Yesterday I was told that I’m among those in the IBM community who are named as an IBM Champion. The definition of an IBM Champion is this:
An IBM Champion is someone who makes exceptional contributions to the technical community. Contributions can come in a variety of forms, and popular contributions include blogging, speaking at conferences or events, moderating forums, leading user groups, and authoring books or magazines. Educators can also become IBM Champions; for example, academic faculty may become IBM Champions by including IBM products and technologies in course curricula and encouraging students to build skills and expertise in these areas.
When I started going to IBM and user group conferences in the early 2000s I had never thought I would be among those who could call themselves IBM champions.I used to look up to those guys and girls, and through the years I’ve been able to call a lot of them my friends. I’m also told that I’m the first Norwegian to ever become IBM champion, so I’m very humbled and a bit proud.
All I’ve tried to do is to spread the word about the IBM collaborative solutions, which I love to work with, and help people to get the best out of them. In addition to gaining friends and being able to pick up a lot of tips and help myself, I’ve now gotten this distinction. I think the manual I did for the IBM Connections plugins for IBM Notes really helped to put me on the map this year, which I’m thankful for, because it was a lot of work doing that.
I’ve also become second in command in the Norwegian user group (ISBG) and I’ve got some ideas which I hope will increase user activity even more. This is really inspiring and I will blog even more about IBM Notes/Domino, Connections, collaborative solutions, internet technologies, plugins and constructive criticism (with the odd complaint thrown in).
Also: I’m effectively out of a job from January 1st, if anyone wants to hire me or use my expertise, please get in touch. I can be used for both development, user training, strategy, architecture, writing and documentation and photography!
Huge thanks to Roger Johannessen, Oliver Busse and Lars Samuelsson for nominating me! And thanks to all those who sent me messages yesterday to congratulate me.
A new Star Wars movie and an IBM Champion award in one and the same day? Xmas came early!
This is an English translation of a big interview I did for one of Norway’s largest newspapers, Dagbladet. In addition to translating the interview, I’ve also included all the content I had to cut out of the Norwegian version for space reasons. I’ve also included more photos, which you can click on to see in high res versions. Enjoy, and please, let me know what you think.
– You were from Norway, right?
– Yes, I’m the guy who always say hello to you from Röyksopp, and then you tell me to say hello back, because I meet you guys every other time.
– That’s right! Please, say hi back. I love them, I’m very sorry that we didn’t have time to cooperate on my Electronica project. Anyway, what I was going to say was that Norwegians are very sophisticated and talk bluntly. I think one of the reasons for this is that you are rich and a bit spoiled. I mean this in the best way possible. You demand something from an artist and you are not easily fooled. And because of this, when you like something the reception becomes much more honest and sincere. The words are from the French master of synths, Jean-Michel Jarre.
This Friday he will release his third album in what has become the Oxygene trilogy. In the past two months he’s played 40 cities in Europe, he visited Oslo Spektrum in October. On this tour, he has played music from Electronica 1 and 2 which were released last autumn and this spring.
THE FRENCHMAN looks annoyingly young considering that he is 68 years old. We caught up with him backstage during the tour before his concert in Brussels. One would think that after selling 80 million records in a career that spans 40 years and putting up multimedia shows that attracts audiences of millions in Houston, London, Paris, Moscow and other cities, you will become jaded. Not so with Jarre. Instead he comes across as a young boy on Red Bull.
He got his international breakthrough with his third album, Oxygene, in 1976. In 1997 he released a sequel called Oxygene 7-13 and on the exact day of the 40th anniversary of the first one, he will be releasing Oxygene 3.
– You’ve released three albums in the span of just 15 months, with almost five hours of music. That’s a pretty hectic release schedule?
– It wasn’t planned that way, but my record company wanted to celebrate the 40th anniversary of the first one and asked me if I had any ideas. I don’t celebrate anniversaries. I take that after my mother. She never even called me on my birthday. When I asked her why, she said “I gave you birth, you should call me!” But while working on Electronica I composed a piece of music that I felt didn’t suit that particular project, so I put it aside. I actually felt like I did during the creation of the first Oxygene when I did that track, so when the request from the record company came, I remembered it. I then decided to do the entire album like that. Playing with frequencies, sounds and sections, and do it alone, in my home studio, in just six weeks, like I did back in 1976. I started in July and was finished in September. I only had a small break in August where I was stuck and decided to stop being a musician and become a painter instead. By the way, did you get the chance to listen to the album?
– Yes, they gave me a digital preview copy which I listened to in the hotel room last night.
– You know, I just handed in the master tapes and then I went straight on tour. Not even my family has listened to it yet, so you are the first one I’ll get any feedback from. What did you think?
– I had a huge grin on my face while listening to it. I really liked it. Especially Part 19, which sounded like a rave party with a melody line and sounds from your Deserted Palace thrown on top.
– I’m so happy to hear you say that, because that’s the track I just told you about, the very first one I did for this project!
Jarre insists that he didn’t listen to the two previous albums while composing the third one.
– No, the thought was just to work after the same principles. Sculpting sounds and melodies out of frequencies and playfulness.
AFTER OXYGENE Jarre released a string of electronic albums that sold millions and created a template that has been used by a whole generation of electronica bands and projects like Röyksopp, M83 and scores of trance-, techno- and dance artists in the 90s and 2000s. His huge outdoor concerts, using entire cityscapes as his canvas became a proto type for rave parties. Despite his vast influence, critics have never been on his side. Until now.
– In the last few years you’ve started getting good reviews, not least for this tour and the Electronica albums. Do you think there is a new generation of music journalists taking over after the old school writers?
Jarre nods. – You’ve got to remember that I’m a French child of the 60s revolutions. We were in opposition to the establishment, including rock’n’roll. When we started using electronic instruments instead of traditional tools to create music, we weren’t seen as real composers or musicians. Electronic music was looked down upon by rock musicians. Just like jazz musicians looked down upon rock musicians and classical musicians looked down on jazz. Today everything is a wonderful mix of all genres. Even jazz musicians are fiddling with electronic devices these days. I feel more in sync with today’s music scene than I ever did in the past.
ANOTHER THING that is more common these days than in the past Is something that Jarre and Pink Floyd almost used to have a monopoly on: Multimedia concerts with gigantic projections, lasers and lights For both artists, they became as important as the music. But Jarre says he’s never set out to top himself. – I wanted to do something I hadn’t done before.
He stops and laughs at himself. – That’s something all artists say. It’s almost impossible to do something that hasn’t been done before. But even if we all have big expensive digital cameras today, there’s only one Quentin Tarantino. It’s who you are and what you want to convey that is important.
– But people writing about your concerts are saying that are doing something very unique. 3D without the need for 3D glasses.
Jarre goes straigt back in to his young boy modus again. – Yes, and that’s a feedback I really like. I’ve always included visual elements in my concerts, but this time the challenge was to do 3D without those pesky 3D glasses. I hate them and I gladly pay extra to see films in 2D instead. So my idea was to use LED screens which can create that effect, without the need for those damn glasses. And we’ve succeeded, even for the people sitting in the side aisles.
He then tells the story of the three arrogant British technicians who came to assist on certain aspects of the show. Their sniffy attitude was quickly erased when they got a demonstration on what Jarre and his team had achieved. – Fiona (Jarre’s manager) overheard them talking, and they said that “that was really something.” And that was a fantastic feedback to. When people in the business like it, you know that It’s going to be copied. And that’s the sincerest form of flattery.
AFTER EIGHT YEARS of silence on the recording front, Jarre released two volumes of his Elecronica project in six months. The first one in November 2015 and the second one in May this year. He spent four years travelling around in Europe and the US to create songs with Pet Shop Boys, Moby, Vince Clarke (Depeche Mode and Erasure), Massive Attack, Pete Townshend (The Who), Laurie Anderson, M83, Yello, the movie director and composer John Carpenter and a whole lot of other artist within the electronica field. Most of the concerts on the tour consist of songs from these two albums.
One of the more original guests on Electronica 2 is Edward Snowden. With the assistance of journalists from The Guardian, Jarre visited him in Moscow and recorded a speech by Snowden. In the speech Snowden says that if you are not willing to stand up for your rights for privacy, then who will?
– It’s unusual for you to be so political?
Jarre takes his Espresso and leans back on the couch and looks a little bit skeptical at me. – Are you so sure that I am political? I don’t think I am. Remember that music can have two facets. You music that is simply to have fun with and dance and party to. And then you have the kind of music that want to say something about the times we are living in, music that wants to convey a message. This is something Bob Dylan, who just won the Nobel Prize for literature, is a perfect example of. But I don’t like artists who use the stage as a political platform.
HE STRAIGHTENS UP in the sofa and starts a long speech about Snowden, Wikileaks, the Big Brother surveillance society, disillusioned kids and the challenges we, as a society, are facing.
– Snowden did what he did out of love for his country. Remember, he was the third generation in a family of soldiers. And he’s still a soldier. He risked his life for this. I think Norway has always been at the forefront for personal freedom and individual rights. I think Snowden could have moved to Norway.
When I tell Jarre that Snowden couldn’t even come to my hometown, Molde, to receive the Bjørnson award because the Norwegian authorities couldn’t guarantee that they wouldn’t hand him over to the US authorities, he looks truly saddened. – That surprises me, he says.
He goes on: – Remember that most progress in the world comes out of disobedience. Even the US was founded on an act of treason. And the values the founding fathers fought for, that’s the values Snowden fights for. I think the EU has been cowards when it comes to the stuff Snowden and Wikileaks have revealed. Especially France. No wonder the kids in France are rebelling.
AS THE PRESIDENT OF CISAC, the international organization for artists rights, the challenges in a digital society is something he is very aware of.
– The entertainment industry has never generated more money than it is doing these days. But the people making the art which is creating this revenue is paid nothing. Where is the money going? This is a huge challenge that we have to deal with if we want to have artists or musicians in the future. Intellectual rights are also huan rights. I’ve done pretty well for myself, but I’m thinking of the next generation.
WITH OXYGENE 3, and the two Electronic albums, Jarre feels he has gone back to his roots. –I’ve gone back to the way I used to work. Mixing ingredients like a cook, only I’m mixing frequencies, sounds and sonic textures. Sequels are very common with games and movies, but they are much rarer when it comes to music. The only one I can think of, besides me, is Mike Oldfield. But I still hope I’m doing something that sounds fresh in a world where people zap on after just five seconds. And when I then add my old classics in the set list of the tour, albeit in a rearranged form, it all hopefully becomes fresh and exciting. I want to surprise myself, as well as the audience.
The 2016 autumn meeting in the Norwegian IBM User group (ISBG) was held on November 30th at BI (Norwegian school of finance) in Oslo. Even if I wasn’t second in command for the user group I still would say this: It was a very strong and varied agenda! Here’s a summary:
Salesforce App Cloud and IBM Domino – same, same, but different
First one out was René Winkelmeyer from Salesforce.com. He’s a former star in the Domino environment, but left for Salesforce last spring. He works there as a Senior Development Evangelist. There were those who questioned why ISBG would invite Winkelmeyer to give this lecture. The reasons are that IBM has bought one of the largest Salesforce consultant companies in the world. In addition, Salesforce is very compatible with the IBM Collaboration Solutions.
Several people who used to work with Notes/Domino are today working with Salesforce, and there are also those who work with both platforms. Winkelmeyer explained the differences and similarities between the platforms.
Salesforce is cloud only
Salesforce does not have email but you can integrate email functionality into your applications
Salesforce is based on relational databases
You are automatically prevented from publishing bad code
The structure is similar: Organisation, database and forms
Security model similar. You can control access and permission all the way down to fields
Salesforce has its own versions of forms, views and Xpages
Both have variations of agents
Both have validation and rules
Winkelmeyer then did a demo where he showed how a Salesforce applications worked seamlessly inside a community in IBM Connections, including sharing of files. He then showed how he could copy an email from IBM Verse and into an application in Salesforce. This is made possible via the APIs in Connections and Verse.
Winkelmeyer’s main point was that the philosophy where you bind yourself to one system or platform doesn’t cut the mustard anymore. Today everything is about integration, not to mention web and mobile based solutions.
Julian Woodward is a legend in the Notes/Domino community. In the past few years he has worked for LDC Via, a London based company specialising in helping companies lift their data out of Domino. In his presentation, he walked through the challenges that comes with such a migration, whether you want to leave Domino completely or stay on Domino and only move out of the Notes client.
The challenges are both technically and for the business. For the latter you have to consider budgets, strategies, politics and infrastructure. Very often the organisations are very surprised about how tightly integrated the Notes applications are in the daily business, and how vast they really are.
On the technical side the challenge is that IT wants more standardised applications and systems and less specialised systems that are developed in house. This demands a lot of restructuring and in a Domino environment this can be especially challenging. You have Notes agents, server integrations (both between Notes applications but also with other systems and platforms), APIs and server add-ons. Scheduled agents are especially tricky as no other systems have that.
Woodward then presented a series of scenarios for moving from Notes or Domino. All based on his experiences in his work in LDC Via. These scenarios included everything from starting all over on a new platform to archiving data from Notes and use lookups to find information. His main advice was:
Find out the scale of the project and then do one thing at a time
Map out what the most important applications are
Both interview and observe the users while they are working in today’s systems, this will help immensely in determining the scope of the project
List the reasons for moving
How long will a new application last? Is it really worth it?
Grete Funderum Stillum is a lawyer and partner with Brækhus Drege Lawyers DA. She gave a session that many were surprised was on the agenda. This was a about corporate law and not technology. The feedback afterwards, however, was great. People found it very interesting and felt that we should repeat it during the spring meeting. She received a lot of questions during the presentation, so it was clear that she struck a nerve with people looking to move into the cloud.
Funderum’s point was that organisations often forget the judicial demands coming into play when moving into the cloud. Her message was that this should be one of the main concerns already from the start of such a migration project. One of her examples was that standard agreements with cloud providers very often were non negotiable.
She also pointed out that you are responsible, and not the cloud provider. However, it was very beneficial for a cloud provider if they had expertise about this so that they could guide the customer.
Personal data is something that the law is very strict about (but strangely not when it comes to cookies!) and it’s also a difference between sensitive personal data and regular personal data. The Norwegian watch dog Datatilsynet has specialized forms and guides on how to take care of this.
In May 2018 a new EU regulative will come into play. This will make it necessary to document your internal control on data security in your organization.
After a lovely tapas lunch it was time for a presentation from Swede Erik Näslund. He works in EGBS which specialises in transforming IBM Connections into a social intranet with focus on user needs. Their philosophy is that if you need to train your users to use a system, you’ve failed.
As an example, he used his cell phone and Ipad. Most people are able to start using them without any form of training. Why aren’t your tools at your workplace like this? In the future robots and automated processes will perform more and more of the routine labour we perform today. We should therefore concentrate more and working with knowledge and creative jobs. Instead we are using a lot of time on chores like registering hours. Näslund says this is completely unnecessary. – My cell phone already know I’m in Oslo, when my plane took off and when I’m back at the office. I still have to register this manually in our internal systems at work. This should happen automatically.
He pointed out that even if the death of email was greatly exaggerated, people still don’t read their emails. They only read the first four lines. The solution is very often to install IBM Connections and share information there. The result is that 10-20% of the employees adopts to using Connections. This is not productive.
So then you start training your users and start choosing super users and so on. You then end up with a 40% adoption rate. The reason is that people are not interested in learning about files, communities, profiles etc. The way we think when we want to introduce a collaboration tool is completely wrong. The processes and people should not have to adapt, it’s the product that should adapt to the users way of doing things.
Digitalisation of the workplace is not an IT investment, it’s a continuous project. Adapt the technology, not the users!
The first thing Kjell Langeland from IBM Norway pointed out when he started his session was that even if Softlayer was the foundation of IBM’s new data centres, the service is now called IBM Bluemix. This autumn they opened a new data centre at Fet in Norway. Such data centres are called Bluemix Data Centre and what used to be called Softlayer is now known as Bluemix Platform.
The customer can rent a physical server. With the help of wizards she can set up and configure the server (operating system, surveillance software and so on). You can also rent on an hourly basis pr month.
IBM and VMWare is now conduction a strategic cooperation where IBM can rent out VMWare licenses in Bluemix.
So far the Norwegina data center has gained 100 customers, and a lot of well known platforms and companies are using the service.
There was a big interest in this session, and Langeland received a lot of questions.
We finished up with a Kahoot quiz which this time was a pop quiz. I won but as second in command at the ISBG board I only won fame and glory. Julian Woodward got away with the prize.
After a raffle and some more prizes Hogne thanked everybody for coming. He then asked for help in promoting ISBGs activities and said that the board of ISBG appreciates any feedback from their members about the future of ISBG. It’s obvious that the bar is set higher these days for traveling to conferences. All ideas are welcome.
The day was rouned up with IBM Norway treating us to pizza and drinks, so we all went full home. Full of both knowledge and food.
The next ISBG meeting is the spring seminar in June of 2017, but you shouldn’t be too surprised if there are other activites before that. Stay tuned!
A huge thanks to BI for lending us a conference room and for a splendid lunch, and heart filled thanks to IBM Norway who always are supportive of our conferences.