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BOTS

Name: BOTS
Author: Andrew Leonard
ISBN: 1-888869-05-4

THE ORIGIN OF NEW SPECIES

by Andrew Leonard ‧ RELEASE DATE: Sept. 15, 1997

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An intriguing if somewhat frightening view of how the very fringes of a subculture (in this case, the computing subculture) can affect society. Leonard, a contributor to Wired magazine, takes an alternately enthusiastic and cautious view of the technology that has given rise to ``bots''—a shortened form of the word ``robot'' used to describe computer programs that may take on human tasks. The word ``robot,'' the author points out, is from the Czech for ``slave,'' and in one original definition provided by Isaac Asimov in his book I, Robot, these creatures were supposed to be inherently helpful to humans. However, as Bots demonstrates, using numerous examples, computer hackers are more and more using bots to disable computing systems, engage in personal attacks, and generally cause nuisances all over the ever-expanding Internet. Leonard gives his best example of the dual nature of bots in his discussion of Usenet—the bulletin boardtype news service that serves special-interest groups. While some bots have been quite helpful in Usenet, as in the case of ``soc.culture.russian,'' a newsgroup once cluttered with off-topic and offensive posts that now uses a bot to moderate the forum, last year's mass cancellation of messages concerning minority groups (most prominently Jews and Asians), also performed by a bot, is an example of technology gone horribly awry. Happily, Leonard is not unaware of the geek factor—he quotes one anonymous hacker who asserts that ``we aren't computer nerds with thick glasses. . . . I wear contacts''—and such levity moderates other meditations, such as Leonard's point that ``as bots get smarter, the fallout that their deeds generate will only intensify.'' While Leonard may go a bit far in suggesting with his subtitle that bots could be an artificial form of intelligence, his Darwinian point, that only through conflict can any species (be it human or robotic) improve, is well taken.

Pub Date: Sept. 15, 1997

ISBN: 1-888869-05-4

Page Count: 224

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1997

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.