Daniel Levitin makes one reference to Donald Trump in this book (to the latter’s claim to have seen on TV “thousands and thousands” of Muslims in Jersey City cheering when the Twin Towers fell) but he couldn’t have known quite how apposite these words would be on publication: “In the current information age, pseudo-facts masquerade as facts, misinformation can be indistinguishable from true information.”

Werner Herzog isn’t visible in his documentary Lo and Behold but he’s a constant throughout, his sonorous, quizzical tones an ideal counterbalance to some of the more scary talking heads he encounters. In essence the film doesn’t tell us anything we don’t already suspect already: that the constantly evolving internet could either ruin us or offer salvation.

Anyone who expected a simple robots-versus-humans confrontation, like in Michael Crichton's original Westworld movie from 1973, had another think, or bunch of thinks, coming. The final episode of the Jonathan Nolan/JJ Abrams Westworld was more like a sci-fi manifesto for a post-human world.

Scientists today tend to patronise the early Greek philosophers who, 2500 years ago, inaugurated enquiry into the nature of things. The Atomic Theory? A lucky guess, they allege. But Carlo Rovelli accords them, and especially Democritus, the key atomist, pride of place in his narrative: a see-saw battle between notions that the world consist of discrete units, beyond which we cannot go, and the idea of continuum without beginning or end.

If an authority figure ordered you to inflict pain on another person, to what extent would you comply? That is the subject of Experimenter, which focuses on Stanley Milgram's controversial obedience experiment. Unable to secure a theatrical run in the UK, writer-director Michael Almereyda’s urgent biographical drama, which had its premiere at Sundance last year, is now available on DVD and for digital download. The movie’s unsettling depiction of our capacity for cruelty makes it essential viewing.

Was Leonardo da Vinci (1452-1519), who straddled the arts and science in such a unique way, several hundred years before his time? Did the painter-inventor-engineer really draw the prototypes for, inter alia, the aeroplane, the motor car, the helicopter and the submarine, or were they doodles to which history has ascribed more genius than they are due? This small but interesting exhibition attempts to answer those questions as it places his mechanical works under scientific scrutiny.

The flip side of the apocalyptic evolution-and-destiny concerns of Prometheus, Ridley Scott's previous foray across the Last Frontier, The Martian is a feelgood take on the theme of space travel. Having landed the first astronauts on Mars in 2029, NASA is pursuing its Ares programme to establish a self-sustaining colony on the Red Planet. However, a calamitous storm forces the NASA crew to evacuate, leaving behind botanist Mark Watney, seemingly killed by flying debris.

Walls that are floors, floors that are walls, and stairs that go up to go down: in the brain-befuddling art of MC Escher (1898-1972) the mundane everyday meets a world of paradox in which the rules of gravity, space and material reality are thrown into disarray. From his fantastical architectural spaces with flights of stairs that lead nowhere, to dazzling tessellations that fade into infinity, Escher is synonymous with queasy optical illusions that fascinate and nauseate in equal measure.

Nicole Kidman has returned to the West End 17 years after causing an innuendo-laden sensation in The Blue Room, the David Hare play that promptly transferred from the Donmar to Broadway, where one major magazine at the time actually bothered to inform readers where best to sit for the optimal view of a stage semi-neophyte en déshabillé. 

Oliver Sacks, peerless explorer of the human brain, has today died of cancer aged 82. Inspired by case histories of patients suffering from neurological disorders, Sacks's eloquent musings on consciousness — which he termed 'neurological novels' — included The Man Who Mistook His Wife For a Hat and Awakenings, the former adapted into a Michael Nyman opera, the latter an Oscar-nominated film. His combination of intellectual rigour, philosophical expressiveness and powerful compassion illuminated numerous conditions for a readership extending far beyond the medical community. In memory of Sacks, theartsdesk republishes our 2011 review of Imagine: The Man Who Forgot How to Read and Other Stories, BBC Two's glimpse into his remarkable work. 

The man who mistook Oprah Winfrey for Michelle Obama. Or indeed, the man who mistook his own reflection for another distinguished-looking bearded gentleman. Yes, the world’s most famous neurologist, Oliver Sacks, has confessed to “face blindness” - a lifelong inability to recognise faces, even his own face or the faces of the preternaturally famous. Last night’s Imagine found Alan Yentob revisiting Sacks (who he last encountered three years ago for a documentary on the mysteries of musical appreciation) to follow up on this story.