humans

A few days ago came the astonishing news that the world record in the half-marathon was obliterated by a 5-foot-5 humanoid robot named Lightning in Beijing.

Now a robot named Ace has achieved another milestone for AI and robotics by defeating expert-level humans at table tennis in Tokyo, according to a study published Wednesday in the scientific journal Nature.

What’s next, a robotic baseball player named Babe that swats 500-foot home runs and throws 120 mph pitches, eclipsing Shohei Ohtani’s real-life achievements and commanding a billion dollar contract?

It’s all fun and games until it isn’t.

Extraordinary athletic achievements by AI robots might seem innocuous, especially compared to far more grave threats described by various experts, including the landmark publication “An Overview of Catastrophic AI Risks” by the Center for AI Safety in 2023.

To name a few: Misinformation and social media manipulation; job displacement and economic inequality; cybersecurity threats; lethal autonomous weapons; environmental impact; psychological dependence; and ultimately, the existential risk to humanity of losing control of rogue AI systems.

For now, let’s get back to ping-pong.

Ace was developed by good, old Sony, the 80-year-old makers of gaming consoles, televisions, smartphones, cameras and audio equipment that we enjoy every day.

Of course Sony has an AI research division, and while most consumers were still going ga-ga over PlayStation 5 Pro 2TB, it developed the first robot to attain expert-level performance in a competitive physical sport that requires rapid decisions and precision execution.

Ace integrates nine synchronized cameras and three vision systems to track the spinning plastic ping-pong ball. Its lightning-fast processing time would be the envy of even Lightning, the humanoid robot that broke the world record in the half-marathon by nearly seven minutes.

“Here we present Ace, to our knowledge the first real-world autonomous system competitive with elite human table tennis players,” the study said. “Ace addresses the challenges of physical real-time interaction through a new, high-speed perception system using event-based vision sensors and a new control system based on model-free reinforcement learning, as well as state-of-the-art high-speed robot hardware.”

Ace showed out in matches that followed International Table Tennis Federation rules and were officiated by licensed umpires. Most of the matches took place in 2025 — before table tennis tale “Marty Supreme” even hit theaters — although Ace defeated professional players as recently as March.

One such human is Mayuka Taira, who said in comments provided by Sony AI to Reuters that the robot’s strengths are what one might expect: unpredictability and an absence of emotion.

“Because you can’t read its reactions, it’s impossible to sense what kind of shots it dislikes or struggles with, and that makes it even more difficult to play against,” Taira said.

Initial real-world applications of Ace-like robots likely would be in manufacturing and service industries, although untapped potential lies across sports, entertainment and safety-critical environments, according to the study.

“These results highlight the potential of physical AI agents to perform complex, real-time interactive tasks, suggesting broader applications in domains requiring fast, precise human–robot interaction,” the study said.

Those domains certainly could include baseball diamonds, basketball courts and gridirons. Hockey rinks could be lumped in provided robots can skate.

AI already is used in MLB. The vaunted Automated Ball-Strike system (ABS) uses AI-powered Hawk-Eye camera technology and computer vision to determine if pitches are strikes or balls. Twelve high-speed cameras track ball flight and AI delivers the definitive call to the scoreboard within seconds of a challenge.

A robotic batter facing a robotic pitcher with calls made by ABS might eliminate any disagreements over balls and strikes.

Terrifying.

Reuters contributed to this story.

BROKEN Social Scene is more than just a band, it is a community.

The Canadian collective is at the beating heart of Toronto’s freewheeling indie music scene.

If you attempt to count the combined total of active and inactive members, you arrive at a mind-boggling approximation somewhere between 20 and 30.

“What I love about this band is that it’s an open door,” affirms singer and guitarist Kevin Drew.

Since forming Broken Social Scene in 1999 with Brendan Canning, Drew has been its lynchpin . . . albeit one with an unerringly democratic approach.

“We invited everybody in and we didn’t have rules,” adds the 49-year-old frontman. “And we went out and did our f***ing best.”

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Over the years, notable collaborators have included an array of Canada’s finest singers, including solo artist Feist, Amy Millan of Stars and SFTW’s other interviewee this week, Emily Haines of Metric.

Drew cemented his place at the centre of the scene by co-founding progressive label Arts & Crafts in 2003 and has known many of the artists since he was a teenager.

Now, Broken Social Scene are back with their first album in nine years, Remember The Humans, a typically multi-layered affair but one that never loses touch with a winning melody.

Through words and music, it serves as a telling reminder that in this dislocated tech-driven world, we are still mere mortals with very human feelings.

Drew is at home outside Toronto and I’m in London when we hook up for a video call this week.

Before we discuss Broken Social Scene’s welcome return to the fray, he balances his phone on a copy of Irma Rombauer’s hefty culinary classic, The Joy Of Cooking, to bring his face into full view.

He apologises for appearing a bit flushed and says with a big smile: “Sorry, I just took a sauna.”

I quickly discover that Drew is a disarming character with a refreshingly open take on life.

“My dad was from London originally,” he continues. “I said, ‘Hey Pops, I’m gonna speak to The Sun’, and he went, ‘Oh, my gosh, I remember The Sun — it used to have the pin-ups!’ ”

I inform Drew that one of my earliest reviews for SFTW was Broken Social Scene’s self-titled breakthrough third album, released in 2005. “So, we have a long relationship together, which I love,” he responds without a trace of irony.

Introductions out of the way, he’s ready for me to ask why it’s the right time for a new album, as well as a triple headliner tour with Metric and Stars, which is coming to the UK in September.

“We came to a realisation through playing shows after the pandemic that this IS our life,” he says. “This is something we have spent so much of our lives working on.

“We still find much joy in melody and we are part of the muscle memory business now.

“At the age we’re at and with what we’ve achieved already, we made a firm choice to continue.

“Between us all, we have had so much loss of family and friends, but we found that grief made us grateful for what we’ve got.”

Drew is thrilled to be heading out with his comrades from Metric (particularly Jimmy Shaw) and Stars, a trek that summons “the true spirit of what we have been from the beginning”.

Audiences can expect some band-hopping, meaning that Drew can’t really say how many people will be on stage with him.

“I haven’t a clue,” he says. “But I do know there will be a LOT.” The latest chapter in the Broken Social Scene story probably began in 2022 with a 20th anniversary tour of their second album, You Forgot It People, and its songs that still resonate today.

Drew and his fellow travellers realised they might provide some solace in a world where “identity is at war, fear is prominent at every turn” and where “hope is a very tired word”.

He says: “We thought, ‘Let’s do our tiny little protests, let’s continue to demonstrate community’. After all, it’s not hard for us to make music because there’s so many of us.

“Just by being around for 25 years, we have our own sound.”

One song from You Forgot It People — Anthems For A 17-Year-Old Girl, with Metric’s Haines on lead vocals — has acquired a new audience, as Drew explains.

“Thanks to the [2024] film I Saw The TV Glow, the trans community has brought that song into their lives and embraced it.

“It went viral on TikTok, then suddenly all our listens went up. It was the greatest award we’ve ever been given. We were so touched.”

For Drew, it was proof positive that “music helps to build your identity, to find your own people and to express yourself. Right now, that is something to hold on to”.

With its layers of horns, guitars and synthesisers as well as various distinctive voices, new album Remember The Humans is a triumph for freedom of expression.

There’s also a strong feeling of Broken Social Scene coming full circle, enhanced by the return of original producer David Newfeld.

Drew picks up the story: “I moved out of the city, just half an hour away from where Dave had moved 18 years ago.

“He started coming over for dinner and there was a lot of laughter. He’s so old school — still has a flip phone because he doesn’t think smart phones are smart.

“I reached out to him about working together again. I missed his sound and his passion, which were so unpredictable.

“Next thing I knew, I was on a two-and-a-half-year journey of starts and stops — and loss. I lost my mom and he lost his, so we bonded over that.”

It’s clear that the new album’s heartfelt opening song Not Around Anymore is, among other things, a product of their grieving process.

Drew adds: “Dave also latched on to the song And I Think of You. If you put it through headphones, you are hearing his grief over his mom. He records that thing, mixes it and he takes you on a journey.

“His mom was his world — they talked three times a day. Once he’d lost her, I realised it would help him to put love and loss into some of this music.”

We move on to other key contributors, firstly Feist, who resurrects What Happens Now, a song that reportedly didn’t make the cut for Broken Social Scene’s 2017 album Hug Of Thunder.

“Leslie Feist is a different entity because she’s so solo in her success,” says Drew. “There’s us, Metric and Stars, but she became the biggest of all on her own.”

He adds that Feist has “an open invitation” to be part of Broken Social Scene’s endeavours.

“I always tell her, ‘You’re welcome at this home any time you help build it. In fact, you’ve got your own wing!’ ”

Over acoustic strums, atmospheric electronica and occasional swells of horns, Feist’s ghostly delivery turns What Happens Now into a standout moment. “I’m honoured we were able to put it on this record,” says Drew. “It fits the theme.

“I love the cadence of Leslie’s vocals, the way it seems as if she is drowning before she becomes so clear. It’s so Feist.”

Another singer to make a significant contribution is Hannah Georgas, who became involved in Broken Social Scene’s world through being a support act.

Drew says she made Only The Good I Keep her own, and adds: “She neurologically removed my topline [lead vocal melody] — but we need people to have ownership.

“At first, I called Hannah and said, ‘This is great, but I’ve got something I can’t get in’. Two days later, I couldn’t even remember what I was saying and all I could hear was her version.”

Broken Social Scene regular Lisa Lobsinger brought the song Relief into the mix — providing another insight into the band’s democratic process.

Drew reports: “We got this email out of the blue from Lisa saying she kept singing a song in her head while meditating, and she thought it was by Social Scene.”

Lobsinger realised she was making up Relief by herself in that moment, so she submitted it.

“We sent it to the crew, and everyone loved it,” continues Drew. “So, I said, ‘Oh my God, Lisa, let’s do it!’ ”

Before we go our separate ways, Drew leaves me with telling observations about more general topics related to his home country.

Much as he appreciates iconic Canadian artists like Leonard Cohen, Joni Mitchell and Neil Young, he singles out some of the lesser-known trailblazers who inspired him — “Thrush Hermit, Sloan, Hayden and Godspeed You! Black Emperor”.

And he has this to say about Donald Trump’s wacky idea of making Canada the 51st US state.

“I say to the younger members of the band, ‘Don’t listen to this man. In fact, don’t listen to men in general — if they have a microphone, they won’t do you any favours, including rock singers!’ ”

It’s a typical comment from someone for whom community spirit means everything.

In Broken Social Scene, decides Drew, “we are empaths, not sociopaths. No one has their identity wrapped up in this band”.

BROKEN SOCIAL SCENE
Remember The Humans

★★★★★

April 5 (UPI) — The four astronauts of the Artemis II mission were woken on Sunday by the sounds “Working Class Heroes (Work)” by CeeLo Green, and they will go to sleep as their spacecraft enters its sphere of gravitational influence.

Day 5 of NASA’s first journey to the moon in more than 50 years remained on course Sunday morning after maneuvering the Orion space capsule in its precise course to ricochet around the far side of the moon before heading back to Earth.

The crew is roughly half-way through its ten-day mission to test the abilities of the Orion space capsule and make direct observations of the far side of the moon, all of which will take them farther from Earth than any human has previously traveled.

The crew’s work for Sunday includes a full sequence of space suit operations and preparations for their approach to the moon, as well as their responsibilities during the five-hour trip around its back side, NASA said.

“We’re going to work!” NASA said in a post on X around 12:30 p.m. EDT on Sunday that the astronauts were hearing the day’s wake-up song, which the agency has been announcing each day of the mission.

In addition to the wake-up song, the astronauts were greeted this “morning” with an audio message from Apollo 16 astronaut Charlie Duke, who in 1972 became the 10th person to walk on the moon at age 36.

“Below you, on the moon, is a photo of my family,” Duke said in the 46-second recording, which the crew posted to X. “I pray it reminds you that we, in America, and all of the world, are cheering you on. Thanks for building on our Apollo legacy with Artemis.”

The suits are designed to protect astronauts during “dynamic” phases of space flight, can keep them alive should the Orion’s cabin depressurize and are designed to provide life support after splashing down in the ocean when they return to Earth.

The demonstration, like many of the other tasks the Artemis II crew is conducting, are meant to inform later Artemis missions to land on the moon and eventually build a human base there.

Although the crew was able to skip two other planned correctional burns on the way to entering the moon’s gravitational influence, an outbound trajectory correction burn is still planned for later today.

The final lunar science targets that the astronauts will be inspecting, photographing and analyzing will be sent from mission control and the crew will prepare to actually enter the moon’s gravity.