Thursday 9th October 2025
Blog Page 846

Love Oxland: “If she were a true fan of Rick and Morty, she would be able to quote it verbatim.”

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Samuel Juniper

Third Year, Maths

Somerville

Going to a bar with a total stranger was far less awkward than I feared it might be. Claire and I quickly found common ground over cocktails, philosophy, and our respective parents’ contempt for our respective cartilage piercings. However, at one point I dropped a quote from Rick and Morty in conversation, which she failed to notice. Frankly, I was disgusted. If she were a true fan, she would be able to quote season 1, episode 8 verbatim, like me. Despite this unfortunate impasse, I thought she was great company, and the evening flew by. She appeared far less keen to cycle after a few drinks than I was, so I rolled her a cigarette and walked her home. Who said chivalry was dead?

What was your first impression?

She accidentally blanked me

Chat?

Better than this answer

Personality?

Sweet, sarcastic, sanguine

Any awkward moments?

She accidentally blanked me

 

Claire Castle

Second Year, Keble

PPE

Being five minutes late (as normal), I was slightly on edge when I arrived. This was not helped by the fact that I walked straight past Sam before realising who he was. Initially, his brightly coloured jacket and cartilage piercing made me worry that he was “too edgy for me”, but I quickly learned that he actually studied maths. Luckily, conversation flowed pretty well; ranging from TV show opinions, to run-ins with the Somerville/Keble nurse, to philosophy and existential considerations. Sam was funny and friendly, and even walked back with me when I was too much of a wimp to cycle home after a few drinks.

What was your first impression?

Charity shop chic

Chat?

A mix of funny and mildly dark

Personality?

Edgy nerd

Any awkward moments?

Nodding along to a maths chat

Basquiat brought to life at the Barbican

The whole foyer was bubbling with childish excitement, and this did not decrease; in fact, upon entering the main exhibition space, the atmosphere was positively abuzz as people talked and greeted and gawped and whispered all while jazz floated through the rooms from indeterminable sources. While this could easily be explained away by the fact that this is an unprecedented event for Britain, being the first ever large scale exhibition in the UK of the American artist Jean-Michel Basquiat, it was more than that; there is also an undeniable energy, which has been infused throughout by the curators, and works as the perfect celebration of this eclectically influenced and multi-sensory artist.

The exhibition has been set up across two separate floors, though united by a large tower with a video projection of Basquiat dancing, painting and talking along with his quotes printed around the top. The ground floor focuses on the wide ranging array of influence and therefore reference throughout his work; and it’s here that it becomes immediately clear that this exhibition almost above everything else, aims to decode the artist. His paintings and drawings are accompanied by stretches of explanation and glass cabinets filled with ‘treasured’ possessions of his, which relate to aspects seen throughout his oeuvre. While this is of course very interesting and impeccably researched and planned out, at times it feels as if the curators have hindered their success through over wrought detail. Basquiat’s work needs to be looked at; this may seem like a pointless truism, applying to all art, however, Basquiat arguably requires particular effort upon inspection. His pieces are not one-line sketches or pure swipes of colour; instead, for the most part, they are filled with multiple layers of intricacies combined with big explosive compositions and colours. It is art therefore which absolutely cannot be skimmed, yet is simultaneously very easy to quickly look over, become overwhelmed then swiftly move on to the explanatory panel without taking anything in. It is art that speaks to you rather than needs explaining, and at times, the extra information is not just distracting, but entirely superfluous; for example with titles from Basquiat like ‘Leonardo da Vinci’s greatest hits’ we don’t really need to be told Leonardo was a key influence.

This issue was epitomised in the penultimate room of the ground floor, which was filled with every page of Basquiat’s composition notebook (including the front and back cover) framed and chronologically hung. Something about this felt very wrong, and although it was interesting, there was an element of the surgical knife about the deconstruction, rather than of pure artistic expression, and the uncomfortable feeling of unethical dissection was exacerbated by the sounds of Basquiat himself rapping Genesis from a speaker positioned above in one of the corners. There is something very different about writing or drawing in a book than the art created on a piece of paper, an integral part of a book is the ability to close it, and the curators careful but ardent disregard of that felt like a self-conscious sacrifice of emotion for the sake of complete coverage of information.

Ironically, on the top of the central tower was a quote from Basquiat saying; “I don’t know how to describe my work, it’s like asking Miles, how does your horn sound?” yet the exhibition at times felt like it had self-awarded itself the authority to do just what Basquiat claimed impossible.

However it would be doing a disservice to Basquiat to suggest that this made a terrible difference to the appreciation of his work. It has never been more clear how profoundly his art opened the door for a majority of artists working today. For those previously unfamiliar with his work, the incredible ground-breaking way he catapulted into the world of art could be missed as a result of familiarity with those inspired by him. This however would be like listening to The Who and dismissing them as ‘unoriginal’ because they just sound like Mcfly.

The upstairs section, which aimed to focus on his diversity as an artist more successfully tackles the ratio between art and education. It was both interesting and, at times, deeply touching to learn about Basquiat’s roots and relationships with other artists; and the paintings themselves stood out with incredible power. Suitably, for one so often referred to as the next Van Gogh; his self-portraits were some of the most stunning pieces of the show, both haunting and politically sharp with their ‘black boogie man’ stereotype undertones as well as deeply moving, the whole room dedicated to them captivated.

One thing the show unequivocally succeeded in was bringing Jean-Michel Basquiat to life within the exhibition walls. From the self-portraits, his ‘Beat Bop’ music playing intermittently upstairs, large scale projections of one of the few interviews he ever gave and the indie film ‘Downtown 81’, his presence seemed to fill the whole space with youthful vitality and fun-loving charm. It was just as much an exhibition of the man, and his beautiful face, as it was ‘the artist’ and his work.

However as a result they notably didn’t put much focus on his sad demise, as the curators made very plain in their introductory speeches, apart from being an interesting retrospective of a relatively unseen artists work, it was an important exhibition shown at the opportune moment, ‘the time is now’ they kept quoting and repeating. It is clear that they were painfully aware how poignant the story of a young working class black artist from Brooklyn is at this time and wanted it to be a celebration of black success and strength and talent, rather than another tale of woe and misery. While this may have been the easiest path, it is also entirely understandable.

University isn’t a race for a job

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After months of revision, stress and waiting for results, you have finally arrived at university. The next chapter in your life, that you have been anticipating for years, has finally begun. Within only a few days of starting, you are receiving emails and Facebook notifications inviting you to various different corporate events. Career clinics, networking events, talks from industry experts. It all sounds really exciting and you eagerly click ‘Going’ on Facebook.

But wait: you haven’t yet worked out where your laundry room is, and yet you’re already being forced to think about a job. Is it right to put such pressure on students to decide upon a career early on or does this taint the university experience?

These events can be incredibly useful. The opportunity to gain an overview of the corporate world and to build connections with a large number of top firms is undoubtedly a golden opportunity to take the first steps on the path towards your dream job. They also help to create more of a level playing field in the search for jobs, pushing pre-existing connections to one side. However, corporate events at university can be overwhelming, not least to freshers, or those with little to no idea of what they want from life after Oxford. We don’t all have the luxury of a more vocational degree such as medicine or law. For some, it’s impossible to know where to begin.

The large number of corporate events organised and promoted by the University give the impression that only these jobs are worth pursuing. This is, of course, untrue. Even though the majority of Oxford students go into law, finance, accounting etc, there are other avenues. Perhaps companies should advertise events with a target audience, from students searching for an overview of a profession to those graduating this year dreaming of a job with a specific firm. Having a central hub through which all such events are advertised would also mean that students wouldn’t miss out on helpful events. If societies advertised their events through this central hub, students could then decide to sign up to a society if they organised lots of events relevant to them.

Yet organisations like Bright Network are trying to change this. They host an annual festival, which is similar to Freshers’ Fair, but with different companies from a range of fields. There are also talks giving tips on CVs, applications and the like.

Go to events that interest you, but don’t panic about attending everything. Oxford is not a race for a job. It is a place to study your chosen degree and to make the most of the other activities and societies around you. Even if you have no idea what you want to do post-Oxford at the end of your final year, everything will work itself out. Don’t be intimidated by other students with job offers or events promoted by the University which suggest you need one too.

Oxford worst UK city for bike theft

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Oxford is the biggest bicycle theft hot spot in Britain, a survey has revealed.

Out of the 30 UK university towns and cities evaluated by a Hiplok survey, Oxford ranked highest in bike related crimes.

In the year to May 2017, 932 incidents of bicycle theft were reported to police in the Oxford city area. The second highest location for bike theft, Cambridge, saw nearly 700 bike-related crime reports over the same period.

In 2016, 17% of working residents in the city cycled to work regularly. According to national cycle database Bike Register, over 4000 bike thefts were reported in the city last year. Belinda Hopkins, Crime Prevention and Reduction Advisor at Oxford’s Security Services, said that in the last five years, bike crime has risen significantly.

Hopkins commented: “We have installed surveillance cameras in all the top hotspots for bike theft, and have about twelve security officers a day patrolling these areas. Several thieves have been caught so far, but I don’t know what the police are going to do about it at this point.

“The majority of these incidents would be preventable, if people knew how to properly lock their bike. That means having a metal D-lock and locking the back wheel and frame to the pole.”

Earlier this year, an Oxford resident was caught with a stash of a 164 stolen bicycles in his backyard.

New College student Michael Rope told Cherwell: “A while back I left my bike locked up outside Tesco on Magdalen Street. I was only in there for ten minutes, but came out and saw someone hacking at my lock – I couldn’t get there quickly enough.”

As an additional safety precaution, Security Services have teamed up with Bike Register, where students can register their vehicles and change their status from “sold” to “stolen” accordingly. This method involved fitting QR coded stickers to the registered bicycle, so that it can always be tracked.

Drunk Tory official defaces church

An appointed committee member of the Oxford University Conservative Association (OUCA) was suspended last term after an act of drunken vandalism.

Following OUCA’s weekly Port and Policy event, at which the individual in question served port, he and two accomplices crossed St Giles’ road, climbed the flag pole of the Oratory Church, and tore down its papal flag.

The incident has sparked allegations of prevalent anti-Catholicism within the Assocation.

The Oratory Church refused to publicly comment, with multiple members of the church expressing an attitude of forgiveness towards the individual.

The individual was immediately suspended from OUCA by then-President William Rees-Mogg. The morning after the incident the individual attended mass, apologised profusely to a priest, and left his contact details, apparently at the request of OUCA committee members.

He has reportedly agreed to pay for the re-attaching of the flag to the pole, which at the time of print is yet to occur.

Speaking anonymously, the individual expressed regret, telling Cherwell: “This was a personal mistake and not indicative of the University or of OUCA”.

A former OUCA Political Officer said: “This is a microcosm of the abuse and debauchery at the top of OUCA. It is shameful that such anti-Catholic sentiment runs rife, especially from an unelected member personally appointed by William Rees-Mogg – a president whose primary wish was to protect his surname.”

Another OUCA member remarked that ‘Papist’ was regularly tossed about as an insult at Port and Policy, while the loyalty of Catholics towards the monarchy was frequently questioned. He commented that “by an eighth week Port and Policy, anti-Catholicism is pretty widespread”.

While acknowledging that ‘papist’ is used as an insult, Rees-Mogg strongly denied the allegations of anti-Catholicism. He told Cherwell: “I was of course deeply shocked to hear what had happened on that evening, and at once suspended the person in question. Such behaviour has no place within the modern Conservative movement.

“As a confirmed and practising Catholic myself I do wholeheartedly agree with the sentiment given by the Oratory, that the individual, having apologised, and paid from his own pocket for the flag’s replacement, should be forgiven and allowed to move on”.

“I’m also a little confused about the above claims of a rise in anti-Catholic sentiment within OUCA. If such a sentiment exists it seems odd to me that I should not have encountered it during two years of involvement within the society.

“I certainly do not think that the use of terms such as ‘papist’ should be taken to heart any more than friendly cries of sound and shame. My accuser, being an ex-member of committee, also knows full well that he was welcome to attend the meeting at which I proposed the individual become a committee member (an event which passed with no objections).

“I will admit that, like most people, I do tend to try to avoid my name being blackened unfairly, especially in circumstances where I have not actually done anything wrong.

“I’m only sorry that my accuser has decided to be quite so openly vile, while making sure to protect his own anonymity. He is of course welcome to come forward and address his concerns to me in public”.

Another member of OUCA, speaking anonymously, told Cherwell: “It’s a source of great puzzlement to me, but there seem to be people with little better to do than go after William Rees-Mogg via the rumour mill and the press.

“Anyone who has met him knows he has done nothing to deserve it.”

The incident follows a confidential Conservative Party report leaked to the media which suggested moving “risky student politics” completely out of the official party structure.

By integrating Conservative Future branches within local associations, the party hope to “bring the youth wing firmly into the mainstream Party”.

It comes after a wave of recent student Tory scandals, such as reports of student Tories at St Andrews setting fire to an effigy of Obama.

Earlier this year, a member of the Cambridge University Conservative Association suspended his studies after a video emerged of him burning a £20 note in front of a homeless man. The student has since resumed his studies.

The Oratory Church declined to comment.

Exiled from Oxford but learning from the city

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In Tove Jansson’s Moomin comic strip one moomin calls to a fox “I only want to live in peace and plant potatoes and dream”.

It’s around 8:30 pm on a bright, sharp July evening to end my first week as a worker in a tiny outpost of Jämtland, Western Sweden. As I look up at the homestead, away from the thistly stretch and huge pearl-like daisies which lead away from the lake, it strikes me that this is the most countryside I’ve touched in my whole year as a member of the exclusive club for rusticated students.

Of course, to ‘rusticate’ is quite literally to “stay or live in the countryside”, and indeed an Oxford English Dictionary search will reveal that the term was used in that sense for a few hundred years before making its way in around the 18th century to the academic departments of certain upstanding universities, to be used regarding experiences of a slightly less picturesque tone. The two definitions clearly overlapped during that time.

The erstwhile compiler of the Dictionary of the English Language, Samuel Johnson, mused on its benefits in 1783 after a short sojourn in Kent, writing: “Whether this short rustication has done me any good I cannot tell”. I should like to definitively report my feelings as being more positive on the topic of whether my rustication has “done me any good”.

The term has since branched out, but it has never shaken off the meaning of being dismissed from the University of either Oxford, Durham or Cambridge, to sit at home and reflect on your self-worth, right of existence, and crushing sense of failure.

When I was introduced to this concept last Michaelmas, after being hauled in on a November morning to “discuss my future”, I couldn’t escape the image of an apparition, proclaiming my doom with the wag of a finger as it “sent me back to the country”.

As a person who lives and breathes poetry, I was intrigued to find that many notable people who rusticated in the past do seem to be poets – I’m not entirely sure whether that should be concerning, or comforting.

The Oxford English Dictionary cites ‘rustication’ as “temporary dismissal from a university suspension”, but these are not entirely the same thing. My suspension – the official term under which I agreed to leave Oxford for a year – was not a punishment, and nor was it much of a choice.

This difference in terminology seems to be one that non-Oxford alumni are more aware of than we are – on mentioning my rustication once to a Tinder match, I was asked, in some mixture of consternation and admiration, what I’d done to merit it. Here in Oxford the word ‘rustication’ serves for every circumstance: we need psychologically to separate the miscreants of latter days from people for whom a break is the only option.

Water Enough

CORYDON: You mean you’d let the sheep / Go thirsty? THYRSIS: Well, they’re not my sheep. My sheep have water enough. Edna St Vincent Millay, Aria da Capo

With this in mind, I had a look at the measures with which the University endeavours to offer support to students at risk of ‘suspending’. If I was looking for something to warm the cockles, I was disappointed. Rifling through the few resources available, I found a podcast which, if John Milton had heard it as he was preparing to suspend, may just have induced him to leave the University and not come back.

It seems unfair to imply that everyone who is thinking about rusticating could continue if they really tried (we’re English, don’t you know?). The examples given didn’t help, with the podcast citing “can’t bear to see your ex around” as one potential catalyst for rustication. Of course, there are extreme instances of everything, but in general I found the podcast sadly patronising – trying, but missing the mark.

Milton was rusticated by force because he fell out so severely with his tutor. There are more modern (and more publicised) horror stories of people who are not desirous of rustication and are unhappy with their treatment. I don’t deny that some people are treated unfairly, but many complaints seem to me to be either undervaluing the support of the college, or expecting too much. I recognise that it would be excellent if colleges gave continued support on some level, but wasn’t personally shocked at having certain privileges withdrawn. I would not expect an extra year’s full support on top of my degree.

Whatever students feel about how their college handled their suspension, it is nothing short of a miracle that the structure here is such that a student will be missed if they fail to materialise to their classes. The tutors and medical staff at other colleges may not be as supportive as mine were, but it’s significantly better than in other institutions where the option of rustication simply doesn’t exist.

Many question why the University doesn’t address the amount of people rusticating (1183 in 2013/14 alone, out of around 22,300 undergraduates) – if we’re all falling apart at the hands of the system, shouldn’t it stop bearing down on its errant children with a leather strap and try working out what it might be doing wrong? This would be an easy stance to take, but this environment is both infamous and celebrated for its pressured nature. Most Oxford students I know are incredibly driven, and thrive off making the most out of their studies. Therefore, although it is concerning that we take the number of people dropping out and rusticating as almost a given, the University could begin with recognising that right now this is a reality, and that they can help.

To my mind the University of Oxford should bring in more support resources at the university wide tier, above and beyond other institutions. I am lucky that I don’t need much continued support, but there are many students who would benefit from a more open source of help.

Preventive measures are a different affair, but it is vital that Oxford learns how to help those, who do choose to rusticate, more effectively.

City of Aquatint

Oxford, in those days, was still a city of aquatint. In her spacious and quiet streets men walked and spoke as they had done in Newman’s day; her autumnal mists, her grey springtime, and the rare glory of her summer days. Evelyn Waugh, Brideshead Revisited

I’m glad rustication was a complete surprise to me, otherwise I might well have joined the sad subjects of the podcast, so torn with the idea of rusticating that they’re put in a sort of academic paralysis.

When I agreed to rusticate, I had no concept of what the next year would entail – one of my least perfect qualities probably being an inability (or unwillingness) to look very far ahead.

As it transpired, before I caught the overnight train to Östersund and discovered the therapeutic power of summer strawberries and the not-so-therapeutic power of nastily overpriced Swedish beer, I took a mysteriously cheap room in Jericho and worked in Oxford for several months. I am a creature of habit, despite – or perhaps because of – my slightly unhabitual background, and I enjoyed immensely being based in one place for an entire half year, as well as seeing another side of Oxford life.

I may not have backpacked around Southeast Asia (although my ability to sniff out all good sources of organic tofu within a five mile radius might have you fooled), but I have been on a type of journey. When I left, I spent a long time attempting to dissect exactly why I was so unmotivated about my degree. Why did I no longer care about my subject?

Every subject offered at Oxford had some desirable quality which English, my subject, was lacking, and which I suddenly desperately needed in my life – from PPE to Geography to Chemistry, to packing it in and fleeing to a hermitage on the Arctic Circle (although I did at least do that).

During the PPE phase, my dad rather bluntly suggested that I “stick to what I do best”. At the time I was annoyed, but he had a point: you don’t prove things by wanting to prove them, and there is no shame in beginning with what you know. This year I’ve not only started to prove things, but to realise for myself what it is I want to achieve.

Moreover, I needed my year to really love and make my peace with doing English. You don’t have to be a chemist or historian – or even an undergraduate – to see the many variables and factors that go into making a person who they are.

We are all complicated mixtures of influences, motivations, and emotions and it’s a bonus when you realise you can find them all in your own subject, if you only know where to look. Taking some time away from the subject made me fall in love again with English.

The phrase “rus in urbe” sounds similar to rustication, but has been in existence for the best part of two millennia, generally describing a patch of city land that evokes the feeling of the country.

I found my own rus in urbe in Oxford: among the complex layers of experiences I had and witnessed, the people I met, and the history rooted in the stonework of the city, I found not only the sleepiness of my own Yorkshire town, but the vivacity of London, where I spent a large part of my childhood – and when I went back to them, I appreciated the beauty of both all the more.

What You Leave Behind

What you leave behind is not what is engraved in stone monuments, but what is woven into the lives of others. Pericles

Growing up, I was barely aware of what ‘Oxford’ meant, and my whole impression was based on Brideshead Revisited (although let’s be honest, I will never stop modelling myself on Sebastian Flyte). I was truly privileged by then having the extra space to live there – with time to think about who I am in a place where every part of me is accepted, and to realise that the University of Oxford is where I want to be, something I did not feel when I started in October 2016.

Working full time and studying for the coming year (not to mention standing at the outskirts, looking on at my friends being progressively fed into the fire of Academic Life), was hard, but it prepared me much better than anything had heretofore for the grilling that is to come.

I was initially asked to write on my unique perspective of rustication, having experienced Oxford life from both ‘the outside’ and ‘the inside’. An example topic was suggested: “Was rustication worth it?” It might have been the beer and the late hour, but trying to make sense of my own answer to this led me to the following conclusion.

To be worthy is to have intrinsic value: if it was worth it, what did I exchange for that worth? In financial terms, where was the return on my investment?

Suspending my studies was a decision on paper, but my tutor and I agreed that it was not a choice, if I didn’t want to jeopardise my studies. Therefore the question is futile: what happened, happened.

A better way of measuring my year’s worth is through gratitude, because (aside from finally learning how to boil an egg) that is the greatest skill I’ve gained.

I’m not endorsing the wringing of hands and proclaiming that everything is wonderful. Gratitude to me is complaining about your morning tute on the way to Bridge, but still turning up at 9am sharp. It’s savouring the taste of your food, or going for a quick coffee with someone you haven’t seen in a while.

It’s remembering that your life is precious enough to live it in ways that fulfil you the most, regardless of how easy it would be to waste it. Many people, including myself, have doubts about their own capabilities – how could you not, when you’ve just spent £4,500 of great potential on the privilege of lying in somebody else’s bed, staring at somebody else’s wall?

Now, though, I know that I am capable. My nine months out were worth it, because I grew, and I learnt to be grateful – for what the world and the people in it can give, and for what I can give in return.

University democracy “hasn’t been working well”, says Louise Richardson

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Oxford vice-chancellor Louise Richardson has sharply criticised the university’s system of democratic self-governance, blaming a lack of engagement from staff for
its failings.

Currently less than 10% of university committee positions are contested, meaning that figures advising on areas from finance to Oxford’s “educational philosophy” face little risk of being challenged for their post.

A meeting of Congregation, the University’s ultimate legislative body, was called during last Trinity after 20 members signed a motion calling for the move. Of the over 5,000 academic and research support staff eligible to attend, just nine did. Three quarters of the motion’s signatories were not present, while just four spoke.

In her annual Oration to Congregation last week, Richardson said that this state of affairs, “is not an example of a well-functioning system, or wise use of scarce resources.”

While stating that Oxford’s democracy is one of its “rare and admirable attributes” and “a wonderful ideal”, she indicated that staff must begin to engage more closely with it and to avoid using it as “a mechanism for the promotion of self-interest”.

Richardson’s critique of “self-interest” comes as part of a broadside against those protesting the introduction at Oxford of an age limit for academics.

Following the government’s abolition of a national default retirement age, Oxford introduced an Employer-Justified Retirement Age (EJRA) of 68. This met with fierce protest from older academics, and support from younger fellows who characterised the issue as one of intergenerational justice.

Professor Peter Edwards of Oxford’s Chemistry Department questioned whether it was appropriate for the Vice-Chancellor to make such comments, writing in a letter set to be published in Oxford Magazine and seen by Cherwell: “Can it be acceptable for the Vice- Chancellor to make what appears to be a blatantly ‘ageist’ remark by criticising the ‘self-interest’ of those querying the University’s decision to claim exception from equality legislation in this respect?

“And what of younger colleagues who have expressed equally legitimate concerns about the EJRA? Will the University assign a critical age above which a legitimate ‘concern’ transitions to an unreasonable ‘self-interest?’”

Richardson went on to say that she sought to “plead with those who last term lost six votes on the subject of the EJRA to abide by the expressed preference of their colleagues and let the issue rest until the next review, scheduled in four years’ time”.

She compared the continued struggle by EJRA opponents to that of Remainers and Hillary voters, arguing that while they lost “as democrats they accepted the decision”.

Professor Edwards however described these comments as “simply incorrect and misleading”.

He told Cherwell: “There was only one resolution to Congregation specifically targeted to the abolition of the EJRA… that was the resolution on 16 May 2017 proposed by Sir John Ball and seconded by Professor Paul Ewart.”

Edwards claimed that the other votes were in fact on “tangential issues”, such as “procedural issues and in particular governance in relation to the EJRA”.

The last major attempt to reform Oxford’s ancient and complex governing structures was under the Vice-Chancellorship of John Hood, from 2004 to 2009.

Hood – who came to the post from business rather than academia, as is typical – sought to end Oxford’s 900-year-old tradition of complete self-governance by introducing ‘external members’ to council, the executive body elected by Congregation. In this way Hood hoped that corporate management principles might be brought into Oxford’s governance, saving money and time.

Lord Patten, Oxford’s Chancellor then and now, defended the move, telling the BBC that reforms were necessary to ensure that private money could be raised, and children from deprived backgrounds helped.

Hood’s proposals were, however, defeated even in an amended form, largely due to Congregation’s desire to remain independent of any external influence.

Opera: Passion, power and politics

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From the sublime to the frankly terrifying; from the exquisite displays of Baroque Handelian instruments to the gruesome and disturbing videos of a blood-covered Salome cradling the head of Jochanan, the exhibition in the Sainsbury Gallery could be perceived as the thrilling melting pot of truly holistic art form.

Following seven different European regions, the audience is able to experience the role of opera in national identity, class and rebellion.  The sound system perfectly facilitated the decision to make the music itself the focal point of the exhibition. The headphones provided selected tracks of operatic works by acclaimed performers, as well as commentaries creating an immersive atmosphere in an already visual stimulating moment. To be particularly lauded is the Leningrad section. Shostakovich’s Lady Macbeth of the Mtsensk District is the focal opera, featuring harrowing visual displays of the darkly themed opera alongside a rarely seen score of Shostakovich’s.

However I am left unsure who this exhibit is aimed at. Whilst the artefacts and design are striking, they only scratch the surface of operatic context. The exploration of the musical content seems superficial, and in some displays only really discussed by showing a few period instruments. Equally, whilst the drama of opera is evident, the accessibility to a modern day audience isn’t convincing. It is hard to fault the all-encompassing aesthetic, epitomising opera as an art that contains not just music, but also of costume, and the power of movement. This is an aspect which Kate Bailey, the curator, explained was the reason it was chosen as an ideal topic for the V&A. However, its polarisation of geography fell short in the omission of certain key operatic cultures.

It seems a shame to only explore Paris through Wagner, forgetting French opera, Britten’s English operatic protagonists, or even America’s multicontinental influences and creation of operetta. In representing a holistic art form it is easy to make a superficial sweep of individual elements, rather than digging deep into the cohesive whole, which is something that the V&A may have fall victim to.

Oxford graduates establish black alumni network

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A group of black Oxford graduates have set up a network to encourage more black teenagers to apply to Oxford.

The Oxford Black Alumni Network, which has over 200 members, also aims to alleviate the lack of black people in high-profile jobs.The network states that it is aware that “many negative perceptions persist about accessing and studying at the University of Oxford and other elite higher education institutions… [and] are determined to work against the disadvantages that hold many back.”

Naomi Kellman, the network’s co-chair, who graduated with a PPE degree in 2011, said: “There is still a concern among black students that if they apply they might be the only one — they might think Oxford is not for ‘people like me’.

“But we want to show that’s not true. There is a long history of black students at Oxford doing well and being happy.”

Samuel Gebreselassie, another PPE graduate said: “By increasing the visibility of role models for younger people, we hope this campaign will demonstrate that Oxford is a place where people from diverse backgrounds can belong and thrive.”

In 2016 only 45 offers were made to black students out of around 3,200 undergraduate places – a proportion of 1.4%.

Don’t just break the fourth wall, go and watch a film outside

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This August, I wearily left my workplace, and jumped on an hour long train into central London. Two hours, one heavily delayed train journey, and about ten tubes stops later I arrived in Peckham, already £12.90 worse-off and in unfamiliar territory.

I stepped out from the underground station and after a few minutes’ walk I found myself ascending seven flights of stairs to the top of an abandoned warehouse. The termination of my wanderings: the rooftop of the Bussey Building, where an incredible panorama of the capital city greeted me. To my left was a 15-foot high screen, where Trainspotting (the original) would be screened in about an hour.

Watching a film outdoors is a surreal, magical and utterly enchanting adventure. Across the UK, more and more pop-up companies are making a tidy profit flogging film viewings in beautiful locations. It works. Although the technical expert at the Rooftop Film Club in Peckham was having a few problems in getting the headphones to actually emit any sound, and then inexplicably started the film from about 30 minutes in, the overall experience was wonderful. There is something quite extraordinary about watching a cult-classic as the sun sets, with an entire city serving as the backdrop behind the film itself.

In previous years, I’ve watched The Silence of the Lambs, and The Shining at Somerset House, which is more conveniently situated slap-bang in the heart of central London, a stone’s throw from Piccadilly Circus, Covent Garden and the South Bank. If you can catch a good film whilst the sun is setting, you are in for a treat. Unlike many other options, at Somerset House you are able to bring your own food in to eat whilst watching, and many take full advantage, with takeaway Pizza Express an especially excellent option. I would have made it a hat-trick of successive visits had the tickets for the best films not been all sold out two months in advance. It is rightly, and frustratingly, very popular.

So I gave Peckham a chance, and was not disappointed. Whilst Somerset House rightly remains the top choice with its gorgeous neoclassical architecture, and its bar and live DJ contributing to a great buzz prior to the film, alternatives in London (and indeed elsewhere across the country) do exist and have a distinct impromptu charm about them.

Not only did the Rooftop Cinema Club offer a fantastic array of street food, but also deckchairs and blankets, which made for rather more comfortable viewing than only having a picnic rug between yourself and the stone courtyard floor of Somerset House. Therefore, a tip: bring a cushion, no matter how awkward this may make you as a passenger on public transport.

Of course, there is the issue of price when it comes to outdoor cinema. Whereas a visit to your local big screen might set you back a mere £5-6 once the ever-handy student discount is applied, a trip to Somerset House or the Bussey Building is about three times as expensive, and this is of course not factoring in travel costs.

However, I could not recommend it enough as a once-in-a-while treat, an immersive, surreal experience which would make a fine addition to next summer’s bucket list.