Researchers based in New Zealand say they have restored the first known recording of computer-generated music which dates back to 1951 and was produced on a contraption made by Alan Turing.

German artist Ralf Baecker gives technology a life of its own. His new piece Irrational Computing, which debuts International Triennial of New Media Art, use semiconductor crystals (quartz sand) and connects them to interlinked modules to create a primitive macroscopic signal processor.

The debate about the nature of time and its passage is a long and venerable one. The issues addressed by pre-Socratic philosophers such as Heraclitus and Parmenides about whether time 'flows' or not prefigure present day philosophical arguments. In his talk to the Blackheath Philosophy Forum Huw Price chose as his starting point the views of cosmologist Sir Arthur Eddington - a prominent figure in the first half of the 20th century, but little known today. What made Eddington's view of time interesting is that he was prepared to part company with most physicists - who conceive time as it is revealed in the laws of physics - and give credence to our subjective perceptions about time, particularly our perception that time passes (or 'goes on' in his terms).

For years, excitement about quantum computing has been growing among scientists and tech visionaries. Quantum computers, if they succeed, promise to make a whole new range of problems accessible to computers, from breaking difficult codes to unlocking complicated biological processes now out of reach for even the fastest machines.

I propose to consider the question, "Can machines think?" This should begin with definitions of the meaning of the terms "machine" and "think." The definitions might be framed so as to reflect so far as possible the normal use of the words, but this attitude is dangerous, If the meaning of the words "machine" and "think" are to be found by examining how they are commonly used it is difficult to escape the conclusion that the meaning and the answer to the question, "Can machines think?" is to be sought in a statistical survey such as a Gallup poll. But this is absurd. Instead of attempting such a definition I shall replace the question by another, which is closely related to it and is expressed in relatively unambiguous words.

Michel Serres: We are in the middle of an extraordinary human and environmental transformation, without really being aware of it, one that can only perhaps be compared with the Renaissance, the fifth century BC, and even the Neolithic age. For example, if there are no more peasants today, when did peasantry ­begin? In the Neolithic age. We can now say that in the year 2000, the Neolithic age is over. But who announced this in the news­papers? We didn’t read in any paper that “the Neolithic age is over”!

And we are equipped in our thinking for this change?

No. What we see are many turning points – physical, environmental, agricul­tural, medical, demographic, etc. All these events are profoundly significant; they touch human life and human behavior, the space around us. In 1800, eight per cent of the population lived in cities, meaning that prior to that, the number was even smaller. Today, 50 to 70 percent of the population is urban. 

"Watson is a computer that uncovers meaning in our language, and pinpoints the right answer, instantly. It uses deep analytics to answer questions computers never could before, even the ones on Jeopardy!" Then a Jeopardy! clue is displayed: "Groucho quipped, 'One morning I shot' this 'in my pajamas.'" Now, that's a provocative set of claims. Watson's performance in the tournament (despite a few howlers along the way) clearly demonstrates that it is very skilled in particular types of question-answering, and I have no doubt it could handle that Groucho clue with aplomb. But does that mean that Watson "understands" the "nuance, slang, and metaphor" of natural language? That it "uncovers meaning in our language"? Depends what you mean by "meaning," and how you understand "understanding." Elsewhere, Ferrucci has been more circumspect about Watson's level of "understanding." In an interview with IBM's own magazine ForwardView, he said, 

Otlet was the first to imagine all the world’s knowledge as one vast “web,” connected by “links” and accessed remotely through desktop screens, and because of this he can be seen as the kooky grandfather of the Internet. From the beginning of his career as a lawyer and bibliographer, Otlet wrote prolifically and prophetically about how information could be organized and transmitted. He developed the Universal Decimal Classification system (UDC), an expanded form of the Dewey Decimal Classification system that assigned individual numerical subject codes to documents, allowing them to be searched and cross-referenced in a standardized manner. His later writings on information science examined the technological advancements of his time that he regarded as potential substitutes for the book: the radio, television, telephone, and telegraph, sound recordings, cinema, and microfilm (which he developed alongside Robert Goldschmidt). In doing so, Otlet prefigured the work of computer-science pi

Along with his work on synthesis, or using machines to create sounds, Cope had dabbled in the use of software to compose music. Inspired by the field of artificial intelligence, he thought there might be a way to create a virtual David Cope software to create new pieces in his style.

The effort fit into a long tradition of what would come to be called algorithmic composition. Algorithmic composers use a list of instructions — as opposed to sheer inspiration — to create their works. During the 18th century, Joseph Haydn and others created scores for a musical dice game called Musikalisches Würfelspiel, in which players rolled dice to determine which of 272 measures of music would be played in a certain order. More recently, 1950s-era University of Illinois researchers Lejaren Hiller and Leonard Isaacson programmed stylistic parameters into the Illiac computer to create the Illiac Suite, and Greek composer Iannis Xenakis used probability equations. Much of modern popular music is a sort

Lose/Lose is a video-game with real life consequences. Each alien in the game is created based on a random file on the players computer. If the player kills the alien, the file it is based on is deleted. If the players ship is destroyed, the application itself is deleted.

Although touching aliens will cause the player to lose the game, and killing aliens awards points, the aliens will never actually fire at the player. This calls into question the player's mission, which is never explicitly stated, only hinted at through classic game mechanics. Is the player supposed to be an aggressor? Or merely an observer, traversing through a dangerous land?

Why do we assume that because we are given a weapon an awarded for using it, that doing so is right?

By way of exploring what it means to kill in a video-game, Lose/Lose broaches bigger questions. As technology grows, our understanding of it diminishes, yet, at the same time, it becomes increasingly important in our lives. At what point does

In the shadows of the global financial crisis of the early 21st century, another revolution is gathering pace, whose repercussions reach far beyond the current correctable economic buckling. It impact on the world will compare with Gutenberg's. And with it, the era of the printed book will come to a close. Dissolved digitally like sound and image beforehand, limitlessly copyable, globally downloadable by the million with the click of a mouse, the book is entering the world of multimedia like its disembodied cousins from film, photography and music. This is the disintegration of the oldest serially produced data carrier in terms of form and content.

The medium of enlightenment is losing its message and probably some sense and sensibility along the way. Sooner or later bound piles of printed paper will be available only as luxury items in specialist shops, like vinyl records today. Even the most iron-willed bibliophiles won't be able to get their hands on Gutenberg's legacy in its curre