The Pacific Northwest is known for five things: lumber, aircraft, tech, coffee, and crime. What might account for the abrupt rise and equally abrupt fall, between the nineteen-sixties and the turn of the century, of the “golden age” of serial killing? And why were so many of these brutes cradled in a crescent of psychopathy around Seattle’s Puget Sound? Fraser thinks the master key is to be found in the fact that the area south and southwest of Seattle was home to massive ore-processing facilities, and her subjects were reared in their murky shadows. “Spare some string for the smelters and smoke plumes,” she writes of her crazy wall, “those insidious killers, shades of Hades.” The smelters caused a profusion of heavy metals in the air and water, and toxins such as lead and arsenic were found in staggering concentrations in the blood of Tacoma’s children. Some were merely dulled, or delinquent; a few became tabloid monsters. (via the New Yorker)
Spotify changed its randomness algorithm to make it less random but it feels more random

Spotify’s first iteration of its shuffle feature was dictated by a decades-old algorithm that generated unbiased randomness from a finite sequence of elements. Breathtakingly efficient, the Fisher-Yates shuffle was employed by Spotify to dismantle user playlists and reassemble them into new, unpredictable orders. From the developers’ perspective, the task of creating this feature was masterfully accomplished with just a few lines of code. From early users’ perspective, shuffle was a travesty. This discrepancy was bewildering for both parties, but mainly for developers, who had delivered a mathematically perfect version of randomness. Perfection turned out to be the problem. The algorithm captured a Platonic ideal of randomness instead of one compatible with the human mind. We presume that randomness must always be chaotic. However, as randomness is unpredictable, it will at times give the impression of order. (via the FT)
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