Where others have become obsessed with speed and trends, Sergio Membrillas has built a career on slowing down and staying true to his craft. Over 13 years as a professional illustrator, he's evolved a distinct style – bold, graphic, and quietly playful – that feels both timeless and entirely his own. But this evolution, as he's quick to point out, wasn't something he forced. "I believe evolution is essential for every artist," Sergio reflects. "Change is not something I resist; it's something I enjoy and welcome as part of the creative journey." His work, initially influenced by a love of Mid-Century graphic design, has gradually absorbed references as diverse as Etruscan art, Mesopotamian motifs, and early 20th-century traditional tattoos. It's a portfolio built on curiosity, not conformity. Despite his stylistic clarity, Sergio's process remains refreshingly analogue at its core. He still begins each project with pencil and paper, leaning into the tactility of drawing by hand. "I've always valued having a physical relationship with art," he says. "There's something essential about feeling the wood of the pencil, manually erasing mistakes, rather than simply double-tapping a screen." His philosophy of working slowly, attentively, and with purpose shows in the balanced compositions and confident use of negative space that has become his signature. Sergio credits his background in graphic design for this instinctive sense of structure. "There has always been a strong graphic sensibility within me," he says, noting that the discipline of design continues to inform his illustration practice, particularly in editorial and poster work where clarity and storytelling must co-exist. Yet, like many creative careers, his path into illustration wasn't plotted from the start. Initially, Sergio imagined illustration would complement his design projects, not become the main event. "At first, I thought I would incorporate my illustrations into my graphic design projects – but in the end, it turned out to be the other way around." A commission for EasyJet's in-flight magazine marked a pivotal moment that reframed illustration from a hobby to a profession. "It made me realize that being an illustrator is a real profession, just like any other." Fast-forward to today, and Sergio's client list reads like a who's who of publishing and design, from The New Yorker to Pentagram. While the calibre of collaborators has changed, what matters most remains the same: trust. "When a client trusts your work and approaches projects with an open mind, collaboration flourishes," he says. It's in these open, trusting relationships that Sergio finds the space to experiment and further develop his ideas. Unsurprisingly, editorial work holds a special place for him. "Editorial projects offer wider creative margins, allowing for greater flexibility and innovation," he explains. Compared to the tighter confines of advertising, editorial illustration offers the opportunity to tell nuanced stories, and Sergio is clear that he views every assignment, regardless of format, as a collaborative effort. If one thing is clear, though, it's that he's not that he's afraid to say no when needed. Maintaining a strong personal voice is non-negotiable. "I always strive to stay true to myself and ensure that every project I undertake reflects a clear personal signature," he says. For Sergio, authenticity isn't just a matter of artistic pride; it's what differentiates an illustrator in a saturated, increasingly automated industry. Valencia is home for Sergio, a city he credits with much of his creative energy. "Oh, Valencia! It's a beautiful city that inspires me and brings me joy," he says, describing it as a European cousin to Los Angeles with its sun-soaked streets and vibrant cultural scene. The blend of tradition and modernity fuels his practice, offering constant inspiration without the sensory overload that often accompanies larger creative hubs. Given the pressure many creatives feel to keep pace with shifting trends, Sergio's approach feels almost radical. "I'm not particularly interested in trends," he says. "What truly matters to me is the feeling of having done something meaningful and fulfilling by the end of the day." Instead of chasing what's fashionable, he draws inspiration from a surprisingly eclectic bookshelf, mixing everything from Wim Crouwel's graphic design classics to studies on Scandinavian tattoos and Alec Soth's photography. It's a reminder that fresh ideas rarely come from looking where everyone else is looking. In the era of AI and content overload, the role of the illustrator is changing, but Sergio remains optimistic. While machine learning might churn out images at record speed, it can't replicate the nuance and emotional intelligence that underpin great illustration. "Illustrators can tell stories, evoke emotions, and create meaningful connections that machines simply cannot replicate," he says. "Our role is shifting, but the value of authentic, thoughtful illustration remains indispensable." That insistence on authenticity carries through to the advice he offers younger illustrators navigating a commercial landscape. "Create work that makes you happy when you go to sleep at night," Sergio advises. "It's important to find projects that align with your values and passions so your artistic voice remains authentic." It's an ethos that has carried him through more than a decade of creative highs and industry shifts. Perhaps it's the real secret behind the clarity of his practice, which he has built not on chasing trends or algorithms but on careful craft, deliberate evolution, and the simple, enduring joy of a well-made pencil and a blank piece of paper.

Glance AI, a brand owned by mobile advertising company InMobi, has announced a partnership with the Samsung Galaxy Store to roll out its e-commerce platform to Galaxy phones in the US. The company’s app centers around what it calls “a Generative AI shopping platform,” which is a serious contender for the most cursed phrase I’ve read today. The “experience” comprises both a standalone app and a lock screen component to try and sell you clothes. Crucially, the whole thing is “fully opt-in,” which, thank Christ. But even if you opt out — which you absolutely should! — this feels like a sign of things to come as advertisers try to leverage AI to sell us more stuff. Buckle up.You may remember InMobi as the company ruining Motorola’s otherwise decent budget phones with a bunch of e-commerce nonsense. The version of this that Galaxy owners might see centers on a feature that uses gen AI and a photo of you to create images of you wearing different outfits, with new “looks” available every day. Unsurprisingly, you can buy the clothes with a tap. This can all happen on your lock screen, and for some reason you can save these AI generated creations as lock screen wallpapers. I will not be doing this.Glance AI’s lock screen features appear to vary by region; in India, where InMobi was founded, Glance lock screens show ads in addition to things like news updates and sports scores. The implementation on Samsung phones doesn’t seem to include ads, mercifully, at least for now. I don’t know about you but I will absolutely throw my phone into the sea the first time I see an ad on my lock screen, so I hope this never comes to pass.Glance AI is rolling out to Samsung Galaxy S22, S23, S24, and S25-series phones starting today, and should reach “a full 100% scale” in the next 30 days. Presumably it’ll arrive as an optional download in the Galaxy Store when that happens, though I wouldn’t be surprised if it comes with a push notification encouraging users to go download it.See More:

Image of the Archbishop of Canterbury's letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council. (Image Credit: Register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council.)NewsletterSign up for our email newsletter for the latest science newsEspionage, sex, public humiliation, murder — these may sound like tropes straight out of Game of Thrones, but they’re actually all elements of a nearly 700-year-old cold case in England. After analyzing Medieval letters and records, a research team from the Cambridge University Institute of Criminology’s Medieval Murder Maps project may have found the killer of a priest. However, this priest may not have been so innocent. A new paper published in Criminal Law Forum takes a deeper look at this 14th-century cold case.Tracing a Medieval MurderThe Medieval Murder Maps project uses interactive maps of three English cities, London, Oxford, and York, during the Medieval period. Throughout the cities are the locations of various deaths and murders. Each location has a story associated with it, directly from written records and coroners' reports at the time. Some of these stories are full of intriguing twists and turns.The Cambridge research team analyzed over 100 murders from texts, translated from Latin, from that period, and used a coding method to separate the deaths into different categories, including time (day, week, month), motivation, weapon used, victim, and location. From this information, one of the deaths the team found most interesting was the murder of John Forde in 1337.A Medieval Lover to Murderer From the letters and texts the team analyzed, they pieced together the events that led up to Forde’s death. Forde was a priest living in London when he was murdered on a busy street. But what possible reason would someone have to want to murder a priest? The motive, according to the research team, was likely revenge. According to Manuel Eisner, one of the study’s authors, the murder may have been an act of revenge by noblewoman Ela Fitzpayne. According to the records, the Archbishop of Canterbury, Simon Mepham, had enacted penance on Fitzpayne after it was discovered that Forde had been her lover. A letter written by Archbishop Mepham accused Fitzpayne of adultery with Forde and possibly others. Her penance was to take a barefoot walk of shame across Salisbury Cathedral. Eisner also found a document that suggested Fitzpayne, her husband, and John Forde sent a gang to rob a church priory and took the livestock for ransom. It’s possible that during this time, Forde found himself in bed with Fitzpayne, before betraying her to the Archbishop Mepham. Commissioned Murder Possibly betrayed by her former lover and sentenced to walks of shame that were to take place once a year for seven years,  Fitzpayne would have none of it. On an early evening on a busy London street, near St. Paul’s Cathedral, three men attacked Forde. One slit his throat while the others stabbed him in the gut. Witnesses claim that the murderers were Fitzpayne’s brother and two of her former servants. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” said Eisner in a press release.Cold Case RevealedAccording to letters from Archbishop Mepham, Fitzpayne was led by the devil and a “spirit of pride.”“The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” said Eisner in a press release. “Not least as John Forde appears to have escaped punishment by the church.” When Archbishop Mepham died in 1333, Fitzpayne waited four years before enacting her revenge, and in 1337, Forde was killed. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:A graduate of UW-Whitewater, Monica Cull wrote for several organizations, including one that focused on bees and the natural world, before coming to Discover Magazine. Her current work also appears on her travel blog and Common State Magazine. Her love of science came from watching PBS shows as a kid with her mom and spending too much time binging Doctor Who.1 free article leftWant More? Get unlimited access for as low as $1.99/monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as $1.99!SubscribeAlready a subscriber?Register or Log In

One of the key use cases for generative AI involves answering questions over private datasets, with retrieval-augmented generation (RAG) as the go-to framework. As new RAG techniques emerge, there’s a growing need to benchmark their performance across diverse datasets and metrics.  To meet this need, we’re introducing BenchmarkQED, a new suite of tools that automates RAG benchmarking at scale, available on GitHub (opens in new tab). It includes components for query generation, evaluation, and dataset preparation, each designed to support rigorous, reproducible testing.   BenchmarkQED complements the RAG methods in our open-source GraphRAG library, enabling users to run a GraphRAG-style evaluation across models, metrics, and datasets. GraphRAG uses a large language model (LLM) to generate and summarize entity-based knowledge graphs, producing more comprehensive and diverse answers than standard RAG for large-scale tasks.  In this post, we walk through the core components of BenchmarkQED that contribute to the overall benchmarking process. We also share some of the latest benchmark results comparing our LazyGraphRAG system to competing methods, including a vector-based RAG with a 1M-token context window, where the leading LazyGraphRAG configuration showed significant win rates across all combinations of quality metrics and query classes. In the paper, we distinguish between local queries, where answers are found in a small number of text regions, and sometimes even a single region, and global queries, which require reasoning over large portions of or even the entire dataset.  Conventional vector-based RAG excels at local queries because the regions containing the answer to the query resemble the query itself and can be retrieved as the nearest neighbor in the vector space of text embeddings. However, it struggles with global questions, such as, “What are the main themes of the dataset?” which require understanding dataset qualities not explicitly stated in the text.   AutoQ: Automated query synthesis This limitation motivated the development of GraphRAG a system designed to answer global queries. GraphRAG’s evaluation requirements subsequently led to the creation of AutoQ, a method for synthesizing these global queries for any dataset. AutoQ extends this approach by generating synthetic queries across the spectrum of queries, from local to global. It defines four distinct classes based on the source and scope of the query (Figure 1, top) forming a logical progression along the spectrum (Figure 1, bottom). Figure 1. Construction of a 2×2 design space for synthetic query generation with AutoQ, showing how the four resulting query classes map onto the local-global query spectrum.  AutoQ can be configured to generate any number and distribution of synthetic queries along these classes, enabling consistent benchmarking across datasets without requiring user customization. Figure 2 shows the synthesis process and sample queries from each class, using an AP News dataset. Figure 2. Synthesis process and example query for each of the four AutoQ query classes.  About Microsoft Research Advancing science and technology to benefit humanity View our story Opens in a new tab AutoE: Automated evaluation framework  Our evaluation of GraphRAG focused on analyzing key qualities of answers to global questions. The following qualities were used for the current evaluation: Comprehensiveness: Does the answer address all relevant aspects of the question?  Diversity: Does it present varied perspectives or insights?  Empowerment: Does it help the reader understand and make informed judgments?  Relevance: Does it address what the question is specifically asking?   The AutoE component scales evaluation of these qualities using the LLM-as-a-Judge method. It presents pairs of answers to an LLM, along with the query and target metric, in counterbalanced order. The model determines whether the first answer wins, loses, or ties with the second. Over a set of queries, whether from AutoQ or elsewhere, this produces win rates between competing methods. When ground truth is available, AutoE can also score answers on correctness, completeness, and related metrics. An illustrative evaluation is shown in Figure 3. Using a dataset of 1,397 AP News articles on health and healthcare, AutoQ generated 50 queries per class (200 total). AutoE then compared LazyGraphRAG to a competing RAG method, running six trials per query across four metrics, using GPT-4.1 as a judge. These trial-level results were aggregated using metric-based win rates, where each trial is scored 1 for a win, 0.5 for a tie, and 0 for a loss, and then averaged to calculate the overall win rate for each RAG method. Figure 3. Win rates of four LazyGraphRAG (LGR) configurations across methods, broken down by the AutoQ query class and averaged across AutoE’s four metrics: comprehensiveness, diversity, empowerment, and relevance. LazyGraphRAG outperforms comparison conditions where the bar is above 50%. The four LazyGraphRAG conditions (LGR_b200_c200, LGR_b50_c200, LGR_b50_c600, LGR_b200_c200_mini) differ by query budget (b50, b200) and chunk size (c200, c600). All used GPT-4o mini for relevance tests and GPT-4o for query expansion (to five subqueries) and answer generation, except for LGR_b200_c200_mini, which used GPT-4o mini throughout. Comparison systems were GraphRAG (Local, Global, and Drift Search), Vector RAG with 8k- and 120k-token windows, and three published methods: LightRAG (opens in new tab), RAPTOR (opens in new tab), and TREX (opens in new tab). All methods were limited to the same 8k tokens for answer generation. GraphRAG Global Search used level 2 of the community hierarchy. LazyGraphRAG outperformed every comparison condition using the same generative model (GPT-4o), winning all 96 comparisons, with all but one reaching statistical significance. The best overall performance came from the larger budget, smaller chunk size configuration (LGR_b200_c200). For DataLocal queries, the smaller budget (LGR_b50_c200) performed slightly better, likely because fewer chunks were relevant. For ActivityLocal queries, the larger chunk size (LGR_b50_c600) had a slight edge, likely because longer chunks provide a more coherent context. Competing methods performed relatively better on the query classes for which they were designed: GraphRAG Global for global queries, Vector RAG for local queries, and GraphRAG Drift Search, which combines both strategies, posed the strongest challenge overall. Increasing Vector RAG’s context window from 8k to 120k tokens did not improve its performance compared to LazyGraphRAG. This raised the question of how LazyGraphRAG would perform against Vector RAG with 1-million token context window containing most of the dataset. Figure 4 shows the follow-up experiment comparing LazyGraphRAG to Vector RAG using GPT-4.1 that enabled this comparison. Even against the 1M-token window, LazyGraphRAG achieved higher win rates across all comparisons, failing to reach significance only for the relevance of answers to DataLocal queries. These queries tend to benefit most from Vector RAG’s ranking of directly relevant chunks, making it hard for LazyGraphRAG to generate answers that have greater relevance to the query, even though these answers may be dramatically more comprehensive, diverse, and empowering overall. Figure 4. Win rates of LazyGraphRAG (LGR) over Vector RAG across different context window sizes, broken down by the four AutoQ query classes and four AutoE metrics: comprehensiveness, diversity, empowerment, and relevance. Bars above 50% indicate that LazyGraphRAG outperformed the comparison condition.  AutoD: Automated data sampling and summarization Text datasets have an underlying topical structure, but the depth, breadth, and connectivity of that structure can vary widely. This variability makes it difficult to evaluate RAG systems consistently, as results may reflect the idiosyncrasies of the dataset rather than the system’s general capabilities. The AutoD component addresses this by sampling datasets to meet a target specification, defined by the number of topic clusters (breadth) and the number of samples per cluster (depth). This creates consistency across datasets, enabling more meaningful comparisons, as structurally aligned datasets lead to comparable AutoQ queries, which in turn support consistent AutoE evaluations. AutoD also includes tools for summarizing input or output datasets in a way that reflects their topical coverage. These summaries play an important role in the AutoQ query synthesis process, but they can also be used more broadly, such as in prompts where context space is limited. Since the release of the GraphRAG paper, we’ve received many requests to share the dataset of the Behind the Tech (opens in new tab) podcast transcripts we used in our evaluation. An updated version of this dataset is now available in the BenchmarkQED repository (opens in new tab), alongside the AP News dataset containing 1,397 health-related articles, licensed for open release.   We hope these datasets, together with the BenchmarkQED tools (opens in new tab), help accelerate benchmark-driven development of RAG systems and AI question-answering. We invite the community to try them on GitHub (opens in new tab).  Opens in a new tab

Events Letterheads Per L'Horta: An Intimate International Meet The masses amass in Almàssera for an inspiring four days painting in the Valencian sun. Better Letters Jun 5, 2025 • 8 min read Letterheads Per L'Horta in Almàssera, Valencia, 1–4 May 2025. This time last month, over 45 guests from 11 countries were feeling the post-Letterheads blues after four days in the small town of Almàssera, just outside Valencia, Spain. Letterheads Per L'Horta was organised by Nico Barrios, and it was a wonderfully intimate experience, with a host of activities to enjoy and learn from.Something that made the event feel extra special was the involvement of people from the local community, who were just as much a part of it as those that had travelled from as far afield as Australia and Mexico to attend. This included bidding in the auction for a souvenir of the long weekend in May spent with friends, new and old.Almàssera and L'HortaAlmàssera is a small town set within a vast expanse of small-scale agricultural production. While each plot of land is known as a huerto (allotment), they are collectively referred to as horta, which doesn't really have a direct translation. The Horta Nord (North Horta) that surrounds Almàssera is the largest and best surviving example of this type of terrain.We were based in the town's Museu de l'Horta (Horta Museum), which consists of an old and a modern building with a yard between them that housed the panel jam area.A traditional alquería (farmhouse) in l'horta, a view down on the meet, and the tents protecting the panel jam area.Inside the modern building there was a selection of pieces from Juan Nava's 2022 Gráfica Urbana de Valencia (Urban Graphics of Valencia) exhibition. There was also a trip down memory lane for Valencian locals in the form of another exhibition, L'ombra de les lletres (the shadow of the letters), with photos of signs spanning the period 1880–2000.L'ombra de les lletres was originally curated by Tomàs Gorria in 2024. Pedal PowerAlmàssera, and the city of Valencia, are easily navigated by bicycle, which Nico used to facilitate a cycling tour of the old signs of l'horta. In addition to the stories of the individual companies advertised, he was also able to identify the painters responsible for some of the signs.The tour took guests into the heart of l'horta, which, as a largely agricultural area, boasts a surprising number of old and hand-painted signs.Panel JammingAfter a windy first day or so, the event was bathed in beautiful Mediterranean sunshine. The protective tents were essential, although those in the middle had to carefully manage their colour schemes in light of the red hue they cast across the easels.Getting painty in l'horta: Nathan Collis, Xis Gomes, Maria Cano, Mike Meyer, and Loughlin Brady Smith.Panels set to dry in the early evening sun.WorkshopsAcross the first three days, Thursday to Saturday, there was a series of lettering and calligraphy workshops that were also open to those outside of the Letterheads event proper.Pictured are workshops being led by Ester Gradolí, Juanjo López, and Joan Quiros.TV TimeThe meet was profiled in the local newspaper on the day before it opened, and then a TV crew turned up to cover proceedings.Local press coverage and Letterheads Per L'Horta host Nico Barrios being interviewed for the TV report. 0:00 /1:34 Letterheads Per L'Horta makes the news! If you look closely at the top of the paper that Daniel Esteve Carbonell is working on it says "Collons de rètol" (it's only a fucking sign) which clearly escaped the attention of the censors. Talks & DemosIn addition to workshops, the museum building also hosted a busy programme of talks. These were delivered by the Asociación de Diseñadores de la Comunidad Valenciana (Valencian Graphic Design Association), the errorerror.studio creative typography studio, graphic designer Juan Nava, and type designer Juanjo López.Juan Nava talking about the evolution of his Letras Recuperadas (Recovered Letters) project, previously featured here at bl.ag online.One of the highlights was hearing from veteran local sign painters Ricardo Moreno and Paco Vivó, both of whom appear in the Tipos Que Importan film that was screened. They were interviewed by Nico and brought a host of goods with them, including their sign kits, photographic portfolios, work samples, books, and other reference materials.Ricardo (in glasses) and Paco (with beard) were mobbed after talking about their lives on the brush in Valencia.Following the session, everyone moved outside to watch Paco Vivó paint one of the motifs that he produced many times in his career: the Pepsi-Cola bottle top.Paco Vivó painted his demonstration piece on a canvas which was subsequently sold in the auction.Meanwhile, over in the town square, David Vanderh had set up his screenprinting station to apply Nico's event design in a single colour to any material that the public brought to him.The live screenprinting was in just blue, while the official event t-shirt combined this with a striking orange.Panels on Show and on SaleOn the Sunday, a small exhibition was mounted with the panels that folks could bid on in the auction. This was an open invitation, with those from the neighbourhood stopping by to inspect and snag some goods.Panels getting ready for new owners in the charity auction.Panels by Veronika Skilte (Vermut), Joe Coleman (Mental on the Rental), Rachel E Millar (Rotulos, Gracias), and Victor Calligraphy.This panel (right) by Joe Coleman was inspired by the truck lettering that was a lucky incidental on the earlier cycling tour.The auction raised over 2,000€ in support of those affected by the devastating DANA floods in 2024.The assembled crowd were ready with open wallets as the auction got underway.The auction was expertly hosted by Mike Meyer and Nico Barrios, with Nil Muge logging all the winning bids and accounting for the cash payments.Thank YouAs with any event, the photos never show the challenges that must be overcome behind the scenes. Some of these were substantial but Nico took each one in his stride, maintaining a smile throughout. Thank you, Nico, for facilitating these special days that will live long in the collective memory.Letterheads Per L'Horta host Nico Barrios.Letterheads Per L'Horta was hosted by Nico Barrios with the support of the following organisations: AVV Carraixet d'Almàssera; Ajuntament d'Almàssera; BLAG; A.S. Handover; 1 Shot; ADCV; gráffica. Also check out the event's dedicated Instagram account, @letterheadsperlhorta, for even more photos and videos. More LetterheadsFuture Meets

House in Palm Springs | © Sydney Turturro via Unsplash Moving from an apartment to a house is a major life milestone. It usually means more space, more responsibility, and more freedom. But unless you plan it right, it can also come with more stress.  Whether upgrading to accommodate a growing family or simply looking for more room to breathe, here are five essential steps to help you move from an apartment to a house confidently and easily. 1. Start with a Clear Plan and Timeline One of the most common mistakes people make when moving from an apartment to a house is underestimating how long it takes. It’s not just about packing up your belongings; it’s about handling logistics, paperwork, and scheduling around daily life.  As soon as you know your moving date, create a moving checklist.  Outline what needs to be done weekly: notifying your landlord, scheduling the elevator if you’re in a high-rise, collecting packing materials, and booking your moving company. Planning ahead helps you avoid last-minute stress and unexpected costs. If possible, give yourself at least 6–8 weeks. That gives you enough time to declutter, coordinate with service providers, and ensure you’re fully prepared for move-in day. The earlier you start, the smoother everything flows. Hiring professional movers early in the process can also secure your preferred date and provide access to helpful services, such as packing, storage, or specialized transportation. With everything scheduled well in advance, you’ll have the peace of mind needed to focus on your new adventure. 2. Downsize Before You Upsize It may sound counterintuitive, but moving to a bigger space doesn’t mean you should bring everything with you.  Over time, we accumulate furniture, clothes, gadgets, and kitchen tools that serve little purpose. And in a small apartment, many of these items might have been crammed into closets or storage bins and forgotten altogether.  Now’s the perfect time to declutter and lighten the load before the move. Start by walking through your apartment and taking stock of everything. Ask yourself what truly adds value to your life and what’s just taking up space. If you haven’t used something in over a year, it’s probably safe to let it go. You can donate, sell, or recycle items as needed. A good rule of thumb is to be ruthless. A cleaner move means a cleaner start in your new home. By purging the excess, you’ll reduce moving costs and arrive at your new house with a fresh mindset. There’s no sense in transporting items you no longer want or need. Instead, you’ll be able to unpack more quickly and enjoy your new space without clutter. 3. Prepare for a Different Kind of Space Living in a house is very different from apartment life. The layout, square footage, and storage options all change, which means your furniture and lifestyle habits may also need to adapt. That cozy loveseat that fits perfectly in your apartment living room might look dwarfed in a larger house.  Before moving, visit the house if possible and take room measurements.  Consider creating a rough floor plan to determine where each piece of furniture will fit. This not only helps your local movers place items on move-in day, but it also ensures you don’t waste time and energy relocating things that won’t work in the new space. Apps and online tools can help you visualize your layout ahead of time. Beyond furniture, also think about what your new home may need.  Will you have a backyard that needs maintenance? A garage that requires storage shelving? An extra guest room or home office that needs furnishing?  While you don’t have to buy everything at once, it’s smart to budget for future purchases so you can comfortably and intentionally grow into your home. 4. Handle Utilities, Address Changes, and Logistics © Peter Thomas via Unsplash © Mitch via Unsplash Unlike apartments, where utilities may be partially covered or managed by the landlord, houses typically require you to set up and manage everything yourself.  This includes electricity, water, gas, internet, trash collection, and sometimes even lawn care services. Don’t wait until the last minute; contact providers at least a week before your move to schedule installation or transfers. At the same time, update your address with your bank, subscription services, and relevant government agencies. This helps ensure you continue to receive important mail and prevents service disruptions. If you’re moving within the same city, this can be fairly straightforward. If you’re moving to a different region or province, however, make sure you check for local utility providers and regional services. Elevator bookings and parking permits are other key details to address, especially when moving out of an apartment in a busy area.  Confirm all building rules and moving hours in advance, and inform your movers so they can plan accordingly. Clear communication on these details makes the moving day smoother for everyone involved. 5. Rely on a Trusted Moving Partner Perhaps the most important step in this process is choosing the right moving company.  Apartment-to-house moves require experience, careful coordination, and physical effort, especially when dealing with tight stairwells, narrow hallways, or long distances from the apartment to the truck.  A professional moving team can handle the logistics efficiently while protecting your belongings from damage. Instead of doing it all yourself, you can count on us to carry the load literally. We bring the right equipment, vehicles, and muscle, so you don’t have to worry about heavy lifting or unexpected delays. More importantly, we offer peace of mind during an exciting and overwhelming time. A good moving experience sets the tone for your new chapter. Let us help make that transition smooth, stress-free, and even enjoyable. Final Word Moving from an apartment to a house is more than just a physical shift; it’s a lifestyle change. With the right planning, thoughtful decisions, and support from experienced movers, you can make the process simple and even fun. Whether it’s your first home or your dream upgrade, we’re here to guide you every step of the way. Frequently Asked Questions  1. How far in advance should I book a moving company when moving from an apartment to a house? We recommend booking your moving company at least 4–6 weeks in advance, especially during peak moving seasons (spring and summer). This gives you the best chance to secure your preferred date and time while also allowing time for proper planning, packing, and coordination with building management if needed. 2. What’s the best way to downsize before moving into a house? Even though you’re moving to a larger space, it’s wise to declutter before your move. Sort items by category, keep, donate, sell, or discard, and be honest about what you actually use. Unused furniture, duplicate kitchenware, and old clothes often don’t need to make the move. A lighter load means a faster, more affordable, and more organized transition. 3. Will all my apartment furniture fit properly in a house?  Some furniture from a compact apartment may not always feel too small or awkward in a larger home. We recommend measuring key pieces and comparing them with the dimensions of the new space before moving. Our team can help you decide what’s worth moving and even assist with layout planning to ensure everything fits where it should. 4. What should I do about utilities when moving into a house?  Unlike apartment living, homeowners are responsible for setting up all their utilities individually. Be sure to contact providers for electricity, water, internet, gas, and waste collection at least a week before your move. Scheduling ahead ensures your new home is move-in ready, and you won’t experience any service interruptions. 5. Do I need professional movers for a short move from an apartment to a house? Even if you’re moving just a few blocks, a professional moving team makes the process faster, safer, and far less stressful. We handle the heavy lifting, stairs, tight corners, and transportation logistics, so you don’t have to. Our experience ensures that your belongings arrive safely, regardless of the distance. GuidesTips by ArchEyes Team Leave a comment

Text embedding and reranking are foundational to modern information retrieval systems, powering applications such as semantic search, recommendation systems, and retrieval-augmented generation (RAG). However, current approaches often face key challenges—particularly in achieving both high multilingual fidelity and task adaptability without relying on proprietary APIs. Existing models frequently fall short in scenarios requiring nuanced semantic understanding across multiple languages or domain-specific tasks like code retrieval and instruction following. Moreover, most open-source models either lack scale or flexibility, while commercial APIs remain costly and closed. Qwen3-Embedding and Qwen3-Reranker: A New Standard for Open-Source Embedding Alibaba’s Qwen Team has unveiled the Qwen3-Embedding and Qwen3-Reranker Series—models that set a new benchmark in multilingual text embedding and relevance ranking. Built on the Qwen3 foundation models, the series includes variants in 0.6B, 4B, and 8B parameter sizes and supports a wide range of languages (119 in total), making it one of the most versatile and performant open-source offerings to date. These models are now open-sourced under the Apache 2.0 license on Hugging Face, GitHub, and ModelScope, and are also accessible via Alibaba Cloud APIs. These models are optimized for use cases such as semantic retrieval, classification, RAG, sentiment analysis, and code search—providing a strong alternative to existing solutions like Gemini Embedding and OpenAI’s embedding APIs. Technical Architecture Qwen3-Embedding models adopt a dense transformer-based architecture with causal attention, producing embeddings by extracting the hidden state corresponding to the [EOS] token. Instruction-awareness is a key feature: input queries are formatted as {instruction} {query}<|endoftext|>, enabling task-conditioned embeddings. The reranker models are trained with a binary classification format, judging document-query relevance in an instruction-guided manner using a token likelihood-based scoring function. The models are trained using a robust multi-stage training pipeline: Large-scale weak supervision: 150M synthetic training pairs generated using Qwen3-32B, covering retrieval, classification, STS, and bitext mining across languages and tasks. Supervised fine-tuning: 12M high-quality data pairs are selected using cosine similarity (>0.7), fine-tuning performance in downstream applications. Model merging: Spherical linear interpolation (SLERP) of multiple fine-tuned checkpoints ensures robustness and generalization. This synthetic data generation pipeline enables control over data quality, language diversity, task difficulty, and more—resulting in a high degree of coverage and relevance in low-resource settings. Performance Benchmarks and Insights The Qwen3-Embedding and Qwen3-Reranker series demonstrate strong empirical performance across several multilingual benchmarks. On MMTEB (216 tasks across 250+ languages), Qwen3-Embedding-8B achieves a mean task score of 70.58, surpassing Gemini and GTE-Qwen2 series. On MTEB (English v2): Qwen3-Embedding-8B reaches 75.22, outperforming other open models including NV-Embed-v2 and GritLM-7B. On MTEB-Code: Qwen3-Embedding-8B leads with 80.68, excelling in applications like code retrieval and Stack Overflow QA. For reranking: Qwen3-Reranker-0.6B already outperforms Jina and BGE rerankers. Qwen3-Reranker-8B achieves 81.22 on MTEB-Code and 72.94 on MMTEB-R, marking state-of-the-art performance. Ablation studies confirm the necessity of each training stage. Removing synthetic pretraining or model merging led to significant performance drops (up to 6 points on MMTEB), emphasizing their contributions. Conclusion Alibaba’s Qwen3-Embedding and Qwen3-Reranker Series present a robust, open, and scalable solution to multilingual and instruction-aware semantic representation. With strong empirical results across MTEB, MMTEB, and MTEB-Code, these models bridge the gap between proprietary APIs and open-source accessibility. Their thoughtful training design—leveraging high-quality synthetic data, instruction-tuning, and model merging—positions them as ideal candidates for enterprise applications in search, retrieval, and RAG pipelines. By open-sourcing these models, the Qwen team not only pushes the boundaries of language understanding but also empowers the broader community to innovate on top of a solid foundation. Check out the Paper, Technical details, Qwen3-Embedding and Qwen3-Reranker. All credit for this research goes to the researchers of this project. Also, feel free to follow us on Twitter and don’t forget to join our 95k+ ML SubReddit and Subscribe to our Newsletter. Asif RazzaqWebsite |  + postsBioAsif Razzaq is the CEO of Marktechpost Media Inc.. As a visionary entrepreneur and engineer, Asif is committed to harnessing the potential of Artificial Intelligence for social good. His most recent endeavor is the launch of an Artificial Intelligence Media Platform, Marktechpost, which stands out for its in-depth coverage of machine learning and deep learning news that is both technically sound and easily understandable by a wide audience. The platform boasts of over 2 million monthly views, illustrating its popularity among audiences.Asif Razzaqhttps://www.marktechpost.com/author/6flvq/A Step-by-Step Coding Guide to Building an Iterative AI Workflow Agent Using LangGraph and GeminiAsif Razzaqhttps://www.marktechpost.com/author/6flvq/From Clicking to Reasoning: WebChoreArena Benchmark Challenges Agents with Memory-Heavy and Multi-Page TasksAsif Razzaqhttps://www.marktechpost.com/author/6flvq/Mistral AI Introduces Mistral Code: A Customizable AI Coding Assistant for Enterprise WorkflowsAsif Razzaqhttps://www.marktechpost.com/author/6flvq/NVIDIA AI Releases Llama Nemotron Nano VL: A Compact Vision-Language Model Optimized for Document Understanding

As a Canadian who has spent the last two and a half years working as an intern architect in Helsinki, these questions have been on my mind. In my current role, I have had the opportunity to participate in numerous architectural competitions arranged by Finnish municipalities and public institutions. It has been my observation that the Finnish system of open, anonymous architectural competitions consistently produces elegant and highly functional public buildings at reasonable cost and at great benefit to the lives of the everyday people for whom the projects are intended to serve. Could Canada benefit from the adoption of a similar model? ‘Public project’ has never been a clearly defined term and may bring to mind the image of a bustling library for some while conjuring the image of a municipal power substation for others. In the context of this discussion, I will use the term to refer to projects that are explicitly in-service of the broader public such as community centres, museums, and other cultural venues. Finland’s architectural competition system Frequented by nearly 2 million visitors per year, the Oodi Central Library in Helsinki, Finland, has become a thriving cultural hub and an internationally recognized symbol of Finnish design innovation. Designed by ALA Architects, the project was procured through a 2-stage, open, international architectural competition. Photo by Ninara (flickr, CC BY 2.0) In Finland, most notable public projects begin with an architectural competition. Some are limited to invited participants only, but the majority of these competitions are open to international submissions. Importantly, the authors of any given proposal remain anonymous with regards to the jury. This ensures that all proposals are evaluated purely on quality without bias towards established firms over lesser known competitors. The project budget is known in advance to the competition entrants and cost feasibility is an important factor weighed by the jury. However, the cost for the design services to be procured from the winning entry is fixed ahead of time, preventing companies from lowballing offers in the hopes of securing an interesting commission despite the inevitable compromises in quality that come with under-resourced design work. The result: inspired, functional public spaces are the norm, not the exception. Contrasted against the sea of forgettable public architecture to be found in cities large and small across Canada, the Finnish model paints a utopic picture. Several award-winning projects in my current place of employment in Helsinki have been the result of successes in open architectural competitions. The origin of the firm itself stemmed from a winning competition entry for a church in a small village submitted by the firm’s founder while he was still completing his architectural studies.  At that time, many architecture firms in Finland were founded in this manner with the publicity of a competition win serving as a career launching off point for young architects. While less common today, many students and recent graduates still participate in these design competitions. On the occasion that a young practitioner wins a competition, they are required to assemble a team with the necessary expertise and qualifications to satisfy the requirements of the jury. I believe there is a direct link between the high architectural quality outcomes of these competitions and the fact that they are conducted anonymously. The opening of these competitions to submissions from companies outside of Finland further enhances the diversity of entries and fosters international interest in the goings-on of Finland’s architectural scene. Nonetheless, it is worth acknowledging that exemplary projects have also resulted from invited and privately organized competitions. Ultimately, the mindset of the client, the selection of an appropriate jury, and the existence of sufficient incentives for architects to invest significant time in their proposals play a more critical role in shaping the quality of the final outcome. Tikkurila Church and Housing in Vantaa, Finland, hosts a diverse range of functions including a café, community event spaces and student housing. Designed by OOPEAA in collaboration with a local builder, the project was realized as the result of a competition organized by local Finnish and Swedish parishes. Photo by Marc Goodwin Finland’s competition system, administered by the Finnish Association of Architects (SAFA), is not limited to major public projects such as museums, libraries and city halls. A significant number of idea competitions are organized seeking compelling visions for urban masterplans. The quality of this system has received international recognition. To quote a research paper from a Swedish university on the structure, criteria and judgement process of Finnish architectural competitions, “The Finnish (competition) experience can provide a rich information source for scholars and students studying the structure and process of competition system and architectural judgement, as well as those concerned with commissioning and financing of competitions due to innovative solutions found in the realms of urban revitalization, poverty elimination, environmental pollution, cultural and socio-spatial renewals, and democratization of design and planning process.” This has not gone entirely under the radar in Canada. According to the website of the Royal Architectural Institute of Canada (RAIC), “Competitions are common in countries such as Finland, Ireland, the United Kingdom, Australia, and New Zealand. These competitions have resulted in a high quality of design as well as creating public interest in the role of architecture in national and community life.” Canada’s architectural competition system In Canada, the RAIC sets general competition guidelines while provincial and territorial architect associations are typically responsible for the oversight of any endorsed architectural competition. Although the idea of implementing European architectural competition models has been gaining traction in recent years, competitions remain relatively rare even for significant public projects. While Canada is yet to fully embrace competition systems as a powerful tool for ensuring higher quality public spaces, success stories from various corners of the country have opened up constructive conversations. In Edmonton, unconventional, competitive procurement efforts spearheaded by city architect Carol Belanger have produced some remarkable public buildings. This has not gone unnoticed in other parts of the country where consistent banality is the norm for public projects. Jasper Place Branch Library designed by HCMA and Dub Architects is one of several striking projects in Edmonton built under reimagined commissioning processes which broaden the pool of design practices eligible to participate and give greater weight to design quality as an evaluation criterion. Photo by Hubert Kang The wider applicability of competition systems as a positive mechanism for securing better public architecture has also started to receive broader discussion. In my hometown of Ottawa, this system has been used to procure several powerful monuments and, more recently, to select a design for the redevelopment of a key city block across from Parliament Hill. The volume and quality of entries, including from internationally renowned architectural practices, attests to the strengths of the open competition format. Render of the winning entry for the Block 2 Redevelopment in Ottawa. This 2-stage competition was overseen directly by the RAIC. Design and render by Zeidler Architecture Inc. in cooperation with David Chipperfield Architects. Despite these successes, there is significant room for improvement. A key barrier to wider adoption of competition practices according to the RAIC is “…that potential sponsors are not familiar with competitions or may consider the competition process to be complicated, expensive, and time consuming.” This is understandable for private actors, but an unsatisfactory answer in the case of public, tax-payer funded projects. Finland’s success has come through the normalization of competitions for public project procurement. We should endeavour to do the same. Maintaining design contribution anonymity prior to jury decision has thus far been the exception, not the norm in Canada. This reduces the credibility of the jury without improving the result. Additionally, the financing of such competitions has been piece-meal and inconsistent. For example, several world-class schools have been realized in Quebec as the result of competitions funded by a provincial investment.  With the depletion of that fund, it is no longer clear if any further schools will be commissioned in Quebec under a similar model. While high quality documentation has been produced, there is a risk that developed expertise will be lost if the team of professionals responsible for overseeing the process is not retained. École du Zénith in Shefford, Quebec, designed by Pelletier de Fontenay + Leclerc Architectes is one of six elegant and functional schools commission by the province through an anonymous competition process. Photo by James Brittain A path forward Now more than ever, it is essential that our public projects instill in us a sense of pride and reflect our uniquely Canadian values. This will continue to be a rare occurrence until more ambitious measures are taken to ensure the consistent realization of beautiful, innovative and functional public spaces that connect us with one another. In service of this objective, Canada should incentivize architectural competitions by normalizing their use for major public projects such as national museums, libraries and cultural centres. A dedicated Competitions Fund could be established to support provinces, territories and cities who demonstrate initiative in the pursuit of more ambitious, inspiring and equitable public projects. A National Competitions Expert could be appointed to ensure retention and dissemination of expertise. Maintaining the anonymity of competition entrants should be established as the norm. At a moment when talk of removing inter-provincial trade barriers has re-entered public discourse, why not consider striking down red tape that prevents out-of-province firms from participating in architectural competitions? Alas, one can dream. Competitions are no silver bullet. However, recent trials within our borders should give us confidence that architectural competitions are a relatively low-risk, high-reward proposition. To this end, Finland’s open, anonymous competition system offers a compelling case study from which we would be well served to take inspiration. Isaac Edmonds is a Canadian working for OOPEAA – Office for Peripheral Architecture in Helsinki, Finland. My observations of the Finnish competition system’s ability to consistently produce functional, beautiful buildings inform my interest in procurement methods that elevate the quality of our shared public realm. The post Op-Ed: Could Canada benefit from adopting Finland’s architectural competition system? appeared first on Canadian Architect.

A new white paper offers some practical tips for employees and employers who are looking to harness technology (and who may be feeling a little nervous about the future).

alternative_right shares a report from Phys.Org: Using conventional propulsion and low-energy trajectories, it takes six to nine months for crewed spacecraft to reach Mars. These durations complicate mission design and technology requirements and raise health and safety concerns since crews will be exposed to extended periods in microgravity and heightened exposure to cosmic radiation. Traditionally, mission designers have recommended nuclear-electric or nuclear-thermal propulsion (NEP/NTP), which could shorten trips to just 3 months. In a recent study, a UCSB physics researcher identified two trajectories that could reduce transits to Mars using the Starship to between 90 and 104 days. The study was authored by Jack Kingdon, a graduate student researcher in the Physics Department at the University of California, Santa Barbara (UCSB). He is also a member of the UCSB Weld Lab, an experimental ultracold atomic physics group that uses quantum degenerate gases to explore quantum mechanical phenomena. [...] As outlined on its website, conference presentations, and user manual, the SpaceX mission architecture consists of six Starships traveling to Mars. Four of these spacecraft will haul 400 metric tons (440 U.S. tons) of cargo while two will transport 200 passengers. Based on the Block 2 design, which has a 1,500 metric ton (1,650 U.S. ton) propellant capacity, the crewed Starships will require 15 tankers to fully refuel in low Earth orbit (LEO). The cargo ships would require only four, since they would be sent on longer low-energy trajectories. Once the flotilla arrives at Mars, the Starships will refuel using propellant created in situ using local carbon dioxide and water ice. When the return window approaches, one of the crew ships and 3-4 cargo ships will refuel and then launch into a low Mars orbit (LMO). The cargo ships will then transfer the majority of their propellant to the crew ship and return to the surface of Mars. The crew ship would then depart for Earth, and the process could be repeated for the other crew ship. Kingdon calculated multiple trajectories using a Lambert Solver, which produces the shortest elliptical arc in two-body problem equations (aka Lambert's problem). The first would depart Earth on April 30th, 2033, taking advantage of the 26-month periodic alignment between Earth and Mars. The transit would last 90 days, with the crew returning to Earth after another 90-day transit by July 2nd, 2035. The second would depart Earth on July 15th, 2035, and return to Earth after a 104-day transit on December 5th, 2037. As Kingdon explained, the former trajectory is the most likely to succeed: "The optimal trajectory is the 2033 trajectory -- it has the lowest fuel requirements for the fastest transit time. A note that may not be obvious to the layreader is that Starship can very easily reach Mars in ~3 months -- in fact, it can in any launch window, over a fairly wide range of trajectories. However, Starship may impact the Martian atmosphere too fast (although we do not know, and likely SpaceX don't either actually how fast Starship can hit the Martian atmosphere and survive). The trajectories discussed are ones that I am confident Starship will survive." The paper describing the work has been published in the journal Scientific Reports. Read more of this story at Slashdot.