Tuesday 5th August 2025
Blog Page 916

Blind Date: John and Bessie

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John Maier (Second year, PPE, Balliol)

Bessie looked shorter in her photos, much shorter. This made for a deeply disconcerting start to the evening.

She tried to sidestep all the initial awkwardness by giving me a stern dressing down—and not in a good way—lecturing me with her school mistress’s eyes about my lateness and my appearance. In particular, she seemed quite bemused by my glasses, which she insisted were not real, and proceeded to rip from my face, suggesting a rather over-literal understanding of what makes the date blind. I interpreted this as an act of violence, and hid behind my menu.

This aside, Bessie proved arresting company, commenting at regular intervals about how well the date was going, as if providing director’s commentary on the evening. Fully absorbed in her self-appointed role as director of our date, she also acquired a rather frustrating habit of flouncing away from our table, often cutting me off mid sent-

Out of 10? 2

Looks? Subjective

Personality? Mostly present

2nd date? I don’t see why not

 

Bessie Sorsby (Second year, French, Jesus)

John looked taller in his photos, and less remorseful. Clearly flustered by his own tardiness, his lengthy apology was accompanied by a sequence of rather erratic hand gestures. All the bartenders within a metre radius of us clenched their glasses a little tighter, looking at me with a mixture of alarm and sympathy.

Yet, post this cyclone pantomime, we said hello in an ordinary fashion. My first impression of John was one of great skepticism; I quickly realised that he was the kind of person who chooses to wear see-through glasses. Not the actually useful sight-enhancing ones, but those with frames made from the same colourless plastic of disposable cutlery, the kind you find at weddings. Eye contact proved rather intense, as the lenses make his eyes resemble those of a bird of prey with vision eight times sharper then humans.

Saying that, John’s effervescent personality, wit and charm meant time flew by.

Out of 10? 3

Looks? Like wedding cutlery

Personality? Better than soggy Weetabix

2nd date? Dubious

The female artist: speaking truth to power

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Last week I went to the Ashmolean to see the exhibition Degas to Picasso: Creating Modernism in France, from 1800 to the mid-twentieth century. There was one mention of a female painter, Berthe Morisot, and an almost overwhelming focus on the female body. The female form was undeniably a preoccupation for the Impressionists and for the Picasso. But the exhibition made me wonder, as I do after seeing most exhibitions, why is art history still overwhelmingly about white male artists and their concerns? Where was even a passing reference to a painting by and not of a woman?

The Ecole des Beaux-Arts didn’t admit women in until 1897. But this didn’t mean that they had no impact on the creation of ‘Modernism’. The exhibition reminded me of the Guerrilla Girls poster, made in 1989, which reads “Do women have to be naked to get into the Met. Museum? Less than 5 per cent of artists in the Modern Art sections are women but 85 per cent are nudes of them.” The statistic might have changed but only infinitesimally: in 2011 the National Gallery held 2,300 works of art, eleven of which were made by women.

Guerrilla Girls rephrased the question ‘why haven’t there been more great women artists in Western history?’ as ‘why haven’t more women been considered great artists throughout Western history?’. I still ask myself that question—and it’s not only of Western history. Most people have heard of Michelangelo but who knows anything about Sonfonisba Anguissola? Who has read about Lygia Pape or Mary Cassatt?

The majority of art graduates are female but that is in no way reflected by the presence of female artists in galleries. It also becomes more specific than just gender: the art world still patronises women who have children, for example. Female art museum directors earn less than their male counterparts and although they run 42.6 per cent of museums in the US, these are most usually the ones with smaller budgets.

A painting by Georgia O’Keeffe—known, incidentally, as ‘the mother of American modernism’—entitled ‘Jimson Weed/White Flower No. 1’ (1932) sold for $44.4 million at Sotheby’s in 2014, breaking the record for the most expensive art work by a female artist ever sold. The most expensive art work by a male artist ever sold was over double that price.

Female art is worth less, not just economically, but culturally. It’s not important enough to devote solo exhibitions to, and is often not even entrusted to female hands. Carmen Herrera wasn’t seen as comparable to Ellsworth Kelly or Barnett Newman when she was painting as part of the US School. The work of Plautilla Nelli has never been comparable to Caravaggio’s.

The art world seems to be changing: the Uffizi Gallery is exhibiting Nelli’s work in a solo exhibition this year, as well as showing Maria Lassnig in the Pitti Palace from March. The Prado in Madrid is for the first time holding a solo show for a female artist, Clara Peeters, this year. Suddenly, maybe, you could dare to think that a painting by a female is worth as much as a male’s.

In 2015 the Tate Modern held three solo exhibitions by women: Sonia Delaunay, Agnes Martin and Marlene Dumas. Somehow, I managed to see them all. The bold black print announcing their names on the walls of the gallery and the vibrancy of Delaunay’s paintings held infinite promise. Yet artists such as Eileen Cooper and Phoebe Boswell (speaking on Radio 4 this week) still stress the importance of all-female or all-female and all-black exhibitions, emphasising the importance of spaces in which art can be valued for its own sake, and not be reduced by the fact that it wasn’t painted by a man.

Some of my favourite artists just happen to be female: Frida Kahlo, Cornelia Parker, Rose Wylie, Louise Bourgeois, Sonia Delauney, Zarina Bhimji, and Emily Kame Kngwarreye, for example. Their work is not less worthy of gallery space, but should be seen as having inestimable value, as they do for me. “Museums in general mirror the power structures in our society, structures that in the arts for example privilege the history of white men’s achievements”, argues Susan Fisher Sterling: they act as microcosms for our divided society. But they are also structures that continually show art that speaks truth to power, that create new spaces for the unsaid, the forgotten, the overlooked.

They should question the narratives we have been taught: the narrative that women can’t create art that holds any value next to the art of a man, the narrative that women weren’t there while the world was changing, that they had no role to play in its transformation.

Shedding light on the star of cell biology

In the twilight depths off the west coast of North America lives a small and graceful jellyfish floating apparently aimlessly through the void. Who would have known that this humble jelly—Aequorea victoria—was set to revolutionise cellular biology in the latter half of the twentieth century. Along the rim of the jellyfish’s bell (the propulsive body) lies a ring of light-emitting organs which, in the blackness, produce an electric green glow that wouldn’t be out place in a Ghostbusters film. This luminescence can be attributed to a chemical mechanism based around the molecule known as the Green Fluorescent Protein (GFP), synthesised by the jellyfish. Earning those involved in its discovery the Nobel Prize in 2008, GFP has been the key to unlocking the potential of biological imaging over the last 25 years.

The light organ houses two molecules essential for the light reaction: aequorin and GFP, working in conjunction. By catalyzing the degradation of the protein luciferin, aequorin causes blue light to be released. Rather than emitting this blue light, the photons are instead used an as energy source to activate the fluorescence of GFP. GFP has an excitation peak at the wavelengths of 395 nm and 475 nm—corresponding to blue and UV light. This means that it will most efficiency absorb light in this range of the spectrum. Absorbing this light leaves GFP in an unstable state with ‘too much’ energy, being described as excited. Emission of green light at the wavelength of 508 nm, energetically lower than that it absorbed, returns it to its stable state.

Green light is rare in the ocean depths, meaning that an organism that can luminesce in such a way will be more obvious in its surroundings, allowing it to attract prey and confuse predators. But how is this relevant to cell biology in the laboratory? In 1992, American scientist Douglas Prasher sequenced and cloned the wild-type GFP gene. Over the following few years GFP became the darling of molecular genetics, a result of our ability to fuse the gene onto the beginning or the end of any other gene in any organism.

If inserted into an embryo, every cell in the body can inherit the GFP tagged protein. When the resulting organism is exposed to UV light it then glows green. This allows scientists to track both the distribution and the concentration of the protein throughout individual cells or through the organism as a whole, depending on which protein is tagged with GFP. We can see the trafficking of the proteins through the cell in real time, highlighting a host of cellular processes from protein packaging to the structure of the nuclear membrane.

Over the course of its history GFP has been constantly engineered and modified, transforming it into an increasingly more effective and versatile tool. A whole spectrum of different colours of fluorescent proteins have now been engineered. By using a red-producing variant of GFP, scientists have found success in diagnosing cancer since, due to its longer wavelength, red light can travel further through intervening tissue.

On a grander scale, one couldn’t discuss GFP without bringing up the glow-in the dark rats, cats, rabbits, pigs, monkeys…you name it. Due to its obvious but relatively benign nature, GFP serves as one of the earliest genes used when trialling an organism with genetic modification, as a proof of the technology before more complex manipulation is attempted, with wide implications especially within medicine. We will soon reach the point where we can easily extract vaccines from cow’s milk, and produce disease resistant pigs.

The story of a simple jellyfish that has gone onto transform the very nature of molecular biology and medicine is a testament to the resourcefulness of science and humanity as a whole. It proves that the most useful of tools can have the most unlikely of origins, and should serve as a needed reality check. With every extinction, we say goodbye to another jewel in the biological crown, the vast wealth of unique genetic information that the organism possessed vanishing often forever. Who knows how many ‘GFP’s’ we’ve already lost.

“An enormous array of talent on display”

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A running theme of Leo Tolstoy’s Anna Karenina is hypocrisy in social performance. The story examines Anna’s success in keeping up a socially acceptable facade as her actions run contrary to societal norms. This thematic idea makes the story perfect for adapting into performative mediums such as film and theatre, where the audience’s suspended disbelief required for the performance to work is mirrored by the scepticism of some of the characters on the stage towards Anna’s actions. Despite some first-night nerves, this original musical adaptation of Tolstoy’s (literally and figuratively) heavy tome is a mostly successful adaptation of a notoriously tricky work to do justice to.

The show has clearly sprung from a close-knit creative team with a cohesive and unified vision. The script (penned by co-directors Suzy Cripps, James Tibbles, and musical director/composer Maria Shepard) contains some really smart creative decisions to streamline the story’s focus without sacrificing dramatic integrity.

With such well-drawn characters, it’s sometimes almost a shame when the story judders to a halt to make way for another musical number. The score and sung numbers were mostly engaging, although the score often emphasised rather than camouflaged a couple of abrupt tonal transitions between scenes. The songs themselves are pleasant, though not memorable, and too often lapse into the trope whereby two characters sing different things over the top of each other to communicate their feelings. The simpler numbers work better, with a particular stand-out being the wickedly funny “That Is What’s Expected From A Woman” as well as the more sonorous ensemble pieces.

The whole cast and crew are terrific, really bringing the best out of the material. Amschel de Rothschild and Susannah Hardwick create sweet chemistry in the romantic subplot of Kitty and Konstantin, while Caitlin Kelly is a wicked delight as the duplicitous Betsy, who always feels one step away from breaking into a Mean Girls-style Regina George impression.

With such a talented cast, it’s pleasing to see the directors showcasing certain performers’ individual talents too. Phoebe Mansell’s dancing, Amschel de Rothschild’s accordion playing, and Hardwick’s soprano skills really add to the texture of the show and breathe extra life into scenes where these skills are brought to the fore.

The action is well staged for the most part, with a particularly stylish flourish at the denouement involving a train ending the show on a strong note. That said, the play’s beginning is a little awkward and slow (though it quickly settles down), and some of the ensemble dance numbers feel a little constrained by the stage space.

As for the main storyline, the three principal performers form a delightfully watchable trio. Henry Jacobs, as Alexei Karenin, is the best of the three, taking a character who is designed to be boring and making him both fascinating and sympathetic. Alex Buchanan does a sterling job as Anna’s lover, Alexei Vronsky, but it is Anna herself whose performance proves the most thought-provoking.

Amelia Gabriel as Anna is an enchanting stage presence, iridescently watchable and enormously talented at both acting and singing. However, her face naturally settles into a smile, and while this contributes to the scenes where she and Vronsky fall in love, it occasionally jars during scenes in the second half when we’re asked to buy into Anna’s dispiritedness. Yet it also strangely plays to the thematic core of the story, drawing attention to the performative aspect of Anna’s attempts to coalesce her desires with society’s norms.

This is by no means a perfect show, but it is undeniably watchable thanks to the enormous array of talent on display. If every audience laughs and cries as much as the audience on opening night, there’s perhaps no greater measure of success for a show than that.

‘We’re going to do it better than Braveheart’

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If your schooling was anything like Tom Fisher’s, who is playing Ross in this new production of Macbeth, you studied the Scottish play in Year 6 for your SATs, in Year 11 for your GCSEs, and again for your AS levels. For me, it was Romeo and Juliet which proved inescapable, which I feel may have been a marginally worse fate. From Hamlet to A Midsummer Night’s Dream, I feel we’ve all had one of Shakespeare’s masterpieces ruined by being compelled to endlessly reproduce points about nature metaphors and biblical imagery. After suffering such banal experiences of Shakespeare prior to university, it was a small revelation when I started seeing student productions which did new things with the plays.

In light of this, I ask director Georgia Nicholson how she plans to make Macbeth fresh. She tells me she is doing something which ‘no modern production has achieved’completely removing modern interpretations and dilutions from the play, and firmly placing it back in its ‘true’ setting in 11th century Scotland.

This historicist take on the play is something which the cast seem very keen to play up too. Ben Kybett, who is playing Malcolm, emphasises that Macbeth is set in a world ‘where a king is near divine’‘There are a lot of really quite intense views on monarchy and primogeniture and patriotism and nationalism. It’s an entirely different world, an entirely different way of conceiving how political and social relations work.’ But can’t these threads still exist in a modern or ‘timeless’ setting? ‘I worry that if you set it in a modern power setting, like Downing Street, these ideas such as the Divine Right of Kings, and guest relations, and soldiering, just won’t really come out.’ Georgia nods in agreement: ‘Yes, I think a lot of the punch comes from the original’.

This method of ‘making it new’ by actually making it really, really old may be radical in that it is decidedly untrendy. From Fascist twists on King Lear at the National Theatre, to 1980s versions of Marlowe’s Edward II here in Oxford, the general trend for directors taking on Shakespeare and his contemporaries seems to be to play with our expectations and experiment with setting.

With the absence of such gimmicks, I ask the director what her vision of a setting so far removed from our own experiences is actually like. ‘We’re in a cold, dark place, especially after the death of the king. We’re in a bizarre placewhen it’s supposed to be daylight, it’s actually dark. It’s like a permanent solar eclipse is going on. It’s cold, there are witches coming out of the marshes. So I think, when people say they want to plunge an audience into the setting, we really mean it. It’s going to be like ice water baths. You are literally taken away from Oxford and modernity and electricity.’

This all sounds impressive, but I wonder how it will actually be achieved in a small student production. ‘Aesthetically, it is going to be sparse and cold’, Georgia tells me. I suppose sparseness is quite a budget-friendly direction to take it in really, and probably true to the aesthetic of a cold Scottish castle. ‘A thing that annoys me about traditional companies doing Macbeth is they set them in lavish Elizabethan palaces with red curtains and gold everywhere. Our set will be minimal: we have thrones in the middle of the room, and torches, and not much else. And everything will be in stone and wood.’ The cast will wear woollen clothing which, as the director proudly tells me, has been woven by the costume designer using authentic 11th century techniques, rather than resorting to ‘just something black from Primark’.

The cast seem to have researched their parts extensively, and offer insightful comments on what they will bring to their respective roles. Hannah Chukwu, playing Lady Macbeth, says ‘I’m trying to imagine what it would be like to live in a castle, on your own, not seeing your husband for months because he’s at war. How would you react when he returns? Lady Macbeth is, to me, the most interesting character in the play. Her ‘unsex me here’ speech at the beginning really reveals how she views everything in terms of power relations.’

Will this Macbeth live up to its bold claims? The director jokes that they are ‘doing it better than Braveheart’, no less. If you want to find out, you will have to act quickly, since opening and closing night have completely sold out.

Macbeth will play at St. Hilda’s JdP 28th February – 2nd March.

Sport thought: The growth of ‘Britball’

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American football has somewhat begun to take-off in England over the last decade. Every university has a team, local clubs are growing, and the NFL International Series is the most popular that it has ever been. The prospect of an NFL team moving or even being founded in London has however, been received with different levels of enthusiasm by British fans. I am most certainly in favour.

My favourite moment of the NFL season was the hard-fought victory by the Green Bay Packers over the Dallas Cowboys. This game really epitomised the reason I love football. With 15 seconds to go, arguably the most inform quarterback in the National Football League has just been sacked for a big loss by a safety blitz from the Dallas secondary. Aaron Rodgers comes back and doesn’t even call a play in the huddle. He simply tells the receivers to go to specific areas of the field to find the weak areas of the cushioned zone the defence is running. The snap goes off, Rodgers scrambles to his left, under pressure from a defensive end, and throws the ball on the run to the side-line where Jared Cook, the Green Bay tight end, slides with his knees and catches the ball to put the Packers within field goal range. Mason Crosby, the Packer’s kicker, steps up and makes a 51 yard field goal to win the game and beat Dallas in the divisional playoffs for the second time in three years. It’s good.

As far as other exciting moments in my four years of following the sport go, I could point to the Raiders Saints game in week one of the season, or the crazy Dallas-Pittsburgh game with the fake spike and Ezekiel Elliot’s magical game winning run, but this game was in the playoffs—the ‘winner takes all’ knockout round of the NFL. I understand that for a
first time reader, what I’ve described above might honestly make absolutely no sense and for a long time I didn’t know what any of those words meant either, but the growth of ‘Britball’ could mean that this will soon no longer be the case.

American Football in Britain has supposedly “really taken off” according to pundits on Sky Sports’ ‘Sunday Night Football’. More and more people are playing at a grassroots level and there is a new BBC highlights show every week that many people tune in to watch or catch up with on IPlayer. There are going to be a record four NFL games played in the UK next year featuring playoff team the Miami Dolphins and the newly relocated LA Rams.

The possibility of a London franchise is serious: George Osborne, speaking in both 2014 and 2015 has said that it could be achieved in the next “four or five years.” Teams moving is something that occurs fairly regularly in America, though somewhat of an alien concept in this country. For example, the original Los Angeles Rams moved to St. Louis for 20 years before returning to LA and the famous Colosseum stadium for this season just gone. The San Diego Chargers are, this off-season, moving to Los Angles as well and the current Oakland Raiders have, relatively recently, filed paperwork to relocate to Las Vegas.

The team most often cited as being the candidate for London is the Jacksonville Jaguars, owned by Shahid Khan, who also owns Fulham FC. The Jaguars (or Jags) are a young team with some good young playmakers such as Allen Robinson at receiver and first round pick last year Jalen Ramsey at cornerback. Their biggest struggles come at quarterback with Blake Bortles having a regression in performance from, what was a decent showing in 2015. If the Jaguars do move, which I personally hope they do, the sport can surely only continue to grow in this country and guarantees at least eight NFL games to be played in London every year, a prospect many fans in this country can only dream of.

Between the World and Ta-Nehisi Coates

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Ta-Nehisi Coates addresses his autobiographical rumination on race relations in America, Between the World and Me (2015), to his son, Samori. This is how he sums up his advice: “Here is what I would like for you to know: In America, it is traditional to destroy the black body—it is heritage.” It’s Coates conviction that America, founded on the backs of slaves, has been irrevocably tainted by its original sin; institutionally, culturally, all-pervasively racist.

Coates has become the most influential African American writer of his generation, his series of long articles for The Atlantic becoming required reading, from the angry, incisive ‘The Case for Reparations’ (2014) to the moving, ‘My President was Black’ (2016). He is a journalist unafraid to embed his personal experiences into highly detailed reportage. Between the World and Me, his second book, comes after his 2008 memoir The Beautiful Struggle, and won the 2015 National Book Award. Despite such worldly success, Coates’ pessimism runs deep, unconvinced racism will ever be ‘solved’ in the US.

He writes powerfully that “To be black in the Baltimore of my youth was to be naked before the elements of the world, before all the guns, fists, knives, crack, rape, and disease.” Yet this nakedness, its fear and vulnerability, are constants, can never be left behind by Coates or by his son. America is an environment where new
methods of oppression are invented at every stage, from the lash of the slave-owner to the police officer’s bullet in the back. The book is a confession to his son, that he is incapable of protecting him, that he can never be truly safe.

Coates’ great rhetorical devices is to term white America ‘the Dreamers’, perpetuating the American Dream, an intrinsically racist construct used to disguise African Americans oppression, blaming their lack of achievement as a lack of effort.This alienation Coates feels from white America leads to most provocative passage in the book. Witnessing the events of 9/11 unfold from his apartment building in Brooklyn, he says, “my heart was cold. I had disasters all my own… I would never consider any American citizen pure.” Coates, despite his atheism, has an almost catholic belief in the original sin of slavery transmitting down through the generations, affecting all. Written before the election of Donald Trump, Coates clearly has no time for the myths of Obama’s post-racial America.

The book however, is not without its faults. The description of the murder of a friend, Prince Jones, is seen as a watershed in Coates’ consciousness; yet his account of the policeman murdering Jones never fully explains the officer being black as well. Perhaps more troublingly, Coates, despite writing extensively on the black body, rarely moves beyond his own masculine viewpoint to consider the double binds of racism and misogyny black women have been subjected to. Nor does Coates give more than a cursory acknowledgement of the racism inflicted upon Hispanic or Asian Americans. In his defence though, Coates makes no claim that his slim volume is an all-encompassing record of US race relations—it is his experiences he writes about, not others. Astute and sharp tongued, it is a major work by an important writer which, even when you disagree with his points, is always engrossing.

Oxford iGEM team goes to Royal Society’s conference

“Take a look at the items on your desk: a lamp, various iDevices and a house plant. Which of these is the most advanced piece of engineering?” asks Dr Jason Kelly, CEO of the synthetic biology company Ginkgo Bioworks. He argues the case for the house plant: a self-sustaining, self-replicating and selfrenewing system. “Imagine what a self renewing iPhone would do to Apple’s profit margins!”

Biology has evolved machines of incomparable sophisitication to manmade devices, however synthetic biology, the fusion of engineering and biology affectionally known as ‘synbio’, is providing tools for scientists to exploit the genetic machinery that organisms use to live and co-opt it for novel purposes. From bacterial perfume to computing DNA, the applications are seemingly limitless, as the Oxford 2017 iGEM (International Genetically Engineered Machine Competition) team discovered when they attended a conference at the Royal Society in London.

The first speaker, Professor Christina Smolke from Stanford University, explained how her group engineered a yeast opioid production line, allowing more efficient production of the poppy-derived pain relief molecule than traditional extraction methods from its natural source. Transplanting the poppy pathway into yeast required knowledge of the protein machinery (enzymes) and genes that encode them in every stage of the natural pathway. From here, the researchers turned to other organisms to mine for alternatives. For efficiency, different stages of the pathway were segregated to different sub-compartments of the cell, much like the specialised buildings of a production factory.

Then came Dr Jason Kelly, whose Boston based company Ginkgo Bioworks is taking advantage of the falling cost of genetic engineering to expand it to new markets in the fragrance, flavour, and food industries. Their latest venture is a microbe produced version of an extinct flower’s scent. Consult Dr Kelly and his team with a product idea and they will endeavour to find a way to make a bacterial device to meet your needs. The innovation takes place in an impressive 40,000 square-foot facility, more akin to a sci-fi film set than a science lab, endowed with the latest robotics and automation. Automation is crucial to synthetic biology’s design led approach to replace time-consuming trial and error experiments. Dr Kelly’s presentation stood out in capturing the ‘blue sky’ thinking of the field, and we were excited to discover that he was part of one of the first iGEM teams.

This same approach has applications in more conventional industries while still retaining this ‘outside the box’ thinking. Dr Jeremy Shears from Shell discussed the potential of a synbio solution to the energy problem, envisioning fuel producing microbes and novel energy carriers made by photosynthesis. Many of these applications are a long way off, yet the urgency of the growing energy crisis makes advances in this field vital.

The importance of drugs derived from natural products highlighted in Professor Smolke’s presentation was revisited by Pfizer researcher Dr Edmund Graziani, who described these chemicals as “privileged” because they have been fine-tuned by evolution. However, he explained that in the past only a subset of these chemicals were suitable to be developed into drugs because they had to be small enough to enable them to be properly processed by the body. Not only did this limit the compounds that could be developed, but also left many diseases “undruggable”. Dr Graziani argues the case for creating a microbial machine that can perform “directed evolution”: the bacteria would take existing natural products, modify them, and spew out only the most promising potential drugs. To realise this approach, however many technical hurdles must be overcome.

A recent addition to the synbio toolkit, the development of techniques to incorporate unnatural amino acid building blocks into proteins in vivo is proving useful in pharmaceuticals and beyond. Usually cells are limited to using only 20 of these building blocks, so expanding this repertoire by adding phantom amino acids could greatly enhance diversity. What’s more, the scientists can choose the precise site into which to introduce the unnatural amino acids to specifically decorate the protein with chemical labels. These are useful, for example, in making the protein visible under a microscope or in allowing it to be attached to a drug delivery vehicle.

The final speaker, Microsoft’s Dr Andrew Phillips, presented research into “bio-computing”, explaining how knowledge of how cells compute is being exploited to programme DNA and organisms. For example, the “consensus algorithm”, which causes participants to agree to do the same thing, was ‘invented’ and utilised by cells as a means of controlling cell division. There are exciting advances here, but it seems that at the moment the biology is more complicated than the computer science: biology is more unpredictable and noisy than electronics so we must be careful not to overstretch the analogy of “genes as circuits”.

I took a lot away from the diversity of the talks, not only inspiration for iGEM but also a better understanding of the current achievements, future promises, and limitations of the field of synthetic biology. The scope of synbio applications we learnt from the conference certainly hasn’t helped us narrow down ideas for our own project, but we left excited by the fact that we may be able to contribute to this rapidly-expanding area of biology.

Cherwell is recruiting for TT17

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Cherwell is now recruiting for editorial positions for next term. This is your chance to be part of one of the longest-running independent newspapers in the United Kingdom and to follow in the footsteps of past contributors such as Graham Greene, W.H. Auden, Hadley Freeman, and Rupert Murdoch.

We are recruiting for section editors, deputy section editors, broadcasters, and contributors.

Apply to be a Cherwell section editor here or a deputy section editor here. Apply for a position on the Broadcasting team here. Copy and paste the text from the Google document into your own Google or Word document and email all application forms to [email protected].

The deadline for applications is Monday 6 March at 8pm. Please email any queries to [email protected]

Cherwell is also looking for cartoonists, illustrators, and photographers—all interested contact [email protected] with details of any relevant experience.

Candidates will have a short, informal interview with the editors. Interviews will be held during 8th Week.

Like us on Facebook or follow us on Twitter for recruitment updates and news.

Our Business team is also always looking for new recruits. Cherwell provides some of the best business experience in Oxford and provides excellent preparation for any media, consulting or banking career. We’ll train you on all relevant parts of the business and teach you to raise £10,000 independently. Email [email protected] to express interest.

Editorial job descriptions:

News:

This term, Cherwell news has reported on Oxford’s Trump protests and Iffley Open House, as well as exposing fake news. Our latest front page even resulted in the withdrawing of funding from a major political event. Our stories have been reported in the Telegraph, the Guardian, and the Independent. To apply for News Editor, fill out the Section Editor form. It’s very easy to become a News Reporter (and you can still contribute to other sections of the paper too): just send an email to [email protected], come along to our weekly meetings, and you can be at the forefront of student journalism (maybe even literally on the front page).

Comment:

The Comment section has a well-respected tradition of printing cutting-edge opinion pieces from students on a range of Oxford and national issues. Our best debates and opinion pieces are read around the University and online, frequently attracting several thousand hits.

Joining the Comment team also allows you to interview leading political figures and celebrities. In the last year, Cherwell has interviewed Michael Gove, Fiona Bruce, Mary Beard, Jeremy Paxman, Richard Dawkins and Slavoj Žižek.

If you’re passionate about a subject and want to share your views and spark debate, join us. You can be a Deputy Comment Editor even if you haven’t written for us before—Deputy Comment Editors are intended to form a permanent core of reliable writers who can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Satire:

Satire is one of Cherwell‘s newest sections, but it’s already giving Private Eye a run for its money. This term, its pieces have ranged from international politics to college politics featuring the likes of Trump, May and Corbyn. Each week our Satire Editor writes and sources a number of articles and cartoons. Fancy yourself as the next Hislop? Then this is the position for you. Fill in the Section Editor form to apply for the role of Satire Editor.

Life:

The Life hosts a number of Cherwell’s most popular features, including our Letter from Abroad and the (in)famous Blind Date.

We also have a Food & Drink page, which you can additionally apply to edit, or to write for. It features a wide variety of reviews and recipes. If you want to review college meals, or Oxford’s extensive number of bars or restaurants, this is the place to look.

Deputy Life Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Investigations:

We are extremely proud of our Investigations section, otherwise known as C+. This is where some of the most in-depth, investigative journalism is done, tackling some of the biggest issues in Oxford today. This term, C+ has investigated, amongst other things, the problems surrounding homelessness, race, and suspension in Oxford. If you want to test the waters of investigative life before becoming completely in charge of it, apply for Deputy Investigations Editor.

Features:

Appearing in the paper every other week, this term’s new Features section has included some brilliant pieces on January’s women’s march, travel and the freedom and empowerment of drag. If you’re a fan of the New York Times‘ long form articles, want to interrogate and explore subjects in more detail and fancy reading (or writing) an article longer than the standard comment piece, Features is the section for you. Fill out the Section Editor form to apply to become Features Editor.

Culture:

Culture is our largest section, with pages dedicated to Film & TV, Stage, Music, Books & Lit, and Visuals. We’re one of the first ports of call for reviews of all the student plays, as well as all the other cultural delights which Oxford offers.

If you’d like to edit the whole Culture section, please fill in the Section Editor form. If you’d like to edit any of the Film & TV, Stage, Music, Books & Lit or Visuals pages, please fill in the Section Editor form. If you would just like to contribute to Culture occasionally, there’s no need to fill in a form—please just email [email protected] expressing your interest.

Fashion:

Our Fashion section has gone from strength to strength this term. If you want to organise weekly photoshoots, or you’ve got opinions on fashion and fancy being the next Sartorialist, this is the section for you.

Deputy Fashion Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section and to help with the weekly fashion shoots. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Science & Tech:

Science has only recently found a home in our weekly paper, but the section, which started in Michaelmas 2016, now publishes regular, focused and cutting-edge articles in Cherwell. Covering Biology, Chemistry, Physics, Medical Sciences, Engineering, and everything in between, the section allows a thoughtful scientist to publish musings on any new research that has been dumbfounding them, or even interview their favourite scientist. Recent articles have included a piece investigating why quantum physics is invading biology, a discussion surrounding editing genes, and an interview with Sir Paul Nurse. This term, we’re opening out the page to include the world of technology too. Fill out the Section Editor form to apply to edit our Science & Tech section.

Sport:

We report on many major sporting occasions in Oxford—whether your interest is rugby, swimming or lacrosse, there are opportunities for objective analysis of the big games, or not-so-objective match reports from those involved in college matches. Get involved with the Sport section to continue this trend and expand high quality coverage to other sporting fields.

Apply to be a Deputy Sport Editor if you would like to be part of a permanent team of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor you don’t need to fill out a form, just email [email protected].

Broadcasting:

Our Broadcasting section has produced fantastic content over the last term, from our weekly news round up to covering TedxTalks Oxford and various sporting events. If you have experience in production and editing, or are just keen to learn about being either behind or in front of the camera, then apply to join the broadcasting team.

Squatters leave Iffley Open House for University building

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The Iffley Open House (IOH) occupiers claim to now be squatting in a University-owned building, following their eviction from the Volkswagen garage owned by Wadham College in which they had been living.

Today the group secured the power station at Osney Island, an unoccupied space owned by Oxford University, which they claim has been left “unutilised” for several years.

The building was used as a physics faculty by Oxford in the 1970s, but has stood empty now for seven years. The space had reportedly been considered for use by the University’s Said Business School.  

In a press release IOH said that they “hope to stay for two months, and work with local residents to create a safe space which is just as successful as the original Iffley Open House”.

Oxford University said in a statement to Cherwell: “30 people moved into the Old Power Station building owned by the University of Oxford. Around 20 of them are homeless and are using it as a squat after vacating a former car showroom from which they had been given notice to quit.

“Ten volunteers working with the homeless are thought to have joined them. The University sympathises with the plight of these homeless people who need somewhere safe to live and has been speaking with their representatives about how to resolve the situation.

IOH squatters were given notice from Wadham two weeks ago that they would have to leave the old VW garage owned by the college by yesterday.

This notice came despite tthe group’s claim that in January the leaseholders of the ground floor of the building, the Mid-Counties Co-Operative, had negotiated a lease to allow the squatters to stay until 10 April.

Since New Year’s Eve the group had being using the building to house up to 20 homeless people. They had been providing cooked meals and washing facilities, as well as skills to help the residents find new work.

Oxford University students, including the ‘Hertford for the Homeless’ campaign, have worked alongside local volunteers to aid IOH’s homeless residents. Students today assembled in Radcliffe Square to take photos to express their solidarity with the project.

IOH say that since opening the shelter, two residents have been rehoused, one has been accepted into University, a further two have started new jobs, and several others are awaiting responses from job applications.

Sandra Phillips, an IOH voluntee, said: “We fully intend to respect the Power Station and the surrounding community for as long as we stay here, we hope match the level of understanding and support that we’ve received at Iffley Road

“Ultimately, this is about providing housing for those who need it most – and we truly believe that the residents of Oxford believe in this cause as much as we do”