Amateur Detectives are Now Crowdfunding DNA Sequencing to Solve Murders

In 2018 police arrested “the Golden State Killer” — now a 72-year-old man who had committed 13 murders between 1974 and 1986, the New York Times remembers:
What made the investigation possible was GEDmatch, a low-frills, online gathering place for people to upload DNA test results from popular direct-to-consumer services such as Ancestry or 23andMe, in hopes of connecting with unknown relatives. The authorities’ decision to mine the genealogical enthusiasts’ data for investigative leads was shocking at the time, and led the site to warn users. But the practice has continued, and has since been used in hundreds of cases.
But now using similar techniques, a wellness coach born in Mississippi (through a Facebook group called DNA Detectives) has helped over 200 strangers identify their unknown parents, the Times reports.

And she’s recently donated more than $100,000 to a genetics lab called Othram — to fund the sequencing of DNA to solve cold cases back in her home state. “These families have waited so long for answers,” she told the New York Times, which calls her “part of a growing cohort of amateur DNA detectives…”
[Othram] created a site called DNASolves to tell the stories of horrific crimes and tragic John and Jane Does — with catchy names like “Christmas tree lady” and “angel baby” — to encourage people to fund budget-crunched police departments, so that they can hire Othram. A competitor, Parabon NanoLabs, had created a similar site called JusticeDrive, which has raised around $30,000.

In addition to money, Othram encouraged supporters to donate their DNA, a request that some critics called unseemly, saying donors should contribute to databases easily available to all investigators. “Some people are too nervous to put their DNA in a general database,” said Mr. Mittelman, who declined to say how large his database is. “Ours is purpose-built for law enforcement.”
Another group raising money for genetic investigations are the producers of true-crime podcasts — and their listeners. According to the article, the podcast-producing company Audiochuck has donated roughly $800,000 to organizations doing investigative genealogical research (including Othram), though the majority went to a nonprofit started by the host of the “Crime Junkie” podcast. (And that nonprofit raised another $250,000, some through crowdfunding.)

“Why just listen to a murder podcast when you can help police comb through genealogical databases for the second cousins of suspected killers and their unidentified victims?” the Times asks?

So far donors around the country have given at least a million dollars to the cause. They could usher in a world where few crimes go unsolved — but only if society is willing to accept, and fund, DNA dragnets…. A group of well-off friends calling themselves the Vegas Justice League has given Othram $45,000, resulting in the solving of three murder-rape cases in Las Vegas, including those of two teenage girls killed in 1979 and in 1989…. [T]he perpetrators were dead….

Natalie Ram, a law professor at the University of Maryland, expressed concern about “the public picking and choosing between cases,” saying investigative priorities could be determined by who can donate the most. Ms. Ram said the “largest share” of cases solved so far with the method “tend to involve white female victims….”
Ms. Ram is also concerned about the constitutional privacy issues raised by the searches, particularly for those people who haven’t taken DNA tests or uploaded their results to the public internet. Even if you resolve never to put your DNA on a site accessible to law enforcement authorities, you share DNA with many other people so could still be discoverable. All it takes is your sibling, aunt or even a distant cousin deciding differently.

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That Big Tech Exodus Out of California? It Didn’t Happen

“Wannabe innovation hubs from coast to coast have been slavering over the prospect that the work-from-home revolution triggered by the COVID pandemic would finally break the stranglehold that California and Silicon Valley have had on high-tech jobs,” writes a business columnist for the Los Angeles Times.

“Here’s the latest picture on this expectation: Not happening.”

That’s the conclusion of some new studies, most recently by Mark Muro and Yang You of the Brookings Institution. They found that although the pandemic brought about some changes in the trend toward the concentration of tech jobs in a handful of metropolitan areas, the largest established hubs as a group “slightly increased their share” of national high-tech employment from 2019 through 2020. (Emphasis theirs….) “[T]he big tech superstar cities aren’t going anywhere,” Muro told me. “There’s a suggestion that we’re on the brink of an entirely different geography. I don’t think recent history or the nature of the technologies point in that direction…. ”

“The California metropolises really do retain their irreplaceable depth and strength,” Muro says. “That’s not to say there won’t be some movement. Early in the period we saw some exiting, especially from the Bay Area, but it turned out that much of it was within California, rather than to Kansas.” This shouldn’t be too surprising. The value of concentrated ecosystems in nurturing innovation has been documented for decades….

The pandemic-driven shift to remote work does seem to have opened entrepreneurs’ eyes at least to the potential for doing away with centralized workforces. In a recent survey of tech startup founders, the share of respondents saying they would prefer to start a firm with an entirely remote workforce from Day One rose to 42.1% in 2021 from only 6% in 2020. Among physical locations where the founders said prefer to launch their businesses, however, San Francisco still dominated, at 28.4%, with New York a distant second….

Unlike service industries such as leisure and tourism, most tech industries experienced barely a hiccup in their long-term growth trends during the pandemic.

The column also questions when, “if ever,” work-from-home jobs will become a significant share of the workforce. “Full-scale work-from-home only applies to about 6% of workers, UC Berkeley economist Enrico Moretti says. That’s triple the 2% level of the pre-pandemic era, but still an exception to the rule.”

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Are Movies Dying?

As viewership drops for Hollywood’s annual Academy Awards ceremony, “Everyone has a theory about the decline…” argues an opinion piece in the New York Times.

“My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing.”

When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, “Dune,” barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021. All told, the 10 nominees together have earned barely one-fourth as much at the domestic box office as “Spider-Man: No Way Home.” Even when Hollywood tries to conjure the old magic, in other words, the public isn’t there for it anymore…. Sure, non-superhero-movie box office totals will bounce back in 2022, and next year’s best picture nominees will probably earn a little more in theaters. Within the larger arc of Hollywood history, though, this is the time to call it: We aren’t just watching the decline of the Oscars; we’re watching the End of the Movies….

[W]hat looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation…. The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood’s potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema’s communalism. Special effects opened spectacular (if sometimes antiseptic-seeming) vistas and enabled long-unfilmable stories to reach big screens. But the effects-driven blockbuster, more than its 1980s antecedents, empowered a fandom culture that offered built-in audiences to studios, but at the price of subordinating traditional aspects of cinema to the demands of the Jedi religion or the Marvel cult. And all these shifts encouraged and were encouraged by a more general teenage-ification of Western culture, the extension of adolescent tastes and entertainment habits deeper into whatever adulthood means today….

Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There’s no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences. The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined…

[T]he caliber of instantly available TV entertainment exceeds anything on cable 20 years ago. But these productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.
The article argues that episodic TV also cedes the Movies’ power of an-entire-story-in-one-go condensation. (“This power is why the greatest movies feel more complete than almost any long-form television.”) And it ultimately suggests that like opera or ballet, these grand old movies need “encouragement and patronage, to educate people into loves that earlier eras took for granted,” and maybe even “an emphasis on making the encounter with great cinema a part of a liberal arts education. ”

In 2014 one lone film-maker had even argued that Ben Stiller’s spectacular-yet-thoughtful Secret Life of Walter Mitty “might be the last of a dying breed.”

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Creative Commons Opposes Piracy-Combatting ‘SMART’ Copyright Act

The non-profit Creative Commons (founded by Lawrence Lessig) opposes a new anti-piracy bill that “proposes to have the US Copyright Office mandate that all websites accepting user-uploaded material implement technologies to automatically filter that content.”

We’ve long believed that these kinds of mandates are overbroad, speech-limiting, and bad for both creators and reusers. (We’re joined in this view by others such as Techdirt, Public Knowledge, and EFF, who have already stated their opposition.)

But one part of this attempt stands out to us: the list of “myths” Sen. Tillis released to accompany the bill. In particular, Tillis lists the concern that it is a “filtering mandate that will chill free speech and harm users” as a myth instead of a true danger to free expression-and he cites the existence of CC’s metadata as support for his position.
Creative Commons is strongly opposed to mandatory content filtering measures. And we particularly object to having our work and our name used to imply support for a measure that undermines free expression which CC seeks to protect….

Limitations and exceptions are a crucial feature of a copyright system that truly serves the public, and filter mandates fail to respect them. Because of this, licensing metadata should not be used as a mandatory upload filter-and especially not CC license data. We do not support or endorse the measures in this bill, and we object to having our name used to imply otherwise.

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Kaspersky Named First Russian Company on Security Risk List

The U.S. placed internet-security provider AO Kaspersky Lab on a list of companies deemed a threat to national security, for the first time adding a Russian entity to a list dominated by Chinese telecommunications firms. Bloomberg reports: The Federal Communications Commission on Friday also added China Telecom (Americas) Corp, and China Mobile International USA Inc. to the list. Once a company is on the list, federal subsidies can’t be used to purchase its equipment or services. The action is part of the FCC’s efforts to “strengthen America’s communications networks against national security threats,” Jessica Rosenworcel, the agency’s chairwoman, said in a news release.

Kaspersky is a well known provider of anti-virus software, and has conducted investigations into a range of nation-state hacking incidents. It calls itself the world’s largest privately-owned cybersecurity company on its website. It says it protects over 400 million users and 240,000 companies. […] For Friday’s update of the list, the FCC said it relied on findings by the Department of Homeland Security and an executive branch interagency body called the Committee for the Assessment of Foreign Participation in the United States Telecommunications Services Sector.

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CDC Coding Error Led To Overcount of 72,000 COVID-19 Deaths

Last week, after reporting from the Guardian on mortality rates among children, the CDC corrected a “coding logic error” that had inadvertently added more than 72,000 Covid deaths of all ages to the data tracker, one of the most publicly accessible sources for Covid data. The Guardian reports: The agency briefly noted the change in a footnote, although the note did not explain how the error occurred or how long it was in effect. A total of 72,277 deaths in all age groups reported across 26 states were removed from the tracker “because CDC’s algorithm was accidentally counting deaths that were not Covid-19-related,” Jasmine Reed, a spokesperson for the agency, told the Guardian. The problem stemmed from two questions the CDC asks of states and jurisdictions when they report fatalities, according to a source familiar with the issue.

One data field asks if a person died “from illness/complications of illness,” and the field next to this asks for the date of death. When the answer is yes, then the date of death should be provided. But a problem apparently arose if a respondent included the date of death in this field even when the answer was “no” or “unknown.” The CDC’s system assumed that if a date was provided, then the “no” or “unknown” answer was an error, and the system switched the answer to “yes.” This resulted in an overcount of deaths due to Covid in the demographic breakdown, and the error, once discovered, was corrected last week. The CDC did not answer a question on how long the coding error was in effect.

“Working with near real-time data in an emergency is critical to guide decision-making, but may also mean we often have incomplete information when data are first reported,” said Reed. The death counts in the data tracker are “real-time and subject to change,” Reed noted, while numbers from the National Center for Health Statistics, a center within the CDC, are “the most complete source of death data,” despite lags in reporting, because the process includes a review of death certificates.

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Sony Addresses Troubled Gran Turismo 7 Launch, Gives Angry Fans One Million Free Credits

bbsguru writes: Sony/PlayStation has been taking a lot of heat for making the new Gran Turismo 7 more dependent on microtransactions. Gamers say the well-reviewed game had taken advantage of those reviews by waiting until after it was released to jack up the cost of playing the game. Acceptance wasn’t improved by the more-than-a-day outage that accompanied the changes. [To make matters worse, Gran Turismo 7 owners weren’t even able to play single player because the DRM servers that require an online check to play the game went down.] After several tentative responses, Sony is [finally] paying out, “gifting players with a million in-game credits and outlining the near-term updates for Gran Turismo 7 that will address the problems,” writes Eurogamer’s Martin Robinson. “We want to thank you for your continued patience and valuable feedback as we grow and evolve GT7 to make it as enjoyable and rewarding for as many players as possible,” wrote series creator Kazunori Yamauchi in a blog post. “We always want to keep communication lines open with our community so that we can work together to build the best racing experience possible.”

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Windows 1.0 Easter Egg Managed To Stay Hidden For Nearly 37 Years

Lucas Brooks, an avid Windows fan who digs through and analyzes its early iterations, recently shared his discovery of an easter egg that’s been hiding in Windows 1.0 for nearly 37 years. PC Gamer reports: Brooks discovered the secret, a credits list of Windows developers and a “congratulations” message, buried in the data of a smiley face bitmap file that came with the OS. The data for the credits was encrypted, and according to Brooks, the tools he needed to extract the data didn’t even exist at the time of the OS’ release.

There’s also a name in the credits all PC gamers will recognize: Gabe Newell, co-founder and president of Valve. Newell began his career at Microsoft after dropping out of Harvard, and contributed to the development of the first three iterations of Windows. He also led the team that ported Doom to Windows from DOS, a crucial step in the transition between the operating systems.

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Startup Says Its Tech Can Inflict Actual Pain in the Metaverse

A Japanese startup called H2L Technologies wants you to be able to feel pain inside the metaverse, via a wristband that dishes out small electric shocks. Futurism reports: “Feeling pain enables us to turn the metaverse world into a real [world], with increased feelings of presence and immersion,” H2L CEO Emi Tamaki told the Financial Times. The Sony-backed startup’s wearable isn’t designed with only inflicting pain in mind. It’s also meant to convey “weight and resistance feeling to users and avatars on the Metaverse,” according to the company.

Thanks to the wristband’s electrical stimulation, it can mimic a range of sensations from catching a ball to a bird pinching the wearer’s skin. Tamaki’s goals are much greater than a simple wristband. She’s hoping to “release humans from any sort of constraint in terms of space, body and time” within the next decade.

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