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Computers are already powerful enough to sustain useful robots that interact and assist humans in every-day life. However progress requires a scientific shakedown in goals and methods not unlike the cognitive revolution that occurred 40 years ago.

The document presents the origin and early steps of the RUBI/QRIO project, in which two humanoid robots, RUBI and QRIO, are being brought to an early childhood education center on a daily bases for a period of time of at least one year. The goal of the RUBI/QRIO project is to accelerate progress on everyday life interactive robots by addressing the problem at multiple levels, including the development of new scientific methods, formal approaches, and scientific agenda.

The study has found that robot-assisted AR based play showed improved learning effects, compared to the conventional play, in language and creativity and this is attributed to the operational flexibility, novelty, robotic mediation and capturing the attention of the children. The result was also made possible in part by designing an effective interface for the teachers to control the robots and manage the simultaneously occurring tasks.

une 8, 2010, has secured a rightful place in history. That was the day Wael Ghonim, a 29-year-old Google marketing executive, was browsing Facebook in his home in Dubai and found a startling image: a photo­graph of a bloodied and disfigured face, its jaw broken, a young life taken away. That life, he soon learned, had belonged to Khaled Mohamed Said, a 28-year-old from Alexandria who had been beaten to death by the Egyptian police.

Ghonim went online and created a Facebook page. “Today they killed Khaled,” he wrote. “If I don’t act for his sake, tomorrow they will kill me.” It took a few moments for Ghonim to settle on a name for the page, one that would fit the character of an increasingly personalized and politically galvanizing Internet. He finally decided on “Kullena Khaled Said” — “We Are All Khaled Said.”

Two minutes after he started his Facebook page, 300 people had joined it. Three months later, that number had grown to more than 250,000. What bubbled up online inevitably spilled onto the streets, starting with a series of “Silent Stands” that culminated in a massive and historic rally at Tahrir Square in downtown Cairo.

"It’s true that the algorithms mathematically match songs, but the math, all it’s doing is translating what a human being is actually measuring," says Tim Westergren, who founded Pandora in 2000 and now serves as its Chief Strategy Officer. “You need a human ear to discern.”

Pandora’s secret sauce is people. Music lovers.

"That is the magic bullet for us," Westergren says of the company’s human element. "I can’t overstate it. It’s been the most important part of Pandora. It defines us in so many ways."

The project is among the most ambitious in the growing field of three-dimensional printing that some say could revolutionize medicine.

Pandora has no concept of genre, user connections or ratings. It doesn't care what other people who like Gomez also like. When you create a radio station on Pandora, it uses a pretty radical approach to delivering your personalized selections: Having analyzed the musical structures present in the songs you like, it plays other songs that possess similar musical traits

Pandora relies on a Music Genome that consists of 400 musical attributes covering the qualities of melody, harmony, rhythm, form, composition and lyrics. It's a project that began in January 2000 and took 30 experts in music theory five years to complete. The Genome is based on an intricate analysis by actual humans (about 20 to 30 minutes per four-minute song) of the music of 10,000 artists from the past 100 years. The analysis of new music continues every day since Pandora's online launch in August 2005. As of May 2006, the Genome's music library contains 400,000 analyzed songs from 20,000 contemporary artists. You won't find Latin or classical yet: Pandora is in the process of developing a specialized Latin music Genome and is still deep in thought about how to approach the world of classical composition.

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.