1)Read, review, and criticize articles in magazines, newspapers, or the Internet dealing with computers and information technology.
2)You need to understand what the CPU is how it works.
3)You are required to find a current article (or articles, no older than one year) in any journals, magazines, newspapers, or the Internet pertaining to the new development of the CPU you are interested in.
4). The first part of the report is the summary of the article. The second part will be your reaction or your personal opinion (either positive or negative). Your reaction should be supported with specific reasons.
By his very own record, Dan Brown got the written work bug while perusing Sidney Sheldon's spine chiller The Doomsday Conspiracy amid a 1993 Tahitian get-away. Dark colored, who until the point when at that point was most acquainted with the works of art, was attracted to Sheldon's windy pacing and simple exposition and felt they were something he could repeat. After five years Brown understood his desire with the arrival of his NSA code-breaking adventure Digital Fortress. However, his huge break came in 2003 with The Da Vinci Code, a quick moving, scheme loaded homicide riddle in which Brown repeats his tweed-clad legend Robert Langdon and puts him on the trail of the Holy Grail, utilizing da Vinci's enigmatic brushwork for hints. The underlying gathering was melodic. The New York Times suggested it with "extraordinary energy" and portrayed Brown's written work as "joyfully erudite." To the San Francisco Chronicle, it was "Umberto Eco on steroids." people in general response was similarly as intense. The Da Vinci Code moved rapidly into the untouched hit list. However the basic praise unwound nearly as fast as Robert Langdon unraveled those knotty puzzles. When the film variant was discharged, the kickback was in full impact. This time, the New York Times viciously scorned Brown's "um, exposition style," while the New Yorker called it "unmitigated junk." Each of Brown's consequent contributions, including the 2013 Dante-propelled Inferno, has been a business hit—and a basic tumble. For what reason did Brown's artistic notoriety crumple? All things considered, for one, questions were thrown on the precision of The Da Vinci Code's verifiable statements, and for another, Brown was liable to a few claims for written falsification. Be that as it may, generally it's about the written work. The precipice holders, mystery social orders, and antiquated figures may have been sufficient to divert early analysts from Brown's composition, yet eventually its inadequacies requested acknowledgment. Dark colored's expressing is unreasonably profound, as exemplified by the opening line of The Da Vinci Code: Prestigious guardian Jacques Saunière lurched through the vaulted entrance of the historical center's Grand Gallery. Draping the staggaree's occupation before his name thumps the meter out of equalization. More regrettable, the data is needless. In the exact next section (and a further ten times in the initial two pages), Brown helps us to remember Saunière's calling, and since the preface is entitled "Louver Museum, Paris, 10:46 pm," it's a sure thing Saunière is famous. Great fiction, dissimilar to news-casting, works the peruser's creative ability, yet Brown puts everything on the line to spoon-channel the most extremely evident detail. He'll frequently utilize a modifier or descriptor numerous occasions on a page, or even inside a similar section. In the introduction to The Da Vinci Code relatively every activity happens "gradually"; in Inferno, we're told no under four times that Langdon's specialist has "ragged eyebrows." Another flawed propensity for Brown's in The Da Vinci Code is his namedropping of top of the line items; he once in a while passes up on an opportunity to shoehorn, QVC-like, their subtle elements into the most secure of activity arrangements ("Yanking his Manurhin MR-93 pistol from his shoulder holster, the skipper dashed out of the workplace," or "Just those with a sharp eye would see his 14-karat gold priest's ring with purple amethyst, huge precious stones, and hand-tooled miter-crozier appliqué"). Be that as it may, at last, it doesn't make a difference. Darker has a formula that offers a greater number of duplicates than great written work ever could: take a puzzling association or relic (ideally medieval, unquestionably questionable) gussy it up and stupid it down until it's agreeable for the layman, toss in a liberal dash of fear inspired notion and a lot of codes, and serve without altering.>GET ANSWER