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Peter Wollen's landmark essay on the relation between two distinct traditions of avant-garde film
Published in 1982, <a href="/products/1111-readings-and-writings">Readings and Writings: Semiotic Counter-Strategies</a>
was the first of four collections of Peter Wollen's cultural writings to be published by Verso
This book collects together essays and fictions written during the period from 1968 to 1982 and published in a variety of magazines and journals
of which the most significant for me personally were Screen and Bananas
In different ways they attempt to develop a series of semiotic counter-strategies both in theory and in practice
as can be seen very clearly in the work of Barthes and Derrida
the classical distinctions between object-language and meta-language
The division of labour between theory and practice is one that a cultural counter-strategy should seek to overcome
and to explore some of the relations between them
The volume contains fictions as well as analytic and critical texts; the fictions incorporate elements of theoretical discourse
and a few of the essays — most clearly that on Kahlo and Modotti – make use of fictional forms
These essays and fictions thus present different aspects of work from a common aesthetic position
During this period I also made a number of films
These form part of the same heterogeneous corpus
Included in the collection and reprinted below is Wollen's landmark essay — first published in Screen International in 1975 — on the relation between the two distinct traditions of avant-garde film
so that in Europe today there are two distinct avant-gardes
The first can be identified loosely with the Co-op movement
The second would include film-makers such as Godard
Naturally there are points of contact between these two groups and common characteristics
but they also differ quite sharply in many respects: aesthetic assumptions
There are other film-makers too who do not fit neatly into either camp
and films which fall somewhere in between or simply somewhere else — Jackie Raynal's Deux Fois
for instance — but in general the distinction holds good
each would tend to deny the others the status of avant-garde at all
Books like Steve Dwoskin's Film Is or David Curtis's Experimental Film 1 do not discuss the crucial post-1968 work of Godard and Gorin
And supporters of Godard — and Godard himself — have often denounced the "Co-op avant-garde" as hopelessly involved with the established bourgeois art world and its values
The reasons for dismissal are often quite beside the point and misplaced
By no means all the directors (to use a word taboo in the other camp) in one group work with narrative in 35mm
as you might sometimes imagine — Godard has worked in 16mm for years and recently with video (to open up another hornet's nest)
many Co-op film-makers are well aware of political issues and see themselves in some sense as militant
(Not that political militancy in itself is any guarantee of being avant-garde.)
The position is complicated too by the fact that in North America there is only one avant-garde
There are no obvious equivalents of Godard or Straub-Huillet
although their influence can occasionally be seen — in Jon Jost’s Speaking Directly for example
American critics and theorists of the avant-garde have long tended to overlook their European counterparts or see them as derivative
The Europeans — and perhaps particularly the English — then tend to react by stressing their own credentials
making claims to have occupied the same ground as the Americans earlier or independently
the quarrel often looks of secondary importance
no-one denies that the capital of narrative fiction 35mm filmmaking is Hollywood
such as Antonioni or Fellini or Truffaut may be
New York is clearly the capital of the Co-op movement
Godard looks much more distinctively European than Kren or Le Grice
a fact which simply reflects the realities of power in the art world
to which the Co-op movement is closely tied
there is a sense in which avant-garde Co-op film-making in Europe is closer to New York than Californian film-making is
and the leading New York critics and tastemakers — Sitney
Michelson — are not appreciated in San Francisco any more than they are in London
It seems to me much more important to try and understand what unites and separates Godard and Straub-Huillet on the one hand
than what unites and separates Europe and North America within the Co-op ambit
I think the absence of any avant-garde of the Godard type in North America could ultimately prove a severe limitation on the development of the New American Cinema itself
narrowing its horizons and tying it unnecessarily closely to the future of the other visual arts
condemning it to a secondary status within the art world
post-painting — is both a strength and a weakness
To understand further the split which has developed within the avant-garde it is necessary to go back into history
A similar split can be seen in the twenties
On the one hand films were being made by Léger-Murphy
Moholy-Nagy and others — many of them discussed in Standish Lawder's recent book on The Cubist Cinema  2 — that were attempts to extend the scope of painting
to move outside the confines of the canvas
whose films were clearly avant-garde but in a different sense: Eisenstein's Strike
It was only at the very end of the decade that there was any real contact between the two groups — when Lissitizky (whose ideas about the electro-mechanical spectacle and admiration for Eggeling put him clearly in the "painters" group) first met Vertov to discuss the Stuttgart Film und Foto exhibition 3
and when Eisenstein met Richter on his first trip out of the Soviet Union and went with him to the conference at Le Sarraz
which turned out to mark the end rather than the beginning of an epoch
part of the difference lies in the backgrounds of the people involved
and futurist sound-poetry (Vertov) — Dovzhenko
had trained as a painter but deliberately gave it up
leaving all his painting materials behind him in Kharkov when he set off for Odessa and the film studios
there are premonitory links between these different currents of the twenties and those of recent years — Godard and Gorin carried out their collaboration under the name of the Dziga Vertov group; Van Doesburg
already anticipated many of the ideas of "expanded cinema," realized decades later: "The spectator space will become part of the film space
The separation of 'projection surface' is abolished
The spectator will no longer observe the film
but will participate in it optically and acoustically." 4
played the leading role in the development of modernism in the other arts
the coupure — to use the Althusserian terminology — the shift of terrain that marked the substitution of one paradigm or problematic for another
was a break that took place in painting pre-eminently
It is not hard to show how painting affected the other arts
how early Cubism had a decisive impact on Gertrude Stein and Ezra Pound
Khlebnikov — all were influenced at a crucial point by their encounter with Cubism
were seen as having an implication beyond the history of painting itself
a changed concept and practice of sign and signification
which we can now see to have been the opening-up of a space
a disjunction between signifier and signified and a change of emphasis from the problem of signified and reference
to that of signifier and signified within the sign itself
When we look at the development of painting after the Cubist breakthrough
we see a constant trend towards an apparently even more radical development: the suppression of the signified altogether
an art of pure signifiers detached from meaning as much as from reference
This tendency towards abstraction could be justified in various ways — a transcendental signified could be postulated
a meaning located in the Uberwelt of pure ideas; a theory of formalism
could be proposed; the work of art could be defended in terms of objecthood
pure presence; it could be explained as a solution to a problem
often set by the relationship between a signifier — a form of expression
material support (the matter or substance of expression)
tended to fall back into forms of writing in which the signified clearly remained dominant
Modernism could be interpreted in terms of the expansion of subject-matter
new narrative techniques (stream of consciousness) or play on the paradoxes of meaning and reference (Pirandellism)
that so many of the most radical experiments
were the work of artists or writers working closely with painters: Arp
In theatre the most radical developments were invariably associated with changes in set design and costume
including the use of masks: Meyerhold's Constructivist theatre in the Soviet Union
Brecht appears as little more than a moderate
a form of art employing more than one channel
and uses a multiplicity of different types of code
It has affinities with almost all the other arts
Theatre and dance can be elements of the pro-filmic event
placed in front of the camera to be photographed
Editing can be used to develop narrative or to produce a "visual rhythm" by analogy with music
Film itself can be painted or paintings can be animated
and through projection a third dimension can be introduced
to produce a kind of mobile light sculpture
Cinema too has its own "specifically cinematic'" 7 codes and materials
associated with the various phases of film production
As a result of this variety and multiplicity
ideas have fed into film-making from a variety of sources in the other arts
One powerful influence has come from painting
bringing with it a tendency to abstraction — pure light or colour; and non-figurative design—or deformation of conventional photographic imagery
involving prismatic fragmentation and splintering
all of which are to be found in twenties films
Editing tended to follow principles of association (related to poetry or dream) or analogies with musicshots of fixed length
are marked as much by what they excluded as what they included
Primarily of course verbal language was missing and also narrative
the absence of language was not foregrounded; it seemed a natural quality of film
but in retrospect its significance can be seen
Language is still excluded from an enormous number of avant-garde films
which are shown either silent or with electronic or other musical tracks
there are real technical and financial reasons for this
but these practical disincentives coincide with an aesthetic itself founded on concepts of visual form and visual problems that exclude verbal language from their field
This is part of the legacy of the Renaissance that has survived the modernist break almost unchallenged
There is one further important point that must be made about the development of film in relation to art history
Film-makers at a certain point became dissatisfied with the search simply for "kinetic solutions to pictorial problems," 8 as in the films of Man Ray and Moholy-Nagy
and began to concentrate on what they saw as specifically cinematic problems
Structural film-making over the last decade has thus represented a displacement of concerns from the art world to the film world rather than an extension
This way of thinking about art has remained one that film-makers have in common with painters and other visual artists
but an effort has been made to insist on the ontological autonomy of film
Gidal's work has foregrounded and been in a sense "about" focus; Le Grice's work has foregrounded and been in a sense "about" printing or projection
The tendency of painting to concentrate on its own sphere of materials and signification
has been translated into specifically cinematic terms and concerns
though here again "specifically cinematic" is taken to mean primarily the picture-track
Thus the impact of avant-garde ideas from the world of visual arts has ended up pushing film-makers into a position of extreme "purism" or "essentialism." Ironically
anti-realist film has ended up sharing many preoccupations in common with its worst enemies
committed to realism and representationalism
based his commitment on an argument about cinematic ontology and essence that he saw in the photographic reproduction of the natural world
both an extroverted and an introverted ontology of film
one seeking the soul of cinema in the nature of the pro-filmic event
the other in the nature of the cinematic process
The frontier reached by this avant-garde has been an ever-narrowing preoccupation with pure film
a dissolution of signification into objecthood or tautology
that this tendency is even more marked in the United States than in Europe
the tendency goes in the opposite direction
though they saw themselves in some sense as avant-garde
were also preoccupied with the problem of realism
For the most part they remained within the bounds of narrative cinema
The most clearly avant-garde passages and episodes in Eisenstein's films (experiments in intellectual montage) remain passages and episodes
which appear as interpolations within an otherwise homogeneous and classical narrative
There is no doubt that the dramaturgy is modernist rather than traditional — the crowd as hero
guignol — but these are not features that can be attributed to a break with rather than a renovation of classical theatre
They are modes of achieving a heightened emotional effect or presenting an idea with unexpected vividness or force
In Eisenstein's work the signified — content in the conventional sense — is always dominant and
he went so far as to dismiss Vertov's Man with the Movie Camera as "formalist jackstraws and unmotivated camera mischief," 10 contrasting its use of slow motion with Epstein's La Chute de la Maison Usher
to achieve an effect in terms of a desired content or goal
a milestone for the avant-garde and it is a sign of its richness that it can be seen as a precursor both of cinema-verité and of structural film
of its uncertainty caught between an ideology of photographic realism and one of formal innovation and experiment
what we find with the Soviet film-makers is a recognition that a new type of content
Thus Eisenstein wanted to translate the dialectical materialism of his world-view from an approach to subject-matter to an approach to form
through a theory of montage that was itself dialectical
it saw signifiers primarily as means of expression
but at the same time it demanded a radical transformation of those means
It was an aesthetic that had much in common with the avant-garde positions of
a distance of which the fear of formalism is symptomatic
It is as if they felt that once the signifier was freed from bondage to the signified
it was certain to celebrate by doing away with its old master altogether in a fit of irresponsible ultra-leftism and utopianism
In Godard's post-1968 films we glimpse something of an alternative route between contentism and formalism
a recognition that it is possible to work within the space opened up by the disjunction and dislocation of signifier and signified
Clearly Godard was influenced by Eisenstein’s theory of dialectical montage
but he develops it in a much more radical way
conflict occurred primarily between the successive signifieds of images
Although he recognizes a form of dialectical montage in the suprematist paintings of Malevich
he himself remains within the confines of "naturalism." (Interestingly enough
he identifies a middle road between naturalism and abstraction
to Balla and "primitive Italian futurism")
11 Godard takes the idea of formal conflict and struggle and translates it into a concept of conflict
but between different codes and between signifier and signified
which he began shooting before the events of May 1968
Godard tries programatically to "return to zero," to de-compose and then re-compose sounds and images
conflict becomes not simply collision through juxtaposition
a splitting apart of an apparently natural unity
Godard's view of bourgeois communication is one of a discourse gaining its power from its apparent naturalness
the impression of necessity that seems to bind a signifier to a signified
in order to provide a convincing representation of the world
He wants not simply to represent an alternative "world" or alternative "world-view," but to investigate the whole process of signification out of which a world-view or an ideology is constructed
Le Gai Savoir ends with the following words on the soundtrack: "This film has not wished to
could not wish to explain the cinema or even constitute its object
to offer a few effective means for arriving there
one must necessarily follow some of the paths travelled here." 12 In other words
the film deliberately suspends "meaning," avoids any teleology or finality
in the interests of a destruction and re-assembly
a re-combination of the order of the sign as an experiment in the dissolution of old meanings and the generation of new ones from the semiotic process itself
Le Gai Savoir is not a film with a meaning
is simply a limited part of the world of interest in itself to film-makers and film-students) but a film about the possibility of meaning itself
The array of sign-systems at work in the cinema are thus brought into a new kind of relationship with each other and with the world
is Godard indifferent to what types of new meaning are produced
it does not offer itself simply for a delirium of interpretation
as though meaning could be read in at will by the spectator
as though the end of a content-dominated art meant the end of any control over content
Godard's work goes back to the original breaking-point at which the modern avant-garde began — neither realist or expressionist
the Demoiselles d'Avignon is neither realist
asserting — as such a dislocation must — the primacy of the first
It is not a portrait group or a study of nudes in the representational tradition
to see it simply as an investigation of painterly or formal problems or possibilities is to forget its original title
The battle between realism/illusion/"literature" in art
and abstraction/reflexiveness/Greenberg-modernism
is not so simple or all-encompassing as it may sometimes seem
There are two other topics that should be mentioned here
it is often too easily asserted that one avant-garde is "political" and the other is not
defends his films on grounds that clearly imply a political position
And the supporters of Godard and Straub-Huillet
by distinguishing their films from those of Karmitz or Pontecorvo
are constantly forced to assert that being "political" is not in itself enough
that there must be a break with bourgeois norms of diegesis
subversion and deconstruction of codes — a line of argument which
unless it is thought through carefully or stopped arbitrarily at some safe point
leads inevitably straight into the positions of the other avant-garde
the fact that his films deal explicitly with political issues and ideas is obviously important
He does not wish to cut himself off from the political Marxist culture in which he has steeped himself from before 1968 and increasingly since
is that a film like Le Gai Savoir — unlike some later work of Godard
as he fell under Brecht’s influence — is not simply didactic or expository
but presents the language of Marxism itself
Politics — the influence and presence of Marxist writing — has been an obvious force of impetus and strength for Godard
but it also relates to another question — that of audience
happy though it would no doubt be to find a mass audience
The representatives of Marxist culture are on the whole aesthetically conservative and avant-gardism is damned as élitism
defended himself against this charge by citing Mao's dictum about the three types of struggle and placing his own work in film under the banner of scientific experiment
an instance in which theoretical work could be justified and take precedence over political work
Yet it is also clear that it was pressure to rediscover a mass
popular audience which led to the artistic regroupment of Tout Va Bien
which abandons avant-gardism for a stylized didacticism
though with some Eisensteinian interpolations
The second topic is that of "intertextuality," to use Julia Kristeva's terminology
13 One of the main characteristics of modernism
once the priority of immediate reference to the real world had been disputed
was the play of allusion within and between texts
plays a crucial role in the Demoiselles d’Avignon and
In avant-garde writing it is only necessary to think of Pound and Joyce
the effect is to break up the homogeneity of the work
to open up spaces between different texts and types of discourses
not only on the soundtrack where whole passages from books are recited
as in the quotations from Hollywood western and the cinema novo in Vent d'Est
the films of Straub-Huillet are almost all "layered" like a palimpsest — in this case
the space between texts is not only semantic but historical too
the different textual strata being the residues of different epochs and cultures
It is significant perhaps that the latest films of Malcolm Le Grice have a similar quality of intertextuality in their quotation of Lumière and Le Déjeuner sur l'Herbe
The Lumière film is especially interesting — in comparison with
Bill Brand's remake of Lumière's destruction-of-a-wall film
14 It is not simply a series of optical re-combinations
but an investigation into narration itself
which by counterposing different narrative tones
neither dissolves nor repeats Lumière's simple story
but foregrounds the process of narration itself
is semiotically very different from foregrounding the process of projection
The way into narrative cinema is surely not forbidden to the avant-garde film-maker
any more than the way into verbal language
is a multiple system — the search for the specifically cinematic can be deceptively purist and reductive
cinema is unthinkable without words and stories
To recognize this fact is by no means to accept a conventional Hollywood-oriented (or Bergman/Antonioni/Bunuel-oriented) attitude to the cinema and the place of stories and words within it
that film is a visual art that has brought about a blockage
Yet this idea is obviously a half-truth at best
The danger that threatens is that the introduction of words and stories — of signifieds — will simply bring back illusionism or representationalism in full flood
Clearly this fear is the converse of Eisenstein's anxiety about "unmotivated camera mischief." There are good reasons for these fears
I have tried to show how the two avant-gardes we find in Europe originated and what it is that holds them apart
I would have to discuss as well the institutional and economic framework in which film-makers find themselves
with film-makers who do as much as possible themselves at every stage of the film-making process
If there are performers involved they are usually few
The other avant-garde has its roots much more in the commercial system
and even when filming in 16mm Godard would use stars known in the commercial cinema
The difference is not simply one of budgets — Dwoskin or Wyborny have made films for TV as well as Godard
and Dwoskin's are clearly much more conventional
yet they are almost automatically assigned different cultural places
It is much more one of the film-makers' frame of reference
the places from which they come and the culture to which they relate
The facts of uneven development mean too that it would be utopian to hope for a simple convergence of the two avant-gardes
was done in 1968 — Le Gai Savoir and The Bridegroom
In comparison Tout Va Bien and Moses and Aaron are a step backwards
cut off from any real collective work or movement
Juliet Berto says towards the end that half the shots are missing from the film
and Jean-Pierre Léaud replies that they will be shot by other film-makers: Bertolucci
We can see now how wrong Godard was in some of his judgements — the shots missing from his film could be supplied by the other avant-garde — and it is not clear that he has ever realized this
though a simple convergence is very unlikely
it is crucial that the two avant-gardes should be confronted and juxtaposed
when the historic avant-garde embarked on its path
scarcely out of the fairground and the nickelodeon
including economic reasons — the avant-garde made itself felt late in the cinema and it is still very marginal
in comparison with painting or music or even writing
the cinema offers more opportunities than any other art — the cross-fertilization
so striking a feature of those early decades
the reciprocal interlocking and input between painting
could take place within the field of cinema itself
a synesthetic gesamtkunstwerk in the Wagnerian sense
could develop and elaborate the semiotic shifts that marked the origins of the avant-garde in a uniquely complex way
a dialectical montage within and between a complex of codes
translated by Standish Lawder from Die Form
"Photographic Practice and Art Theory," Studio International
"The Films of Man Ray and Moholy-Nagy," Artforum
See "Ontology and Materialism in Film," pp
"The Cinematographic Principle and the Ideogram," Film Form
"A Dialectic Approach to Film Form," in Film Form
"mot-à-mot d'un film encore trop réviso," was published by the Union des Ecrivains formed during May 1968
“Time and Motion Studies: Structural Cinema and the Work of Bill Brand," Studio International
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The King and Queen were photographed arriving at Clarence House on Tuesday morning
we’ll be gathering all of the biggest winners from the International Festival of Creativity in one place
‘It Has to be Heinz’ by Rethink won the Creative Effectiveness Grand Prix / Heinz
Bonjour and welcome to The Drum’s round-up of all the Cannes Lions 2024 Grand Prix winners as they’re announced
As the crème de la crème of advertising and marketing descend upon the French Riviera for the 70th annual Festival of Creativity
we’re here to bring you updates on all the big wins every single day
the coveted Lions celebrate the most brilliant creative work and the teams who make magic happen
Throughout the week, our team will also be delivering the biggest stories straight from the event as part of our <a href="https://www.thedrum.com/topics/cannes-lions">Cannes Lions coverage</a>
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<a href="https://www.nytimes.com/interactive/2024/books/best-books-21st-century.html">To determine the 100 best books of the 21st century</a>
The New York Times Book Review and The Upshot polled hundreds of literary luminaries
we thought it would be interesting — not to mention fun
We approached a few people to ask if they would publicly reveal their choices
“Atonement,” by Ian McEwan  ●  “Christine Falls,” by Benjamin Black  ●  “The Goldfinch,” by Donna Tartt  ●  “Gone Girl,” by Gillian Flynn  ●  “No Country for Old Men,” by Cormac McCarthy  ●  “Oryx and Crake,” by Margaret Atwood  ●  “The Paying Guests,” by Sarah Waters  ●  “The Plot Against America,” by Philip Roth  ●  “The Sympathizer,” by Viet Thanh Nguyen ● “Under the Dome,” by Stephen King
“All the Light We Cannot See,” by Anthony Doerr  ●  “Behind the Beautiful Forevers,” by Katherine Boo  ●  “Brooklyn,” by Colm Tóibín  ●  “The Buddha in the Attic,” by Julie Otsuka  ●  “Educated,” by Tara Westover  ●  “Evicted,” by Matthew Desmond  ●  “Gilead,” by Marilynne Robinson  ●  “The Known World,” by Edward P
Jones  ●  “Nickel and Dimed,” by Barbara Ehrenreich ● “Redeployment,” by Phil Klay
“2666,” by Roberto Bolaño  ●  “The Argonauts,” by Maggie Nelson  ●  “The Days of Abandonment,” by Elena Ferrante  ●  “The Flame Alphabet,” by Ben Marcus  ●  “The Kingdom,” by Emmanuel Carrère  ●  “Never Let Me Go,” by Kazuo Ishiguro  ●  “Small Things Like These,” by Claire Keegan  ●  “Storm Still,” by Peter Handke  ●  “Train Dreams,” by Denis Johnson ● “Voices from Chernobyl,” by Svetlana Alexievich
“Between the World and Me,” by Ta-Nehisi Coates  ●  “Demon Copperhead,” by Barbara Kingsolver  ●  “Educated,” by Tara Westover  ●  “Genome,” by Matt Ridley  ●  “Harry Potter and the Half-Blood Prince,” by J.K
Rowling  ●  “A Heartbreaking Work of Staggering Genius,” by Dave Eggers  ●  “Henry David Thoreau,” by Laura Dassow Walls  ●  “Pobby and Dingan,” by Ben Rice  ●  “The Underground Railroad,” by Colson Whitehead ● “The Worst Hard Time,” by Timothy Egan
“The Line of Beauty,” by Alan Hollinghurst  ●  “A Lucky Man,” by Jamel Brinkley  ●  “Trust,” by Hernan Diaz  ●  “Great Circle,” by Maggie Shipstead  ●  “Brotherless Night,” by V
Ganeshananthan  ●  “Everything's Fine,” by Cecilia Rabess  ●  “I Love You But I've Chosen Darkness,” by Claire Vaye Watkins  ●  “Swift River,” by Essie Chambers  ●  “Sea Creatures,” by Susanna Daniel ● “Make Your Home Among Strangers,” by Jennine Capó Crucet
“The Devil in the White City,” by Erik Larson  ●  “Deacon King Kong,” by James McBride  ●  “The Thursday Murder Club,” by Richard Osman  ●  “The Goldfinch,” by Donna Tartt  ●  “All the Light We Cannot See,” by Anthony Doerr  ●  “Gone Girl,” by Gillian Flynn  ●  “Atonement,” by Ian McEwan  ●  “Everything Is Illuminated,” by Jonathan Safran Foer  ●  “The Law of Innocence,” by Michael Connelly ● “City on Fire,” by Don Winslow
“Drinking Coffee Elsewhere: Stories,” by ZZ Packer  ●  “Ghost Of,” by Diana Khoi Nguyen  ●  “Greenwood,” by Michael Christie  ●  “Look,” by Solmaz Sharif  ●  “Pachinko,” by Min Jin Lee  ●  “Pastoralia,” by George Saunders  ●  “Sing
Sing,” by Jesmyn Ward  ●  “Stories of Your Life and Others,” by Ted Chiang  ●  “Tenth of December,” by George Saunders ● “The Underground Railroad,” by Colson Whitehead
“Americanah,” by Chimamanda Ngozi Adichie  ●  “Behind the Beautiful Forevers,” by Katherine Boo  ●  “Brother
I'm Dying,” by Edwidge Danticat  ●  “Kingdom Animalia,” by Aracelis Girmay  ●  “The Known World,” by Edward P
Jones  ●  “Out,” by Natsuo Kirino  ●  “The Savage Detectives,” by Roberto Bolaño  ●  “Say Her Name,” by Francisco Goldman  ●  “Stories of Your Life and Others,” by Ted Chiang ● “Tuff,” by Paul Beatty
“An American Marriage,” by Tayari Jones  ●  “The Bee Sting,” by Paul Murray  ●  “A Burning,” by Megha Majumdar  ●  “A Constellation of Vital Phenomena,” by Anthony Marra  ●  “The Corrections,” by Jonathan Franzen  ●  “The Goldfinch,” by Donna Tartt  ●  “A History of Burning,” by Janika Oza  ●  “The Nickel Boys,” by Colson Whitehead  ●  “Say Nothing,” by Patrick Radden Keefe ● “Wave,” by Sonali Deraniyagala
“The Sixth Extinction,” by Elizabeth Kolbert  ●  “Evicted,” by Matthew Desmond  ●  “Behind the Beautiful Forevers,” by Katherine Boo  ●  “The Collected Stories of Amy Hempel,” by Amy Hempel  ●  “Gilead,” by Marilynne Robinson  ●  “Wolf Hall,” by Hilary Mantel  ●  “Train Dreams,” by Denis Johnson  ●  “Jonathan Strange and Mr Norrell,” by Susanna Clarke  ●  “Family Furnishings,” by Alice Munro ● “Austerlitz,” by W.G
“11/22/63,” by Stephen King  ●  “The Book Thief,” by Markus Zusak  ●  “Educated,” by Tara Westover  ●  “The Girl with the Dragon Tattoo,” by Stieg Larsson  ●  “Gone Girl,” by Gillian Flynn  ●  “Harry Potter and the Goblet of Fire,” by J.K
Rowling  ●  “Kitchen Confidential,” by Anthony Bourdain  ●  “Life,” by Keith Richards with James Fox  ●  “Mystic River,” by Dennis Lehane ● “Seabiscuit,” by Laura Hillenbrand
“The Reformatory,” by Tananarive Due  ●  “The Bear and the Nightingale,” by Katherine Arden  ●  “Fortune Smiles,” by Adam Johnson  ●  “World War Z,” by Max Brooks  ●  “Dare Me,” by Megan Abbott  ●  “Redshirts,” by John Scalzi  ●  “Knockemstiff,” by Donald Ray Pollock  ●  “The Lesser Dead,” by Christopher Buehlman  ●  “Come Closer,” by Sara Gran ● “FantasticLand,” by Mike Bockoven
“Alice & Oliver,” by Charles Bock  ●  “American Wife,” by Curtis Sittenfeld  ●  “Dirt Music,” by Tim Winton  ●  “Euphoria,” by Lily King  ●  “Every Last One,” by Anna Quindlen  ●  “Fates and Furies,” by Lauren Groff  ●  “Hamnet,” by Maggie O'Farrell  ●  “Luster,” by Raven Leilani  ●  “May We Be Forgiven,” by A.M
Homes ● “The Night Circus,” by Erin Morgenstern
“Heavy,” by Kiese Laymon  ●  “The Nickel Boys,” by Colson Whitehead  ●  “Erasure,” by Percival Everett  ●  “Love That Dog,” by Sharon Creech  ●  “All the Light We Cannot See,” by Anthony Doerr  ●  “Brown Girl Dreaming,” by Jacqueline Woodson  ●  “The Buddha in the Attic,” by Julie Otsuka  ●  “Salvage the Bones,” by Jesmyn Ward  ●  “The Warmth of Other Suns,” by Isabel Wilkerson ● “There's Always This Year,” by Hanif Abdurraqib
“Between the World and Me,” by Ta-Nehisi Coates  ●  “The Emperor of All Maladies,” by Siddhartha Mukherjee  ●  “Gilead,” by Marilynne Robinson  ●  “The Hemingses of Monticello,” by Annette Gordon-Reed  ●  “The Immortal Life of Henrietta Lacks,” by Rebecca Skloot  ●  “The Metaphysical Club,” by Louis Menand  ●  “The Plot Against America,” by Philip Roth  ●  “The Underground Railroad,” by Colson Whitehead  ●  “The Warmth of Other Suns,” by Isabel Wilkerson ● “Wolf Hall,” by Hilary Mantel
“Ancillary Justice,” by Ann Leckie  ●  “Exhalation,” by Ted Chiang  ●  “The Fifth Season,” by N.K
Jemisin  ●  “The Ministry for the Future,” by Kim Stanley Robinson  ●  “The Only Good Indians,” by Stephen Graham Jones  ●  “The Paper Menagerie and Other Stories,” by Ken Liu  ●  “Ring Shout,” by P
Djèlí Clark  ●  “The Round House,” by Louise Erdrich  ●  “The Saint of Bright Doors,” by Vajra Chandrasekera ● “Selected Stories,” by Theodore Sturgeon
“2666,” by Roberto Bolaño  ●  “As Meat Loves Salt,” by Maria McCann  ●  “Evicted,” by Matthew Desmond  ●  “The Fifth Season,” by N.K
Jemisin  ●  “The Good Lord Bird,” by James McBride  ●  “The Line of Beauty,” by Alan Hollinghurst  ●  “Pachinko,” by Min Jin Lee  ●  “Skippy Dies,” by Paul Murray  ●  “Wolf Hall,” by Hilary Mantel ● “The World Is What It Is,” by Patrick French
“The Amazing Adventures of Kavalier & Clay,” by Michael Chabon  ●  “The Brutal Language of Love,” by Alicia Erian  ●  “Girl
Other,” by Bernardine Evaristo  ●  “Heavy,” by Kiese Laymon  ●  “Her Body and Other Parties,” by Carmen Maria Machado  ●  “NW,” by Zadie Smith  ●  “Pachinko,” by Min Jin Lee  ●  “Room,” by Emma Donoghue  ●  “Salvage the Bones,” by Jesmyn Ward ● “State of Wonder,” by Ann Patchett
“Aurora,” by Kim Stanley Robinson  ●  “Dear Cyborgs,” by Eugene Lim  ●  “The Employees,” by Olga Ravn  ●  “Erasure,” by Percival Everett  ●  “Hawthorn & Child,” by Keith Ridgway  ●  “Houses of Ravicka,” by Renee Gladman  ●  “How the Dead Dream,” by Lydia Millet  ●  “The Last Samurai,” by Helen DeWitt  ●  “Pity the Beast,” by Robin McLean ● “Trance,” by Christopher Sorrentino
“After Hours on Milagro Street,” by Angelina M
Lopez  ●  “Again the Magic,” by Lisa Kleypas  ●  “Bet Me,” by Jennifer Crusie  ●  “Circe,” by Madeline Miller  ●  “Dark Needs at Night's Edge,” by Kresley Cole  ●  “Forbidden,” by Beverly Jenkins  ●  “Georgie
All Along,” by Kate Clayborn  ●  “Hana Khan Carries On,” by Uzma Jalaluddin  ●  “A Heart of Blood and Ashes,” by Milla Vane ● “Ravishing the Heiress,” by Sherry Thomas
“Seabiscuit,” by Laura Hillenbrand  ●  “Never Let Me Go,” by Kazuo Ishiguro  ●  “Atonement,” by Ian McEwan  ●  “Special Topics in Calamity Physics,” by Marisha Pessl  ●  “Gone Girl,” by Gillian Flynn  ●  “All the Light We Cannot See,” by Anthony Doerr  ●  “Lincoln in the Bardo,” by George Saunders  ●  “Middlesex,” by Jeffrey Eugenides  ●  “Beautiful Ruins,” by Jess Walter ● “Dare Me,” by Megan Abbott
“Bel Canto,” by Ann Patchett  ●  “Chain-Gang All-Stars,” by Nana Kwame Adjei-Brenyah  ●  “A Day in the Life of Abed Salama,” by Nathan Thrall  ●  “Exit West,” by Mohsin Hamid  ●  “H Is for Hawk,” by Helen Macdonald  ●  “The Immortal Life of Henrietta Lacks,” by Rebecca Skloot  ●  “Saving Time,” by Jenny Odell  ●  “The Swimmers,” by Julie Otsuka  ●  “This Is How You Lose the Time War,” by Amal El-Mohtar and Max Gladstone ● “Trust,” by Hernan Diaz
Marriage,” by Alice Munro  ●  “Selected Stories,” by William Trevor  ●  “The World Is What It Is,” by Patrick French  ●  “Bring Up the Bodies,” by Hilary Mantel  ●  “The Buried Giant,” by Kazuo Ishiguro  ●  “Olive Kitteridge,” by Elizabeth Strout  ●  “Evicted,” by Matthew Desmond  ●  “Lincoln in the Bardo,” by George Saunders  ●  “Matrix,” by Lauren Groff ● “Behind the Beautiful Forevers,” by Katherine Boo
“2666,” by Roberto Bolaño  ●  “The Brief Wondrous Life of Oscar Wao,” by Junot Díaz  ●  “The Coddling of the American Mind,” by Greg Lukianoff and Jonathan Haidt  ●  “Feel Free,” by Zadie Smith  ●  “Last Evenings on Earth,” by Roberto Bolaño  ●  “The Love Affairs of Nathaniel P,” by Adelle Waldman  ●  “Outline,” by Rachel Cusk  ●  “The Savage Detectives,” by Roberto Bolaño  ●  “The Unwinding,” by George Packer ● “Transit,” by Rachel Cusk
“2666,” by Roberto Bolaño  ●  “House of Leaves,” by Mark Z
1,” by Kaoru Takamura  ●  “The Maniac,” by Benjamín Labatut  ●  “Never Let Me Go,” by Kazuo Ishiguro  ●  “No Country for Old Men,” by Cormac McCarthy  ●  “The Only Good Indians,” by Stephen Graham Jones  ●  “Our Share of Night,” by Mariana Enriquez  ●  “Treasure Island!!!,” by Sara Levine ● “The Underground Railroad,” by Colson Whitehead
“The Amazing Adventures of Kavalier & Clay,” by Michael Chabon  ●  “Austerity Britain,” by David Kynaston  ●  “Billy Lynn's Long Halftime Walk,” by Ben Fountain  ●  “Empire Falls,” by Richard Russo  ●  “Gilead,” by Marilynne Robinson  ●  “Olive Kitteridge,” by Elizabeth Strout  ●  “On Beauty,” by Zadie Smith  ●  “Pictures at a Revolution,” by Mark Harris  ●  “Random Family,” by Adrian Nicole LeBlanc ● “Say Nothing,” by Patrick Radden Keefe
“Bel Canto,” by Ann Patchett  ●  “Dreamland,” by Sam Quinones  ●  “The Good Lord Bird,” by James McBride  ●  “My Brilliant Friend,” by Elena Ferrante
 ●  “On Tyranny,” by Timothy Snyder  ●  “The Orphan Master's Son,” by Adam Johnson  ●  “The Story of a New Name,” by Elena Ferrante
Translated by Ann Goldstein  ●  “The Story of the Lost Child,” by Elena Ferrante
Fast and Slow,” by Daniel Kahneman ● “Those Who Leave and Those Who Stay,” by Elena Ferrante
“The Brief Wondrous Life of Oscar Wao,” by Junot Díaz  ●  “Citizen,” by Claudia Rankine  ●  “Exit West,” by Mohsin Hamid  ●  “The Known World,” by Edward P
Jones  ●  “Lincoln in the Bardo,” by George Saunders  ●  “My Brilliant Friend,” by Elena Ferrante
 ●  “NW,” by Zadie Smith  ●  “Random Family,” by Adrian Nicole LeBlanc  ●  “The Savage Detectives,” by Roberto Bolaño ● “Say Nothing,” by Patrick Radden Keefe
I'm Dying,” by Edwidge Danticat  ●  “Built from the Fire,” by Victor Luckerson  ●  “Feminism Is for Everybody,” by bell hooks  ●  “Gathering Blossoms,” by Alice Walker  ●  “The Known World,” by Edward P
Jones  ●  “A Mercy,” by Toni Morrison  ●  “The Source of Self-Regard,” by Toni Morrison  ●  “Stamped From the Beginning,” by Ibram X
Kendi  ●  “Ties that Bind,” by Tiya Miles ● “The Warmth of Other Suns,” by Isabel Wilkerson
Translated by Damion Searls  ●  “Feral City,” by Jeremiah Moss  ●  “The Friend,” by Sigrid Nunez  ●  “It Gets Me Home
This Curving Track,” by Ian Penman  ●  “Jacket Weather,” by Mike DeCapite  ●  “The Mars Room,” by Rachel Kushner  ●  “Same Bed Different Dreams,” by Ed Park  ●  “The Savage Detectives,” by Roberto Bolaño  ●  “Stay True,” by Hua Hsu ● “Voices From Chernobyl,” by Svetlana Alexievich
“Bangkok Wakes to Rain,” by Pitchaya Sudbanthad  ●  “The Collected Stories of Amy Hempel,” by Amy Hempel  ●  “Educated,” by Tara Westover  ●  “Exit West,” by Mohsin Hamid  ●  “The Master,” by Colm Tóibín  ●  “Netherland,” by Joseph O’Neill  ●  “Outline,” by Rachel Cusk  ●  “Postwar,” by Tony Judt  ●  “Veronica,” by Mary Gaitskill ● “The Warmth of Other Suns,” by Isabel Wilkerson
“The Argonauts,” by Maggie Nelson  ●  “Behind the Beautiful Forevers,” by Katherine Boo  ●  “Dark Money,” by Jane Mayer  ●  “Far From the Tree,” by Andrew Solomon  ●  “A Little Life,” by Hanya Yanagihara  ●  “Maximum City,” by Suketu Mehta  ●  “My Struggle: Book 2,” by Karl Ove Knausgaard  ●  “One of Us,” by Asne Seierstad  ●  “Random Family,” by Adrian Nicole LeBlanc ● “The Year of Magical Thinking,” by Joan Didion
“The Book Thief,” by Markus Zusak  ●  “Never Let Me Go,” by Kazuo Ishiguro  ●  “Educated,” by Tara Westover  ●  “An American Marriage,” by Tayari Jones  ●  “All the Light We Cannot See,” by Anthony Doerr  ●  “Atonement,” by Ian McEwan  ●  “Bel Canto,” by Ann Patchett  ●  “A Little Life,” by Hanya Yanagihara  ●  “Gilead,” by Marilynne Robinson ● “Homegoing,” by Yaa Gyasi
“Chain-Gang All-Stars,” by Nana Kwame Adjei-Brenyah  ●  “Cinema Love,” by Jiaming Tang  ●  “Easy Beauty,” by Chloé Cooper Jones  ●  “Invisible Child,” by Andrea Elliott  ●  “Kairos,” by Jenny Erpenbeck  ●  “Matrix,” by Lauren Groff  ●  “Minor Feelings,” by Cathy Park Hong  ●  “Never Let Me Go,” by Kazuo Ishiguro  ●  “Pure Colour,” by Sheila Heti ● “Torn Apart,” by Dorothy Roberts
Predator,” by Michael Robbins  ●  “Communal Luxury,” by Kristin Ross  ●  “Cruel Optimism,” by Lauren Berlant  ●  “Fossil Capital,” by Andreas Malm  ●  “Keats's Odes,” by Anahid Nersessian  ●  “Lila,” by Marilynne Robinson  ●  “Planet of Slums,” by Mike Davis  ●  “Poemland,” by Chelsey Minnis  ●  “Stolen Life,” by Fred Moten ● “Veronica,” by Mary Gaitskill
“Gone Girl,” by Gillian Flynn  ●  “Jonathan Strange and Mr Norrell,” by Susanna Clarke  ●  “Lincoln in the Bardo,” by George Saunders  ●  “The Little Friend,” by Donna Tartt  ●  “The Little Stranger,” by Sarah Waters  ●  “Never Let Me Go,” by Kazuo Ishiguro  ●  “The Only Good Indians,” by Stephen Graham Jones  ●  “The Swimmers,” by Julie Otsuka  ●  “The Time Traveler's Wife,” by Audrey Niffenegger ● “Wolf Hall,” by Hilary Mantel
“Blonde,” by Joyce Carol Oates  ●  “Gone Girl,” by Gillian Flynn  ●  “Life After Life,” by Kate Atkinson  ●  “A Little Life,” by Hanya Yanagihara  ●  “Lost Girls,” by Robert Kolker  ●  “My Sister
the Serial Killer,” by Oyinkan Braithwaite  ●  “Nemesis,” by Philip Roth  ●  “Random Family,” by Adrian Nicole LeBlanc  ●  “Winter's Bone,” by Daniel Woodrell ● “The Year of Magical Thinking,” by Joan Didion
“The Corrections,” by Jonathan Franzen  ●  “The Gathering,” by Anne Enright  ●  “Gilead,” by Marilynne Robinson  ●  “The Known World,” by Edward P
Jones  ●  “No Country for Old Men,” by Cormac McCarthy  ●  “No One Is Talking About This,” by Patricia Lockwood  ●  “NW,” by Zadie Smith  ●  “The Savage Detectives,” by Roberto Bolaño  ●  “Tinkers,” by Paul Harding ● “Wolf Hall,” by Hilary Mantel
“Americanah,” by Chimamanda Ngozi Adichie  ●  “The Brief Wondrous Life of Oscar Wao,” by Junot Díaz  ●  “Cloud Atlas,” by David Mitchell  ●  “Demon Copperhead,” by Barbara Kingsolver  ●  “Far From the Tree,” by Andrew Solomon  ●  “Homegoing,” by Yaa Gyasi  ●  “The Master,” by Colm Tóibín  ●  “Station Eleven,” by Emily St
John Mandel  ●  “The Underground Railroad,” by Colson Whitehead ● “Wolf Hall,” by Hilary Mantel
“The Absolutist,” by John Boyne  ●  “Burma Sahib,” by Paul Theroux  ●  “Cutting for Stone,” by Abraham Verghese  ●  “Last Night,” by James Salter  ●  “The Nix,” by Nathan Hill  ●  “Peeling the Onion,” by Günter Grass  ●  “A Saint from Texas,” by Edmund White  ●  “Shadow Country,” by Peter Matthiessen  ●  “Warlight,” by Michael Ondaatje ● “Why Be Happy When You Could Be Normal?,” by Jeanette Winterson
Blight  ●  “The Hemingses of Monticello,” by Annette Gordon-Reed  ●  “Less,” by Andrew Sean Greer  ●  “The Omnivore's Dilemma,” by Michael Pollan  ●  “People Love Dead Jews,” by Dara Horn  ●  “The Round House,” by Louise Erdrich  ●  “Salvage the Bones,” by Jesmyn Ward  ●  “The Swerve,” by Stephen Greenblatt ● “The Underground Railroad,” by Colson Whitehead
“Bright Dead Things,” by Ada Limón  ●  “The Corrections,” by Jonathan Franzen  ●  “Fun Home,” by Alison Bechdel  ●  “Grief Is For People,” by Sloane Crosley  ●  “Heavy,” by Kiese Laymon  ●  “How to Write an Autobiographical Novel,” by Alexander Chee  ●  “Just Kids,” by Patti Smith  ●  “Pachinko,” by Min Jin Lee  ●  “There Are More Beautiful Things Than Beyoncé,” by Morgan Parker ● “True Biz,” by Sara Novic
“Bourgeois Dignity,” by Deirdre McCloskey  ●  “Exit West,” by Mohsin Hamid  ●  “The Fabric of Civilization,” by Virginia Postrel  ●  “The Human Stain,” by Philip Roth  ●  “Inventing the Enemy,” by Umberto Eco  ●  “March,” by Geraldine Brooks  ●  “The Overstory,” by Richard Powers  ●  “Silence,” by Jane Brox  ●  “That All Shall Be Saved,” by David Bentley Hart ● “What It Means When a Man Falls From the Sky,” by Lesley Nneka Arimah
“Citizen,” by Claudia Rankine  ●  “The Freezer Door,” by Mattilda Bernstein Sycamore  ●  “Memorial Drive,” by Natasha Trethewey  ●  “Minor Detail,” by Adania Shibli  ●  “The Rediscovery of America,” by Ned Blackhawk  ●  “They Were Her Property,” by Stephanie E
Jones  ●  “The Viral Underclass,” by Steven W
My Father and I,” by Raja Shehadeh ● “The Women's House of Detention,” by Hugh Ryan
“The Enchanted,” by Rene Denfeld  ●  “Henry Darger,” by John M
MacGregor  ●  “Ill Will,” by Dan Chaon  ●  “James Tiptree Jr.,” by Julie Phillips  ●  “Just Kids,” by Patti Smith  ●  “The Little Stranger,” by Sarah Waters  ●  “Magic for Beginners,” by Kelly Link  ●  “Night of the Living Rez,” by Morgan Talty  ●  “The Old Ways,” by Robert Macfarlane ● “Pattern Recognition,” by William Gibson
“American War,” by Omar El Akkad  ●  “Black Leopard
Red Wolf,” by Marlon James  ●  “Chasing Me to My Grave,” by Winfred Rembert  ●  “The Dark Forest,” by Cixin Liu  ●  “Evicted,” by Matthew Desmond  ●  “A Heartbreaking Work of Staggering Genius,” by Dave Eggers  ●  “His Name Is George Floyd,” by Robert Samuels and Toluse Olorunnipa  ●  “King: A Life,” by Jonathan Eig ● “Washington Black,” by Esi Edugyan
Sebald  ●  “Consider the Lobster,” by David Foster Wallace  ●  “Jeff in Venice
Death in Varanasi,” by Geoff Dyer  ●  “A Little Devil in America,” by Hanif Abdurraqib  ●  “Luster,” by Raven Leilani  ●  “The Possessed,” by Elif Batuman  ●  “Random Family,” by Adrian Nicole LeBlanc  ●  “The Rest Is Noise,” by Alex Ross  ●  “Runaway,” by Alice Munro ● “Sound Within Sound,” by Kate Molleson
“Barracoon,” by Zora Neale Hurston  ●  “Colorless Tsukuru Tazaki and His Years of Pilgrimage,” by Haruki Murakami  ●  “Erasure,” by Percival Everett  ●  “The Future Is History,” by Masha Gessen  ●  “Girl
Other,” by Bernardine Evaristo  ●  “How to Say Babylon,” by Safiya Sinclair  ●  “In the Dream House,” by Carmen Maria Machado  ●  “Looking for Lorraine,” by Imani Perry ● “Sing
“The Amazing Adventures of Kavalier & Clay,” by Michael Chabon  ●  “The Argonauts,” by Maggie Nelson  ●  “In Love,” by Amy Bloom  ●  “Lose Your Mother,” by Saidiya Hartman  ●  “Lost Children Archive,” by Valeria Luiselli  ●  “On Earth We're Briefly Gorgeous,” by Ocean Vuong  ●  “Septology,” by Jon Fosse
Fast and Slow,” by Daniel Kahneman  ●  “The Topeka School,” by Ben Lerner ● “A Visit From the Goon Squad,” by Jennifer Egan
“Caste,” by Isabel Wilkerson  ●  “The Choice,” by Edith Eger  ●  “Deep Work,” by Cal Newport  ●  “How the Word Is Passed,” by Clint Smith  ●  “Mastery,” by Robert Greene  ●  “The River of Doubt,” by Candice Millard  ●  “The Road,” by Cormac McCarthy  ●  “So You've Been Publicly Shamed,” by Jon Ronson  ●  “The Tiger,” by John Vaillant ● “Tunnel 29,” by Helena Merriman
“Between Two Kingdoms,” by Suleika Jaouad  ●  “Heavy,” by Kiese Laymon  ●  “$2.00 a Day,” by Kathryn J
Luke Shaefer  ●  “Evicted,” by Matthew Desmond  ●  “Men We Reaped,” by Jesmyn Ward  ●  “Maid,” by Stephanie Land  ●  “No Visible Bruises,” by Rachel Louise Snyder  ●  “Leaving Isn't the Hardest Thing,” by Lauren Hough  ●  “Perma Red,” by Debra Magpie Earling ● “Strung Out,” by Erin Khar
“Steve Jobs,” by Walter Isaacson  ●  “The River of Doubt,” by Candice Millard  ●  “Little Fires Everywhere,” by Celeste Ng  ●  “The Little Friend,” by Donna Tartt  ●  “Blood and Thunder,” by Hampton Sides  ●  “The Suspicions of Mr
Whicher,” by Kate Summerscale  ●  “Deep Storm,” by Lincoln Child ● “The Wide Wide Sea,” by Hampton Sides
“Ordinary Wolves,” by Seth Kantner  ●  “The Sisters Brothers,” by Patrick DeWitt  ●  “Demon Copperhead,” by Barbara Kingsolver  ●  “Let the Great World Spin,” by Colum McCann  ●  “The Vaster Wilds,” by Lauren Groff  ●  “Why Fish Don't Exist,” by Lulu Miller  ●  “Extremely Loud & Incredibly Close,” by Jonathan Safran Foer  ●  “The Street of a Thousand Blossoms,” by Gail Tsukiyama ● “Descent,” by Tim Johnston
Note: Respondents were asked to submit up to 10 books
Any books chosen that were published before 2000 were removed from ballots
Photographed by Julia Gartland with styling by Alya Hameedi
Zigazow!: Timothée Chalamet as Paul Atreides in Dune: Part Two
It's been three years since Denis Villeneuve brought his twin directorial passions (breathtaking vistas, whispered dialogue) to bear on<a href="https://www.npr.org/2012/11/07/155105702/reading-dune-my-junior-high-survival-guide" target="_blank"> Frank Herbert's beloved 1965 sci-fi novel/spice-opera</a>
he's nailed the dismount with such assured visual sweep and splendor — and enriched many of the novel's thin characterizations in the process — it's worth examining why his approach worked then
many before him had attempted to distill that thick book's internecine tale of disparate interests who jockey for galactic control using tools like war
What was so bracing about Villeneuve's 2021 film
was its decision to leave all those plotting families and their deviously chewy schemes-within-schemes just sort of churning along in the background
He had a primary job to do before turning to that stuff
which was to get audiences invested in his brooding hero
whose cheekbones were so sharp they could slice Pecorino and whose raven hair couldn't seem to help but swoop Byronically
That would be young Paul Atreides (Timothée Chalamet)
who with his mother Jessica (Rebecca Ferguson) found himself stranded on the desert planet of Arrakis after his father was murdered by a treacherous rival family
Arrakis was home to an indigenous population called the Fremen who had adapted to living in the desert
They took Paul and his mother in – a strange decision made less strange once you realize that one of those aforementioned shadowy galactic groups had long ago planted prophecies among the Fremen of a savior who would come from another planet and lead them in an uprising that would turn Arrakis into a paradise
The fact that said savior happened to talk and behave a lot like Paul
Villeneuve knew that beneath all the book's fussy business about trading charters and ancient mystic sects and the intricacies of space navigation
there was a very clear and simple Chosen One narrative
refusal of the call – the whole Joseph Campbell schmear
though he did take the time to dress it up in epic battles and endless horizons and great cheekbones and Charlotte Rampling sniffily sniping at everyone while swanning around in a veil
Dune ended with Paul and Jessica encountering a Fremen tribe and its leader Stilgar (Javier Bardem)
Part Two begins where it left off – with Paul making the acquaintance of one particular Fremen warrior named Chani (Zendaya)
whom he'd previously glimpsed only through prophetic dreams
The first film tackled the hard work of arranging the game pieces on the board
so Part Two swiftly sets about bashing them into one another
All those factional conflicts roiling away throughout the first film finally get to boil over at last
played by Stellan Skarsgård and his fat suit
(The Harkonnens are bald and wear black; their crowd scenes look like a Palm Springs leather bar at happy hour.) 
feral Rabban (Dave Bautista) and sinister Feyd-Rautha (Austin Butler)
Butler slithers – and pulls off an impressive Skarsgård impression while he's at it
grumbly line-readings run in the Harkonnen genes
Rising up against the Harkonnens are the Fremen
markedly and gratifyingly less monolithic here than they are in the book
Both Bardem and Zendaya get a lot more screentime this time out
Stilgar is a true believer in Paul and his prophecy
yet Bardem doesn't play him credulous or naive; instead he finds the dry wit in the script's few jokes and proceeds to toss them away like the pro he is
independent Chani belongs to a younger generation of Fremen who see the prophecies around Paul for what they are – a clever marketing ploy
executed over hundreds of years via selective breeding
which makes the Chani of the original novel seem like a one-note
played by Christopher Walken with what counts
His daughter Irulan (Florence Pugh) wasn't in the first film
but here she gets a few scenes to helpfully narrate the movie's many gearshifts for us – a role the character (her diary
Pugh manages to invest Irulan with sufficient intelligence and empathy to justify her presence in this film
and to make you want to see more of her in the future
Which is a sneaky way of telling you that the film only sort of concludes the story that the first film began
Nothing about Dune or Dune: Part Two feels padded or unnecessary
Herbert purists will complain about the wholesale eliding of entire plotlines – and one fan-favorite character
in particular.) Villeneuve carefully planted seeds in Part One that not only bear fruit in Part Two
but that fundamentally change the story being told in the process
you might have come out of Part One thinking its story was simply yet another Chosen One narrative (which it was)
and yet another White Savior narrative (which it wasn't
no sooner does Paul arrive on Arrakis than some Fremen start to whisper he is the prophesied leader who will lead them to victory
Villeneuve's decision to foreground Paul to the extent he did in the first film easily fed that reading
the director makes explicit what he kept implicit before – various galactic puppetmasters emerge from the shadows
This causes Paul's relationship to the Fremen to grow more complicated: Will he be their savior
Villeneuve keeps adding texture to storylines and relationships that Herbert was content to keep smooth
the film's conclusion feels far less conclusive than that of the novel
Especially if it means we might get Dune: Messiah: Part One a few years down the road
a sci-fi epic like Dune: Part Two can deliver what's expected – big stakes
big explosions – but it can do so in a clear and rigorously consistent visual language that serves the story
his camera keeps us focused on what matters most – the human cost of it all
A wide shot which finds Harkonnen troops in black warsuits crawling over a sandy outcropping gets its visual and thematic echo later
and creates many others that the novel never even bothered to hint at
humanize and ultimately improve both the story of Paul Atreides himself (as he did in Dune) and of everything he will unleash (in Dune: Part Two ..
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When you hear someone talk, do you see the words in your mind’s eye? Or do you see what they’re saying as a movie? It’s easy to assume that the way you perceive the world is the same for everyone. But recent studies have revealed that there is a wide spectrum of how people visualise things in their mind’s eye. The vividness of your inner visual imagery <a href="https://doi.org/10.1016/j.cortex.2022.06.011">can even change throughout your life</a>
We range from those who are “mind blind” and cannot visualise things mentally to those who have brilliant images in their mind. Some people see shapes in their mind when they hear music, or imagine colours when they see a number (a phenomenon called <a href="https://www.webmd.com/brain/what-is-synesthesia">synaesthesia</a>)
There’s even a type of synaesthesia in which people’s minds run a written text on a mental ticker tape. Even though ticker tape (or subtitle) synaesthesia (TTS) <a href="https://www.tandfonline.com/doi/full/10.1080/0964704X.2019.1636348">was first studied in 1883</a> by Charles Darwin’s cousin Francis Galton
A <a href="https://doi.org/10.1016/j.cortex.2022.11.005">study published recently</a>
one of the first to explore this condition in more depth
found that of the 26 participants with TTS
where they experience time or numbers as a location
There was some variety in how long people had had TTS
with 19 of the 26 participants with TTS saying they had experienced it since they learned to read
But three said it did not start until adolescence
Around 40% of participants had TTS even in response to animal sounds
and 90% had it as a response to their inner voice
One participant told the researchers how after a few days of hearing a bird singing in his garden
he started seeing a written word in his mind that represented the bird’s song
While many adults can imagine written words when listening to speech if asked to do so
people with TTS are different because of the ease with which it happens
even when it makes it difficult to follow conversations when lots of people are talking at once
But the ability to process information from different senses at the same time is often helpful
There is an evolutionary explanation for this
When our ancestors walked on the African savanna over 100,000 years ago
fast recognition of what they heard or saw was essential
upon hearing a sound coming from the bushes
More information helps us make the right choice
or even smelled an animal in the scrub behind us
we could more easily determine if it was a dangerous predator we needed to escape from
our brains became experts in tying information from different senses together
As is the case with TTS, we can sometimes boost the amount or type of information available to us by creating images in our minds. For example, after being trained to create visual images in their minds about a story that was being read to them, children who had difficulty understanding stories, <a href="https://doi.org/10.1080/13682820601084402">scored higher on tests of story comprehension</a>
can help us better remember and understand the world around us
you can argue we are all on a spectrum of image creation
when our minds cannot create mental images
Research shows some people are born without the ability to see pictures in their mind
while others might lose this ability - following brain damage
My team’s study showed some stroke survivors cannot hear their own voice in their heads after damage to the left hemisphere of their brain
Some stroke survivors lose their inner speech <a href="https://www.tandfonline.com/doi/full/10.1080/02687038.2010.511236">but can still speak out loud</a>, while others lost overt speech to a stroke, while their inner speech remained intact. Similar cases of <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7071355/">visual imagery loss</a> have been reported as well
Researchers recently suggested fewer people are born towards the end of the low-visual-imagery spectrum. Extreme forms of aphantasia, people who do not have visual imagery at all, are rare. <a href="https://www.sciencedirect.com/science/article/pii/S1053810021001690">Less than 1% of people have this form</a>
There isn’t enough data on people who cannot imagine their own voice in their heads to make a comparison
But a tweet that went viral a few years ago showed there might be more people who lack inner speech than you might imagine
Some research suggests <a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0142566">we are not born</a> with the ability to imagine. Instead, visual images emerge and develop during early childhood. This is <a href="https://doi.org/10.1016/j.cortex.2022.06.011">followed by a decline in visual imagination</a> in adulthood
Much less is known of inner speech in childhood
In the early 20th century, Vygotsky argued that children are born without inner speech. He argued that children start with private speech – speaking to themselves out loud when playing or thinking – and this is later internalised, becoming inner speech. Vygotstky’s work is <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2020.00279/full">well-accepted</a> among scientists today
Whether inner speech shows a decline in late adulthood
similar to that suggested for visual imagery
Visual and auditory imagery are connected to our ability to remember things
and reflect on our lives and on who we are
We are all on a spectrum of mental imagery
Some people find themselves on extremes of the spectrum at birth
and some shift to the ends after life events trigger change
But which type of incidents or what personal characteristics affect our imagery are largely unknown
Answering these questions is key to start exploring the human mind and helping those who lost their imagery
Not every piece of architecture can be an economic and social success
But there is one dreaded term reserved for only the mot wasteful of projects: "white elephants." The term comes from a story of the kings of Siam
who would reportedly gift sacred albino elephants to courtiers they didn't like
Refusing the gift from the king would have been unacceptable
leading the courtier to financial ruin—a fact the kings knew all too well
in architecture the term "white elephant" is used frequently to disparage certain projects
and whether a project is deserving of such infamy is usually a matter of perspective
Often eyesores or reminders of poorly spent funds
these projects refuse to be forgotten despite few wanting to remember them
Dotted around the world and across history
they all have the same thing in common: although they may (or may not) have once looked good on paper
they probably should have just stayed on paper
1. <a href="https://www.archdaily.com/tag/tel-aviv">Tel Aviv</a> Central Bus Station – Tel Aviv
given the derelict state of the megastructure
The thousands of stores struggled to find tenants
the innards of the concrete giant are a confusing maze of corridors
and its location in southern Tel Aviv was illogical for a bus terminal in the first place
 Today, entire sections of the structure are uninhabited or used only for illicit purposes; old shops and winding halls conceal sex workers, drug sellers, rave throwers and others who appreciate the winding darkness. – <a href="http://99percentinvisible.org/episode/stop-that-bus/?utm_medium=website&amp;utm_source=archdaily.com" target="_blank">99% Invisible</a>
2. Palace of the Parliament – <a href="https://www.archdaily.com/tag/bucharest">Bucharest</a>
a fact that is especially astonishing considering 70% of the building remains empty
The building was born from the dictatorship of Nicolae Ceausescu
with construction of the palace including the displacement of forty thousand people and the demolishing of churches
 Construction involved 700 architects and 20,000 building workers doing three shifts a day, plus 5,000 army personnel, 1.5 million factory workers and an army of so-called volunteers. - <a href="http://edition.cnn.com/2014/12/05/travel/ceausescu-trail-bucharest-romania/?utm_medium=website&amp;utm_source=archdaily.com" target="_blank">CNN</a>
3. Olympic Stadium – <a href="https://www.archdaily.com/tag/montreal">Montreal</a>
Its complicated design and delays escalated the project’s cost to the point that the final Olympic debt of C$1.16 billion wasn’t paid off until 2006
the stadium still lacks a permanent tenant and its roof remains structurally unsuitable
4. Jantar Mantar – <a href="https://www.archdaily.com/tag/jaipur">Jaipur</a>
5. City of Culture of Galicia – <a href="https://www.archdaily.com/tag/santiago-de-compostela">Santiago de Compostela</a>
 'It was born in the Spain of excess and is opening during an economic collapse, as a sort of monument to the construction bubble,' wrote one Spanish journalist; the British critic Oliver Wainwright called it 'a bloated vanity project.' – <a href="http://www.architectmagazine.com/design/coda-to-a-career-eisenmans-city-of-culture_o?utm_medium=website&amp;utm_source=archdaily.com" target="_blank">Architect Magazine </a>
6. New South China Mall – <a href="https://www.archdaily.com/tag/dongguan">Dongguan</a>
where most of the 10 million residents are financially poor migrant workers rather than the middle or upper class
 Outside the mall, a giant Egyptian sphinx and a replica of the Arc de Triomphe were erected alongside fountains and canals complete with Venetian gondolas. It even boasted an indoor roller coaster. – <a href="http://edition.cnn.com/2015/04/28/asia/china-ghost-mall-return-to-life/?utm_medium=website&amp;utm_source=archdaily.com" target="_blank">CNN</a>
7. <a href="https://www.archdaily.com/tag/ciudad-real">Ciudad Real</a> Central Airport – Ciudad Real
including one that saw a lone bid of a mere €10,000
8. City of <a href="https://www.archdaily.com/tag/naypyidaw">Naypyidaw</a> – Naypyidaw
A warning from an astrologer is among the speculated reasons for the switch in 2006
Naypyidaw’s geographic size (it is six times the area of New York City)
 The city feels like an extreme test of the 'if you build it, they will come' theory. But so far, with the government already having moved at least one of its investment agencies back to Rangoon, it’s looking like a spectacular failure. – <a href="https://www.theguardian.com/cities/2015/mar/19/burmas-capital-naypyidaw-post-apocalypse-suburbia-highways-wifi?utm_medium=website&amp;utm_source=archdaily.com" target="_blank">The Guardian</a>
9. Ryugyong Hotel – <a href="https://www.archdaily.com/tag/pyongyang">Pyongyang</a>
© <a href="https://commons.wikimedia.org/wiki/File:Views_from_Yanggakdo_International_Hotel_09.JPG" target="_blank" class="sanitized-link">Wikimedia user Nicor</a> licensed under <a href="https://creativecommons.org/licenses/by-sa/3.0/deed.en" target="_blank" class="sanitized-link">CC BY-SA 3.0</a></a>Perhaps the poster child of architectural white elephants, the Ryugyong Hotel in <a href="https://www.archdaily.com/tag/pyongyang">Pyongyang</a> holds a perpetually pushed back opening-soon date
it is the world’s tallest unoccupied building
 'Today, nearly 30 years and an estimated $750 million later, this looming, gleaming, futurist-modernist arrowhead of a building is essentially a glorified telecommunications antenna.' – <a href="http://www.thedailybeast.com/articles/2016/02/14/north-korea-s-best-building-is-empty-the-mystery-of-the-ryugyong-hotel.html?utm_medium=website&amp;utm_source=archdaily.com" target="_blank">The Daily Beast</a>
10. City of Arts and Sciences – <a href="https://www.archdaily.com/tag/valencia">Valencia</a>
"And we go to show you where there isn't the money — at the public schools
11. National Centre for Popular Music – <a href="https://www.archdaily.com/tag/sheffield">Sheffield</a>
Correction Update: Regarding the City of Art and Sciences in <a href="https://www.archdaily.com/tag/valencia">Valencia</a>
this article originally stated that the complex "is" a key stop on the "wastefulness tour" mentioned
so the article has been changed to reflect this
A link has also been changed which originally directed to an article about Calatrava being sued by the city of Valencia; Calatrava was never sued by the city
while (as mentioned in this article's introduction) the designation of "white elephant" is subjective
the following clarifications have been requested by representatives of Santiago Calatrava:
 The fact that the final project significantly exceeded the original budget was largely because the scope of the project had changed significantly
While the original brief and budget was for three buildings
the final complex comprises seven buildings and two bridges
An issue surrounding the tiles on the facade has been resolved to the client's satisfaction with the cooperation of Santiago Calatrava
the re-construction of the damaged facade was made following the original design and materials specified by Calatrava
demonstrating that the defects were not his responsibility
The City of Arts and Sciences is the second most visited cultural complex in Spain
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astronomers now are pinpointing key details of how these mysterious dark marks form
but much about their structure and behavior remains enigmatic
The dark <a data-analytics-id="inline-link" href="https://www.space.com/9072-telescope-takes-sunspot-photo.html" data-url="https://www.space.com/9072-telescope-takes-sunspot-photo.html" data-hl-processed="none" data-before-rewrite-localise="/9072-telescope-takes-sunspot-photo.html">heart of a sunspot</a>
is surrounded by a brighter edge known as the penumbra
which is made of numerous dark and light filaments more than 1,200 miles (2,000 kilometers) long
at approximately 90 miles (150 km) in width
making it difficult to resolve details that could reveal how they arise
The researchers used the Swedish 1-meter Solar Telescope to focus on a sunspot on May 23
They found dark downflows of more than 2,200 miles per hour (3,600 kph) and bright upflows of more than 6,600 miles per hour (10,800 kph)
The models suggest that columns of hot gas rise up from the interior of the sunspot
cool and then sink downward while rapidly flowing outward
"This is what we have been expecting to find
but we were maybe surprised about actually succeeding in seeing these flows," researcher G&ouml;ran Scharmer
a solar physicist at the Royal Swedish Academy of Sciences and Stockholm University in Sweden
In the future, the researchers hope to also measure the <a data-analytics-id="inline-link" href="https://www.space.com/11005-missing-sunspots-sun-mystery.html" data-url="https://www.space.com/11005-missing-sunspots-sun-mystery.html" data-hl-processed="none" data-before-rewrite-localise="/11005-missing-sunspots-sun-mystery.html">magnetic fields</a> linked with these flows to learn more about how they cause such activity
The scientists detailed their findings in a paper published online June 2 in the journal Science
<a href="https://forums.space.com/">Join our Space Forums</a> to keep talking space on the latest missions, night sky and more! And if you have a news tip, correction or comment, let us know at: <a href="mailto:community@space.com">community@space.com.</a>
Choi is a contributing writer for Space.com and Live Science
He covers all things human origins and astronomy as well as physics
Charles has a Master of Arts degree from the University of Missouri-Columbia
School of Journalism and a Bachelor of Arts degree from the University of South Florida
Charles has visited every continent on Earth
snorkeling with sea lions in the Galapagos and even climbing an iceberg in Antarctica
James Webb Space Telescope captures thousands of galaxies in a cosmic 'feast' (image)
Astronomers gaze into 'dark nebula' 60 times the size of the solar system (video)
10 must-have 'Star Wars' books and novels coming soon to your galaxy
managing director of Tokyo-based toy model maker Trane Co.
rests his head on his company's novelty "lap pillow" in Tokyo
European cities and historic sites photographed from new angles using drone technology
<a href="samsung_galaxy_a_2018_renders-news-27550.php">One render</a> not enough for you? MySmartPrice and @OnLeaks have created detailed 3D models of the <a href="samsung_galaxy_a5_(2018)-8886.php">Galaxy A5 (2018)</a> and <a href="samsung_galaxy_a7_(2018)-8790.php">Galaxy A7 (2018)</a>
Feast your eyes on the 5.5” and 6” bezel-less displays
Both will have 1,080 x 2,160px resolution (aka FHD+)
Both phones have gotten a tad taller but narrower
The same goes for the screens – they are a fraction narrower
the renders show dual selfie cameras – this would be Samsung’s first
Samsung clearly doesn’t want a dual camera on the back as the Galaxy S flagships need to get there first
But this will allow the 2018 Galaxy A phones to compete with some selfie-focused handsets coming out of China to target the premium mid-range market
The Galaxy A5 (2018) and A7 (2018) will be powered by the 10nm <a href="samsung_galaxy_a5_2018_spotted_with_exynos_7885_chipset-news-27439.php">Exynos 7885</a> chipset with <a href="samsung_galaxy_a5_snapdragon_660_geekbench-news-26850.php">Snapdragon 660</a> taking over in some markets
The phones will be IP68 waterproof like before and will have Always On Display feature on their Infinity Displays
<a href="https://www.mysmartprice.com/gear/2017/10/16/samsung-galaxy-a5-2018-galaxy-a7-2018-exclusive-pictures-video/" target="_blank" rel="noopener noreferrer">Source</a>
You couldnt resist pointing out every mistake other people did
One UI 3.0 comes with exciting new features
Here's what you need to know about the One UI 3.0 update
the list of eligible phones that are getting the stable update
and when you'll get the stable OTA update on your Galaxy phone
With the Galaxy S21 series offering One UI 3.1 out of the box
Samsung is making that particular build available to its older flagships
so let's see what One UI 3.1 brings to the table as well
A standout flagship in 2021The Galaxy S21 Ultra has a gorgeous design with a metal housing for the camera
the latest internal hardware money can buy
and gets all the latest innovations that Samsung has to offer
has a large battery that easily lasts a day
and will get three years of Android updates
the T-Mobile versions of the Galaxy S20 series started receiving the stable One UI 3.0 update
and the foldables will be next with an update in January
we'll see One UI 3.0 start making its way to phones in the Galaxy A and Galaxy M series
but should make its way to other variants and unlocked devices shortly
Samsung started delivering the One UI 3.0 update to the Galaxy S10 Lite
your trusted companion in the world of Android
the update started going out to the mid-range Galaxy A51 and M31
with the rollout starting in India and Korea
Samsung kicked off the stable update for the Note 10 and Note 10+ in the U.S
Samsung kicked off the One UI 3.0 update to the S10 and S10 Lite in the U.S
the stable One UI 3.0 build began rolling out to the Galaxy S20 FE and Note 20 Ultra in India
with Samsung kicking off the update for the Exynos models as well
Samsung kicked off the One UI 3.1 update to the Galaxy Tab S7
the first tablet in its portfolio to switch to Android 11
Samsung also started rolling out the One UI 3.0 update to the Galaxy S10 phones in India from January 20
Samsung started rolling out the One UI 3.1 update to its older phones in lieu of One UI 3.0
and the Galaxy A71 have all received the stable release of One UI 3.1 based on Android 11 instead of One UI 3.0
Samsung delivered the One UI 3.1 update to its 2020 and 2019 flagships around the world
and last year's Galaxy Fold 5G and S20 have all made the switch to One UI 3.1 along with the Galaxy Tab S6
Samsung has also lavished attention on the mid-range Galaxy A71
rolling out the update in most global markets
and the budget-focused Galaxy M51 and M31s
the One UI 3.1 update rolled out to the Galaxy A50 and A50s in most Asian markets
The Tab S6 Lite also started getting the stable update
T-Mobile started rolling out the One UI 3.1 stable release to its version of the Galaxy S10 and S10+
The unlocked models received the update at the start of the year
but it's good to see the carrier models also switch to the latest version of One UI 3.1
Samsung rolled out the One UI 3.1 update to the entry-level and budget models in the Galaxy A series
and A71 started receiving the stable build in most global regions
Samsung continued the rollout for Galaxy A and M devices and older tablets all through May
Samsung is well ahead of its update schedule
Samsung isn't making a lot of design changes in One UI 3.0
with the overall aesthetic similar to One UI 2.5
including the ability to long press an app to see all associated widgets and add them to the home screen
and a double tap gesture anywhere on the home screen to turn off the screen
The One UI 3.0 changelog gives us a detailed look at all the new additions
There are a ton of small additions that make Samsung's skin even better
Samsung unveiled its 2021 flagship Galaxy S21 series on January 14
and these phones run One UI 3.1 based on Android 11 out of the box
It comes with a few changes and feature additions
including the ability to add Google Discover feed to the left of your home screen
There's also Digital Key Plus tech that leverages UWB in the Galaxy S21+ and S21 Ultra as a virtual car key for select BMW models
Have you listened to this week's Android Central Podcast
the Android Central Podcast brings you the latest tech news
The Ryzen 3 2200G a great deal for budget gaming rig builders and purchasing a single chip for both graphics and processing adds to the value
Need to ensure motherboard BIOS compatibility
Requires a better heatsink for overclocking
our expectations of integrated graphics were redefined
as Intel's UHD Graphics 630 succumbed without much of a fight
AMD's on-die graphics even did battle with certain sub-$100 discrete cards
These processors are mostly fit for playing games at entry-level detail settings using lower resolutions than a typical Tom's Hardware GPU review includes
The flagship Ryzen 5 2400G earned our affections for its ability to play every game we tested at 1280x720
Some titles were even playable at higher-quality settings than we expected
AMD aims this processor at an eSports crowd accepting of 720p gaming
Budget-oriented gamers will delight at its sub-$100 price point
easily in striking range of Intel's Pentium processors
Even though Pentiums now include Hyper-Threading
AMD justifies its premium with four physical cores and a much more capable graphics engine
Whereas the Ryzen 5 2400G comes with four SMT-enabled Zen cores and 11 Radeon Vega CUs
the Ryzen 3 2200G includes four cores without simultaneous multi-threading and eight CUs
Although Ryzen 3's resource allocation isn't far off from the flagship
Ryzen 5 2400G and Ryzen 3 2200G both populate standard Socket AM4 interfaces on 300-series motherboards
All existing platforms include display outputs; just be sure your board of choice has the connectors you need
Existing motherboards need a firmware update to recognize the new models
while newer models include a "Ryzen Desktop 2000 Ready" badge indicating drop-in compatibility
most online retailers fail to distinguish between them
so you might need a compatible processor to upgrade your motherboard until old inventory is sold off
If you find yourself stranded, AMD does offer a "<a data-analytics-id="inline-link" href="https://support.amd.com/en-us/kb-articles/Pages/2Gen-Ryzen-AM4-System-Bootup.aspx" data-url="https://support.amd.com/en-us/kb-articles/Pages/2Gen-Ryzen-AM4-System-Bootup.aspx" target="_blank" referrerpolicy="no-referrer-when-downgrade" data-hl-processed="none">Boot Kit Solution</a>" it says it'll ship to those in need
We don't have any information about what that kit includes
Memory SupportSpeed2 DIMMs - Single Rankup to DDR4-29334 DIMMs - Single Rankup to DDR4-21332 DIMMs - Dual Rankup to DDR4-26674 DIMMs - Dual Rankup to DDR4-1866Ryzen 3 2200G
includes unlocked ratio multipliers for overclocking
The graphics engine can naturally be tuned as well
A refined memory controller officially supports DDR4-2933 (up from DDR4-2666) for single-rank
memory support varies based on the type of memory and configuration you use
Shoot for the fastest setup possible; lower data rates hurt the bandwidth-hungry graphics engine
As we discussed in our Ryzen 5 2400G review
the new Raven Ridge processors replace AMD's previous Ryzen 5 1400 and Ryzen 3 1200 models
These new chips support PCIe 3.0 connectivity
with four lanes dedicated to the chipset and four more that accommodate PCIe-based storage
An additional eight lanes are available for attaching discrete graphics
that's a step backward from the outgoing Summit Ridge-based Ryzens that gave you 16 lanes for graphics
we don't expect anyone to run a multi-GPU config on an entry-level platform
let's see how Ryzen 3 2200G stacks up next to Intel's Pentium G4620
MORE:&nbsp;<a data-analytics-id="inline-link" href="https://www.tomshardware.com/reviews/best-cheap-cpus,5668.html" data-url="https://www.tomshardware.com/reviews/best-cheap-cpus,5668.html" data-hl-processed="none" data-before-rewrite-localise="/reviews/best-cheap-cpus,5668.html">Best Cheap CPUs</a>
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Arrow Lake die shot shows off the details of Intel's chiplet-based design
Windows 11 24H2 update is now automatically downloading on some PCs
</a>A  cow-like reptile that may have been one of nature’s ugliest beasts roamed an isolated desert before the age of the dinosaurs.
The creature’s genus name -  bunostegos -  means “knobby roof” and gives a clue to its appearance.
About the size of a domestic cow, the plant-eater had bulbous tumour-like growths sprouting from its head and bony armour down its back.
Fossils from bunostegos dating back around 260 million years to the Permian era were found in what is now northern Niger in Africa.
Back in the Permian era,  the Earth was dominated by a single continent called Pangea. Bunostegos lived in an isolated desert in the middle of Pangea with a unique fauna.
Cousins of the creature have previously been unearthed which also had bony knobs on their skulls. But those of bunostegos are the largest and most bulbous ever discovered.
Details of the find appear in the Journal of Vertebrate Paleontology.
The discovery suggests that pareiasaurs, the reptile family to which bunostegos belonged, may have evolved in isolation for millions of years.
Climatic conditions may have corralled bunostegos, along with several other reptiles, amphibians and plants, in the centre of the supercontinent.
Geological data also shows that central Pangea was extremely dry, which would have prevented the movement of animals in and out of the region.
Study leader Dr Christian Sidor, from the University of Washington in Seattle, US, said: “Our work supports the theory that central Pangea was climatically isolated, allowing a unique relict fauna to persist into the late Permian.”
Dr Gabe Bever, from the New York Institute of Technology, said: “Our understanding of the Permian and the mass extinction that ended it depends on discovery of more fossils like the beautifully bizarre bunostegos.”
Facebook page</a><a class="c-link" href="https://twitter.com/IrishTimes" rel="noreferrer" target="_blank">Twitter feed</a>© 2025 The Irish Times DAC
30 Jul 2019STEPH O’Dell wanted to look glam for her sister Amber’s 18th birthday trip to Amsterdam
Rather than opting for DIY colouring, she went to a local salon for her new look — but the weekend away turned into a nightmare when she <a href="https://www.thesun.co.uk/news/7905119/mum-of-one-left-scarred-from-severe-burns-after-suffering-allergic-reaction-to-hair-dye/">suffered an allergic reaction to the dye.</a>
Steph, 24, was temporarily blinded, landing her in hospital, and <a href="https://www.thesun.co.uk/news/7849094/allergic-reaction-hair-dye-head-double-size-breathe-struggle/">her face ballooned to three times its usual size.</a>
I was left in agonising pain and I looked like an alien
had first discovered she was allergic to the chemical parapheny-lenediamine (PPD)
She says: “I’ve always patch-tested products beforehand and
I did a test for a box dye and was left with a rash
“I’m also not allowed henna tattoos or to tint my eyebrows.”
Milton Keynes to get her hair dyed so it matched her hair extensions
I told the hairdresser I was allergic to PPD and showed pictures of my previous reaction
“She assured me the dye would not touch my scalp and it was organic
“She applied a patch test to my wrist and wiped the excess off
Two weeks later the hairdresser applied the dye to Steph’s hair
She says: “I was happy with how it looked when I left the salon.”
and she realised some dye was left on her skin
She washed it off and applied an anti-itching cream
The next morning, she and Amber flew to Amsterdam. But later that day, Steph’s <a href="https://www.thesun.co.uk/fabulous/8073148/mum-allergic-reaction-hair-dye/">face began to swell up.</a>
She says: “My glasses began feeling tight and my neck felt like it was on fire
my head was huge and one eye was swollen shut
Steph went to hospital where she was given anti-histamines and eye drops
The next morning <a href="https://www.thesun.co.uk/fabulous/8425268/teen-left-looking-like-a-monster-after-suffering-reaction-to-black-hair-dye-now-colours-her-locks-with-coffee/">her face was so swollen her eyes had closed up</a>
Amber was horrified and she phoned our Dad
who paid for us to get an earlier flight home that day
“I had to hold on to Amber everywhere we went as <a href="https://www.thesun.co.uk/fabulous/7727842/allergic-reaction-hair-dye-blind/">I couldn’t see. It was really scary.</a>
“Dad met us at the airport and took me straight to Milton Keynes Hospital
“Nurses were worried about my breathing, as my neck was swelling. <a href="https://www.thesun.co.uk/fabulous/6135796/severe-allergic-reaction-to-hair-dye/">I thought I was going to die and had a panic attack.”</a>
Her mum Gayle, 52, rushed to the hospital and Steph says: “She didn’t recognise me.”
Medics told her it was the worst reaction they had ever seen
I took my sister back to Amsterdam for her 21st birthday last year
so she finally got the trip she deserved.”
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Hair makeover time-lapse videos have long been popular online
We&rsquo;ve all seen it &ndash; some fully-bearded yeti of a man
after growing his hair out for a year or two
But Degage Ministries and Design 1 Salon &amp; Spa have created a time-lapse makeover with a bit more meaning by gifting it to homeless war veteran Jim Wolf
Some detractors of the video have noted that the change is essentially superficial
which the video&rsquo;s creators readily admit
others argue that it has given the homeless person the self-esteem and motivation he needs to turn his life around
Wolf has since applied for housing and has begun attending Alcoholics Anonymous meetings for the first time in his life
the new opportunities he has found for himself will stick and he will turn his life around and become an inspiration for others in need of changing lives
Source: <a href="http://www.youtube.com/watch?v=6a6VVncgHcY" target="_blank" class=" staff-link" rel="nofollow">Youtube</a>
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