Ever the optimist, Hawkins considers building intelligent machines eminently doable. Given his track record, maybe he’ll...
Hawkins, the PalmPilot’s inventor, is keen to build truly intelligent machines based on his ideas of how the brain really works.
The brain is no computer, this guru of handheld devices makes clear. The AI folks have got it wrong, even with their neural networks and feedback devices. The brain is not a super-fast PC computing all the moves so as to beat you at chess. It’s slow, but oh-so-clever. It can fill in the quote when you supply it with a few words, read your crummy handwriting, hum the tune given a couple of notes. All this is possible, Hawkins says, because of the hierarchical structure of the neocortex covering the brain. The cortex is composed of six layers of cells that connect up and down in columns, sideways to cells in other columns, and also connect to other parts of the brain. Incoming signals, say from the eye, send a constantly changing barrage of signals to cells in the visual cortex that, through a succession of relays up and down, get transformed into invariant patterns (a face, for example). Memory, in Hawkins’s theory, is a neocortical function based on extracting invariant features of spatial (or temporal) sequences of patterns and employing a process of “autoassociation” in which pattern one invokes an associated pattern two, etc. Hawkins provides many a homely example to comfort the reader traversing the neuroanatomical details, culminating in what he calls the memory-prediction concept of intelligence, in which we use memory to make analogies that allow us to anticipate what happens next, even to devise creative moves. The strength here lies in the solid work of neuroscientists under-girding Hawkins’s ideas. Its weakness is his failure to consider the influence of the brain’s emotional/motivational circuitry on learning and memory.
Ever the optimist, Hawkins considers building intelligent machines eminently doable. Given his track record, maybe he’ll succeed. If not, the exercise may provide further insight into how the brain really, really works.Pub Date: Oct. 3, 2004
ISBN: 0-8050-7456-2
Page Count: 288
Publisher: Times/Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2004
BOOK REVIEW
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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