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When the NSA’s spying program was first exposed by the New York Times in 2005, President Bush admitted to a small aspect of the program—what the administration labeled the “Terrorist Surveillance Program”—in which the NSA monitored, without warrants, the communications of between 500-1000 people inside the US with suspected connections to Al Qaeda.

But other aspects of the Program were aimed not just at targeted individuals, but perhaps millions of innocent Americans never suspected of a crime.

A person familiar with the matter told USA Today that the agency's goal was "to create a database of every call ever made" within the nation's borders. All of this was done without a warrant or any judicial oversight.

Pandora (which is also the name of the company) grew out of the Music Genome Project, which company founder Tim Westergren began six years ago.

He became fascinated with the way directors described the music they were looking for, which led to his wondering what made people enjoy certain types of music. He asked himself, "If people haven't found any music that they love since college, and artists are struggling to find an audience, is there a role for technology to help bridge the gap?"

Westergren started the Genome Project from the idea of creating a platform for connecting people with music that they'll love based on music they already enjoy. The project uses experts called "music analysts" to deconstruct music into its fundamental parts and capture the results into a database. Pandora has 40 professional musicians who come to the office every day and listen to one song at a time, analyzing each in anywhere from 200 to 400 dimensions. (The dimensions are somewhat different for each genre of music.)

Accommodated as we are to mass media, we must work to imagine the impact of commercial radio broadcasting in its early years. From the late 1800s, new electronic devices had been expanding the realm of shared human experience — people conversed on telephones, sent news through telegrams, played records on phonographs, and enjoyed films in local theaters. But until the radio, nothing offered such widely shared simultaneous mass experience. By turning on your radio set, you could listen to a jazz band, baseball game, religious service, even a president’s speech, live, along with millions of fellow listeners.

The video was uploaded a day later and viewed more than 200,000 times. Within a week, Police Commissioner Charles Ramsey announced Josey’s firing and the DA dropped disorderly conduct charges against Guzman

Because key government business processes including policy development, community engagement, emergency management, business collaboration and project management are increasingly moving to social media channels. And social channels are complex spaces. They are third party owned and hosted, dynamic and collaborative. Maintaining important information in these environments can be very challenging. We therefore need to take heed of the fact that a lot of key business operations are moving to social media technologies, and we need to think about this transition from an information-based perspective. For example, as a result of the transition to social, increasingly there will not be formal publications, or reports, or white papers or meeting minutes or other fixed, formal, standard forms of accountability and history that we have traditionally relied upon. Instead there will be wikis and tweets and Facebook forums and blog posts and a host of fantastic, dynamic, collaboratively developed content but by itself this will not survive to be the stuff of history, it will not survive to be accessible under FOI or GIPA review, it may not even survive to be part of formal annual reporting a year from now.

Within these contexts, the act of arranging objects, images or sounds into an order that may or may not have meaning has proliferated throughout the creative and cultural industries. The curator is now a producer: you might curate your Flickr feed, your mates playing records at a bar or an exhibition in your own apartment – a trend showcased by the Serpentine Gallery's co-director Hans Ulrich Obrist, a master orator of what he calls a "global dialogue… in space and time".

A space has now opened up – both physically and online – where anyone can give curating a go.

What, then, if we're looking in the wrong place for qualified, ground-breaking curators? Perhaps they are no longer in museums, galleries or cultural institutions, but instead in front of a screen – sociable and connected. Curating in the age of the internet is the act of responding to social and technological developments: their usability, instability and the various networks of communication in which they are presented online.

Both have established impressive track records leading Pandora’s strong team of technologists.

“I’m excited to promote two top technology leaders to these important positions.

Mr. Conrad has led Pandora’s engineering and product organization from the product’s inception and has guided the team as they delivered increasingly sophisticated playlist techniques, mobile, consumer electronics and in-car listening technology, as well as sophisticated advertising solutions