Breaking AI & Tech News Analyzed

Tens of thousands of people have been hired by Scale AI – a firm 49% owned by Meta – to train artificial‑intelligence models by scraping Instagram accounts, harvesting copyrighted artwork and transcribing pornographic soundtracks, according to the Guardian.Scale AI promotes its Outlier platform as a flexible, expert‑driven marketplace, recruiting professionals from medicine, physics and economics to "become the expert that AI learns from."Workers, however, say the reality diverges sharply from high‑level model refinement. They describe tasks that involve massive personal‑data scraping and content that many find morally uncomfortable.Outlier is managed by Scale AI, which holds contracts with the U.S. Pentagon and other defense companies. Its chief executive, Alexandr Wang, is hailed by Forbes as the world’s youngest self‑made billionaire, while former managing director Michael Kratsios served as science adviser to former President Donald Trump.One contractor noted that users of Meta platforms would be shocked to learn their photos and friends’ images are being harvested for AI training, with workers manually reviewing profiles to extract data.The Guardian interviewed ten Outlier contributors – many also journalists, graduate students, teachers or librarians – who took the gig work out of economic desperation. One said, "A lot of us were really desperate" and felt compelled to accept the unstable, low‑pay assignments.These gig workers, dubbed “taskers,” often feel they are training their own replacements, expressing “internalised shame and guilt” over contributing to the automation of creative professions.Law firm Clarkson, representing AI gig workers, estimates that hundreds of thousands of people worldwide now labor on platforms like Outlier. Taskers report bait‑and‑switch recruitment tactics, where advertised high salaries are replaced by lower‑paid projects after onboarding.All contributors are monitored through a tool called Hubstaff, which can screenshot browsers to verify work. While Scale AI claims the software is only for accurate payment, workers describe it as constant surveillance.Assignments have ranged from transcribing pornographic audio and labeling photos of dead animals or dog faeces, to annotating diagrams of infant genitalia and violent police scenarios. One doctoral student recounted being promised “no nudity” only to receive explicit porn clips.Scale AI says it shuts down any task flagged as inappropriate and does not accept projects involving child sexual‑abuse material or pornography, though workers note that publicly available images of minors have been used for training.Social‑media scraping tasks required workers to tag individuals by name, location and age, sometimes pulling data from accounts of users under 18. One task asked contributors to order Facebook photos by the subject’s age, prompting ethical unease.In addition to personal data, taskers were asked to harvest copyrighted artwork, with strict instructions to avoid AI‑generated images and select only hand‑drawn pieces. Scale AI maintains it does not ask workers to violate copyright standards.Scale AI’s client list includes major tech firms such as Google, Meta and OpenAI, as well as the U.S. Department of Defense and the government of Qatar, highlighting the growing demand for labelled data as AI models scale.Some workers reported interacting with ChatGPT and Claude, and speculated they might be training Meta’s upcoming model, code‑named “Avocado.”OpenAI announced it ended its partnership with Scale AI in June 2025, citing its supplier code of conduct that mandates ethical treatment of all workers.Despite irregular pay, occasional mass layoffs and the unsettling nature of many tasks, many taskers remain on the Outlier platform, hoping the AI future will eventually improve conditions. One said, "I have to be positive about AI because the alternative is not great."In response, a Scale AI spokesperson stated, "Outlier provides flexible, project‑based work with transparent pay. Contributors choose when and how they participate, and we regularly hear from highly skilled contributors who value the flexibility and opportunity to apply their expertise on the platform."

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

A former Meta employee based in London is being investigated by the Metropolitan Police’s cybercrime unit for allegedly downloading roughly 30,000 private Facebook images while employed by the company.According to court documents obtained by the Press Association, the suspect is said to have created a script designed to circumvent Meta’s internal detection systems, allowing him to access and extract the images without triggering security alerts.Meta confirmed that the breach was discovered more than a year ago. The company immediately terminated the employee, notified the affected users, and referred the matter to UK law enforcement. It also announced that its security infrastructure has been enhanced to prevent similar incidents.The individual remains on police bail, with magistrates requiring him to report to officers in May and to disclose any plans for foreign travel.Legal experts note that while the rogue employee could face charges under data‑protection and computer‑misuse laws, Meta’s liability hinges on whether it had “appropriate technical and organisational measures” in place. As senior data‑protection specialist Jon Baines of Mishcon de Reya explains, “If the employer has sufficient safeguards, the law does not punish the organisation for the actions of a rogue employee.” However, a finding that Meta’s safeguards were inadequate could expose the company to substantial fines or damages.The Information Commissioner’s Office (ICO) acknowledged the incident, emphasizing that “social media users should be able to trust that their personal information is handled responsibly.”Meta’s challenges come amid broader scrutiny of major platforms. Last month, a Los Angeles court held both Meta and Google liable for a woman’s childhood social‑media addiction, a ruling that could reshape platform accountability.

The International Monetary Fund (IMF) has issued a warning that emerging economies are facing a heightened risk of financial instability due to their increased reliance on market-based finance, particularly from hedge funds and investment funds. A cumulative $4tn flowed into emerging markets last year from outside the formal banking sector, which can bring benefits but also poses significant risks.The IMF's analysis suggests that this type of financing can be more volatile than traditional bank financing and is more likely to be withdrawn suddenly in times of financial stress. This can lead to abrupt retrenchments, intensify external financing pressures, raise borrowing costs, and trigger sharp currency depreciations, ultimately weighing on economic growth.The IMF highlights that some countries are already experiencing these challenges, particularly in the context of the war in the Middle East. Several emerging markets are experiencing a reversal of capital flows from non-resident non-bank investors, which can have a significant impact on their economies.The IMF also notes that hedge funds and mutual funds have the highest propensity to withdraw during market volatility, while pension funds and insurers tend to be more cautious. Additionally, the IMF warns about the growing flows of stablecoins into emerging economies, which can be vulnerable to wider fluctuations in cryptocurrency markets.The IMF's managing director, Kristalina Georgieva, warned that the conflict will lead to higher prices and slower growth, adding that even if the war were to stop today, there would be a lingering negative impact on the rest of the world.

The Artemis II crew, fresh from a record‑breaking lunar flyby, received an unexpected call from former President Donald Trump on Monday night. Facilitated by NASA administrator and Trump ally Jared Isaacman, the 12‑minute conversation was punctuated by long silences, anecdotes about Canadian hockey legend Wayne Gretzky, and the president’s claim that he had "saved NASA" from closure. Trump’s assertion sparked eyebrows among the astronauts, who had just set a new milestone as the farthest‑traveled humans from Earth. The president recounted a decision he allegedly faced in his first term: whether to revive or shut down the agency. "We’ve spent what we had to do," he said, implying the agency’s survival rested on his judgment. While Trump has publicly championed the Artemis program, his administration has repeatedly pursued deep cuts to NASA’s overall budget. In early 2025, the White House proposed a 24% reduction—bringing the budget down to $18.8 billion, the lowest level in a decade. Experts warned such cuts would constitute "extinction‑level" reductions to critical science programs. Congress, in a rare bipartisan move, rejected the proposed slashing and approved a near‑full budget of $24.4 billion in January. Yet, on 3 April 2026—just two days after Artemis II launched on the first crewed mission beyond low‑Earth orbit in over 50 years—Trump unveiled his FY 2027 budget request, again proposing a steep cut of 23% to NASA’s funding. Democratic leaders denounced the proposal as "morally bankrupt," while Isaacman issued a statement supporting the president’s fiscal stance, urging NASA staff to "leave the politics for the politicians and remain focused on the mission." During the call, Trump praised the crew’s "incredible journey into the stars" and claimed their mission had "inspired the entire world." He reiterated America’s ambition to lead space exploration, promising a permanent lunar base and eventual crewed missions to Mars. The conversation also featured a brief exchange with Canadian astronaut Jeremy Hansen, who highlighted the United States’ "intentional decision" to lead by example and collaborate with allies like Canada. Trump responded by recalling conversations with Gretzky, Canadian Prime Minister Mark Carney, and other Canadian friends, emphasizing national pride. After a minute of awkward silence, Isaacman returned for a "comm‑check," and Trump reiterated his stories about Canadian contacts. The Artemis II commander, Reid Wiseman, acknowledged the president’s remarks with a polite, "Yes, Mr. President, we heard that." Trump concluded by extending an invitation to the four astronauts for an Oval Office reception following their scheduled splashdown in the Pacific on Friday. "I’ll ask Jared to bring you over, and I’ll ask for your autograph, because you deserve that," he said, adding he would "find the time" to salute the crew on behalf of the American people. Pilot Victor Glover responded enthusiastically, "When you want us, we will be there," and thanked the president for what he called a "really special" call. He highlighted the mission’s significance, noting it was made possible by both the American and Canadian peoples.

Courtney Lawes has confirmed a one‑year deal with the Sale Sharks, a move that reignites hopes of a return to the England squad after two seasons in France’s Pro D2 with Brive.Approaching his 38th birthday in February, Lawes retired from Test rugby following the 2023 World Cup but insists he can still compete at the highest level. Sale’s director of rugby, Alex Sanderson, expressed enthusiasm about the former Northampton stalwart joining the Manchester‑based side.Sanderson emphasized that the signing was not driven by a paycheck: “He’s still got the ability and experience to play great rugby this season and possibly beyond.” He added that Lawes is “robust, dynamic around the park and hits hard, but his skill set makes him far more than a mere banger.”Lawes’ résumé includes 105 caps, participation in four World Cups, two Premiership titles, two Challenge Cup trophies, and three Six Nations championships. The veteran believes his body feels “good” and that retiring now would be a regretful decision.Speaking on his “un‑retirement” from international duty, Lawes said, “I’d love to play for England again, but first I want to perform well for Sale and see what happens afterward.”Sale, however, faces a potential manpower crunch ahead of their Champions Cup quarter‑final in Dublin against Leinster. England internationals Luke Cowan‑Dickie and Bevan Rodd are sidelined for the rest of the season, and hooker Nathan Jibulu awaits the outcome of a disciplinary hearing after being cited for biting former Harlequins teammate Will Hobson.The alleged incident occurred during Sale’s 26‑17 victory over Harlequins at the Twickenham Stoop. If Jibulu is suspended, Sale’s forward options will be further depleted, with brothers Tom and Ben Curry already unavailable.Despite the controversy, Jibulu remains a contender for England’s summer tour, as head coach Steve Borthwick evaluates his options ahead of the Nations Championship clash with South Africa in Johannesburg on 4 July. Sanderson praised the 23‑year‑old, noting, “He’s good now, he’ll be brilliant – he has the attributes to be an international hooker.”

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

Universal Music Group (UMG), the world's largest music company, has received a takeover offer from billionaire Bill Ackman's hedge fund, Pershing Square. The deal values UMG at over €50bn (£44bn). Pershing Square, based in New York, has offered a cash and stock deal to acquire the business, which is home to renowned artists such as Taylor Swift and Elton John.Ackman stated that while UMG, led by British-born Sir Lucian Grainge, has done an excellent job in nurturing its artist roster and generating strong business performance, its share price has lagged due to issues unrelated to the performance of its music business. He specifically mentioned the delay in UMG's US listing, underutilization of its balance sheet, and uncertainty around the French conglomerate Bolloré Group's 18% stake in the company.Shares in UMG, listed in Amsterdam since 2021, have lost more than a quarter of their value in the past year. The company is one of the 'big three' record labels, alongside Sony Music Entertainment and Warner Music Group, with a diverse roster ranging from classical music to stars like Adele, Drake, and Ariana Grande.Ackman also cited a 'lack of investor credit' in the company's valuation of its €2.7bn stake in the music streaming service, Spotify. Pershing Square, which Ackman established in 2004, controls over $26bn in assets and bought a 10% stake in UMG in 2021.As part of the proposed deal, Pershing Square would add Michael Ovitz, a veteran talent agent, as chair, along with two representatives from Pershing Square to UMG's board. The deal would also involve a new employment contract and compensation arrangement for Sir Lucian Grainge. Under the terms, UMG would merge with a blank-cheque company set up by Pershing Square and then list on the New York Stock Exchange. Shareholders would receive a total of €9.4bn in cash and 0.77 shares in the new company for every Universal share they own, representing a 78% premium compared to the company's closing share price on Thursday.

Monday, 6 April 2026 marks the most consequential day for human spaceflight in over half a century, as NASA’s Artemis II mission prepares to eclipse the Apollo 13 distance record.At 13:56 EDT (17:56 GMT) the Orion spacecraft will pass the 400,171 km (248,655 mi) mark set by Apollo 13, and by 19:07 EDT (23:07 GMT) it is slated to reach a maximum of 406,773 km (252,760 mi) from Earth – roughly 6,600 km farther than any human has ever traveled.The Artemis programme is NASA’s multi‑decade effort to return people to the Moon, establish a sustainable presence there, and use the lunar foothold as a springboard to Mars. The initiative currently comprises five missions (Artemis I‑V).Artemis I, an uncrewed test flight launched on 16 November 2022, spent 25 days orbiting Earth and validating Orion’s performance, paving the way for the crewed flight.Artemis II lifted off from Kennedy Space Centre on 1 April 2026 at 18:35 EDT (22:35 GMT) with a four‑astronaut crew for a ten‑day deep‑space test.Crew members:Reid Wiseman (50), commander – veteran ISS commander and test pilot.Victor Glover (49), pilot – first Black astronaut assigned to a lunar mission; previously flew on SpaceX Crew‑1.Christina Koch (47), mission specialist – holds the record for longest single women’s spaceflight (328 days) and has extensive EVA experience.Jeremy Hansen (50), mission specialist – Canada’s first astronaut to travel to the Moon, former fighter pilot.The crew will manually pilot Orion at key phases, verify life‑support, propulsion, power, thermal control, navigation and proximity‑operations systems, and rehearse critical procedures such as course corrections, long‑range communications, re‑entry and splashdown.Scientific work will include lunar observations, human‑health experiments, and extensive photography. On 2 April, Commander Wiseman captured a striking “Hello, World” image of Earth from Orion, showing upside‑down continents, vivid auroras, city lights across Africa, Europe and South America, and a faint zodiacal glow.Nutrition for the ten‑day flight comes from a fixed menu of 189 shelf‑stable items – tortillas, nuts, beef brisket, macaroni‑and‑cheese, cookies, chocolate, and rehydratable drinks – all prepared without a refrigerator, using a water dispenser and a small heater to keep crumbs from floating in microgravity.NASA plans the splashdown in the Pacific Ocean near San Diego at about 20:07 EDT on 10 April 2026. Recovery helicopters will retrieve the crew for medical checks aboard the USS John P Murtha before they return to Johnson Space Center in Houston.The Moon lies an average 384,400 km (238,855 mi) from Earth – roughly ten Earth‑equator circumferences. Its diameter is about one‑third that of Earth; if Earth were a basketball, the Moon would be a tennis ball. Surface temperatures swing from –173 °C (–180 °F) at night to 127 °C (260 °F) in daylight, and gravity is only one‑sixth of Earth’s, so a 60 kg person would feel the weight of a 10 kg mass.Between 1961 and 1972 NASA’s Apollo programme conducted 33 missions (11 crewed, 22 uncrewed), achieving six successful lunar landings. The last humans to walk on the Moon were Eugene Cernan and Harrison Schmitt on 14 December 1972 (Apollo 17).Other nations have also left their mark: the Soviet Luna 9 (1966) delivered the first soft‑landing images, China’s Chang’e 4 (2019) explored the far side, and India’s Chandrayaan‑3 (2023) achieved the first soft landing near the lunar south pole – a region rich in permanently shadowed craters that may hold water ice.Looking ahead, Artemis III (targeted for 2027) will test integrated operations in low Earth orbit with commercial landers, Artemis IV (early 2028) aims for the first crewed lunar landing since Apollo 17 at the south pole, and Artemis V (late 2028) will begin construction of a lunar base.