Thursday 21st August 2025
Blog Page 641

Is video assistant referee anti-football?

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‘Referees only have one aim: to protect themselves.’ When asked to discuss new rules from the International Football Association Board (IFAB) regarding handballs, now sanctioning any potentially leading to a goal scored, regardless of intentionality, Michel Platini erupted. The former UEFA boss, answering L’Equipe‘s questions, sees it as an additional step in the path started by the introduction of Video Assistant Referee (VAR) systems towards an interpretation-less, box-ticking way of refereeing football. A few months after the first ever World Cup to use such assistance, and as a follower of a league (the French Ligue 1) that also has video support, I fully agree with the legendary French number 10: VAR must stop.

VAR goes against the essence of a game in which the referee is more than a robot ticking boxes, more than automatically responding to clear-cut yes/no situations. In that sense, let us leave goal-line technology for now: I am in favour, as there is no room for debate in that respect (the ball is in or is not) and technology helps the referee within a matter of seconds, a crucial point that I shall return to below. Otherwise, interpretation is key. The referee and his human judgement, prone to mistakes, are part of the game. VAR only postpones the problem of interpretation, without solving it. For instance, even after dozens of slow-motion viewings of Perisic’s handball, most people cannot agree about whether or not France should have been awarded a penalty after VAR intervention, a couple of seconds before half-time in the World Cup final against Croatia, back in July.

One might argue that I chose a particular example, helping my point. There are, however, many others: despite hating PSG deeply, I could not help but think that the penalty, given against Kimpembé for a handball in the round of 16 fixture of the Champion’s League against Manchester United after video assistance, was extremely harsh (and most French pundits believe it should not have been awarded). Chiellini’s dive following Morata’s very light “push” in the first leg of Atletico-Juventus, leading to a goal being cancelled by VAR intervention, is another example of a moot decision. In fact, watching French league games every week, I can confirm that moments where the decision taken after VAR is not debated are extremely rare. Some will argue that it is just a matter of time, and that the system will improve as we use it more. However, I believe that the contentious nature of football’s laws of the game makes these moot cases the rule rather than the exception.

The Perisic example illustrates how useless VAR is with most cases of handball in the box: technology certainly does not end debates about referees’ decisions. This was predictable, given the delicate nature of assessing a handball offence: the referee, taking into account elements that are debatable in essence, such as whether the arm makes a movement towards the ball, and whether the distance between the arm and the ball was big enough for the ball to be “expected”, delivers a human judgement (once again, one of these that make football refereeing so special) to decide whether the hand contact was deliberate. VAR does not help to solve controversy on these issues.

VAR is used, of course, to judge whether a penalty should be awarded for offences beyond handball. It does not make matters easier in a lot of cases. Giving a foul is a lot less simplistic than what most fans and even professional players assume (“I played the ball ref”), since playing the ball is just a criterion among others in judging whether or not a challenge is illicit (in other words, there is no rule that says “the ball was played so no foul should be given, and vice-versa”). Whether the use of force was excessive is another one – which is again, moot and varies from referee to referee in given situations. Similarly, mere contact is not enough: in many cases, the referee tells a player who went down to play on since the contact, albeit real, was not deemed enough to make him fall or lose the ball.

There are two counter-arguments to this point. The first is to say that there remain clear-cut cases that are sometimes missed by the referee and should be sanctioned. True, but so rare that they do not warrant the use of VAR given its costs (on which I shall elaborate later). The second is that VAR helps interpretation by slowing the action down and allowing the referee to review it. I see many problems with that. The first is that if the issue is to remain controversial anyway, due to diverging interpretations across referees or football fans, why bother with VAR (bringing us back to the issue of its costs)? Why not have the interpretation be done live? The second is deeper and a lot more problematic. VAR distorts actions and judgements due to slow-motion. Any contact is amplified. Mark Clattenburg, a former top-level referee, now retired, arguing that Kimpembé’s handball should not have been given in the Daily Mail, says slow motion makes things ‘look worse.’

In that regard, Chiellini is probably the first player to ever cheat VAR so blatantly. There is no way Morata prevents the Italian defender from challenging the ball, but reviewing the action time and time again led the referee to take the risk-less option since there is a very mild contact. Controversy avoided. The same applies for handballs: even if they should not be given, or at least, there is a strong case against (Perisic and Kimpembé examples), the easier option for the official is just to stop thinking and give it. The pressure is too big to do otherwise. In that sense, it is, in fact, very debatable whether or not VAR improves justice. More than moving the interpretation away from live action very uselessly, VAR also changes the nature of football refereeing in a non-desirable way.

The case of offside is illustrative about the costs. Very often (aside from cases where the referee has to interpret whether the offside player really affects the play), offside is said to be a clear-cut, yes or no decision. First of all, this relies on accepting that video footages are more accurate at stopping the image at the right time than the linesman’s eyes, which, trust me, is not self-evident (at least in most French league games I watch). But even accepting that technology is an improvement in that regard, for the sake of the argument, does that vindicate the use of VAR? Not in my opinion.

Most blatant offside positions will be spotted by the referees. For closer cases, the offside rule has always been acknowledged to be imprecise and FIFA itself has always included recommendations about the benefit of doubt for assistant referees (which, way before VAR, goes in the way of the attack, the referee being recommended to keep his flag down in case of doubt). Using VAR for a mere matter of centimetres is absolutely ridiculous, given the costs. Football, contrary to other sports using technology, such as tennis or rugby, is not a sequential game: play is extremely continuous and flowing. Waiting for the hawk-eye call is, for tennis fans, not any longer than waiting for Djokovic to bounce the ball 15 times before serving (and another 15 times if the first serve does not go in), or for players to switch ends every two games: it is completely minor.

As for rugby, I acknowledge some waiting times that occasionally seem long, but again, given the number of breaks in the effective time of play (after a try and before its conversion, before scrums, before line-outs for instance), this is a lot less disruptive than in football. Anyone who ever watched a football game where fans celebrate a goal before its cancellation by the referee after 5 minutes of deliberating over 5 centimetres offside will agree that this is horrible. Anyone who watched the second half of extra-time between Roma and Porto in the round of 16 of the Champion’s League, interrupted in both boxes for interminable discussions between the referee and video-assistant, will agree that this is killing the spontaneity of the game.

Football is a sport that magnifies mistakes like no other. For players, a poor touch can end up in a nutmeg, a shin volley can go top-bins, a missed cross can turn into a screamer. Referees make mistakes, like the players, and, as we saw, attempts to make the game mistake-less through technology are flawed. Football makes any fan go through every possible emotion in 90 minutes, and the human aspect of refereeing is part of that. Maybe it is time to accept that referees are part of the game and not robots: their desire to protect themselves is understandable, given the immense pressure managers, players, fans and owners put them under.

Sadly, football seems to be drifting away from what makes it unique as a generator of incredible emotions. Indeed, the only way to make VAR work is to change football laws to reduce the room for interpretation. In fact, the recent change in handball rules follows this logic exactly: the deliberate handball notion has been reduced, with any handballs now being sanctioned in certain cases. It is to be feared that more and more reforms will follow the same reasoning. Football is moving in the dull direction of box-ticking, away from the roots that made it the most popular sport in the world. Human refereeing and its implications – interpretation, disagreements, and, very occasionally, mistakes, should be part of it. My game is a game where the referee is down there, in the middle of the park, being a part of the footballing theatre. Not an umpire comfortably seated on a chair, seemingly protected by a technology designed, but failing to, suppress any controversy.

Oxford Boat Clubs announce crews for April’s race

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Oxford University Boat Club (OUBC) and Women’s Boat Club (OUWBC) this morning confirmed their crews at the City Hall, London for next month’s Boat Races.

The Men’s boat is identical to the crew that was named for last weekend’s fixture against Oxford Brookes, a race that was postponed due to high winds.

The crew weighs in at 719.6kg, 19.6 kilos lighter than the 2018 crew but nonetheless a shade heavier than their Cambridge counterparts, who weighed in at 718.3kg.

In the Women’s boat Oxford will concede roughly a 10kg swing, with the boat tipping the scales at 568.8kg compared to the 578.3kg of the CUWBC.

OUWBC will head into the race with 2 returning members of last year’s defeated crew, naming both Beth Bridgman of St Hugh’s and Keble’s Renée Koolschijn, although both have shifted position in the boat, with Bridgman moving from Stroke to position 6, and Koolschijn from Bow to position 3.

The situation is mirrored in the Men’s boat as OUBC president Felix Drinkall and Christ Church student Benedict Aldous – who last year replaced Joshua Bugajski at the eleventh hour in a decision shrouded by illness – are the only survivors in a youthful-looking crew.

The average age of the Oxford Men’s boat is 21.8 years-old, a historically low figure accentuated by the presence of four undergraduate scientists in the aforementioned duo of Drinkall and Aldous, as well as Charlie Pearson and Tobias Schroder.

This is in stark contrast with the CUBC crew, who sport an average age of 26.3, after the decision to include two-time Olympic gold medallist James Cracknell in the boat. Cracknell qualifies for selection as he is studying for an MPhil in Human Evolutionary Studies at Peterhouse College, floating the idea on Twitter as early as July 2018 alongside the hashtag “#NeverTooOld”.

The OUWBC crew have an average age of 23.9 years-old, slightly younger than the 24.3 years-old of the Cambridge Women’s crew.

The Light Blues comprehensively swept all 4 races last year, including a first victory in eight years for the Cambridge reserve boat Goldie over Isis, a dominance hitherto unseen since the move to stage each race on the same tideway in 2015.

Cambridge now lead the standings in the Men’s race 83-80, whilst they boast a greater advantage in the Women’s race, notching 43 to Oxford’s 30.

This year’s Boat Races take place on Sunday 7th April, with the Women’s race commencing at 2:15pm, followed by the Men’s race an hour later at 3:15pm.

The bookmaker William Hill has priced up the Men’s Race on their website, rating it a closely-fought affair, going 8/11 about Oxford and evens for Cambridge, with the possibility of a dead heat rated a 50/1 chance.

OUBC Crew:

Bow: Achim Harzeim, Oriel, 26yo, 88kg

2: Ben Landis, Lincoln, 24yo, 82kg

3: Patrick Sullivan, Wadham, 23yo, 92kg

4: Benedict Aldous, Christ Church, 21yo, 94kg

5: Tobias Schroder, Magdalen, 19yo, 94kg

6: Felix Drinkall, LMH, 19yo, 84kg

7: Charlie Pearson, Trinity, 20yo, 82kg

Stroke: Augustin Wambersie, Catz, 23yo, 89kg

Cox: Anna Carbery, Pembroke, 21yo, 54kg

OUWBC Crew:

Bow: Issy Dodds, Hertford, 69kg

2: Anna Murgatroyd, ChCh, 68kg

3: Renée Koolschijn, Keble, 73.8kg

4: Lizzie Polgreen, Linacre, 60.7kg

5: Tina Christmann, Worcester, 72.2kg

6: Beth Bridgman, St Hugh’s, 70.4kg

7: Liv Pryer, Teddy Hall, 77.3kg

Stroke: Amelia Standing, St Anne’s, 74kg

Cox: Eleanor Shearer, Nuffield

Pitt Rivers collaborates with Shuar representatives to review shrunken heads display

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The Pitt Rivers Museum is reviewing its display of shrunken heads after concerns were raised about the sensitivity of the display. The museum has engaged in a project with representatives of the Shuar people of the Amazon rainforest and the San Francisco University in Quito to consider the future of the exhibits.

They hope to collaborate to do further research on the shrunken heads, known as tsantas, through DNA analysis and CT scanning.

Shuar representatives are concerned that the current display does not accurately represent their cultural practices.

The tsantas are part of a case exploring the ‘Treatment of Dead Enemies’. On display since the 1940s, they are one of the museum’s most famous exhibits.

The tsantas were made by Shuar and Achuar people of Ecuador and South America, for whom they have significant religious meaning. Heads were taken and preserved to obtain the powers associated with that person. However, the practice stopped in the 1960s.

The museum’s director, Laura van Broekhoven, is considering all options, including repatriation of the tsantas to Ecuador. However, through working with the Shuar to ensure the cultural significance of the tsantas is properly explained, the museum may continue to exhibit the tsantas in an updated display.

A spokesperson for the Pitt Rivers Museum said: “As we believe in open dialogue, mutual respect and understanding, we are entering into these discussions with an open attitude on what should be done.

“From our initial discussions in Cuenca, it is clear that it is important to work on this together and to foreground self-representation. What we feel is important is to ensure that the story we tell is one that engages in historically accurate and contemporary relevant ways with this practice and the fact that objects were collected.”

“The PRM is aware that is needs to review the way that human remains are displayed.”

The tsantas were acquired by the museum from six different collectors. However, in several cases little more is known about their origins and how they came to the museum. There are some concerns that the tsantas brought to the Pitt Rivers and other museums may have been obtained through violence on the part of collectors.

Laura Van Broekhoven, director of the Pitt Rivers Museum, told The Art Newspaper : “Many think of these objects as bizarre, gruesome, barbaric, a ‘freak’ show. The practice of headhunting, instead of being better understood, is misunderstood entirely. The Shuar communities do not want to be represented in these stereotypical ways.”

The museum is also hoping to invite Shuar representatives and Ecuadorian researchers to Oxford. They submitted a request for funding to the Arts and Humanities research council for a project entitled Colonial Legacies and Contemporary Relevancies: co-creating futures in the ethnographic museum. In this project they envisage undertaking research and co-curation with Shuar representatives and co-curators.

However, collaborative work with the Shuar has encountered challenges due to the current circumstances of the Shuar community, who number about 40,000.

A spokesperson for the museum said: “We hope to make progress soon but we also know that these projects depend on many external and internal factors that are beyond anyone’s control. In this case, one of the difficulties is that the Shuar are now involved in difficult and divisive decision-making processes over concessions concerning mineral exploitation on their lands and we have not had a chance to progress a further visit of Shuar representatives to the Museum as had been hoped.”

Similar questions about the ‘Treatment of Dead Enemies’ exhibits have been raised previously. A few months ago, the museum removed two scalps from the display after Native American communities objected, saying their culture was not being accurately represented.

The discussions come during a wider debate about the display of human remains in museums. The University itself has previously returned Māori and Australian Aboriginal remains to their communities from the Oxford University Museum of Natural History and the Pitt Rivers Museum.

The museum is also considering how best to fulfil obligations set out in 2005 government guidance on human remains, which states: “Human remains should be displayed only if the museum believes that is makes a material contribution to a particular interpretation; and that contribution could not be made equally effectively in another way. Displays should always be accompanied by sufficient explanatory material.”

Cambridge women’s college faces criticism for decision to admit men

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The college revealed on Monday 11 March that it would be admitting male and female students from the standard university age of 18 from autumn 2021.

Previously, Lucy Cavendish accepted women over 21, and was one of the three remaining women’s colleges in the UK, along with Newnham and Murray Edwards Colleges, both also at Cambridge.

All of Oxford’s former women’s colleges now accept  men, with the final one, St Hilda’s College, admitting the first cohort of male students in 2008.

The principal mission of the college when it was founded in 1965 was to enable mature women to study at Cambridge when women were “severely under-represented” at the University.

President of the college, Professor Dame Madeleine Atkins, said: “Women of all ages now have access to all Cambridge colleges as undergraduates, graduates and Fellows. As a responsible and forward-thinking organisation, it is now important for Lucy Cavendish College to offer opportunities to excellent students from non-traditional backgrounds, regardless of gender.”

The announcement was made after a series of consultations with alumnae, current students, Fellows, donors and staff. According to the college’s official statement, over 2600 people were involved in the decision-making process. The statement alleged that “the vast majority of respondents supported the College in ‘going mixed’”.

However, not everyone was happy with the decision. In response to the move, feminist writer Germaine Greer told The Daily Telegraph: “I think women get on better in their own environment. They are not being watched or judged on their sexual charms and whatnot, they are at home.”

Lucy Cavendish alumna, poet and writer Caron Freeborn tweeted: “So now women like I was won’t get a chance to study in a safe environment. Beyond grief. Shame on you.”

Anne Bruton also wrote on Twitter of her old college: “Lucy Cavendish was founded by female academics who believed the university offered too few and too restricted opportunities for women. They have lost what made them special.”

One current student at the college, who wishes to remain anonymous, told Cherwell: ” [The changes] have taken away one of the safe spaces that women have in the world.

This is especially true for mature women, who need that supportive environment during her university days. Going back to school full-time at a later age means giving up a job, as well as deal with family and childcare (if she has one).

Evidence-based research shows that women have lower self-esteem than men, hence, if we think back about the woman who decided to quit a job she’s good at for a degree, her self-esteem would not be as high as a man who also quit his job for a degree.

She will need extra support, her own space living and studying space and her own community where she felt safe and secure in herself. 

By giving up her unique admissions policy, Lucy Cavendish run the risk of no longer being able to be true to its original ethos in supporting the education of mature women.”

The college has pledged to be “mindful” of students’ concerns with commitments to provide women-only accommodation to those who request it for “personal, cultural, or religious reasons.”

Honorary fellows of Lucy Cavendish college include actress Dame Judi Dench, TV presenter and founder of the Women’s Equality Party Sandi Toksvig, and writer Ali Smith.

Proposal to close Language Centre Library meets staunch opposition

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Plans by the University to close the Language Centre Library at the end of Trinity Term have been met with a petition signed by over 1,200 people.

The petition, started by the current Language Centre librarian Lucile Deslignères, has received support from groups including the Oxford University French Society and the German Society.

The Language Centre cites “low and declining usage” as the principal reason for closure. However, according to the petition official library statistics show usage has risen by approximately 75% since 2012.

The proposed plan would involve splitting the current collection around other locations in Oxford, while sending a number of works to the bookstack in Swindon.  

Subject Consultant at the Taylor Institution Library Nick Hearn described the decision as “one that threatens to destroy a collection of national importance embedded in and very much part of the Language Centre.”

He went on to state that the closure would “have a knock-on effect on other libraries in Oxford–including the Taylorian.”

The Oxford branch of the University and College Union also expressed their concern about the proposed closure. Co-Vice-President Svenja Kunze called on the governing body to conduct a “full consultation with all stakeholders, including the Language Centre and the wider Oxford University students and staff.”

An Oxford University spokesperson told Cherwell: The number of registrations at the Library has fallen considerably in recent years […] in the light of this declining usage, the increasing availability of online learning materials, and the need to increase efficiency, we are currently consulting on proposals to move many of the library’s holdings to the Bodleian Libraries.

“Locating the relevant library resources in the Bodleian libraries would retain them for language study in Oxford, and preserve the diversity of language materials that has been built up. Better disabled access to the resources would become possible, and the resources would be accessible for longer opening hours than at the Language Centre.

“The Language Centre is the University’s hub for language learners, and we are committed to ensuring it continues to provide a high-quality service for students, staff and other learners.”

Those opposing the library’s closure reference British Council statistics, which show a decline in language learning since the 1990s. In a letter to the Oxford Magazine, Co-Vice-President Kunze expressed concern “about the message the University is sending about the importance of language learning: at a time when the teaching and learning of foreign languages is at an all-time low in British schools.”

An email was sent out on Wednesday of 8th week to let students know that consultation was taking place on “proposals to move many of the library’s holdings to the Bodleian Libraries.” The email was sent only to those currently enrolled in the Language Centre and gave no mention of closure.

A recent post on the Language Centre website confirms that the consultation will be ongoing until the 31st of May.  Students and staff have expressed disappointment to Cherwell at being notified so soon before the vacation.

The library is the most diverse facility of any UK language centre, with over 200 languages represented, and has been cited as a model of excellence by the Russell Group.

In addition, the librarian and extended-hours assistants would see their posts abolished, with no equivalent roles being created as substitute.

Corpus Christi JCR calls for Parks College plans to be stopped

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Corpus Christi College’s JCR Executive Committee has sent an open letter to the Vice-Chancellor objecting to the proposals for a new postgraduate college. The letter argued the University had failed to engage sufficiently with University members regarding the proposals, and suggested that “this college has no goal other than increasing student numbers.”

Parks College, a new postgraduate college proposed by the University to begin accepting undergraduates in 2020, aims to “draw together researchers from different disciplines to explore some of the big scientific questions of our time.”

The new college will use the Radcliffe Science Library site as part of the library’s redevelopment. The college will also aim to provide accommodation elsewhere. The Corpus Christi Executive Committee believe that “The “co-location” of Parks College and the Radcliffe Science Library will undermine both.  Every space is temporary: a room will one day be a library, the next, a seminar room, the day after, a public exhibition.

“How can academia flourish without a permanent space? The students and fellows of Parks College will instead remain confined to their respective Departments, defeating the ideal of interdisciplinary studies.”

Students also raised concerns about their opportunities to engage with the University on the Parks College proposals. During a JCR meeting about the letter, its author, Ed Hart, said: “I think it’s important to push against the lack of communication. It is a huge project and was pushed through within three months.”

In the letter, the committee wrote: “The proposal has been made with little to no attempt to engage with University members. The proposal was first mooted in August, in the provisional 2018–23 strategic plan, and it was presumed the creation of any college would be closer to 2023 than today.

“The plan was confirmed after the end of Michaelmas term 2018, after the publication of the final Gazette of the year, preventing serious discussion of it.

“Now, it is to be rushed through Congregation, with plans to hire fellows in just three months’ time. Meanwhile, student and faculty publications fume incredulously and faculties have been left expressing surprise that an important laboratory may become a dining hall.

“We find it concerning that such a monumental decision has been made without adequate consultation of the students you claim to represent.”

The committee also raised concerns about the purpose of the college, since it does not have an overtly outreach focus.

They said: “The proposed college fails to embrace Oxford’s long history of founding colleges to include those from marginalised backgrounds and to improve the lives of those outside the College system. Consider the foundation of the women’s colleges, the foundation of Mansfield College for non-conformist Christians and the foundation of St Catherine’s and St Cross for those without college affiliation.

“Parks College fails on both counts, its website paying lip service to “[embracing] internationalism and diversity” and the benefits of college life.”

“120 years ago, Ruskin College, Oxford, was founded to expand education access to adults with few or no qualifications. It embodies many of the qualities admired in the University’s own colleges. Parks College has none of them.

“The University offers nothing – a half-hearted college, cynically preying on outsiders’ unfamiliarity with Oxford – in return for self-aggrandisement and tuition fees. This proposal demeans the University and the Colleges. It must be reconsidered.”

Responding to the letter, Professor Lionel Tarassenko, Senior Responsible Owner for the Parks College Project, said: “Parks College addresses one of the key education priorities in the University’s Strategic Plan, which is to increase the intake of graduate students across all four divisions by up to 850 a year by 2023, while maintaining quality.

“It will enable the University to grow the number of graduate students, but without upsetting the balance between undergraduate and postgraduate student numbers in mixed colleges or imposing unrealistic targets for growth in the existing graduate colleges.

“The proposed new graduate college will actively promote interdisciplinary exchanges between researchers from across the four academic divisions. It will offer graduate students a rich and stimulating intellectual and social experience, on a par with that at the other graduate colleges.

“And, as with other graduate colleges at Oxford, it will have an outward-looking and inclusive ethos, which embraces internationalism and diversity. As with St Cross College when it was founded, the Fellows of the college will be University professors and researchers who do not currently have a college affiliation.

“Far from leading to a loss of library facilities, the Parks College project presents an exciting opportunity to redevelop the science library and its services to align more closely with the needs of scientists in the 21st century – students, researchers and other academics.

“The proposals for the new college have been discussed with graduate student representatives, the staff of the Radcliffe Science Library, and at meetings of numerous University committees, including the Curators of the University Libraries, Education Committee, Conference of Colleges Graduate Committee, Conference of Colleges, Finance Committee, Personnel Committee and Council. Throughout this consultation process, the plans have been gradually evolving to take on new ideas and to ensure that concerns raised are understood and addressed.

“The plans for the new college and the allocation of space were approved by Council on 11 March, and will now be put before Congregation in early Trinity term. The OUSU VP for Graduates is a member of the Programme Board which is responsible for the development of the plans.

“We are actively encouraging students to participate in the planning for the new college. We have been running Q&A events for students in partnership with OUSU, and we are inviting students to help shape the academic blueprint of the college at a series of focus groups, which will take place in late April and early May.”

In the motion for the JCR Committee to sign the letter, the Corpus JCR President Rhiannon Ogden-Jones was also mandated to discuss the issue with other JCR presidents and the Corpus MCR to seek their support. The motion was passed with 13 votes for and 2 against.

The University have been contacted for comment.

NoFriendz: “Show up next time Oxford, you bastards”

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NoFriendz have no friends. No wonder. They throw cans, they’re “belligerent…not very nice people”. But despite singer Angus Knight’s self-assessment, NoFriendz are pretty great. They’re brilliant live, he’s a great performer, and, as far as I’m concerned, a genuinely nice guy.

I met him when the band opened for Cabbage at the O2 Academy. About 15 people stood at the back wall of the small upstairs room, mainly musicians or crew. The others fit into three categories: young men, gagging to tell you their eclectic tastes, young women, teenagers, who are only here for Cabbage and aren’t ready for a band like NoFriendz, and finally, middle-aged men. They, at least, understand the value of what they’re looking at. Or they did until Angus chucked a can and it hit one of them.

Nevertheless, NoFriendz seemed unphased by the lacklustre crowd, giving a tight set, with Angus up to his usual antics. Except obviously they were phased, because it’s shit that no one cared. They should. NoFriendz should be playing to more than 15 people, for more than £50.

The band started as a joint venture with a friend “who couldn’t play drums” on drums, and Angus singing Katy Perry over noise from his guitar. “Now we’re as insignificant as we were when we started” he proclaims, “I’m happy no one’s showed up to see us play – they don’t deserve it!”.

Their debut album, a split with Chupa Cabra released on Trashmouth, is all Angus’ work, and tonight, he believes the band have never sounded better. He asks me for any footage to see how much of a “twat” he looked. At one point he’d fallen offstage, taking a monitor with him – fairly toned-down behaviour for the band, but a shock to the O2.

Afterwards Angus tells me what NoFriendz are up to. “Throwing cans at people. Being the worst support act possible. Just trying to stay together, I guess”. The lads have gone through 10 different members in the past year. Angus believes he’s “quite hard to get on with”.

As their song ‘Ballad’ puts it, they’re a mess. But it’s a good mess, a mess that makes incredible music and speaks for that voice we all have, the one that says, “you’re shit and so is everyone else”. We ignore it, but NoFriendz don’t. They’ve got no concrete recording plans for the future but will do something soon, after all “there’s no point fucking stopping now”. Each gig gets better, “unless I get my knob out again, that’s terrible”.

“Show up next time Oxford, you bastards… kiss my ass. You don’t deserve NoFriendz” are Angus’ final remarks. It’s hard not to agree with him. If you don’t show up you won’t know what you’re missing, and it might not always be around to see.

Students win £10,000 prize for using artificial intelligence cancer diagnosis kit

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A team of five students have come first in the Oxford Foundry’s All-Innovate Competition, winning a prize of £10,000 for developing a new cancer diagnosis platform.

DECancer.AI artificial intelligence detects early cancer through analysis of an affordable blood test and the patient’s medical history, allowing for early treatment and care and increasing the chances of the cancer being cured.

The All-Innovate competition is the first business idea competition held at the University of Oxford, engaging over 200 students from 21 colleges. Each college selected their best teams to go forward to a one-day boot camp. There was also a series of 24 workshops organised by the Foundry, focused on delivering and implementing ideas.

Member of the winning team and DPhil student in Clinical Medicine, Peter Liu, told Cherwell: “The Oxford Foundry provided a fast-paced and multi-disciplinary learning experience on innovation and entrepreneurship through the All-Innovate Idea Competition.

“From the Saturday boot camp for shortlisted teams to the week-long boot camp for finalists, focusing on public speaking, delivering pitches, and implementing ideas, we were challenged to think critically about our start-up and tangible steps to move it forward.”

When asked about the diagnostic platform, Peter Liu told Cherwell: “Cancers with the highest mortality in the world are often diagnosed too late, and early diagnosis saves lives and money for healthcare systems.

“Unfortunately, current diagnostics, including invasive tissue biopsy and complex imagining, cannot detect cancers early. Liquid biopsy offers a solution; it is a blood test that detects cancer materials shed into the blood.”

“DECancer.AI is an artificial intelligence based platform that analyses multi-dimensional liquid biopsy results and personalised patient medical history to detect cancer early.”

By detecting cancers early, the platform would “enable effective cancer treatment at the earliest stage,” Liu explained.

Liu told Cherwell that the team “hopes to do their part in the fight against cancer, providing hope for patients and their families.”

The competition offered two other prizes, for the best undergraduate and postgraduate teams, worth £5,000 each.

August’s Here Already

The idea of bringing together musicians, producers and composers inspires us to imagine the possible musical creations they would devise. August Greene, (lyricist extraordinaire Common, genre defying pianist Robert Glasper, and jazz drumming titan Karriem Riggins), brings this chimera to reality. The A-List hip-hop band and their eponymously titled debut record delivers a wealth of well-seasoned, head-bopping tracks.

The brainchild of Common, August Greene was formed after frequent collaborations between the musical trio. They draw on their individual accomplishments to assemble an array of evocative vignettes on the African American experience. Common has an extended oeuvre ranging from his Soulquarian era to his Kanye West-produced G.O.O.D. Music, Glasper has spent his entire career flitting between hip-hop and jazz; Riggins, a prolific producer, is famed as much for his own work as he is for his collaborations, ranging from Oscar Peterson to Paul McCartney.

The harmonic and melodic scene is set by Glasper and Riggins. The tracks are flush with gorgeous Steinway-esque harmonic textures, generating images of the isolating, contemplative cityscape of New York. Riggins, with his tight percussive loops, displays a heightened awareness of the mood of each song with their idiomatic sensitivity.

‘Optimistic’ (a Sounds of Blackness cover) is indicative of these nuances, with the trio marrying Brandy’s beautiful vocals and gospel expressions with Glasper’s and Riggins’ instrumentation. Although frustrated with the state of US politics, Common focuses on the experience of African Americans, and ways in which America as a collective can uplift itself.
Optimism and black excellence are central tenets to this ideology, as Common flows through bar after bar, eloquently espousing the cure to the societal ills that have struck America.

With ‘Black Kennedy’, Common discusses the reverence Americans bestow upon political family, conflating it with the nobility of African American identity: “Black Kennedy / royalty with black identity”. Common tells us that the way to codify this conception of African American identity is through collective action, placing himself as the spearhead for this movement and associating himself with another political dignitary, Barack Obama: “We must embark to passion mark the people / Had our first black prez, I’ma be the sequel”. Equally, Glasper’s piano outro connects black Atlantic musical styles with Classical royalty such as Glenn Gould.

Common and co. demonstrate that career longevity does not necessarily entail a commitment to antiquated musical trends. Rather, by concentrating their perspective on the now through a musical lens, all three artists remain as original as ever, responding to the political turmoil that has engulfed the US with musical and lyrical conviction.

Cambridge carnage creators conquer Oxford

Seeking shelter from the sun, I decided to head underground to the musical hub of Cenral Oxford. Descending to the depths of Cellar, I found three bands perfect for future listens.

London indie fourpiece Old Swing were up first. Their studio sound is mirage-like melodies, supporting soft summery vocals. However, in the shoebox-sized Cellar the drums stole the show, giving these guys a grittier edge. Rhythm and lead mixed perfectly, at times feeding us funk, at others sounding like synths, and the bass was infectious. They ended on a song called ‘Time’ – but we wanted them to go on. Already a wellknown crowd-pleaser, a rocked-up rhythm and extended outro sealed the deal on a performance which was both solid and soulful.

Next up were Buckinghamshire threesome SEAFOAM. Kicking things off with ‘Distractions’ it was clear these guys were a well-versed performance powerhouse. Jim Terrill’s vocals cut clearly through reverbed guitars and the rhythm section kept it exciting, playing a set that was tight and thrilling. Again, their music usually sounds like summer days, but tonight proved them men of all seasons. ‘Outside’, the opening track of their debut EP of the same name, is falsetto indie-pop personified, but was immediately followed by the Nirvana-tinged track entitled ‘The End’.

But it wasn’t the end. The guys debuted a few new tracks, all of which hit the mark. At times, they sounded like Mac Demarco, but at half the speed and with double the soul. At other points, they had the bubbling bass of The Growlers. But it was clear from the off that they should stick to the singing, and discard their irritating tendency to add unnecessary spoken word pieces into songs. Why try and be a poet when you’ve nailed being a singer? This was only a minor complaint, however, on a performance which had both strength and depth.

Next, Sports Team took to the stage. These guys are so laid back they’re horizontal (a fact demonstrated by singer Alex Rice’s frequent lying down), but they’re far from lazy. They careered, cranium-first, into the chaotic ‘Camel Crew’, but despite the live madness Alex’s theatrical vocals and the shouted responses from the other bandmembers could be
clearly heard.

The six-piece met while studying at Cambridge and released their debut EP Winter Nets earlier this year. On the music video for their best track, ‘Beverly Rose’, Alex takes the mick – now, live, he takes the mic, wandering into the audience. He is the perfect frontman, cracking jokes between tracks before dancing behind the microphone. This is all countered by a maracas player who maddogged the audience the entire time.

They have variety: ‘Kutcher’ is a fast-paced rocker, ‘Winter Nets’ is indie perfection. It all finished too soon, but ‘Stanton’ is the perfect closer. With its twelve-bar rhythm, fantastic opening lyric, and gradual build to chaotic crescendo, it was no wonder the moshing monsters were out in full force.

By the time the band left the stage and I left Cellar rain was falling. Summer was over, but Sports Team are just beginning. Mind you catch them while you can – I don’t think they’ll be playing in the lower tiers for too long.