Angelo Badalamenti has written some of the most unique film scores of our time, most notably for me are those produced in collaboration with David Lynch. Their relationship has helped define a truly original cinematic vision. Dark, mesmerizing and intensely moving, sounds compliment imagery to perfection and at times steal the limelight altogether. Sound design and the written score can often be overlooked when appreciating the cinematic experience. You need look no further than the theatre scene (Llorando – Rebekah Del Rio) in Mulholland Drive to realise just how much power a score can have. It is the sound after all, not the images, that most immediately and directly impact on the viewers physical environment. Crying has never sounded so good!

"We're sorry. You deserved so much better", Gordon Brown wrote in a government apology issued in 2009. This unequivocal statement was made to the late Alan Turing who committed suicide in 1954 aged 41. The tragedy took place shortly after Turing had completed a course of experimental chemical castration offered as an alternative to a prison sentence following a conviction of gross indecency in 1952 after admitting a sexual relationship with a man.

Turing is most widely known for his work creating the machine that helped crack the German Enigmas machines, but is less widely known (although this appears to be changing) for his role in the birth of modern computing. In 1936 Turing set about creating a machine capable of simulating the logic of any computer algorithm. Turing machines are to this day a central object of study in theory of computation. Turing also contributed considerably to the debate on Artificial Intelligence and shortly before his death he published a paper on morphogenesis, the recognition of pattern formations in nature, in particular the existence of fibonacci numbers within plant structures.

The story of Turing's life and death was this week a topic of an competent and sometimes moving Channel 4 drama documentary, titled Britain's Greatest Codebreaker. It was suggested that his death had an immeasurable impact on the development on the computer industry as a whole. Apple co-founder Steve Wozniak described Turing as “the top of everything that ever developed” in computation and it is rumoured, although denied by Apple, that their logo references the half eaten apple laced with cyanide that was found laying beside the dead body of Turing on the 7th June 1954. His favourite fairy tale was Sleeping Beauty.

2012 marks 100 years since A.M. Turing's birth and will be celebrated in the form of the Alan Turing Year, a year-long programme of events around the world honouring Turing's life and achievements.

Tal R at Victoria Miro, limited quantity, unlimited quality. Rothko meets Kitaj, with a hint of Hockney thrown in. Undeniable influences combine to create enviably fresh new work.

The Jet Age Compendium: Paolozzi at Ambit – I just bought this yesterday at the South London Gallery bookshop. Designed by John Morgan for Four Corner Books, this special edition version of Ambit unites Poalozzi's work for Ambit in a single volume.

The content attempts to tackle the war in Vietnam, the acceleration of Japanese technology, and the utopias of mass advertising. A 2009 exhibition at Raven Row followed the book by bringing together the array of collages, visual essays, magazine adverts and fragments which together challenge the boundaries between text and image. I have always been a fan of artist's publications, but for me this book is a perfect balance of art and design.

Amateur is an amazing little website subtly housing a fascinating resource of content that cannot fail to arouse curiousity. I particularly like the imagined, observed and remembered comparative drawings used to highlight and overcome the trials of defining a personal visual language.

By utilizing drawing in a similiar way I have attempted to create an introduction to the drawing process that uses John Berger's description of 3 modes of drawing – those which study and question the visible, those which put down and communicate ideas, and those done from memory.

The result is a series of tasks intending to address a students focus on the finished image and to re-direct attention to drawing as a methodology . . . each mark you make on the paper is a stepping-stone from which you proceed to the next, until you have crossed your subject as though it were a river. JB

A + X + M =?, Alain Resnais' Last year in Marienbad has been described as a defining work of the French New Wave and one of the great, lasting mysteries of Modern Art.

This cinematic marvel describes a haunting relationship between a man and a woman who may or may not have met. The 3 main protagonists, never referred to by name, wander through a sumptuous château and the viewer is left to deliberate over the ambiguity of memory and the pursuit of an image.

The pixel myth – Pixels really don't matter [in photography] as much as people think, it's all a myth because the number of megapixels (MP) a camera has has very little to do with how the image looks. Even worse, plenty of lower MP cameras can make better images than poorer cameras with more MP – Ken Rockwell.

Upgrading your camera by doubling megapixel may make far less difference than you think because of the way it is worked out, it's simply length x width (no. of pixels), 2000 x 3000 = 6MP. A 12MP camera will produce an images size around 2848 x 4288, so even though the MP value is doubling the image size is only increasing by 40%.

I've recently picked up my camera again and have obviously had to upgrade from film equipment to digital. I still have several Nikon AF–D lenses (from my F4), so have been looking at Nikon cameras to take these lenses. Notably they need a built in motor drive for the lens, this left me looking at the D50, D70, D70s, D80 and D200 in my price range. I chose the D50 which is the cheapest and has the lowest number of MP's (6). I made a realistic choice knowing that most of the images I would be taking are either going to appear solely digitally or at most as an A4 inkjet print for reference. Most home printers print between 200-300ppi which means you can print a 6MP image at 200dpi 25 x 38cm, you could probably take this up even further if necessary!

It is worth noting that in the design/publishing industry print resolution is 300 dpi at 100%, and even though this can still be pushed, when things are being printed commercially then this should nearly always be adhered to. Essentially it is best to make a decision based on the intended use of the images and for myself and most 6MP is more than adequate.

My camera is extremely user friendly and the image quality is superb, buying more pixels doesn't help you to take better photographs. Sharpness depends on the skill and knowledge of the photographer rather than the width of the megapixels.

For all questions Nikon there is no better source of reference than Ken Rockwell.