The 770-pound Bayeux Tapestry depicts the Norman conquest of England in 1066. Breakthroughs, discoveries, and DIY tips sent every weekday. Whether it's the morning paper, the games on the back of a cereal box, or just scrolling through social media, there is something nice about reading with a meal. For the monks living in St. Augustine's Abbey in Canterbury, England, one of the most famous (and phallic) tapestries in the world may have been their equivalent to the back of the cereal box. New research recently published in the journal claims that the 1,000-year-old Bayeux Tapestry may have served as mealtime reading.

Understanding the decision-making processes of large language models (LLMs) is essential for their trustworthy development and deployment. However, current interpretability methods often face challenges such as low resolution and high computational cost. To address these limitations, we propose the \textbf{Multi-Layer Attention Consistency Score (MACS)}, a novel, lightweight, and easily deployable heuristic for estimating the importance of input tokens in decoder-based models. MACS measures contributions of input tokens based on the consistency of maximal attention. Empirical evaluations demonstrate that MACS achieves a favorable trade-off between interpretability quality and computational efficiency, showing faithfulness comparable to complex techniques with a 22\% decrease in VRAM usage and 30\% reduction in latency.

Given the proliferation of deep learning over the last decade or so [5], uncertainty or confidence estimation of these models has been an active research area [4]. Predicting accurate confidences in the generations produced by a large language model (LLM) are crucial for eliciting trust in the model and is also helpful for benchmarking and ranking competing models [37]. Moreover, LLM hallucination detection and mitigation, which is one of the most pressing problems in artificial intelligence research today [33], can also benefit significantly from accurate confidence estimation as it would serve as a strong indicator of the faithfulness of a LLM response. This applies to even settings where strategies such as retrieval augmented generation (RAG) are used [3] to mitigate hallucinations. Methods for confidence estimation in LLMs assuming just black-box or query access have been explored only recently [14, 19] and this area of research is still largely in its infancy. However, effective solutions here could have significant impact given their low requirement (i.e.

Fox News captured drone footage of trash and clothing discarded along a common crossing point for illegal immigrants near Normandy, Texas. Thousands of migrants have streamed across the border near Normandy, Texas, in recent weeks, leaving behind discarded trash and clothing in their wake. Drone footage of a frequent crossing point along the Rio Grande shows piles of discarded items at the end of an eroded walking trail. Similar scenes can be observed at the border in Eagle Pass and the surrounding area. Trash and clothing discarded along the Rio Grande in Normandy, Texas.

For years now, some of the best, wildest, most moving or revealing stories we've been telling ourselves have come not from books, movies or TV, but from video games. So we're running an occasional series, Reading The Game, in which we take a look at some of these games from a literary perspective. In the beginning, it was the Normandy that I fell for, not Mass Effect. If it hadn't been for the Normandy (gorgeous, sleek, the most advanced ship in the Alliance fleet and personal ride of Commander Shepard, star of the series), I might've just quit the newly remastered Legendary edition of the beloved trilogy after the first few hours. See, I did not like Mass Effect at all when I started playing.

'I think it looks terrific," says David Hockney. The 83-year-old artist is taking a look around his new exhibition at the Royal Academy in London for the first time. He seems happy with it – and rightly so, for it is hypnotic and ravishing. But while I am getting a sneak preview in person, Hockney is here only virtually, his face appearing on two screens, one a giant TV, the other a small laptop. He is at home, at what he calls his "seven dwarves house" in Normandy, wearing a red, black and white check jacket, a checkerboard tie, a blue-green pullover and round, gold-framed glasses. His kaleidoscopic choice of clothing, challenging the very limits of the video call's bandwidth, is as vibrant and beguiling as the canvases hanging around us. Hockney has not just painted spring; he has come dressed as it. The artist has agreed to talk me through the exhibition, called The Arrival of Spring, Normandy, 2020, and the arrangement underlines his idiosyncratic ease with technology. To make these iPad paintings, he and his team created a version of the Brushes app, working with a computer expert in Leeds to speed things up. "Drawing requires a certain speed," he says. "In Rembrandt's drawings, you can see how fast he drew." I can't handle Hockney on the big screen, so I sit in front of the laptop – after first taking in his art. He has filled some of the grandest rooms in the RA with pictures of blossoming branches, spilling flower beds, a rain-spattered pond and a tree house: simple subjects, faithfully depicted. I first saw many of these last spring, in my email inbox. Day after day, sometimes more than once a day, I would find a new Hockney, fresh from France, which was a great pick-me-up as the full scope of the pandemic began to dawn. The trouble was that I was soon running out of superlatives in my replies. He was "doing the arrival of spring in Normandy", as he puts it, and the work made headlines around the world when he released a few images to the media. Clearly, it was not just me who found Hockney's passionate pictures of new life in his cottage and garden in the Norman paysage uplifting. Here was movingly optimistic art, full of the promise of spring, even as Covid plunged the planet into despair. Now those pictures have been printed up to the scale of oil landscapes and are looking even better. This is Hockney's best exhibition in a long time, perhaps his most important ever, given the ode to joy it offers an injured world. It is also "a homage", he says, to the painters who first inspired him. Hockney was born in industrial Bradford in 1937 and grew up in a smoggy postwar Britain. Where did he get a feeling for all the bright strong colours that sweep this exhibition? "Well, it came from Monet and Matisse and Picasso.