all other social spaces, will be the first port of call for many of us. Perhaps the lesson learned throughout all of this is that the pleasure of gathering in our favourite pizzeria is priceless, or at least worth that £15.

Image credit

Food for Comfort

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Age 11, my secret banking password was RoastBeef, so, yes, I would call myself a foodie. Age 21, I eat three square meals under lockdown, so I think I’m doing pretty well.

Eating for comfort is part of life. There are clear scientific links between food and mood – related to things like cortisol, serotonin and blood sugar – that I don’t fully understand. Terms like hangry, hangriest and hangrier are proper words, according to the OED. People, including myself, eat when they are stressed, when they are sad, or when they are just bored. I don’t know about you, but I am currently feeling these emotions, increased tenfold, all the time, every day.

So, do we turn to food to cope? In short, yes. And that’s totally fine and normal. Food is soothing. When I’m sick, I’ll have some chicken noodle soup (Jewish penicillin) and that will make me feel better. When I’m stressed, I’ll have some Chocolate Fingers and a chamomile tea to help me relax. When I’m feeling particularly low, I’ll eat ice cream and Doritos. And if that’s what I need, it’s okay.

In times of crisis, it is more important than ever to be kind to yourself. If you want to eat something, eat something. The world is falling apart, there are no rules – the limit does not exist! I am eating many, many Babybels and McVities Dark Chocolate Digestive Biscuits, but do I feel bad about it? No! I’m staying home! I’m in survival mode. If these are the resources I need to get through this crisis feeling somewhat okay, I’ll take them. Whether I physically need them is beside the point. It’s not just my body that’s going to get through this, it’s my brain as well, and I want to keep myself feeling as positive as possible. What’s important is that it’s not my only coping mechanism. I’m going on my daily walk around the garden, I’m watching some TV and I’m having my treats. 

Food is helping me structure my day. I wake up, have a leisurely breakfast of some bagels or porridge with a cup of tea, and then check the news and bother my family. When I am feeing a bit peckish I will have a small snack – a snackette, if you will – of whatever I can scrounge from the fridge, then a late lunch, followed by some afternoon delight (what I call my second snacking session) and then the main event, dinner. I fit in my digesting and other activities around these.

Some days during term, when my mood was very low, I would make a very simple soup and eat it. It was a double whammy – not only did I make something, I got to enjoy eating it! The very ritual of cooking can be soothing, as well as the process of eating. My brother made some Chicken Marbella for our Pesach meal and some Matzah, the ‘bread of affliction’, which I devoured. 

I am fortunate enough to live in a household where most days everyone can come together to eat dinner, an experience which, as it involves six loud and opinionated Jews, can often be loud and argumentative. Yet I am so grateful for this now, because eating together allows my family to connect and share their emotions and thoughts in a way that we otherwise wouldn’t at this time. 

I’ve been to the supermarket three times since the lockdown to do The Big Shop, and each time, I’ve made sure to get a special treat for everyone. My little sister, for example, is obsessed with cheesecake, so when choosing our pudding, I made sure to include a cheesecake just for her – despite the rest of us being ambivalent towards it. One of my brothers loves apples and smelly cheese, and so I bought both. My dad loves pickles, and you can bet I got him some Mrs Elswood Haimisha Cucumbers (Kosher for Passover). My mother makes sure to get ‘scooby snacks’ for everyone to keep us motivated, particularly for my brother, who is working as a healthcare assistant in our local hospital. 

Certainly, panic-buying food has been the coping mechanism of some, despite pleas from supermarkets that it is unnecessary. I must admit, my own mother, in a moment of weakness, bought a pack of 12 tins of chickpeas – in my family, that amounts to two tins each – and has yet to open one. At least if the lockdown continues beyond the next three weeks, rest assured we can make enough hummus to keep us going.

Image via Flickr

Is soft socialism the way forward for Labour?

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Whether in Opposition or in Government, the position of (Shadow) Chancellor of the Exchequer is key to the functioning and coherence of any cabinet. You only need to look at the highs and lows of the Blair-Brown association or the smooth alliance of the Cameron and Osborne partnership for proof. The loyalty and ideological make-up of any chancellor dictates the general direction and ideological tenor of the cabinet they belong to.

The appointment of Anneliese Dodds as Shadow Chancellor has in its own way created history. Dodds becomes the first female Shadow Chancellor. For a party committed to equality and progressive values, this appointment has been long overdue, athough Ms Dodds is far from a token appointment. As a professor of Public Policy and MEP (with a first in PPE from St Hilda’s to boot) she has the academic expertise for the position. Although the media reaction to her appointment has been muted (coronavirus understandably taking centre stage) her appointment, as with other new Starmer appointees, does not suggest a dramatic return to the politics and values of New Labour.

As a whole, the new shadow cabinet seems well regarded. Ms Dodds has been lauded by LabourList as “[ticking] all the boxes Keir Starmer seems key to tick: competence, electability, party unity.” At the same time, the partisan ‘Skwawkbox’ remained largely silent. This opinion seems to be shared with both wings of the party, her performance as Shadow Treasury Officer under John McDonnell has been warmly conveyed. Her interviews given to the likes of the Financial Times and Sky also seem to suggest a far from dramatic break with the policy direction held under her predecessor John McDonnell, saying that she and McDonnell did not see things “particularly differently.” Most recently she has called for a ‘new social contract’ and an overhaul of the taxation system.

Other appointments have largely been in line with Starmer’s professed aim of competency over ideology. Noticeable appointments have been Nicholas Thomas-Symonds as Home Secretary, a lecturer for PPE at St Edmund Hall by the ripe old age of 21 and former human rights barrister. Rachel Reeves, Jonathan Ashworth, David Lammy, and Edward Miliband are more examples of a range of competent individuals identifying as solidly to the left or centre-left of the party (with a fairly healthy representation of Oxbridge graduates). If anything, this signals a firm adherence to ‘soft socialism’ and competency. The shadow cabinet has a heavy representation of former lawyers, charity workers, doctors, and former ministers.

Contrary to reports by some publications, this is far from a ‘bonfire of the Corbynistas’. Discounting Keir Starmer, out of the 31 positions in shadow cabinet only 8 are new appointees. Included within the new shadow cabinet is a raft of ex-ministers from the Blair and Brown years, including former leader Ed Miliband. Perhaps more surprising is the noticeable absence of any ‘big hitters’ and faction leaders such as Yvette Cooper, Hilary Benn, and Alison McGovern. Of those ‘purged’: Ian Lavery, Richard Burgon, and Jon Trickett, all share the close support of Unite with Dan Cardem. This suggests a step away from the insistent interferences of Len McCluskey (note the appointees to the NEC are likewise unaffiliated with him).

As evidenced by the recent furore over the leaked dossier on anti-Semitism, internal party strife needs to end for good if there is any hope at all to rebuild for the next election. It would be advisable to remove those most closely associated with the failure at the last election – most noticeably Karie Murphy, Seumas Milne, and Jennie Formby. This may be followed with a majority loyal to Starmer on the NEC. Recent interventions into the politics of Parliament and the Labour party by Mr McCluskey must be avoided at all costs so as to avoid the impression of the party being dictated to by ‘trade-union barons’, as much as McCluskey’s close identification with the Corbyn project.

The new shadow cabinet is a step in the right direction. While Starmer has pledged ideological continuity, he has also pledged institutional change. A cabinet of all talents, combining competent figures from the last Labour government and those with shadow cabinet experience sends the message of a rejuvenated professionalised party. What needs to follow is a return to credibility through new ideas and effective opposition.

Oxford releases Safety Net Policy for remote assessments

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The University of Oxford has released its examination ‘Safety Net Policy’ this morning. This policy has been made for subjects where remote assessments are taking place in Trinity 2020 as a result of the coronavirus pandemic.

The policy “aims to reduce the risk that students may be disadvantaged by the conditions in which they revise for and sit their exams in the exceptional circumstances of the CV-19 pandemic.”

The safety net policy works under the condition that individual students pass their remote assessment.

Overall, this policy gives faculties the choice of how results are calculated, with the option to exclude or adjust the weighing of results obtained in remote assessments. The policy varies depending on degree course and extent of previous summative assessment completed.

The University ensures that “all marks will appear on the transcript, with appropriate explanatory text”, regardless of the safety net choices.

However, the University informs that formative assessments (i.e tutorial work) will not be taken into consideration when calculating final results. Only summative assessments completed prior to the end of Hillary Term (‘banked assessments’) or taken remotely in Trinity Term will be used to calculate final grades and degree classifications. It explains that “evidence from formative parts of the course is not sufficiently rigorous or consistent to be used for summative purposes.”

The policy divides subjects into two subject groups: courses which have already completed at least 50% of summative assessments before the end of Hilary Term, and those that have not. The two groups will have differing safety net arrangements.

For those who have completed at least 50% of assessments, faculties will have the option to either include or exclude remote assessments results in the calculation of their overall grade, depending on individual choice and circumstance.

For those with less on-course summative assessments, the faculty will have the choice between calculating results using all assessments (including remote Trinity assessments), or using an “adjusted algorithm”. If choosing the “adjusted algorithm” there will be five further options depending on individual circumstances of exams. These 5 “adjusted algorithm” options are:

  1.  “double-weighing” of the results of assessments completed before the end of Hillary;
  2. “adjusted weighing” of Trinity Term remote assessments;
  3. discounting lowest marks achieved in Trinity remote assessments;
  4. scaling of marks in particular papers taken remotely;
  5. adjusting class boundaries

Dissertations could be counted as a ‘banked subject’ as the bulk of work is undertaken prior to the end of Hillary, though the official deadline was after. This will be decided at each subject’s discretion.

However, clause 9 of the policy states that “in exceptional cases … subjects have the right to deem that no further safety net is necessary.”

In addition, all students will submit a “pro forma statement” detailing their home conditions to the examiners. Moreover, students can submit Mitigating Circumstances notices, as in any year, if they have been particularly severely impacted this year.

For more information visit their website.

Photo Credit: Ellie Wilkins

How Life in Lockdown is Preparing us for Smart Cities

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Empty London buses follow the usual circuits on clear roads, like Scalextric cars. Churches take to streaming Sunday service. Students, uncertain about their foreseeable academic futures, cling to supermarket cans, as they replace pubs with digital gatherings. Tough laws, enforced to combat the spread of COVID-19, have prompted mass engagement with technology. Our adaptation to these unprecedented social distancing regulations has cemented a cultural shift. The new decade will be defined by the innovative communication tools of the last.

We are left to decipher vague instructions from the isolated heads of unwell politicians. Monitors are assembled within a room, alongside healthier colleagues and journalists. The spectacle, resembling a conceptual performance, is complete. Our faith is consequently placed in Zoom, a remote conferencing app employed by government officials. Decisions being made are based on questionable statistics, detailing cases and deaths. These can be best reviewed on recommended websites. The public have been catapulted into, what feels like, a dystopian production.

Despite the surrealistic nature of the pandemic, it has already had a damaging impact on the economy and will continue to do so. The political input of citizens has been diminished and the expression of their viewpoints is limited to posts on social networking sites. Individuals have quickly learned the importance of complying with regulations to avoid infection. After being presented with polls, even the typically control-averse realise these changes are necessary, temporary measures, and have conformed.

However, a shared passive attitude towards decision making has arguably already been encouraged and enabled by the rise of Smart technology. Opting for a social structure based on findings and algorithms, over one of deliberation, has long been on the horizon. In popular entertainment, data-collecting applications, such as Spotify, have quickly been adopted by both experts and consumers alike, in search of new music. Unfortunately, as the algorithms in place, function by grouping users and distributing identical suggestions, the element of discovery and individuality is removed. Tourists unwittingly allow Google to dictate and manipulate their view of surroundings, as they rely on map services to navigate. Due to the promises of accuracy and technological advancement, users believe the results they receive are unbiased. However, Google Home, the firm’s directory assistant product, is programmed to only recommend companies they have financial ties to.

The lack of diversity in music suggestions is unlikely to pose a direct threat to the running of the country. Nevertheless, the same type of code is often applied to modify behaviour and homogenise audiences. Unlike Spotify, visitors to Facebook expect an identical view, but are presented with material based on their own activity. Social media corporations have a tendency to favour political parties in their advertising space, to influence their visitors voting habits. Advertisers can use Facebook’s audience insights tool to make minor alterations to campaigns that suit each potential viewer. With such a sophisticated system and wide scale presence, a political party can be hugely impactful and competitive. In order for capitalism to prevail, all potential conflict must be eradicated. It is best achieved by making people more alike. Fortunately for these conglomerates, the act of manually exploring is now regarded as laborious, to the detriment of individual taste and democracy.

Multinational tech organisations, in a bid to encroach further on public space, are moving towards the formation of cities and urban planning. Like their existing virtual worlds, these built environments will seem authentic and advanced enough to self-regulate. They will also appear to remove human error and differing ideas. This would mean a decreased level of input from residents, which could appeal to those disenchanted with democracy. Perhaps Generation Z, a demographic who feel underserved by authority and are highly active within a culture influenced by Silicon Valley entrepreneurs.

The symbiosis of digital platforms and physical space could be used by the reigning corporation to push a single capitalist ideology. The parameters of the city would therefore represent a political constituency, all subscribing to one doctrine. When the zeitgeist is analysed, the current lockdown appears to be a precursor to an inevitable future. One where residents’ faith in data and disinterest could be exploited to further support the selfish, capitalist goals of its rulers.

Sidewalk Labs is a subsidiary of Alphabet Inc, a company created by Google in 2015 to parent all of their existing ventures, including Google itself. Quickly following this, the organisation began developing a proposal for a smart city on the Toronto eastern waterfront. A large majority of the public aren’t aware of the organisation’s restructuring and don’t recognise the name. This allows Google to branch into new territory without immediate connections being drawn to their international reputation. All components of the city’s infrastructure will have attached sensors, delivering real-time measurements. For example, the design and efficiency of transportation is said to be improved by constant updates on energy usage and traffic statistics.

The environmental improvements of the operation are in keeping with the aims of what has been dubbed, ‘The Collaborative Commons’. The Collaborative Commons is a shared post-capitalist vision whereby emerging smart technology will be used in homes to improve the conservation of energy and in turn reduce running costs. In this utopia, people will become liberated prosumers, capable of self-producing products, with 3D printers. The willingness to share free material online also will play a crucial role. By employing green appliances, all parts of the process will be brought to a ‘near-zero’ cost.

Sidewalk Labs include similar methods to maximise the usage of appliances but differ in wishing to take power away from residents and increase their own profits. In a smart home, mechanisms automatically adjust in accordance with recorded figures, of which, the homeowner can see. In a city, a governing body can decide on the visibility of results. Both goals towards sustainability and the public’s faith in data will arguably be exploited in the smart city model to conceal genuine self-interest.

By implementing detectors within all parts of the infrastructure, Google can use data to justify any future developments within the city, but there is no guarantee it won’t be falsified. To avoid being overturned, capitalism must take advantage of new industries or global issues. The anxiety felt by the public and their efforts to follow pandemic guidelines will be exploited in a similar way to how the Collaborative Commons has been.

A primary concern in the current crisis is our distance from the figures presented. The death toll put forward by countries, such as China, is probably unreliable. It is also alleged that Chinese authorities prevented the media coverage of the early outbreak as they believed the negativity would damage the party’s reputation. This highlights the extent to which dissemination and censorship plays a role in reinforcing a hierarchical structure.

Social distancing is unquestionably a logical step in slowing down the virus, but it inadvertently removes the voice of communities. The separation of citizens to specific regions and the removal of public space as a place for discussion, means news can be more precisely targeted. If the virus didn’t prevent people from working, the division would completely fulfil capitalist dreams.

In these circumstances Facebook and Twitter appear as emancipatory tools of expression, however this is mostly an illusion. Officials of many countries have allegedly infiltrated such sites to spread disinformation and to create conflict with other nations. A wide range of personal details, including location, can be extracted from profiles and used to improve the impact of fabricated stories. Vague media coverage is strategically put out to allow economic stability to be prioritised, without public intervention. Once again platforms are being misused to subtly alter perception and their success is due to how we’ve become acclimatised.

The longevity of the Toronto Waterfront, or ‘city-within-a-city’, project will strongly rely on the transmission of news. Torontonians, convinced by the perks of the plans, will move to the space and gradually follow the corporation’s mission statement. From there, networks within the space can be tampered with to block out or slow down the circulation of external news. Conflicting views will be removed from media coverage to ensure the continual submission of residents, a technique the Chinese government have recently adopted to prevent resistance. Individuals will be given agency over common areas, but it will no longer be a place for political discussion. The autonomy over parts of the land will work as an illusion of democracy within an anti-democratic system.

In some ways the limitations are comparable to present lockdown conditions. Recently, surveillance, tracking our movements in such areas, has increased, or at least has been made more transparent. We have become inactive spectators. We are informed that these measures are for our own benefit and are only taken to ensure social distancing is being carried out. Once the capitalist slogan, ‘there is no alternative’, is instilled and believed, the power of the corporation is boundless.

A news broadcast could inform us of additional pandemic restrictions tomorrow, without consultation. The laws aren’t fixed, and deception can still come into play at a later date. Equally, the transition back to typical policing, following the lifting of the lockdown, could be timely or, if we are not careful, non-existent.