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Retiring from Farming
Start now to ensure your farm passes to the next generation Deborah Jeanne Post [caption id=attachment_11062 align=alignright width=405] Adam C. Howell, outreach director at Cornell’s NY FarmNet: “Retirement from farming is atypical planning,” he says.[/caption] Roughly 70% of family-owned farms will transfer ownership withing the next two decades, according to data from to the USDA census. Only 30% of those will remain in the family. The number of farms in New York is shrinking as the size of farms increases. In other words, there are fewer farms in the state, but they’re much larger. This is why succession planning is so important for family farms. A farm represents not only a way to make a living but a legacy and family tradition. Many families want to preserve the small farm segment of agriculture and the values it represents. Passing the family farm to the next generation can’t be left to chance. And it shouldn’t be left for “the kids to figure out” after the older generation dies. Succession planning in agriculture isn’t like other types of business retirement planning or personal final planning. “Retirement from farming is atypical planning,” said Adam C. Howell, outreach director at Cornell’s NY FarmNet. “Most farmers, their assets and the way they live and survive in retirement is tied up in the equity in the farm. Those conversations must take place a lot earlier than they think. They’re dealing with something asset-heavy that may require a trust and tax planning.” NY FarmNet offers farmers free, confidential consultation services regarding financial and business management, and family, and mental health support for farmers in New York state. It’s a program of Cornell University in Ithaca. Howell urges farmers to begin the conversation early. Most family farms are run by generations with the oldest generation most involved and typically with fewer of the middle-aged adults and young adults involved. Some of the younger generation may have off-farm jobs and not live on the homestead. “Different people have different expectations on their legacy,” Howell said. “Intergenerational conflict and discussions can be difficult. It may be good to check with NY FarmNet or Ag Mediation to help mediate these conversations with a third party. A lot of farms have broken up because people can’t decide how to divide things.” New York State Agricultural Mediation Program is a USDA‑certified, free or low‑cost service for farmers. Fair is not always equal. A sole owner simply stating that he wants to divide things equally among his children may leave one-quarter of the farm operation to an adult child who moved away and hasn’t sat in a tractor for decades. The three adult children who have toiled on the farm for 30 years may need to buy out the fourth, non-farming sibling but cannot because all of their money is tied up in the equipment, land and stock that supports their livelihood. Their payrate may not allow them to set aside much to buy out the non-farming sibling. As a result, they may need to sell parts of the farm off in order to keep it. However, doing so may limit their ability to sufficiently support their families. The farm owner may need to bequeath more assets to the farming siblings because their efforts have kept the farm going and without those assets and their work, the farm will cease operations. Howell advises seeking professional help on tax and legal issues. Without it, families can be exposed to expensive problems and infighting. A third-party expert can help farm families navigate what is truly fair in the family’s succession plans. Beyond the practical aspects of inheritance, succession also relies upon planning who will operate the farm and how. “I think it’s important that farmers understand the means and methods of farming are always changing,” Howell said. For example, many young adult farmers earn a degree at a school such as Cornell, SUNY Cobleskill or Morrisville, work on a different farm for a while and then return to their family farm with big ideas on how to improve the farm — if only their dad and uncles will agree. Intergenerational conflict is often centered on newer ideas such agritourism, online marketing and shipping goods. “It causes conflict,” Howell said. “A lot of it comes down to communication and respect within the family. If no one in the family wants to take on farming, what we’ll see is older farmers start to help trusted managers buy into the farm.” The middle-aged generation, now in their 40s and 50s, often struggle with wresting the helm from their parents. Howell said that many older farmers don’t discuss with their grown children their vital business information such as vendors, ordering supplies, pricing, recordkeeping and farm planning. They even claim that “the kids” aren’t ready yet. These gaps in cross-training may cause significant problems even before the older generation dies, if there’s an illness or injury. Howell urges farmers to document these processes and cross-train others on the farm how to handle these areas “to make sure if one person is incapacitated, the entire operation is not at risk,” he said. Mark Modzeleski, financial adviser, financial planner and president at Legacy Wealth Advisors of NY in Syracuse, advises families to talk sooner than later about who should be operating the farm. “Someone is driving the farm,” he said. “Have you decided who? Be honest when you have that conversation. Who do they turn to when there’s a question? Or who has the potential to be leaders?” Planning for leadership continuity is vital. Unfortunately, talking like this can become fraught with emotions if it’s only the family involved. Modzeleski advised finding a third party who can help drive the conversation. “Invite the right people to the conversation who can get you from point A to point B,” he said. “This is a marathon, not a sprint.” It may take sitting down a few times with an estate planning attorney who specializes in farm transition, along with a tax professional and others who can help moderate and plan. Family members, owners and possibly, integral farm managers should attend the meetings. “Figure out what you want your legacy to be,” Modzeleski added.
Who Won August and September: Original Films or Franchises?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) I just heard someone say that if you’re reading a pundit or data analyst, and they don’t tell you that they got anything wrong, they’re not a pundit but an “influencer”. I agree with that. You have to tell your audience when you get things wrong, or they won’t (or shouldn’t) trust you as much. Today, we’ve got another edition of “What I Got Right, What I Got Wrong”. In general, I’m patting myself on the back (and patting very hard) about a few things like IP at the box office, LIV golf, horror films, crowdfunding movies, superheroes, and old people going to the theaters. That said, I also made a couple of data mistakes on the streaming bubble popping and HBO’s datecdotes, so I’m not perfect. But first, I need your feedback... Subscribe Follow-Ups: What Should We Call Mid-Budget Movies Which Aren’t Cinematic Enough for Theaters But Are Too Expensive to Make Money on Streaming? After I asked for feedback on what we should call straight-to-streaming films that are too big to pencil out on streaming but not really big enough to resonate in theaters, I got some great suggestions from you all, including... “Moldilocks” from John Aboud “Little Big Indie” from Travis Frick1 “Midflicks” from Jonathan Funke. “Extra-Medium” from Jona Nwuke. (Read the explanation in the footnote.) Between these and Brandon Katz—who suggested “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”—we’ve got some excellent suggestions. And they’re better than my suggestion, the “Streaming Budget Dead Zone”, so let’s take a poll! The winning entry becomes the new term. Loading... RIGHT: LIV Golf is Fully Bankrupt…Is Anyone Else Next? A few years ago, I was always a bit perplexed at all the articles I’d read praising LIV Golf and their strategy to disrupt the PGA. LIV Golf, a brand new professional golf league, offered PGA stars ten times what they made on the PGA Tour to join their new league. And folks praised this strategy for its initial “success” in that a lot of big names did indeed leave the PGA. Yeah, of course the players came over. LIV Golf paid them so, so, so much more! But LIV Golf hadn’t discovered a way to increase potential revenue. So think about this in basic business terms… They paid much more in costs… …but had no real way to increase revenue. That’s not a strategy! That’s deficit financing. It won’t work unless you bankrupt the competition (and then turn around and pay those same golfers much, much less). It’s not a sustainable strategy and only lasts as long as the company/person/nation backing it decides they’re cool with losing money. For LIV Golf, that meant Middle East oil wealth, in particular Saudi Arabian money. Clearly, the current Iran War has hurt Middle East finances, so they need to trim their more exorbitant spending. And LIV Golf was part of that trimming. This should be a major warning for others. TGL’s parent company, TMRW Sports, just got a $1 billion valuation, despite TGL’s (the indoor golf league) horrible TV viewership of less than half a million viewers per match. Unrivaled, the women’s basketball league, just secured a $650 valuation, despite its horrible TV viewership and a new rival (Project B) entering the scene next year. To relate this to streaming, Hollywood should ask which streamers may have wealthy patrons funding their losses. (Let’s be clear: Google, Amazon and Apple.) Could those patrons lose their appetite? For Amazon, probably not. But Apple has a new boss, so maybe! WRONG: My Analysis of the Streaming Bubble Was Missing a Week I’m going to be congratulating myself a lot today, but I make mistakes too, like this data goof. When I last compiled the data on the decline in TV shows, I was missing one week at the end of June. If you look at the first image, you can see that one week was mislabelled as “July”. Mainly, this image got updated to show a 27% decline, not 29%: This change doesn’t really impact the overall analysis, but it is two percent better. By the way, through the third quarter, the decline increased and it’s now a 30% decrease since 2022. (I’ll write/visualize this in an upcoming article.) But I want you to trust me and my data. Especially these days, when many people are using LLMs that I know are inserting faulty data into their charts, I want to keep earning my audience’s faith. So that’s the accurate data. RIGHT: IP Remains Very, Very Popular In July, I wrote a giant (and I mean giant) article on Backrooms, Obsession, and the box office, going over what we know, what we don’t know about what works in theaters, looking at YouTubers, IP, the horror genre, comic book movies, and a whole lot more. The month of August really tested a lot of my theses and, being honest, mostly supported my arguments. Let’s start with IP. Looking at 8-Aug (the weekend after Spider-Man: Brand New Day came out) to 18-Sep (the weekend that Resident Evil came out, which I think provides a nice bookend to this time period), there were seven films based on pre-existing IP: Resident Evil (2026) ($126 million) Practical Magic 2 ($65 million) _Insidious: Out of the Furthe_r ($65 million) Coyote Vs. Acme ($59 million) Paw Patrol: The Dino Movie ($53 million) Tony ($15 million) Super Troopers 3 ($7 million) Compare those to the notable original films from the past month—I actually could have included more movies, but here are just thirteen, bringing us to an even twenty films—including.... The End of Oak Street ($54 million) Buddy ($26 million) Mutiny ($15 million) By Any Means ($15 million) The Dog Stars ($14 million) Runner ($14 million) One Night Only ($11 million) Hope ($8 million) Spa Weekend ($7 million) The Uprising ($6 million) Teenage Sex and Death at Camp Miasma ($6 million) Onslaught ($3 million) Eli Roth’s Ice Cream Man ($2.8 million) Here’s that in chart form: Five of the top six films in this time period were all based on IP. I made a big chart of films that grossed over $200 million at the box office before Spider-Man: Brand New Day and The Odyssey hit theaters. Let’s update that chart! By the way, if you want to see how I categorized each film—so another bar chart—here it is: I know that many of my fellow critics/pundits/analysts dislike films based on IP and how Hollywood is making so many of them. And I’m sympathetic to this point of view. As I’ve written many, many times before, you need a balance between existing franchises, new IP, and original films. And Hollywood clearly needs to make more films like Resident Evil (a well-made film from a visionary director) and fewer Practical Magic 2’s (which didn’t get critical or customer buzz). But at some point, critics and pundits need to contend with what audiences are telling them: Movie-goers aren’t showing up to original films. Audiences are speaking with their dollars, telling you they want more IP and franchises. You can try to convince studio heads to make fewer IP-based films and franchises, but the data and numbers aren’t there. Instead, critics need to work harder to convince audiences to show up for original films. Aim your ire/concern at the average person, not studio heads.2 Because they’re just making the films that audiences are telling them to make. WRONG: Original Horror Films Didn’t Break Out I’ll be honest, even though I wrote an article casting some skepticism on the horror genre in July, if you asked me to make a prediction, I would have predicted that, in August, a new, original horror film would have blown up. No, seriously, I just assumed that Obsession and Backrooms presaged a change in audience behavior. But none of the buzzy new original horror films from August—Teenage Sex and Death at Camp Miasma, Onslaught (not an action film in spite of the ads), The End of Oak Street, Eli Roth’s Ice Cream Man, or _Buddy—_broke out. To be clear, exactly one of those films (Buddy) had good “ROI”, but again—I try to be specific in my language—none were “popular” in any broad sense of the word. None of them will be “saving” movies theaters like Backrooms or _Obsession_helped save the summer. The new Insidious film and Resident Evil, both based on IP, were far and away the biggest horror films since July. (We’ll see if this changes in October/Halloween season.) RIGHT: Stay Skeptical about Crowdfunding... I’ve long been skeptical about crowd-investing platforms as one of Hollywood’s saviors, mainly because there’s so much hype/buzz. People need to stay more skeptical about more things, explaining both the potential upside but also the downsides. In particular, the media often hypes crowdfunding at the start and never checks in on the actual results after they’ve come in later. And August gave us our first update! _Ice Cream Man—_directed by Eli Roth—grossed $6 million off of a $5.5 million budget. This is a production of The Horror Section, which was one of the first “crowd investing” studios with 2,400 investors, which means that 2,400 investors probably lost money. They certainly aren’t getting as great of returns as if they had just invested their dollars in the stock market. Hopefully Stiletto (Tagline: “Someone’s Going to Make it Rain Blood!”) does better next month. WRONG: Another Data Goof Here’s another data error. When the first episode of House of the Dragon came out, HBO put out that it had 21.5 million viewers in the first three days, and I read that to mean in the US…but no, it was global. So my US-only datecdotes charts shouldn’t have included it. We never got US-only numbers for the first episode, but for the final episode, HBO put out that it had 11 million US viewers. (And that global dropped to 21 million viewers.) Here’s the updated chart (which I’ve since used in the Streaming Ratings Report): Still, this show is absolutely huge. RIGHT: Superhero Films Remain Very, Very Popular After Supergirl flopped, I read a few takes that “comic book movies are going the way of the Western”. Post-Spider-Man: Brand New Day, that take didn’t age well. To be fair, I have a very nuanced take on the superhero genre right now; it’s down right now, for a lot of reasons. But it’s not “dead”. Maybe _Spider-_Man is just a really popular character? I saw that take, and it’s a fair counter-argument. (But pundits arguing that superhero movies were dead should have mentioned this $1.5 billion counter-argument…) But is it just Spider-Man? The next Avengers film already has $50 million in pre-sales (and I was skeptical that that film would do well) and the Avengers: End Game re-release topped the box office two weekends ago (over three original films). And I wouldn’t bet against Batman or Superman. So maybe it’s just Spider-Man, Batman, Superman and the Avengers. Oh, and Deadpool, of course. And Black Panther. And Wolverine. And probably the X-Men. Plus a well-made Wonder Woman or the Hulk film could break out. But that’s it! It’s just those ten characters/teams. Oh, what’s that? Lanterns is also doing well on HBO? (See previous section…) To be fair, I’m actually pretty sympathetic to the argument that more popular characters—like Spider-Man and Batman—anchor more popular films. In fact, I made that exact argument three years ago when I first wrote about the “Marvel-cession”. In many ways, you can blame The Guardians of the Galaxy for fooling Marvel Studios (and the rest of us) into believing that any character could pop. It turns out, the list of iconic characters is probably smaller than most people think. But it’s probably too early to say that superhero films and comic book movies are dead unless “death” means a slight decline over a longtime. RIGHT: Who Killed Theaters? Old People I get frustrated whenever I see headlines or analysis about how young people are “returning” to theaters. As I’ve detailed(for years), young people have always powered the US box office, despite narratives about “kids these days” and their “phones”. Really, what’s changed post-2020/pandemic is that old people aren’t going to the movies nearly as much. This summer, I saw a movie (from an older director) in a theater near a retirement community, and multiple older people at the theater were talking about how this was their first time seeing a movie in years. I dislike personal anecdotes, so YouGov can fill in the data, best summarized by this headline: “Who killed movie theaters? Not the youths”. According to them, 64% of people aged 18-29 have seen a movie in the last year, but only 30% of 65-and-older. 20% of 18-29 have seen a movie in theaters in the last week and 42% in the last month. Here’s the polling data: Most concerning? Many Americans (17%) think theaters are a worse or much worse experience than watching films at home. Slight WRONG: Hadestown Opens Big A live theater capture of the Broadway musical, Hadestown, made $20 million at the US box office, which begs the question: was I wrong to be skeptical about musicals a few years ago? Yes and no. On the one hand, $20 million is a far cry from being “popular”, so yeah, the genre isn’t that popular overall and Hadestown is one of the more popular musicals from recent years (i.e. the “Taylor Swift Data Fallacy” in action). On the other, I doubt filming this cost all that much, and I don’t think that they spent much on marketing, so this is a good source of ancillary revenue. Smaller Updates WRONG: As I mentioned in a Streaming Ratings Report, I underestimated the budget for Enola Holmes 3. It probably cost more like $50 million, if not more. But... I’m not sure that it really matters? At sub-10 million hours, prices have to come down to make this work. WRONG: Netflix is giving Ink a 27-day in theaters! To quote the kids/YouTubers these days, let’s go! Now I might actually have a chance to see Danny Boyle’s latest in theaters. I’d complained about this in a “Coming Soon” section, but I was heartened to read that Netflix is giving multiple films longer theatrical windows this year. RIGHT: Netflix is sending 4-5 films per year to theaters. Netflix is slowly but surely sending more and more films to theaters, as I cautiously predicted earlier this year. For now, it’s just three big films and a number of awards contenders, but still, this is great news. And they’ll be releasing box office grosses! Just this week, Ted Sarandos confirmed that KPop Demon Hunters 2 will come to theaters (and my guess is it performs in the box office top ten at a minimum). WRONG: Angel has 3 million subscribers! How do I know this? Well, they told Deadline, who reported it. I marked this as “wrong”, since they’ve doubled their subscribers in one year but, you know, they don’t really have a hit film to speak of and they’re still losing money. WRONG: Furious was only renewed for one more season. I accidentally wrote “two more seasons” in my latest “Renewals, Cancellations, Un-Orders and Removals Update”. RIGHT: House of David is ending with its third season. In July, Prime Video renewed House of David for a third season, as I just wrote in my latest “Renewals and Cancellations” report. Well, now it’s ending after that third season. Why? As I’ve been writing, its viewership wasn’t great. I got feedback that this show didn’t cost very much, but it cost enough that its limited viewership didn’t save it. WRONG: Adults was a Hulu original! So I missed Adults when it first came out last year; I saw that it aired on FX and just assumed that it was a linear-first program. Turns out, it aired three episodes on FX, but binge-released the rest of its episodes the next day on Hulu. Huh. So I should have covered it last year! But I just wrote about it. 1 “When I was a kid in the 90s, if you wore a t-shirt to school that wasn’t too big and also wasn’t too small, but somehow didn’t quite fit, we’d say you were wearing an “extra-medium” shirt.” 2 As always, a huge exception is Disney, which barely makes anything original anymore.
LEGO Batman: Legacy of the Dark Knight is 30fps on Nintendo Switch 2
Some Nintendo Switch 2 owners have been disappointed to find out that LEGO Batman: Legacy of the Dark Knight is only 30fps on the Nintendo Switch 2. The latest LEGO game doesn’t feature a Performance…
Scientists catch a hidden electronic state forming in just 30 femtoseconds
Scientists watched a light-triggered hidden state form inside a material in only 30 femtoseconds, revealing a step that had never been seen before. The material first entered a fleeting electronic state in which its bonds reorganized in a repeating pattern, followed by tiny atomic shifts. This ultrafast pathway could offer a new way to control electronic properties with light and help inspire faster, more responsive technologies.
AI needs science’s search history
“Actually, that’s where the gold is,” said Alasdair Russell, my graduate school friend who leads a pre-clinical genome editing group at Cambridge. He was talking about the winding road of science that is omitted from published papers. “When you’re discussing how to do the experiment, and why this way is better than another way, and what does the data really mean? I know what it shows, but what does it mean?” At RAAIS 2026, he described how his group has begun logging the twisting path of discovery as it happens, recording the verbal and written exchanges that normally disappear. Ideas become nodes in a living graph: they branch when a meeting produces two plausible experiments, merge when separate lines of evidence converge, and go dark when someone quietly stops pursuing them. In his implementation, one agent scores novelty, while another tries to learn “how scientists think and how they navigate through a complex world of data,” so that high-potential nodes can trigger deeper investigation. As frontier AI labs deploy agents toward scientific discovery, giving AI authentic scientific taste remains a trillion-dollar dilemma. The bottleneck is that the record we have kept for centuries of science might be insufficient to get us there. The experiments that never make the paper Peter Medawar, 1960 Nobel laureate and “father of transplantation,” asked in 1963 whether the scientific paper was a fraud, and answered yes: the form of the paper misrepresents the thinking that produced it. Sixty years on, the diagnosis is unchanged. A paper presents a clean progression from hypothesis to result to conclusion. Lost along the way are the unconventional theories, the abandoned or unaffordable methods, and the underwhelming and inconclusive data. It reads like a browser history with every dead end deleted: the ten open tabs, the four rephrased queries, the wrong turn down a subforum. All scrubbed, leaving one clean path from question to answer as the canonical path. What has changed since then is that the discarded material is now worth something. No high-impact journal wants these artifacts, but raw trial and error is the most likely source of the training data required to develop scientific intuition, or what researchers call taste. Earlier attempts to capture the discards were motivated by scientific integrity. The Journal of Negative Results in Biomedicine launched in 2002 to publish rigorous studies that disputed established models or exposed ineffective treatments. Its archive preserved negative conclusions after they had become papers, rather than the live alternatives and arguments that produced them. BioMed Central closed it in 2017, saying the mission had been served now that other journals publish null results. A less generous reading is that in fifteen years it published around 200 papers because almost nobody wants to read a negative result, let alone write one up when it will not count toward academic tenure. AI models are different. Even an uninteresting negative result can be useful, provided it is labeled. Earlier this year, Anthropic put a version of this to the test. The company pulled 129 decision points from real Claude Code sessions between January and March 2026, showed models the work up to a human detour, and asked what should happen next. Claude Mythos Preview beat the human choice 64% of the time, while Opus 4.5 managed 51%. The comparison was tilted toward the models because Anthropic deliberately chose moments where the human decision had room for improvement. On 127 further scenarios where the human action was already strong, the models improved on it only about 20% of the time. The study was possible because Anthropic’s researchers work inside a tool that logs by default. The reasoning, detours and outcome are produced in the same working environment. Biology has no equivalent. Its reasoning happens in hallways, at benches, in Slack threads and on whiteboards, while the outcome arrives weeks later somewhere else. The record has to emerge from the work itself. Ask scientists to reconstruct it afterwards and we’ll create another polished account. Subscribe A log is not a label Before any of this becomes training data, a negative result has to say what failed. The first paper published in the Journal of Negative Results in Biomedicine examined 234 negative studies across five leading medical journals. Only 30% discussed statistical power, and half clearly defined a primary outcome. Tell a model an experiment failed, without telling it whether the assay was underpowered, a reagent had degraded, or the hypothesis was simply wrong, and it will learn noise with confidence. Decision histories have a second missing label too. When a lab considers five experiments and runs one, only the chosen branch returns an outcome. The other four are experimental counterfactuals. Researchers call this the selective labels problem: the data reveal results only for the actions someone chose to take. Such a record can teach a model to imitate a lab’s taste, but it cannot establish that the taste was good. It also smuggles local constraints into general lessons. A lab that never ran cryo-EM because it did not own a microscope teaches a model that cryo-EM is rarely the right call. Alasdair’s nodes preserve the candidate set, which is the necessary first step. To be useful, each decision record needs six fields: The evidence available at that moment, and nothing that arrived later. The candidates considered, including the ones dismissed in a sentence. For each candidate: the expected result, the confidence attached to it, and the cost in time and money. The route chosen, and the reason. What happened next. How the evidence changed the scientist’s view. These must be timestamped before the outcome, because hindsight turns uncertainty into inevitability. Disagreement also has to survive. Averaging three scientists into one clean rationale reproduces exactly the information loss we are trying to fix. But there is an obvious failure mode here. Once decisions are logged and scored, people log for the record post-facto. Anyone who has watched an electronic lab notebook fill up with retrospective tidying knows how quickly a research tool becomes a compliance exercise. A record that costs a scientist ten minutes of honest reflection per decision is worth far more than one that costs an hour of performance. A publication initiative called Registered Reports offers a useful starting point. Here, researchers submit their rationale, methods and analysis plan for peer review before the data exist, and the journal commits in principle to publish if they follow the approved plan. Nature has now expanded the format across every field it covers. This approach to paper writing timestamps intent before the outcome, but it freezes one plan. A useful search history must also preserve how the plan changed, which alternatives were rejected, when, and on what evidence. Subscribe Run the runner-up Autonomous labs show what happens when decisions and outcomes are connected in a loop. Liverpool’s mobile robotic chemist ran 688 experiments over eight days in a ten-variable formulation space. A batched Bayesian search used each result to choose the next experiments and found photocatalyst mixtures six times more active than the starting formulations. Every completed experiment changed what the system did next. The robot optimized within a goal and search space that humans had already chosen. It did not decide which scientific question mattered. So what this work demonstrates is narrower, but still useful: a search history pays off when the options return standardized outcomes quickly. Open-ended biology is harder because branches can take weeks and the discarded alternatives may never be run. Some exploration therefore has to be bought. Where two branches are plausible and the stakes justify the cost, a lab should sometimes run the runner-up. Otherwise the record captures what today’s scientists usually chose and stays silent on what they systematically overlooked. A funder could ring-fence a small fraction of a grant for the branch not taken, provided that the decision record and the outcome are both deposited. That costs money, but so does having every lab rediscover the same abandoned path. Test whether taste transfers When it comes time to evaluate if our new AI system exhibits taste, the comparison should run across laboratories and fields. At selected decision points in a live research campaign, we should freeze the six fields: the evidence, the candidates, expected results, confidence, costs and the choice made. Experts then rank the options before the outcomes are known, and those outcomes are checked independently later. We could give models one of two diets - papers alone, or papers plus decision histories - and ask them to rank the next experiment on unfamiliar projects. Then, we score information gained per dollar and week, calibration, and how quickly weak branches are abandoned. If histories improve choices only inside the lab that produced them, they amount to useful organizational memory. If they improve choices on unfamiliar problems elsewhere, Alasdair’s group will have captured something science has never managed to write down: a transferable record of taste. Until that happens, a scientific search history is a promising record, not yet a training set.
Why Fenerbahce turned to Europe’s youngest sporting director to break their title drought
Devin Ozek is only 30 but, having played his part in Bayer Leverkusen's rise, swapped Germany for the pressure-cooker of Istanbul football