Nature, Published online: 03 June 2025; doi:10.1038/d41586-025-01729-1Trade wars could affect food security in low-income nations

The story of AI in the entertainment industry is still being written. But it will have massive consequences for all of us.

The highly anticipated $1,000 phone will make an appearance later this summer.

Heydar Aliyev Center | © Olivier Blanchette via Unsplash In contemporary architectural discourse, the building envelope is no longer a passive partition but a dynamic interface capable of interaction, regulation, and adaptation. Amid rising environmental complexity and performance demands, composite materials are emerging as enablers of this transformation. Their potential goes far beyond lightweight strength; composites are redefining what intelligence means in architectural materiality. As the industry pivots toward energy-conscious design, real-time responsiveness, and multi-functional skins, composites provide structural solutions and performative systems. In this context, the envelope becomes a site of intelligence. From Passive Shells to Active Systems For centuries, architectural skins served primarily as barriers, blocking weather, enclosing space, and symbolizing permanence. But the 21st century demands more. We require façades that filter air and light, mediate thermal flux, integrate sensors, and generate power. Traditional materials, limited by monolithic performance and weight, have struggled to adapt. Composites, by contrast, are inherently systemic. They are engineered layers rather than singular substances. Through the integration of fibers and matrices, composites enable architectural envelopes that perform structurally while accommodating embedded systems such as thermal insulation, acoustic control, impact resistance, and photoreactivity. These characteristics make them prime candidates for high-performance envelopes in buildings and infrastructure alike. In the Qatar Integrated Railway Project, composite roofing and FRP façade panels were employed to meet the demands of the harsh desert environment. This solution reduced structural loads and improved thermal performance while ensuring long-term durability in a climate defined by extremes. Performance Layering and Embedded Intelligence What distinguishes composites from conventional materials is their capacity to combine multiple performance layers in one unified system. Instead of applying insulation, waterproofing, and cladding in sequence, a composite panel can consolidate these into a single prefabricated, high-performance element. A compelling example is the Eco Casa in Australia, designed by Ian Wright, which used frameless DuFLEX composite panels. The result was an environmentally conscious home with significantly reduced material waste, enhanced thermal performance, and minimized emissions. These outcomes demonstrate how composites offer design efficiency and ecological responsibility. The capacity for prefabrication and integration is particularly valuable in settings where labor conditions, transportation logistics, or weather exposure make traditional multi-layered construction inefficient or impractical. Composites with a Nervous System: Sensing the Built Environment Recent innovations in smart composites extend these capabilities further. By embedding fiber-optic or piezoresistive sensors into composite assemblies, architects and engineers can develop building skins that sense stress, temperature changes, humidity, or vibration in real-time. These responsive façades can feed data into building management systems, enabling performance optimization or alerting maintenance teams to signs of wear or structural fatigue. This functionality has been successfully explored in transport infrastructure. The King Abdullah High-Speed Rail Station in Saudi Arabia used 27-meter composite sandwich panels to span vast distances with minimal support. The lightweight system reduced the need for extensive reinforcement while enabling thermal and mechanical performance in a climate that demands resilience. Such examples are foundational to a future in which architecture does not merely resist the environment but interprets it. Formal Freedom Meets Functional Responsiveness Guangzhou Opera House | © Scarbor Siu via Unsplash Beyond embedded intelligence, composites also expand formal expression. Their moldability, especially with parametric design and digital fabrication, allows for envelopes that curve, fold, and morph in unattainable ways with conventional rigid materials. The Guangzhou Opera House, designed by Zaha Hadid Architects, is a defining example. Advanced composite assemblies that merged structural demands with formal ambition enabled its seamless curvatures and sharp transitions. These systems supported high-precision details and complex geometries while reducing material weight and installation complexity. This freedom extends to smaller-scale yet equally ambitious projects. At the Tilburg School for VAVO, translucent composite panels embedded with knitted textiles reference local craft while offering thermal performance and design cohesion. Such examples show that intelligence in architecture includes cultural sensitivity as well as technical adaptability. Toward Circular and Regenerative Envelopes The sustainability potential of composites is often overlooked. While early generations relied heavily on fossil-derived materials, newer systems use bio-based resins, natural fibers like flax and basalt, and recyclable matrices that fit into circular design models. Composite panels can now be designed for disassembly, repurposing, or reintegration into new construction, minimizing waste and conserving embodied energy. The Pasarela de Almuñécar in Spain exemplifies this ethos. As the world’s longest carbon-fiber walkway, it replaced heavier materials and extended structural lifespan while reducing maintenance. The project signals how composites can fulfill both technical and ecological ambitions. Efforts to embed digital tracking into panels, such as RFID tags, also support long-term monitoring and facilitate reuse planning. This vision aligns with emerging concepts like material passports, which will play a critical role in lifecycle accountability. Pasarela de Almuñécar in Spain | © Luis Garcia, CC by 3.0 Overcoming Barriers to Adoption Despite the clear advantages, composite adoption in architecture still faces notable hurdles. First is the challenge of integration with legacy materials such as concrete, stone, or steel. Connection detailing requires careful coordination to ensure structural continuity and thermal performance. Second is the perception of cost. While composites may require a higher upfront investment, their lower maintenance demands, improved energy performance, and reduced structural requirements often result in favorable long-term economics. Finally, regulatory frameworks continue to evolve. Building codes have been slow to reflect the unique properties of composites, although this is changing as standardization increases and successful pilot projects proliferate. A Vision for the Future: Architecture as Adaptive Intelligence Composites are not merely substitutes for traditional materials. They represent a paradigm shift in how we understand performance, integration, and the role of material in space-making. As architecture becomes increasingly data-driven, climate-responsive, and energy-conscious, the intelligent envelope will become the norm rather than the exception. Composites make this future feasible by offering structural capability, aesthetic freedom, environmental stewardship, and embedded intelligence within a single engineered solution. From high-speed rail terminals to cultural landmarks, these materials are shaping a new kind of architecture that listens, learns, and evolves. It is no longer sufficient for architecture to stand still. The next generation of buildings must adapt, interact, and perform. Composites make that future tangible. Learn More Explore how composite materials are redefining the building envelope in the construction sector and beyond: Visit Composites.Archi by ArchEyes Team Leave a comment

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

Elden Ring Nightreign is now up to 3.5 million copies sold after five days on sale, with its Steam user review rating improving from 'mixed' to 'mostly positive.'Elden Ring was a massive hit, selling 30 million since going on sale in 2022, and it seems unlikely that Nightreign will come close to matching that success. For better context, the Shadow of the Erdtree expansion sold 5 million copies within three days of its release in 2024.FromSoftware’s multiplayer spin-off had launched to 2 million sales in just a day, but with a 'mixed' rating on Valve's platform.Much of the initial negative sentiment revolved around Nightreign’s brutal solo experience, its lack of duos co-op, lack of voice chat, and other archaic mechanics. That age-old multiplayer struggle to find enough friends to make up a coordinated three-player group is very much a part of the Elden Ring Nightreign experience, too.PlayAs explained in IGN's Elden Ring Nightreign review: "Let’s get the most important caveat out of the way first: if you are hoping to tackle Nightreign entirely solo, and are anything less than a hardcore Elden Ring player that actively seeks out ways to make that already difficult game even more challenging, Nightreign isn’t for you. Yes, there is technically a single-player option, but it is so poorly balanced that I would be shocked if it isn’t patched and adjusted within the first month of release. And this is coming from someone who lives and breathes these types of games."But on Monday, FromSoftware released a patch to make solo play much easier, and despite matchmaking problems over the weekend, sentiment has improved.Last week, producer Yasuhiro Kitao took to social media to comment on Elden Ring Nightreign’s early sales success and to thank players for giving the game a go despite its quirks.Every IGN FromSoftware Game Review“Nightreign has some peculiar aspects to its game design and is different from our recent titles in various ways,” Kitao said. “Nonetheless, many of you have bravely jumped into this world, and for that we're immensely grateful.“As with Demon's Souls or Sekiro, it may be confounding at first, but just like those games, Nightreign offers its own challenges and experiences. Once you overcome the initial hurdle, it'll surely provide a sense of accomplishment that's also its very own.“We hope you enjoy it.”So, what happens next? FromSoftware said that in addition to the DLC releasing later this year, new additions will be “gradually implemented,” including enhanced fights against existing Nightlords starting this month (June), as well as Duo Expeditions at a later date.”The addition of duos will come as some relief to players who have questioned its omission from launch. Elden Ring Nightreign drops players into the shifting lands of Limveld, exploring and fighting for survival either solo or in groups of three. There is no way to play two-player co-op.In IGN's interview with Elden Ring Nightreign director Junya Ishizaki, the Nightreign lead developer discussed the choice to lean on solos and trios as the core experience options. When asked why there's no option for a pair of players to drop in together without a matchmade third player, Ishizaki said it was overlooked."The simple answer is that this is simply something that was overlooked during development as just a two-player option, so we're very sorry about that," said Ishizaki. "As we said before, we set out to make this a multiplayer co-op game for three players, balanced for three players, so that was the main focus and it's at the core of Nightreign."Of course, I myself as a player understand that and often want times where I'm just playing myself, so this is something that we considered from the start," Ishizaki continued."And so we did put a lot of effort into creating this experience that was playable for solo players in as much as the rules and new systems allowed. So in putting all our efforts into that aspect, we kind of overlooked and neglected the duos aspect, but this is something that we are looking at and considering for post-launch support as well."This means that if you're playing with just your favorite duos partner, you have to accept a random third into your game. Playing trios is very much what Elden Ring Nightreign is built around.We’ve got plenty of Nightreign tips and tricks to help you take down all the eight Nightlord Bosses, and if you’re wondering how to unlock the two locked Nightfarer Classes, check out How to Unlock the Revenant and How to Unlock the Duchess, plus How to Change Characters.Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Modern software engineering faces growing challenges in accurately retrieving and understanding code across diverse programming languages and large-scale codebases. Existing embedding models often struggle to capture the deep semantics of code, resulting in poor performance in tasks such as code search, RAG, and semantic analysis. These limitations hinder developers’ ability to efficiently locate relevant code snippets, reuse components, and manage large projects effectively. As software systems grow increasingly complex, there is a pressing need for more effective, language-agnostic representations of code that can power reliable and high-quality retrieval and reasoning across a wide range of development tasks.  Mistral AI has introduced Codestral Embed, a specialized embedding model built specifically for code-related tasks. Designed to handle real-world code more effectively than existing solutions, it enables powerful retrieval capabilities across large codebases. What sets it apart is its flexibility—users can adjust embedding dimensions and precision levels to balance performance with storage efficiency. Even at lower dimensions, such as 256 with int8 precision, Codestral Embed reportedly surpasses top models from competitors like OpenAI, Cohere, and Voyage, offering high retrieval quality at a reduced storage cost. Beyond basic retrieval, Codestral Embed supports a wide range of developer-focused applications. These include code completion, explanation, editing, semantic search, and duplicate detection. The model can also help organize and analyze repositories by clustering code based on functionality or structure, eliminating the need for manual supervision. This makes it particularly useful for tasks like understanding architectural patterns, categorizing code, or supporting automated documentation, ultimately helping developers work more efficiently with large and complex codebases.  Codestral Embed is tailored for understanding and retrieving code efficiently, especially in large-scale development environments. It powers retrieval-augmented generation by quickly fetching relevant context for tasks like code completion, editing, and explanation—ideal for use in coding assistants and agent-based tools. Developers can also perform semantic code searches using natural language or code queries to find relevant snippets. Its ability to detect similar or duplicated code helps with reuse, policy enforcement, and cleaning up redundancy. Additionally, it can cluster code by functionality or structure, making it useful for repository analysis, spotting architectural patterns, and enhancing documentation workflows.  Codestral Embed is a specialized embedding model designed to enhance code retrieval and semantic analysis tasks. It surpasses existing models, such as OpenAI’s and Cohere’s, in benchmarks like SWE-Bench Lite and CodeSearchNet. The model offers customizable embedding dimensions and precision levels, allowing users to effectively balance performance and storage needs. Key applications include retrieval-augmented generation, semantic code search, duplicate detection, and code clustering. Available via API at $0.15 per million tokens, with a 50% discount for batch processing, Codestral Embed supports various output formats and dimensions, catering to diverse development workflows. In conclusion, Codestral Embed offers customizable embedding dimensions and precisions, enabling developers to strike a balance between performance and storage efficiency. Benchmark evaluations indicate that Codestral Embed surpasses existing models like OpenAI’s and Cohere’s in various code-related tasks, including retrieval-augmented generation and semantic code search. Its applications span from identifying duplicate code segments to facilitating semantic clustering for code analytics. Available through Mistral’s API, Codestral Embed provides a flexible and efficient solution for developers seeking advanced code understanding capabilities.  vides valuable insights for the community. Check out the Technical details. 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. Sana HassanSana Hassan, a consulting intern at Marktechpost and dual-degree student at IIT Madras, is passionate about applying technology and AI to address real-world challenges. With a keen interest in solving practical problems, he brings a fresh perspective to the intersection of AI and real-life solutions.Sana Hassanhttps://www.marktechpost.com/author/sana-hassan/Off-Policy Reinforcement Learning RL with KL Divergence Yields Superior Reasoning in Large Language ModelsSana Hassanhttps://www.marktechpost.com/author/sana-hassan/This AI Paper from Microsoft Introduces WINA: A Training-Free Sparse Activation Framework for Efficient Large Language Model InferenceSana Hassanhttps://www.marktechpost.com/author/sana-hassan/Apple and Duke Researchers Present a Reinforcement Learning Approach That Enables LLMs to Provide Intermediate Answers, Enhancing Speed and AccuracySana Hassanhttps://www.marktechpost.com/author/sana-hassan/National University of Singapore Researchers Introduce Dimple: A Discrete Diffusion Multimodal Language Model for Efficient and Controllable Text Generation

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