Jack Clark at Import AI:
I now believe we are living in the time that AI research will be end-to-end automated. If that happens, we will cross a Rubicon into a nearly-impossible-to-forecast future. More on this later.
The purpose of this essay is to enumerate why I think the takeoff towards fully automated AI R&D is happening. I’ll discuss some of the consequences of this, but mostly I expect to spend the majority of this essay discussing the evidence for this belief, and will spend most of 2026 working through the implications.
In terms of timing, I don’t expect this to happen in 2026. But I think we could see an example of a “model end-to-end trains it successor” within a year or two – certainly a proof-of-concept at the non-frontier model stage, though frontier models may be harder (they’re a lot more expensive and are the product of a lot of humans working extremely hard).
My reasoning for this stems primarily from public information: papers on arXiv, bioRxiv, and NBER, as well as observing the products being deployed into the world by the frontier companies.
More here.
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A young woman arrives unannounced at the unresponsive door of a Tokyo apartment belonging to an older relative. She sits down outside and waits. Like the girl herself, the viewer is unsure of her welcome. We know the apartment’s inhabitant to be solitary, taciturn, a person who struggles to communicate and make connections with others. How will she be received? And how will this development impact the protagonists as we follow them through a slice of their lives in Japan’s largest city? These are the identical plot points of two recent films that share a setting but in many other respects could not be more different. To explore how depictions of the lived experience of a range of city spaces are used to drive plot and develop characterization, I use the architectural concept of “habitation” to think beyond buildings and characters’ relationships to those structures, analyzing instead how inhabited spaces incite plot developments and bring characters together, in a trope that I call “habitation as storytelling device.”
Is testosterone the next miracle drug? That seemed to be the 
Why do I drink? “I like the taste” is a wan excuse, but I do. With my birthday filet mignon and dark chocolate cake, I want a velvety cabernet sauvignon, not chalky milk. For our ritual Friday night pepperoni pizza, I prefer cold beer to water. I love a chilled white wine with Indian curry or Chinese food, a Guinness with a burger, and champagne for any celebration. The cork’s airy pop is triumphant, and even the bubbles seem excited for you.
Why are babies born young? The most natural phenomenon on earth is actually hard to explain — at least on a cellular level. Consider this problem: The components of conception are old. When a woman gets pregnant, she has been carrying her egg cells since birth. The sperm that joins with the egg to form a zygote might have been just a few months in the making, but it inherits markers of age from the man who produced it. It only follows that the zygote would also show signs of age — and at first it does.
The year was 1845.
I remember you used to give an intentionally provocative talk. One slide listed all the “positive things that drugs do for us,” and then you said something like “The question isn’t why ‘those people’ use drugs but ‘Why aren’t we all doing drugs all the time?’” This isn’t the sort of question often asked in scientific settings. How did you get there?
As we approach this painting, we have little idea of what it depicts, or whether it depicts anything at all. A washy blue covers the entire surface unevenly, and its space is traversed by several black vectors. A vertical line stretches the length of the canvas on the far right, where it intersects with two horizontal lines that cut across the center of the picture. In the lower half of the painting, three diagonal lines run roughly parallel to one another, also toward the right.
Lord of the Flies looms so large in the canon of English-language allegory that it’s easy to forget
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