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In 1997 the world chess champion Garry Kasparov was beaten by an IBM computer system called Deep Blue. It had defied all expectations, exploring some 300 million possible moves in one second. The most that skilled chess players can contemplate is about 110 moves at any given time. It was a seminal moment in the advance of artificial intelligence – even if not fully understood, writes Richard Susskind in How to Think About AI. People did not wholly grasp the impact of the exponential power of computers, nor that new ways would be found to develop systems that could achieve human expert-level performance. Fast forward to 2016 and to AlphaGo, a machine designed to play the complex game Go, which has more possible moves than atoms in the observable universe.

Elaine Herzberg was pushing a bicycle laden with shopping across a busy road in Tempe, Arizona in 2018 when she was struck by a hybrid electric Volvo SUV at 40mph. At the time of the accident, the woman in the driver’s seat was watching a talent show on her phone. The SUV had been fitted with an autonomous driving system consisting of neural networks that integrated image recognisers. The reason Herzberg died was because what she was doing did not compute. The autonomous driving system recalibrated the car’s trajectory to avoid the bicycle, which it took to be travelling along the road, only to collide with Herzberg, who was walking across it. She became the first casualty of artificial intelligence.

The law doth punish man or woman That steals the goose from off the common But lets the greater felon loose Who steals the common from the goose The authors of a fascinating new look at the patchwork chaos called copyright begin their book with this epigraph from an ancient English protest song against fencing, and thereby privatising, common land. David Bellos, a comparative literature professor at Princeton University and winner of the first International Booker Prize in 2005 for his translations of Ismail Kadare, and Alexandre Montagu, a lawyer specialising in intellectual property and new media law, have written a timely history of a ‘relatively simple idea – that authors have rights in the works they create’.

The twin poles of the modern imaginarium about technology and society can be represented by two masterpieces of popular culture. In James Cameron’s film The Terminator (1984) and its sequels, a global computer system called Skynet becomes sentient and proceeds to try to exterminate the human race by means of time-travelling Austrian bodybuilders. In Iain M. Banks’s ‘Culture’ novels, by contrast (beginning with Consider Phlebas, 1987), a space-faring humanlike species has created superintelligent machines, known as Minds, which automate all the labour of production, leaving people free to pursue artistic activities and extreme sports.