The preprint repository arXiv will require all submissions to be written in English or accompanied by a full English translation starting February 11, a policy change that explicitly permits the use of AI translators even as research suggests large language models remain inconsistent at the task. Until now, authors only needed to submit an abstract in English. ArXiv hosts nearly 3 million preprints and receives more than 20,000 submissions monthly, though just 1% are in languages other than English. Ralph Wijers, chair of arXiv's editorial advisory council, advises authors to verify any AI-generated translations. "Our own experience is that AI translation is good but not good enough," he says. A 2025 study from ByteDance Seed and Peking University ranked 20 LLMs on translation quality between Chinese and English; GPT-5-high scored nearly 77, just below the human expert benchmark of 80, but most models including GPT-4o, Claude 4, and Deepseek-V3 scored under 60.

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Scientific American's Elizabeth Anne Brown recently "polled the great art houses of Europe" about whether they'd had any recent experiences with mold in their collections. Despite the stigma that keeps many institutions silent, she found that extremophile "xerophilic" molds are quietly spreading through museums and archives, thriving in low-humidity, tightly sealed storage and damaging everything from textiles and wood to manuscripts and stone. An anonymous Slashdot reader shares an excerpt from the article: Mold is a perennial scourge in museums that can disfigure and destroy art and artifacts. [...] Consequently, mold is spoken of in whispers in the museum world. Curators fear that even rumors of an infestation can hurt their institution's funding and blacklist them from traveling exhibitions. When an infestation does occur, it's generally kept secret. The contract conservation teams that museums hire to remediate invasive mold often must vow confidentiality before they're even allowed to see the damage. But a handful of researchers, from in-house conservators to university mycologists, are beginning to compare notes about the fungal infestations they've tackled in museum storage depots, monastery archives, crypts and cathedrals. A disquieting revelation has emerged from these discussions: there's a class of molds that flourish in low humidity, long believed to be a sanctuary from decay. By trying so hard to protect artifacts, we've accidentally created the "perfect conditions for [these molds] to grow," says Flavia Pinzari, a mycologist at the Council of National Research of Italy. "All the rules for conservation never considered these species." These molds -- called xerophiles -- can survive in dry, hostile environments such as volcano calderas and scorching deserts, and to the chagrin of curators across the world, they seem to have developed a taste for cultural heritage. They devour the organic material that abounds in museums -- from fabric canvases and wood furniture to tapestries. They can also eke out a living on marble statues and stained-glass windows by eating micronutrients in the dust that accumulates on their surfaces. And global warming seems to be helping them spread. Most frustrating for curators, these xerophilic molds are undetectable by conventional means. But now, armed with new methods, several research teams are solving art history cold cases and explaining mysterious new infestations... The xerophiles' body count is rising: bruiselike stains on Leonardo da Vinci's most famous self-portrait, housed in Turin. Brown blotches on the walls of King Tut's burial chamber in Luxor. Pockmarks on the face of a saint in an 11th-century fresco in Kyiv. It's not enough to find and identify the mold. Investigators are racing to determine the limits of xerophilic life and figure out which pieces of our cultural heritage are at the highest risk of infestation before the ravenous microbes set in.

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