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data/retrieval_individual-c3c39103-a49b-43a8-a2e7-1945260f7f05.jsonl

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 {"tstamp": 1725244172.3075, "task_type": "retrieval", "type": "chat", "model": "Salesforce/SFR-Embedding-2_R", "gen_params": {}, "start": 1725244171.9952, "finish": 1725244172.3075, "ip": "", "conv_id": "d724f6c93d654de095af7565c7f4312d", "model_name": "Salesforce/SFR-Embedding-2_R", "prompt": "who wrote it's gonna take a lot of love", "output": [["who wrote it's gonna take a lot of love", "Lotta Love\n\n\"Lotta Love\" is a song written and recorded by Neil Young and released on his 1978 Comes a Time album. \"Lotta Love\" was also covered by Nicolette Larson in 1978. Larson's version reached No. 8 on the Billboard Hot 100 chart and No. 8 on the Cash Box Top 100 in February 1979. It also hit No. 1 on the Easy Listening chart and was a hit in Canada, (No. 4), Australia (No. 11) and New Zealand (No. 22).\nBackground\nLinda Ronstadt, who had sung back-up for Young with Larson, has stated that it was at her (i.e., Ronstadt's) suggestion that Larson record \"Lotta Love\" and that Larson's producer thanked Ronstadt by having a top-of-the-line sound system installed in her Mercedes convertible.\nHowever, Larson's own recollection was that the suggestion she record \"Lotta Love\" originated with Neil Young, with whom she had formed a personal relationship while backing him vocally on American Stars 'n Bars. The publishers of Neil Young News quoted Larson as saying:"]], "corpus": "wikipedia"}
 {"tstamp": 1725246596.9758, "task_type": "retrieval", "type": "chat", "model": "mixedbread-ai/mxbai-embed-large-v1", "gen_params": {}, "start": 1725246596.5069, "finish": 1725246596.9758, "ip": "", "conv_id": "e71afe78eecb426399170e5c284175dc", "model_name": "mixedbread-ai/mxbai-embed-large-v1", "prompt": "Which test was devised to determine whether robots can think?", "output": [["Which test was devised to determine whether robots can think?", "Progress in artificial intelligence\n\nSub-human Optical character recognition for printed text (nearing par-human for Latin-script typewritten text)\nObject recognition\nVarious robotics tasks that may require advances in robot hardware as well as AI, including:\nStable bipedal locomotion: Bipedal robots can walk, but are less stable than human walkers (as of 2017)\nHumanoid soccer\nSpeech recognition: \"nearly equal to human performance\" (2017)\nExplainability. Current medical systems can diagnose certain medical conditions well, but cannot explain to users why they made the diagnosis.\nMany tests of fluid intelligence (2020)\nBongard visual cognition problems, such as the Bongard-LOGO benchmark (2020)\nVisual Commonsense Reasoning (VCR) benchmark (as of 2020)\nStock market prediction: Financial data collection and processing using Machine Learning algorithms\nAngry Birds video game, as of 2020\nVarious tasks that are difficult to solve without contextual knowledge, including:\nTranslation\nWord-sense disambiguation\nProposed tests of artificial intelligence\nIn his famous Turing test, Alan Turing picked language, the defining feature of human beings, for its basis. The Turing test is now considered too exploitable to be a meaningful benchmark.\nThe Feigenbaum test, proposed by the inventor of expert systems, tests a machine's knowledge and expertise about a specific subject. A paper by Jim Gray of Microsoft in 2003 suggested extending the Turing test to speech understanding, speaking and recognizing objects and behavior."]], "corpus": "wikipedia"}
 {"tstamp": 1725246596.9758, "task_type": "retrieval", "type": "chat", "model": "voyage-multilingual-2", "gen_params": {}, "start": 1725246596.5069, "finish": 1725246596.9758, "ip": "", "conv_id": "cb1a89995c5b47ad95f33aa1eccdc0fb", "model_name": "voyage-multilingual-2", "prompt": "Which test was devised to determine whether robots can think?", "output": [["Which test was devised to determine whether robots can think?", "Turing test\n\nThe test was introduced by Turing in his 1950 paper \"Computing Machinery and Intelligence\" while working at the University of Manchester. It opens with the words: \"I propose to consider the question, 'Can machines think? Because \"thinking\" is difficult to define, Turing chooses to \"replace the question by another, which is closely related to it and is expressed in relatively unambiguous words.\" Turing describes the new form of the problem in terms of a three-person game called the \"imitation game\", in which an interrogator asks questions of a man and a woman in another room in order to determine the correct sex of the two players. Turing's new question is: \"Are there imaginable digital computers which would do well in the imitation game?\" This question, Turing believed, was one that could actually be answered. In the remainder of the paper, he argued against all the major objections to the proposition that \"machines can think\".\nSince Turing introduced his test, it has been both highly influential and widely criticized, and has become an important concept in the philosophy of artificial intelligence. Philosopher John Searle would comment on the Turing test in his Chinese room argument, a thought experiment that stipulates that a machine cannot have a \"mind\", \"understanding\", or \"consciousness\", regardless of how intelligently or human-like the program may make the computer behave. Searle criticizes Turing's test and claims it is insufficient to detect the presence of consciousness.\nHistory"]], "corpus": "wikipedia"}
+{"tstamp": 1725264423.8883, "task_type": "retrieval", "type": "chat", "model": "sentence-transformers/all-MiniLM-L6-v2", "gen_params": {}, "start": 1725264423.587, "finish": 1725264423.8883, "ip": "", "conv_id": "5947de1fdd444ab5a239b4f66d9dd806", "model_name": "sentence-transformers/all-MiniLM-L6-v2", "prompt": "who abandoned traditional harmony and created the twelve-tone system for composition", "output": [["who abandoned traditional harmony and created the twelve-tone system for composition", "Twelve-tone technique\n\nThe twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his \"law of the twelve tones\" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the \"Second Viennese School\" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.\nSchoenberg himself described the system as a \"Method of composing with twelve tones which are related only with one another\". It is commonly considered a form of serialism.\nSchoenberg's fellow countryman and contemporary Hauer also developed a similar system using unordered hexachords or tropes—independent of Schoenberg's development of the twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be most historically and aesthetically significant.\nHistory of use\nThough most sources will say it was invented by Austrian composer Arnold Schoenberg in 1921 and first described privately to his associates in 1923, in fact Josef Matthias Hauer published his \"law of the twelve tones\" in 1919, requiring that all twelve chromatic notes sound before any note is repeated. The method was used during the next twenty years almost exclusively by the composers of the Second Viennese School—Alban Berg, Anton Webern, and Schoenberg himself. Although, another important composer in this period was Elisabeth Lutyens who wrote more than 50 pieces using the serial method."]], "corpus": "wikipedia"}
+{"tstamp": 1725264423.8883, "task_type": "retrieval", "type": "chat", "model": "BAAI/bge-large-en-v1.5", "gen_params": {}, "start": 1725264423.587, "finish": 1725264423.8883, "ip": "", "conv_id": "d965967dd7074ca0b9147f5661cbbebf", "model_name": "BAAI/bge-large-en-v1.5", "prompt": "who abandoned traditional harmony and created the twelve-tone system for composition", "output": [["who abandoned traditional harmony and created the twelve-tone system for composition", "Twelve-tone technique\n\nThe twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his \"law of the twelve tones\" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the \"Second Viennese School\" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.\nSchoenberg himself described the system as a \"Method of composing with twelve tones which are related only with one another\". It is commonly considered a form of serialism.\nSchoenberg's fellow countryman and contemporary Hauer also developed a similar system using unordered hexachords or tropes—independent of Schoenberg's development of the twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be most historically and aesthetically significant.\nHistory of use\nThough most sources will say it was invented by Austrian composer Arnold Schoenberg in 1921 and first described privately to his associates in 1923, in fact Josef Matthias Hauer published his \"law of the twelve tones\" in 1919, requiring that all twelve chromatic notes sound before any note is repeated. The method was used during the next twenty years almost exclusively by the composers of the Second Viennese School—Alban Berg, Anton Webern, and Schoenberg himself. Although, another important composer in this period was Elisabeth Lutyens who wrote more than 50 pieces using the serial method."]], "corpus": "wikipedia"}