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ON INTELLIGENCE

Name: ON INTELLIGENCE
Author: Jeff Hawkins
ISBN: 0-8050-7456-2

HOW A NEW UNDERSTANDING OF THE BRAIN WILL LEAD TO THE CREATION OF TRULY INTELLIGENT MACHINES

by Jeff Hawkins with Sandra Blakeslee ‧ RELEASE DATE: Oct. 3, 2004

Ever the optimist, Hawkins considers building intelligent machines eminently doable. Given his track record, maybe he’ll...

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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

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.