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Facebook is in talks with would-be partners about ways it could gain access to the millions of Chinese people just dying to friend someone. The talks are in preliminary stages, and might not amount to anything, sources tell Bloomberg . Right now, Facebook is censored in China, as are Twitter, YouTube,…

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When Clay Hunt killed himself at his Houston apartment last week, he became exactly the sort of grim military statistic he’d battled so hard against. The 28-year-old had faced survivor’s guilt and battlefield trauma head on, starring in a lauded public service ad campaign that urged his comrades to get…

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Last night’s “needless, reckless, game of shutdown chicken” was a sham, with both sides drawing out the drama, complains Dana Milbank of the Washington Post . Sure, Barack Obama, John Boehner and Harry Reid all said they wanted to reach a resolution. But “If that were so, a government shutdown would…

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Perhaps, in a moment of desperation, it seemed like a good idea to claim your mother-in-law as a dependent on your tax return … but it’s actually not. And neither are these nine other risky moves, as rounded up by Time : Skipping receipts : Even if you think the IRS will never…

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When an explosion rocked a Santa Monica synagogue on Thursday, officials thought it was just an accidental gas blast. But yesterday they found what appears to be a makeshift explosive device—and now they say they’ve linked it to an “extremely dangerous” suspect, the LA Times reports . The blast was…

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At least seven people were killed and another 15 wounded today when a man opened fire with a machine gun at a crowded mall in an Amsterdam suburb, the AP reports. The gunman, who witnesses describe as a blond haired man around 25-years-old, was found lying dead in front of…

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Sidney Lumet, the award-winning director of such acclaimed films as Network , Serpico , Dog Day Afternoon and 12 Angry Men , has died. He was 86. Lumet’s death was confirmed today by his stepdaughter’s husband. He said Lumet died during the night and had suffered from lymphoma. Lumet was nominated for four…

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When Barack Obama and John Boehner met Thursday night, one issue loomed over the rest: Planned Parenthood. Boehner was insisting that any budget deal would have to defund the organization, something Obama was utterly opposed to, sources tell Politico . Joe Biden said that if that point prevented a deal, he’d…

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Who you gonna call? Room service

Royal Court; Bermondsey Square hotel; Young Vic; New Diorama, all London Fasten your seat-belts, as we are about to experience turbulence. Simon Stephens’s new play, Wastwater , uses air travel as a metaphor for human restlessness. It is about three potentially life-changing decisions: leaving the country, having an affair (in an airport hotel), adopting a child from overseas. Three flight paths, you could say. It is an idea that has wings. But the opening piece, a conversation between a woman (Linda Bassett) and her departing foster son (Tom Sturridge), is pointlessly mannered. They stand like sentries outside a battered conservatory (their idleness, at this juncture, implausible) with low-flying planes overhead. Their intonation is artificial. She is too high-pitched, he unvaryingly flat. I didn’t believe in their dialogue at all. The second encounter is between an art teacher and an ex-porn actress in an airport hotel. This act is better: tense, alarming and funny. Jo McInnes, in figure-hugging black cocktail dress, sustains a sexy, control-freaky vibe. Paul Ready is entertainingly unready. Together, they give a masterclass in uneasy body language. The third piece – gripping but unconvincing – is about a middle-class man from Islington (Angus Wright) illegally adopting a child. The scene takes place in a deserted warehouse near Heathrow where he is interrogated by sadistic Sian (Amanda Hale), who, it turns out, grew up in the foster family of the first act. This play, with its open-ended menace, could not have existed if Pinter had never drawn breath. And Katie Mitchell has done it proud, directing to a high-gloss finish (the versatile design is Lizzie Clachan’s). But the irony is that “finish” is what this play lacks. Stephens has tremendous facility but Wastwater does not cohere: the links between the stories are too weak to hold. Serendipitously, last week’s theatre was dominated by strange encounters in hotels. The Bermondsey Square hotel is characterlessly trendy – it has the atmosphere of a building that does not quite know what it is doing. Anouke Brook, in association with Southwark Playhouse, has persuaded management to let her direct two half-hour plays – Hotel Confessions – to audiences of 10 in room 509. As we wait, a hectic man walks into reception, his cheap suitcase sprinkled with snow. Before long, we follow him in the lift up to his room on the fifth floor, where he will find a sleeping stranger in one of the beds. What follows is a powerful, subtle and engrossing reworking of Siegfried Lenz’s short story “The Night in the Hotel”. This is followed by Nessah Aisha Muthy’s beautifully written companion piece “Freya and Mr Mushroom”, about a travelling salesman and a little girl. Both pieces are about trust, strangeness and the nature of theatre itself – in which one may move from the unknown to intimacy at speed. A memorable evening – great fun too. Two Irish plays – each associated with the Abbey theatre in Dublin – made up the rest of the week. Mark O’Rowe’s Terminus was first staged there in 2007. It is a dark, potent, rhyming brew about falls from disgrace in which O’Rowe shows there never was, in the violent Dublin lives he describes, a paradise to lose. The structure is alternating monologues – characters spotlit against darkness, as separate as the glass shards that make up Jon Bausor’s set. Olwen Fouéré is arresting as a middle-aged Samaritan. Catherine Walker is tremendous as her daughter who falls from a construction crane (an idea taken from Joyce) into the arms of a wormy demon. And Declan Conlon is terrifying as a spivvy serial killer who looks as if he is attending a cheap wedding. What thrills is O’Rowe’s metaphysical virtuosity. But the violence is hard to bear – I longed for more light. In 1937, the Abbey theatre – who staged a number of Teresa Deevy’s plays – rejected Wife to James Whelan . The play was thought unconventional. Now, it is hard to imagine how this charming, involving, garrulous story could ever have offended. The characters – sympathetically directed by Gavin McAlinden – come from an Irish village and talk so much there is not much time for action. But a sad love story between James Whelan (Mark Hesketh) and Nan Bowers (Ailish Symons) squeezes into the conversational gaps. Apparently, Deevy had strong feelings about women’s rights. She also had a keen understanding of men. Whelan is adroitly drawn: in love with his power and good looks, bound to make himself and others unhappy. “I never knew so uppish a feller,” says Nan. But that does not stop her loving him. Theatre Kate Kellaway guardian.co.uk

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Making sense of the information age

Acclaimed science writer James Gleick talks about data, meaning and knowledge – and his new book, The Information Here’s a paradox: we live in an “information age” and yet information is a maddeningly elusive concept. We habitually confuse it with data, on the one hand, and with knowledge on the other. And yet it’s neither. There’s an arcane mathematical discipline called “information theory” that underpins all digital communications nowadays and yet resolutely disdains to make any connection between information and meaning. It would take a brave author to pursue such an elusive quarry. Or a foolhardy one. James Gleick is an accomplished stalker of mysterious ideas. His first book, Chaos (1987), provided a compelling introduction to a new science of disorder, unpredictability and complex systems. His new book, The Information , is in the same tradition. It’s a learned, discursive, sometimes wayward exploration of a very complicated subject. The subtitle, A History, A Theory, A Flood , gives the game away. This is really three books: one is about the history of information from earliest times to the present day. It opens with a memorable, beautifully written chapter about the “talking drums” of the Congo and explains how a drum with just two tones was used to communicate complex information quickly over large distances. After that we embark on a journey through the history of writing, the rise of the dictionary, the growth of English, the origins of programming and the arrival of Samuel Morse and his amazing electric telegraph. The second part centres on the work of Claude Shannon, the American mathematical genius who in 1948 proposed a general theory of information. Shannon was the guy who coined the term “bit” for the primary unit of information, and provided a secure theoretical underpinning for electronic communications (so in a way he’s the godfather of the modern world). The trouble was that Shannon’s conceptual clarity depended on divorcing information from meaning, a proposition that to this day baffles everyone who is not an engineer. But the most startling insights in the book come when Gleick moves to explore the role of information in biology and particle physics. From the moment when James Watson and Francis Crick cracked the structure of DNA, molecular biology effectively became a branch of computer science. For the replication of DNA is the copying of information and the manufacture of proteins is a transfer of information – the sending of a message. And then there’s quantum mechanics, the most incomprehensible part of physics, some of whose most eminent practitioners – such as the late John Archibald Wheeler – have begun to wonder if their field might not be, after all, just about information. “It from bit” was Wheeler’s way of putting it. “Every it – every particle, every field of force, even the space-time continuum itself – derives its function, its meaning, its very existence… from bits.” Finally, Gleick surveys the “flood” – the torrent of data and information that now engulfs us. In this section Gleick switches from history to speculation, which means that he is now in the same boat as the rest of us. This writer welcomes him aboard. John Naughton: The book has an astonishing range and I’ve learned a lot from it. It takes one into dozens of specialised fields – some of which (like quantum mechanics) are very arcane. How did you manage to do it? How many years did it take? And did you realise what you were taking on? James Gleick: I knew it was going to be a sprawling, amorphous project; I knew it would send shoots and tendrils every which way, and I didn’t know exactly how I was going to find a shape. In the end it took seven years, but I’d been thinking about it one way or another for a long time. I first heard about this baffling thing, “information theory”, from chaos scientists. In the 1990s I spent some time gathering material for a projected cultural history of the telephone – in other words, looking at the subject the wrong way round. And then, when I was immersed in my last book, about Isaac Newton, I started to feel that I was already writing about information more than, say, physics. JN: I found your account of the life and achievements of Ada Lovelace very moving. She has a pretty good claim to be recognised as the first computer programmer, and yet her story is a classic case-study in how brilliant women can be airbrushed from history, much as Rosalind Franklin was in the double helix story. It was good to see her being given her due. JG: I think of all the people who come and go in my book, she is my favourite. Worse than being airbrushed from history, she was never written in. She had a brief flash of celebrity as Byron’s daughter, but no one, with the lone exception of Charles Babbage, had a chance to glimpse her formidable mathematical powers. We can see it now in retrospect. She could never publish under her name; never belong to a professional society; never even attend university. Yet, working with Babbage as an anonymous younger sidekick, she surpassed his vision of what his proposed computing machines could do and could be. “First programmer” is apt. She was a genius. JN: The chapters I found hardest-going were the ones on randomness and particle physics – though I was much cheered up to discover that the great Richard Feynman said that nobody understands quantum mechanics. Were these the chapters that were the most difficult to write? JG: They were the most fun to write. Finally I had reached the scientific frontier; the point where the people of interest are alive and working and available for conversation. I spent time with Gregory Chaitin [an Argentine-American prodigy in both mathematics and computer science], who has a new idea every hour, and Charles Bennett [an IBM researcher famous for applying quantum physics to the process of information exchange], who showed me “Aunt Martha’s coffin” – his quantum teleportation device – buried under a pile of books and papers in a corner of his office. Hard going is OK. I take the view that we all have permission to be a little baffled by quantum information science and algorithmic information theory. JN: Claude Shannon plays a central role in the book and your portrayal of him is very vivid. One thing I hadn’t known was that Shannon’s PhD was on genetics viewed in terms of symbolic logic. Was that a surprise to you? JG: A complete surprise. I knew he had written an astounding master’s thesis applying Boolean logic to electrical circuits, but I had no idea about the genetics work. I was thrilled to learn about it, because I knew the connection between information and genetics was going to be a big topic for me. And then it turned out that Shannon’s work had not the slightest influence on modern genetics – he was in a world of his own, and the thesis vanished into academic oblivion. Yet it’s a kind of intellectual story I just love. On its idiosyncratic terms Shannon’s genetics work was apparently quite brilliant. This was long before anyone had any notion of DNA. “Genes” were as mysterious and hypothetical as atoms were to the ancient Greeks. Shannon said he would “speak as though the genes actually exist”, and invented a bunch of arbitrary symbols and proceeded to work out rules for recombination and cross-breeding that we can see, in hindsight, were right on the money. Yet he never published it. JN: There’s an interesting coincidence in the fact that the two defining breakthroughs in modern communications – the transistor and Shannon’s mathematical theory of information – should have emerged from the same lab at the same time. JG: I think you know I don’t consider that a coincidence. The place was right: the research laboratory run by the world’s great communications empire [Bell Labs, the formidable R&D arm of the AT&T telephone monopoly], where all sorts of oddballs were allowed to pursue loose ends with no obvious application to the bottom line. The time was right. The first lumbering computers were walking the earth, with their big hot vacuum tubes and their Boolean circuits. Shannon had a special genius – he was obsessed with just the right motley collection of ideas needed to spawn information theory – and the transistor guys were surely special in their own ways. But these inventions were due, and willy-nilly they arrived. JN: Although Shannon’s theory was a great breakthrough, his insistence on separating information from meaning must have alienated many people. Was a desire to bridge the two one of the reasons you embarked on the project? JG: Actually, that hadn’t occurred to me at first. My plan from the outset was to look at the origins and the influence of what we now call information theory, believing, as I do, that it underpins so much of our information hardware and our information networks and, yes, our information age. But as you note, information is not knowledge. We are more painfully aware of that now than ever. In explaining Shannon’s work I kept having to emphasise his point about the irrelevance of meaning; yet we know full well that meaning is what we really care about. This loomed larger and larger. There’s a hilarious moment in 1950 in a New York hotel meeting room when Shannon tries to explain “information” to anthropologists and psychologists such as Margaret Mead and Lawrence Frank, and they’re a little outraged. Where are the humans in this picture? Where are our brains? If it’s just wires and transistors, who cares? And surely this is precisely our problem, now that information is cheap and plentiful and ubiquitous. I was heartened when I came across a comment by philosopher and historian Jean-Pierre Dupuy: “It was inevitable that meaning would force its way back in.” I made that the epigraph for my final chapter. This is our challenge, surely. JN: Is it not the case that every shift in our communications environment has provoked “overload anxiety”? I can imagine folks in Venice in 1560 complaining about the torrent of print. Or is there something different about the present? JG: I think you’re unusually empathic to imagine ancient complaints about information overload, but of course you’re right. There was Leibniz bemoaning “that horrible mass of books – which keeps on growing…” When we complain that things have never been like this, it’s good to have some perspective. And yet, things have never been like this. Information has never been so cheap; our choices have never been so numerous; the cacophony has never been quite so grand. Everyone knows this, and everyone is right. It’s why we’re fascinated, if not obsessed, with Google and Twitter and all the rest of their oddly named species. We know that information poses as many challenges as opportunities. Computing Mathematics Physics John Naughton guardian.co.uk

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