Hello, ladies and gentlemen, and welcome to the downstairs at Lamama. This is the new space. It's part of an organization that's been around for going to be going into an official fifth year of Lamama. I want to welcome you here. We're going to start to see a lot of really interesting work in this space for the next coming years. This space is unique in that it's sort of disarming to do many different things. It's to basically expand over the past five years. Lamama has really expanded beyond being the performing arts center. It's moved into education, obviously community programs, international exchange, and also art and technology and the integration of those presenting works that are both within media and performance. So those types of things are going to be happening in this space and sort of circulating through all together. And we're really happy that you're here. We hope that you can tell your friends. And then a little bit about Culture Hub. Culture Hub was founded by Lamama and also the Seoul Institute of Arts in Korea. And the Seoul Institute of Arts was one of the first contemporary art schools in Korea. And they've been working with Lamama for several decades. They wanted to sort of extend that window and those interactions by using the internet. So we formed Culture Hub to create a studio that was about researching how people collaborate using the internet both from a computational standpoint but also in an art-making space. So that's a little bit about who we are. I hope that you will join us on Facebook or join our mailing list. We have a lot of events that are very reasonable and very diverse. Now, without further ado, I'm going to give you both a moment of a lot. I think it's a really special performance. We're really fortunate to have this amazing creative team. And I want to give a special thanks to Harvestworks and Carol Parkinson in particular who has co-produced this event with us. And I think it's a pretty exciting moment that organizations that are like-minded can come together in a way to support some artists and a project together. So thanks to Harvestworks. And without further ado, I'm going to give you those along the way. Very importantly, please silence your cell phones if you haven't already. And fire exits, you've got two going back that way. That will give you two 4th Street elevator, fire exit, both kinds of buildings. And then you also have the fire exit back here in this corner that will allow you to get out in the case of emergency to 3rd Street. Okay, thank you. In the 4th century in Koguryo, ancient Korea, Prime Minister Wang San-nak built a new string instrument. When he composed and performed 100 pieces on this new instrument, a black crane, bird of sky, Komunhak, flew to the instrument. So it was named the black crane zither. Later it was called Komungo, meaning black zither. In 2010, I was in Jakarta, Indonesia to perform at Salihara Festival. One day, I entered Puppet Museum with four tall puppets at the entrance. Their faces projected such an intense light that I could hardly look at them, but I took photos of them without really seeing them well. A little afterwards, I felt weak and almost fainted.  I was sitting on the floor for a while until I got better. I then continued upstairs to view the exhibition. At the exit pathway, there was a puppet store. I did not pay attention to those souvenir puppets, but, all of a sudden, my eyes are caught by one in a glass case. It was a highly crafted puppet, made by a renowned artist and consequently the most expensive one in the store. I was attracted by Jatayu, mystical bird in Indonesia and India, which saved Shita Princess when she was kidnapped in epic Ramayana. Jatayu tried to rescue Shita from Ravana when Ravana was on his way to Lanka after kidnapping Shita. I thought to myself, might it be true that Jatayu saved me from an evil spirit just before? I had to buy the Jatayu puppet, believing that Jatayu would protect me further from any disaster or obstacle that may occur in the future. That night, I suddenly woke up with chest pressure and had a strong feeling of something pushing on my chest, and I was breathing difficultly. My intuition had me check my photos that I took at the museum. Most of them were blasted by the bright lights that I saw when I entered the museum. I found one good one. This puppet was wrapped tightly in many layers with a long, fat, strong snake, all around the upper chest. Oh my God, that is what I felt on my chest and couldn't breathe well in my sleeping. I am connected to the puppets.  But quickly, I had a smile on my face. I am a real artist. Two months later, I was invited to International Society for Improvised Music, held at University of Santa Cruz, California. I had a driver who took care of my commungo early each morning and late night.  Please, let me introduce myself to you. I am not a humble driver, but I am a Native American Indian chief. He said that he had worked at a lawyer's office, but six months ago, had a heart attack. He refused to have an operation, but instead joined a ritual with his people. He was completely cured by this ritual, and from this experience, he understood that he was called to offer rituals for his people. He told me, I have to meet four nobles from each direction, and you are the one from the west. He said, I will bring you eagle feathers. Toxuri-nalge-kitter. Next day, he brought four feathers that had been handed down from an older chief and used in sacred rituals by past generations. He asked me to touch them. That night, when he picked me up a little after midnight after a long rehearsal, I heard an owl crying, under halo, around shining full moon. I had heard a story like that, but it was happening before my very eyes. Next day, I was on the airplane on my way back to New York. It was a dark evening, and we must have been around Arizona or Colorado in the air. I noticed a bright area outside, near the aircraft, that looked like a big form of cloud, but it wasn't. The illumination light on the air was suspicious. Out of curiosity, I stared at it for a while. All of a sudden, I saw four light forms running fast, coming out underneath the bright area. Then all of them were quickly passing through back under the bright air. They were identical oval-shaped lights. The lights are dotted with white blinking. The form is oval line with many small dotted white blinking neon lights. They seem to be weightless, but very fast. Each one kept the same distance in a row as they moved. I have never seen a UFO. This is it! It seemed that four young men on motorbikes were flying down from the sky toward me. Each had his own motorbike, and each wore a different color. Yellow. They came down so fast that I only felt the vigorous speed as they evaporated as soon as they reached me. Immediately, I was floating in the air, holding a virtual pole, and I felt secure to be there. On my left, the identical pole is floating to guide me. I was following it. Suddenly, it struck against my pole, making a collision, and I saw a big meteor crater underneath filled with beauty. I continued floating in the air with the guide and had a second collision. As it struck my pole a second time, I saw another enormous meteor crater below me with very clean water in it. Ten days later, I had a car accident on my way home. All of a sudden, on the highway, a car in front of me came to a sudden stop, causing a two-car collision. I did not have time to stop my car, and I hit the car in front of me. My car was totaled, but I was saved by the airbag. In my mind, I saw Jatayu. Jatayu, did you just save me? In Ramayana, Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Shita. Thank you for saving me, Jatayu. But are you already dead after two months from Jakarta? One week later, I went to buy a new car. I got the key for the car. I see the front window of the new car is covered with bird droppings. The dealer was ashamed and apologized intensely. I smiled with joy that Jatayu is alive. A few months later, I went to Indonesia with an Asian Art Council fellowship. I was invited to perform my Komungo at the Toraja Festival. On the first day, the director of festival and I had a breakfast meeting about the program. He asked me to perform in Toraja opera that he had prepared with 60 village people. In the opera, I am a spiritual woman performing with village singers and dancers who for centuries have served their funeral rituals. For me, this was a great honor. A lady staff person from the festival was sent to me to check my costume for the performance. As we were approaching my hotel building, I had a feeling of electricity inside my forehead. It was white, dotted, sparkling, but had a round feeling around my head. The sensation was gentle and not at all frightening. Could it be the UFO I saw on the airplane? The dotted blinking oval-shaped lights? We are inside my hotel room. The lady looked at me once. Were you called to come to Toraja? I think you are a princess. I said, yes, I feel like I was called to come to Toraja and I am princess. My name is Golden Dragon Princess. She then voluntarily called someone in Jakarta. She came back with a message from a supernatural person for me. I did not ask her to do so. She did it on her own. She asked, if she was called to come to Toraja, what is her task here? The message was, tomorrow, when she performs at Ketekesu, all ancestors will come out and bless her. Another message is that I was a Tibetan monk in my previous life. My meditation was not accepted by society and I lived in a cave. I am reborn to do the proper meditation. Go to the temple. Behind the temple there is a cave. Inside there is a bell. Go inside the cave and meditate. This message from a supernatural person who had never met me or talked to me. How shall I find such a specific temple? Suddenly that night, I awoke by a sudden force pushing my back upright in the bed. It was 1 a.m. and a bird came to the balcony of my hotel room and made a persistent sound. Ka-ka-ka-ka-ka-ka-ka-ka-ka. I was visited by a black bird, Kadoya in Toraja, Megalithic Mountain in West Sulawesi, Indonesia. The bird made very forceful sound eight times in a row. I was shaken by this. Soon I felt a deep black hole in my stomach that made me a little uneasy. I ran to the bathroom in an attempt to escape from the scene, but I quickly decided to accept this mystical spiritual visit. I had heard many stories about this kind of spirit visit, but I never had such an experience before. I came out of my bathroom, asking the spirit not to harm me or kill me. As soon as I sat down on my bed, the bird again was making the same strong and persistent sound eight times. Next day, I ran into a lady from Bali. She said it is clear that I was visited by a spirit and she suggested that I ask for permission to be in Toraja since I was a foreigner and it was my first visit to this Megalithic land. When I asked her how to do that, she suggested for me to put my head on the ground. That afternoon, I looked around the hotel garden to find an appropriate spot to put my head on the ground. The five-star hotel had a very beautifully designed garden, in which I found a spot and I kneeled down, putting my head on the grassy ground, asking for permission to be on this magical land. I immediately felt the same electricity on my forehead again. It was real. Something really is happening to me. It is not my imagination. I said to myself, thank you, thank you for this experience. I am blessed. I walked back with joy to my room and I opened the big balcony doors wide and looked out at the Toraja Valley, asking the spirit to come to me. Soon, I saw an extraordinary vigorous black bird flying in front of me. The bird flying very fast. It looked like a swallow, but bigger than usual. Jebi. Could that be the bird that visited me last night? On August 11, 2014, I arrived at the performance site for Toraja Opera. They had constructed a spectacular outdoor stage at the historical ritual site Ketekesu. Toraja people believe that their ancestors came from Skye, so they are called People of Skye. Ketekesu is built with several Tonkonan, which are Torajan ancestral houses. These houses stand high on wooden piles, topped with a layered split bamboo roof shaped in a sweeping curved arc resembling a boat. They are incised with red, black, white and yellow detailed wood carvings of many patterns on the exterior walls. According to the Toraja myth, the first Tonkonan was built in heaven on four poles with a roof made of Indian cloth. Alas, I had had a very special dream after seeing the UFO about floating on the air holding poles. Had I dreamed about Toraja ancestors? Toraja Opera started with a village people parade from rice fields to the Ketekesu site. The impressive village singers with orange costumes were approaching singing ancient ritual songs hundreds of years old. The stage was fully packed with these spectacular groups of Torajan village artists. Lastly, I came on with my Komungo and realized how blessed I was to be here with these people and their ancestors. I started playing Komungo, receiving grand energy from an audience of 20,000. Oh my God, I looked up and saw a huge super-sized August harvest moon illuminating the stage. That night, on stage, I was in a grand spiritual ceremony reflecting my entire life journey and felt blessed by the supermoon. The Toraja people, the ancient ritual site Ketekesu and the massive audience made me feel this profound fortune and spirituality of this place. Several days later, I arrived in Solo Java Indonesia. I was introduced to a spiritual mentor who has been directing body motion and sound workshops for many decades. At our first meeting, he suggested that we might go to a temple to meditate with my Komungo. A few days later, he took me to an eighth century Kalao San Temple where female Buddha Tara is worshipped. A local young bamboo flute player came along with us. Upon arrival, I noticed a temple board with a picture of a large bell. I was surprised to realize that I was already here at the temple the supernatural person had told me about. I did not say a word to my mentor as he took me inside the cave room. He asked us to meditate and play our instruments. We were individually but simultaneously playing as a group of black swallows. Came in the cave circling above us. The music was rising all the way to the top of the cave ceiling as the birds swirled around the octagonal cave wall. How was it possible that I was already at the temple where the supernatural person had asked me to go and meditate in the cave? One month later, I went to Joshua Tree, California as artist-in-residence at Lou Harrison House. Lou Harrison was my composition teacher at Mills College. Here, rocks are formed by combination of many geological processes. When moisture is trapped on the surface of the rock or in the soil long enough, it erodes away some of the minerals forming the rock. Then rain and wind wash away the loosened parts of the rock. Some of the boulders in this magical desert are of ground size. Director Eva Saltis took me to two majestic boulders that are standing straight to the sky shaped like a standing eagle. The body is very full with gigantic stomach but the face is sharply carved with strong eagle beak. They were far distance apart but stood as a gateway to the mountain village. Surrounded by massive piles and piles of odd shaped rocks, the two eagle boulders were powerful forces. There must be many ancient stories here. Eva said this area was an Indian American habitat and there is evidence of ritual sites. In the past, I might admire the beauty of the site and go on to a new place. But my experience in Indonesia taught me that I must respect the ancestors and the spirits. I had to bring my Komungo to the eagle rocks so a few days later we went there with my Komungo. I climbed up to the bottom of the huge boulder and with Eva's help managed to put my Komungo there. I leaned the Komungo against the lower part of the standing eagle body and I put my hand on it and asked for a blessing. After I sang a few vowels, immediately a young eagle came gliding straight toward me from the south. I stood still and quietly gazed at the eagle wings spread above me. We were humbled, amazed and speechless as to what had just happened. We sat down and meditated for a while. The artist works and the artists are going to join us. I also want to say two or three last things, which is I wanted to thank the cultural team and all the technicians that have been a part of making this possible. Without them it wouldn't have been possible so I wanted to thank you guys. I also wanted to thank... Yeah, let's give them a round of applause. I just want to thank Bose, who made these speakers, which really made a huge improvement on the sound quality. So, thanks to Bose. I also wanted to say that tomorrow is the last day of Refest and I hope you guys can come back out to see performing systems. We've got Eric in the house who's curated a really wonderful night so 7pm tomorrow performing systems will be a really great show. So thank you guys for coming. I really appreciate it. Without further ado, I'm going to pass things off to Carol. I'm coming right out. From staff for this opportunity, comments on art and technology. So, we're going to get started. HarvestWork supports the creation of new work in our team lab, which is technology, engineering, art and music. And since 1982, we've supported the Artists in Residence program. This year, the deadline for this year's program is on Tuesday, so if there are artists in the room, there's a flyer out there by the bar you can pick up. It's a call for proposals for creative residencies and emerging technology. And we started out in experimental sound and we, again, kept up with the technology and has developed and now we're sponsoring works that use biosensors, camera tracking and some of the technology that was used here interactive performance systems. And I'm sure that we'll hear a little bit more about that. And let's see, what are we doing? We're going to, yeah, 1988 HarvestWorks was an early supporter of Touching the Moon, which was a piece by Jin Hee Kim that explored the possibilities of MIDI manipulation of sounds produced by the commongo. And Alex actually was her engineer. Was it 1988? 1988. Long time ago. It's been a generation of working together and HarvestWorks is about developing relationships between the artists and their technical engineers. We're really happy to see the fruits of that relationship and we'd like to hear more. Thank you. Thank you very much. First of all, I'd like to thank everybody who made this performance possible, especially wonderful cultural staff and also the production director Billy Clark. Billy, are you? And everybody who really supports this project. And yes, I had electric commongo first time in 1988. It was a really long time ago. That was the first commongo, electric commongo. And at the time, because a computer program was not available, I was depending on electric guitar devices. So I made a very small commongo because they said you cannot have all the big body. You don't need to have a big body, just need a fret. So I made a very small one with only fret and then they said you have to change all the silk string. The commongo string is a silk. Take all the silk string out and put the metal string so they pick up and take the sound. So when I did this, it sounded like an electric guitar. It was the electric commongo. And so 10 years later when computer program is available and Alexa noise was in charge with me that he developed the program for electric commongo. So we were working so long time and I think we figured out 25 years just developing electric commongo. And then I got tired in that. So I need a new toy. So we talked about the commongo bird, commongo robot. And that's the time we met you. And so it goes because we don't have a physical instrument. But the robot is about computer programming. You have to make a parade. So that's what we've been doing. And this is the first step of doing it. So you might have to go another 20 years to go. That's the reality. I think the instrument evolved organically over a long period of time and we kept on adding new things that he was able to do. All the way back in 1988. Started out with a relatively simple program. All of this is developed inside a language called Max which is pretty widely used in the performing community and electronic musicians. And so it's just sort of we kept on going back to it and adding new features to it and kept on performing with it and changing the way that you reacted to those features. So it's a very sort of back and forth development that took a long period of time. And when was the last time we really revised it? Maybe as recently as a couple of years ago. We've been still adding... Actually every year we'll be devised. So keep going. But I think you have to look at it in terms of a refinement of a new instrument. And you know ad-harvest works we're really interested in the research and development of hybrid instruments that are acoustic instruments that have electronic components or that are enhanced in some ways by the computer and electronic devices. Let me see. I guess just started off actually as a fan of what Jeanine and Alex were doing. And then we started working together on a project called Digital Buddha. And at that point I guess I would say that the instrument was certainly... You were using Max on this piece. Yes. At that point with Alex. But Jeanine and I started exploring the ways that we could both capture and transform the instrument visually and then also maybe capture aspects of the instrument in more of an abstract sense and transform that instrument through video. So at this point we've used quite a few techniques especially on Ghost Kamungobot including thermal cameras you saw here and analog video synthesizers and the whole show is being run with a modular digital live media program called Media Max and there's a long list of things that we've tried but many more left to try. But I thought it was interesting the screen in front of the player or the performer. Is that a standard configuration? Well we tried to get the mystical... the atmosphere and by the way you used the ledger before you were trying to project the image on the air not on the screen but this space was not really made for that so we come up with the idea of a screen to make that mystical atmosphere. Ideally the images that I'm putting on the screen and Jean's performance can all merge together into one complete painting. But also the moon the images in the moon which I thought the video design was just awesome. I love the live camera and the analog stuff and the bird stuff all that stuff I thought it was really good. Very nice. Well we're all just mixing it all together. Are there any questions? Can I see a hand? The screen, you wanted to get the images in the air? Well the screen was a choice to get images in the air essentially. So one way or another that was always an idea of this project the visual performance and the projection design the idea was to get away from like oh there's a movie accompanying the performance the idea instead was to make ethereal floating images and this is one way we hope to get closer to that idea.  By the way I see the Kyoko Kitamura Yes she's the one narrator why don't you take a bow? By the way The other thing I want to know about is decisions about spatializing the sound over the six speakers Can you tell me what decisions you made in that process? We wanted to separate from the electric and then the ghost So the ghost is the electronic sound? There's two different There's a total of six speakers in here right now the four that are basically around the audience are quad and that's the part that's generated by the ghost and the two speakers that are front of me it was just electric So then you can actually tell the sound comes in and then you can spin the sound there was also a sound effect not necessarily a ghost but then sound effects as well All of that stuff So the ghost is basically processed Is that true? I trigger a ghost Some of it is based on Kumongo sounds that have been manipulated Some of it is sounds of birds was one of the other sort of thematic things that we took a look at and took some bird sounds and slowed them down and did some spectral synthesis on them But actually it's a response to what I'm doing So we do not know when how it's going to be response Yeah, she's triggering it with the sound of her instrument And that's nice because ghost you don't control ghost it's just coming in its own way So that's the way we just leave it that way so it just comes randomly I mean we made some kind of frequency which pitch you will trigger However, my instrument's string wants to vibrate it's confusing all kind of pitch So this ghost is just coming whenever he wants Sort of like we think of it like a seance We're sort of having a seance The scene in the Joshua Tree area The rock formations It looked like the rock formations were a cutout I mean it didn't look like projection with rock formations It looked like it had been cut out like a scenery almost you know, like a piece And I don't know if that was just what I perceived That's a video effect We had a team of ghosts stayed there in the scenery really quickly and then I'll just say Well first of all I'm glad to hear that that you had that impression and thanks for sharing that But I'll just say one other thing is that those images were three photographs that Gene took Actually it's in the story The real story And then what I'm doing in the performances I have a MIDI controller and I just about an hour ago put in an hour before the show put in a bunch of effects I was just dialing in various effects in real time with the goal in my head of sort of keeping it a bit mysterious like you know am I really seeing this is it flickering away and trying to play with images on the edge of the picture It was the entire photo put through effects that effectively made it look just being cut out But it looks very realistic They're big Actually the show is never the same in terms of video Music too So it's different each time that it's performed So how much of the video is in question Do you know in the city lines of you know is this point or There's a Q sheet But within the Q sheet there's I guess improvisation We all did improvisation tonight Improvisation within the score In the score Structured improvisation There's no other questions Actually I'm really interested in the story because it's really narrative and visualization every single gear is just come together and because the story makes it work again How do you see how it makes a 3D animation on the screen Well we could do the animation and I mean there's a lot of ideas As I said before this is like a newborn baby So we have a long way to go Yes And we apply for the grant We hope that we get it so we can keep working Oh those experiences They're blessing I mean completely blessing This has only happened in the last 4 years I never had this kind of experience but it just came to me very naturally I didn't ask for I don't know when it's going to happen but it just came to me It's just completely blessing and it doesn't happen easily in the city I think we are living with too much of stuff so we can see it If we are in so quiet transparent space then something happened and I just have that It's not something that I'm looking for It just came to me and I'm completely blessed for that Thank you very much


We're back here live at EMC World and this is day two of our exclusive three-day coverage of Silicon Angles theCUBE, our flagship program. We go out to the event, extract the sealant from the noise. I'm joined by my co-host in this segment, Stu Miniman, of wikibon.org. And our guest is Kent Christensen from Datalink. Kent, welcome to theCUBE. Thank you. Thanks for having me. Top of the morning here on day two, and this is just day two. We've got another day to go. Pat Kelsinger coming on, Joe Tucci hit the keynote, Paul Moritz. EMC's proud and to say we're doing things a little bit differently. We've got four brands, data fabric, they're creating a lot of opportunities. So talk about Datalink and what you guys are doing and delivering the cloud because the mission is still the same, the market's changing, the dynamics are changing. We saw software defined networking hit the scene last year. That's changing a lot of stuff. That's data fabric with big data, security equation still is important. All those things in play, you're out there in the front lines. Talk about Datalink and some of the things that you guys have with experience in the cloud across the board. Well, I think one of the things you see when EMC's mentioned a number of times, ten years ago they were a storage company. As were we, we've had to go through this transformation ourselves and become a full data service provider, even a cloud services provider if you would to our customers. The buzzword or the theme around transformation we see is very real. They realize now more than ever that IT organizations need to go through transformation and our role is to help them do that. Best of breed technologies, people processes and help them meet their business needs. It's always been our role. It's just much more acute these days. What's your take about EMC world this year? Now we're day two. We're getting starting to see some of the onion get peeled back a little bit yesterday. It was a great preview. We had some amazing guests on the cube. But what's your take on EMC world here today? Obviously you're seeing, you know, the arrow, you know, in the keynote that's been putting a lot of wood behind many arrows. What's your take? I'm going to share with the folks out there who aren't here on the ground. What's what the vibe is here and what the major trends that they're really water skiing behind? Well, it's a huge conference. One of the biggies for us certainly. I think 15,000 plus people here. A lot of technology flying at you. A lot of it is things that are coming down the road. So as we look at things like Pivotal and some of those other initiatives, those are things that we're getting ready for. If we step back and look at cloud, those are things that we've been doing and executing on over the last couple of years and looking at how those have improved. So a lot of information to take in. So Kent, you know, this is part of our spotlight on looking at kind of converged infrastructure for the mid market and SMB. Right. So we're looking at kind of the cloud marketplace here. Talk to us a little bit about, you know, what is your mid market customers and going down to the SMB? You know, what does cloud meet to them and how does convergence fit into that? Yeah, that's really where the rubber hits the road. So, you know, we've seen in our enterprise customers the urgency to go through the transformation. And in the large customer, they might have a very sophisticated IT staff and we'll play a role to help them go through that transformation. But they typically have had the burden of putting together architectures themselves. As we go down into our mid market and commercial customers, they've really have challenged us and almost demanded that we help them do this, that we lead this transformation with them. They recognize they don't have the skills across servers networking and storage and clearly converging those solutions into unified architectures is something that that a lot of organizations are really seeing the value of. All right.  Well, V specs is great. It was announced, I guess, about a year ago. And, you know, we have kind of been working with a lot of customers without being able to call it V specs, where we were helping them put EMC storage in VMware and Cisco together in solutions. V specs came out and really gave us a lot of assistance a by branding it and saying we can call it something. So the work you're doing with this customer is a V specs architecture, and then putting a lot of resources behind it. So the validated designs that they've done both the EMC with the backup and the Cisco validated designs are a great starting point. Somebody who says, Hey, I'm looking to roll out desktop or I'm looking to roll out private cloud, they don't have to start from scratch, they can go and say, Hey, there's all these resources have been put into this design data link, you know, we're depending on you to go deliver it, which is great. That show you know that allows us to add that value, not just to the customer, but to the EMC channel. And they realize that hey, we've got this we've got integrating these things together design delivery support and aligned with the customer. So it's really, really been for us a really good thing. Okay, so so one of the values of kind of the reference architecture of V specs ring is that flexibility. Can you walk us through, you know, how many different solutions are you only selling EMC with Cisco and VMware or you know, what do you offer? No, that's a great point. So one of the things V specs did that that wasn't in the portfolio prior to this to give you the flexibility. And we report on these publicly. Many customers are ready to say, Hey, I'm going to go through this transformational flash of white light and bring in this new architecture and drop it in and we're going to port stuff to it. Many others though, maybe at least half need to migrate into it, they need to use existing processes and resources and they can't just turn a light switch overnight. So they may have a another vendor servers. Do I have to switch server vendors in order to get most of the value that I would get out of a V specs architecture? No, if it's an x 86 server, we'll show you the pros and cons of that versus something else, but we can leverage that. So between wanting to migrate in it and use existing assets V specs provides that flexibility to be able to do that. Okay, I'm wondering if you can tell us is this more than just kind of simplifying a virtual deployment? Or are we really getting to more of a cloud model in a private cloud environment? We think more and more we're truly delivering private cloud models aligned to the customer's business. So they may not do that all on one day, but we're putting out essentially a blueprint to how they get there. A lot of times that starts with something like a V specs architecture. I always look at that as the foundation for the cloud. And then they start defining the services they want to deliver the things that they're repeating. We use things like, you know, CAC and other tools to help orchestrate and automate that V specs solution and then align that with their particular customer environment, which takes you from I think in virtualization, we went and said, if I deploy virtualization properly, I will save money. And we have kind of crossed the line to say, if I deploy private cloud properly, we will make more money. We'll do things more rapidly, we'll bring on customers more quickly, we'll end up generating more money for the organization. And that's pretty exciting. Ken, I want to ask you because obviously the cloud journey has been one of those things that EMC's been talking about for a while since we've been doing the Cube. There are a lot of different paths to the cloud with V specs in particular. What are you guys seeing out there for the use cases? I mean, because there's different categories of customer bases from SMB, small, medium sized businesses to large growing companies. Absolutely. I mean, what are the couple of paths that people take in your experience? You know, from the EMC path to the cloud, get it all at once in a unified solution, V specs being kind of the middle, build it yourself. You know, so people are taking all of those paths. But you're right, there are one of the things that we say about cloud is I can't come down and dictate to you what your cloud should look like. I need to listen to you about your business and understand. So examples that we brought in a customer last year, their environment was, you know, they were providing services internally and processing and things like that and they needed DR. And they were going to identify things, especially in their AppDev group that they wanted cloud services on. Another customer that's in here this year is a service provider. They're providing services to their customers that happen to be hospitals and they needed, you know, the same discipline in their back end. They needed the same automation, the same ability to deliver consistent services, et cetera, to their customers. So two different examples. If I were to stereotype one thing that a lot of people are getting a lot of traction on is dealing with the AppDev group. So in most organizations you can go in and they're trying to get their arms around transformation. You said, well just think about the relationship between yourself and your AppDev group. They might be going out and creating their own little shadow IT organizations and trying to figure out what to do. If you really understand the services they're needing, there's an opportunity, a real near term, provide value to them, to provide value to the organization. And that's a real common opportunity. How are they managing that? Because obviously that's happening. We know a little bit of shadow IT is going on. In some cases there's more than others and obviously it's not endorsed officially. But it is tolerated in the sense of, don't put anything sensitive out there. When you talk to customers and people, they're just trying to solve a problem, right? They're really trying to solve a business problem. So how do you have those conversations? I mean, welcome us through the day in the life of that kind of conversation. Well, I think to help. So I agree with that. I think the C level is going in and saying, well I'm going to tolerate this because these guys, let's say the GapDev people are generating revenue and whatever it takes to get their job done more quickly, there's an urgency to take advantage of cloud to help it drive the bottom line and things like that. The IT organization kind of sees that happening and they become compliance officers and they realize that data is getting out in places that aren't there's not proper discipline around this. And there's a gap right now. The gap is that if I don't deliver a service that meets their needs, they're going to continue to do this. And so that's the opportunity to talk to really both sides. A lot of times you have both teams in the room and you say, we understand what you're looking for to get your job more quickly. We understand the gap between if it takes four weeks or even four days to get that. What if we could get that in four hours customized to what you need as opposed to going out and buying a generalized service? We heard from Joe Tucci and Paul Moritz here on Day 2 of the Keynotes and they're making a lot of references to Google, right? Google scale. They mentioned Google file system. You know, a lot of the, you know, under the hood kind of details that a hyper scale company will do. Now, not everyone's going to build their own cloud. They kind of said people want to build their own clouds. Yeah, on the high end, if you're an absolute, you know, financial institution, you need to control everything. Maybe you'll vertically integrate like Google, but the majority of the market's not going to do that. They're going to want to customize some cloud. So how does that affect? I mean, that's generally accepted. One, do you agree? If you don't, let's talk about that. But if you do, how does a customer get their arms around? Okay, shadow IT validates the approach of development. Now I got to rein that in. And I don't want to build my own cloud. I want to do some things, build, but not build a full scale cloud. Right. So I think there's maybe two different challenges there. One of them is the Google scale and the big data that we just talked about with the pivotal initiative where how do I handle 30 tailbrights of data streaming at me? And I think how we do that and commercial likes that is TBD. A lot of that is custom work within the organization within the marketing department to find their data. As far as getting the value of cloud within the organization, they've been doing the right things. They've been virtualizing most of that with VMware. They've got storage virtualization. They got a networking team. We just need to kind of bring them together and break down some of the political barriers so that they can focus on delivering the service. It's not a major overhaul. It's a tweak. It is. It is a journey. It is the journey and they're most likely already on that path. And we're just like saying, OK, here's where it can be, you know, out here six months or three months or a year. And let's just make sure that we're focused on delivering that value and focus on delivering that value to the organization. We could drill in a second. You talk about kind of the silos. When I look at convergence, one of the biggest challenges, you know, technology and organizational are tough, but they go to market. If you look at some of the solutions out there in the market, there's a little bit of the struggle as to, you know, how do we work with the channel on this? Of course, you know, you've lived this. So, you know, EMC is not listening right now. So, you know, tell us, what are they doing good and what do they need to do better? Well, I think, you know, EMC has announced themselves where they had what they called the storage Nazi, and it was a very direct model, let's say 10 years ago. And what they've done recently with things like V-Specs is they've said, you know what? We don't need to to control everything. We don't need to have complete control over the account and we recognize as the partner adds value. So V-Specs really said we're going to depend on the partner add value. We're really going to supply the storage and we're going to end the reference architectures and we're going to depend on the partner ultimately to add in the networking and configure it to the customer's environment and the virtualization and things like that. That's really a huge olive branch to make sure that that is a very channel-friendly approach. Yeah, so does data link take advantage of kind of the co-branding effort of V-Specs? Oh, absolutely. It was, you know, I think, you know, I was talking to Gil from V-Specs. Yesterday and probably the number one thing the EMC can continue to do is push that brand and continue to do what they're doing in reference architectures, etc. But that brand helps us go and have a very quick conversation with a customer that says, how about a V-Specs architecture? This is what it looks like. And we get from piece parts, which is the old school. You know, if EMC was having a campaign on storage and Cisco was having a campaign on networking and now servers to bringing that all together. And that's just a rallying point. The brand of V-Specs helps us rally around the solution and move further down the road. Right. So if we look at kind of that SMB and mid-market space, is most of the competition for V-Specs still kind of the builder-owned or some of the startups and some of the other big vendors that are getting in that space, like, you know, Dell, I think, have done and done in the mid-market and that app competing against what V-Specs is doing in your in your experience. I think in the enterprise, there's a feeling that I have to own this architecture and I've got a large staff and I got multiple people that cloud in their title, etc. And so there's a little bit more of build your own. But I see that breaking down very rapidly and then starting to look at converge. I think in the mid-market, you have more of an immediate realization that, boy, I could really use help. And we see this day after day that as we bring a customer in and we show them, you know, this is what you could be doing and here's what you have and here's how we can help you get that. They start to realize that, wow, I was trying to deal with multiple partners. I was trying to deal with this guy on Monday and this guy on Tuesday and put this together. And I realized, and this is where the value of V-Specs helps an organization like us where we can put the whole solution together, that they see the value and we can deliver that value and we've invested in that. Some of the challenge, you know, we talked about silos and change and transformation and it's hard. The challenge is that might change something they did. They might have been buying VMware from a server provider in the past. Maybe it was Dell and they realized, well, Dell's not going to lead me on my journey to the cloud. They're just going to sell me ESX. I need somebody that kind of, you know, can put together the complete solution and architecture for my organization and help me get there. So, you know, that's the challenge for, it's been a challenge for us to grow. I think it's been a challenge for the different partners to recognize that and certainly for the customers to break down, you know, their organizational barriers. Ken, my final question is we're getting wrapped up on time here but great, great content. EMC is not, has a reputation with Channel. Obviously, they've historically had a very aggressive sales force and they've had a little bit of rub in with some of the channel. We had the channel guys on earlier and the fog is clearing and they have a good sense of how they're segmenting their channel with direct on their named accounts and then also their channel partners. So, what is your experience with the channel and with EMC? What's your report card? How would you talk to the folks out there to kind of give them, I always say, the new Polaroid picture, but to be modern, I'll say, a new Instagram photo of the EMC channel? Well, huge progress, right? Now, I think they announced 50% of our sales go through this channel moving towards 60%. That's huge improvement over, you know, three, four, five years ago. VSpec's huge improvement over, hey, I'm going to actually bring you into my account and we're going to be dependent on you to be delivering this complete package of services while I'm just applying storage. So, is the controlling EMC, that's huge? Can we grow? And the trust, they got to have trust join, sales calls, good trust relationship. Absolutely. So, I think, you know, we've been very much embraced as we come into the various offices and say, here's what we can do with VSpec, we can design, we can deliver, we can support, we can manage that. They're like, great, you know, that's a unique partner experience and we can leverage that. Can we do more? Absolutely, right? I always say the formula is very simple on the channel, pass, shoot, score, no conflict, are people making money and are you accelerating growth? Right. And that, you know, and more margin for the partners. And ultimately, you know, if we can jointly have our customers realize this transformation, when they go through this, they're customers for a long time because we've done a very good thing for them. Okay, we're here with Ken Critson-Cinema with Data Link. We'll be right back. This is the Silicon Angle theCUBE spotlight segment here. We'll be right back with more coverage from day two. Just kicking off day two here inside theCUBE. I'm John Furrier with Stu Miniman. We'll be right back with our next guest.


Hello everybody, BK6 here, just wanted to do a quick update on the graphics I'm giving. I'm still giving it out, just, it's been amazing, so if I just want to thank George first of all for promoting my channel and the 101 design in this video, it's helped so much, because I got up to 25 requests, yeah. For more freedom community in here, you can have to be a partner of Freedom, I'll do it for anyone who wants it. But I've done about 20, but don't worry, I'll get to all of you. You can keep on applying, because I'm still doing them. So I apply 2D or 3D graphics, or a mix of both, that's what I want you to do. But I'll do avatars, channel arts, thumbnails, end cards, outros, overlays, and anything else you can think of. What motion graphics? Motion graphics, which is coming soon, but I'm just learning how to make them, so yeah, that will be coming in the near future. I'm enjoying the graphics, so, and we're just loving the feedback you've got that's giving me, because you guys are telling me that my graphic is really good apparently, so, I guess it is, but, so I'm still doing graphics again. So if you want to request graphics, just go into my channel, www.youtube.com.vk6, click on the About tab, click Send Message, and type what you want, your Skype slash email, so I can contact you and send it to you.  So, I hope you guys got a question now, and have a good day. Click the first video for a fireside chat with George, where he shares our future, and how he grew from $20,000 to $120,000 in just one month. And click the second video to see how to monetize all of your videos with just a few clicks to enable all ad formats and monetize in all countries. And we will grow together as a family, because this is the freedom family. You are part of it, we are all part of it, and we're all growing together. So grow with us and partner with Freedom. That Play Now button right there on the video bar is all you need to click to get started.


Building a more just peaceful world starts with a simple question. How do we get there? The World Economic Forum asked and the answer was clear. Successful societies are built on effective institutions. Whatever the problem, institutions are the rails under any large-scale solution, and they're in bad shape. Countries are losing $7 trillion each year due to corruption, tax avoidance, and improper payments. You want scale? That's enough to fund all of the UN's global goals. Digital governance is the most expensive problem on the planet. The good news, we have the tools to fix this, and we know they work. Digital governance platforms are delivering astounding results. They're hard-wiring institutions for accountability, efficiency, and transparency. Our team at New America is leveraging open-source technology to deliver world-class governance platforms everywhere. These institutions in a box can give people the future they deserve, preventing families from becoming refugees, unlocking opportunity for moms and kids, and protecting lives that would otherwise be derailed by broken systems. We're ready to scale solutions to power the governments of the future. And the question isn't whether these tools will work, but whether you'll help make them available. If we don't start renovating our institutions soon, no grant will be big enough to solve the challenges that remain. On a planet full of problems, we've got to fix this first.


If you see how dark red this line is and you saw how many shares that was there and you know Hey, even though that order got pulled that order was there for you know, nearly an hour You know, that's a fairly lengthable amount of time So with that I feel like there has to be a reason that that order is there Now if there is like some real big funny business going on and like this order pops up at some other price And then that price that order gets pulled and it's placed elsewhere and then again and again If there's like crazy funny business going on then I wouldn't trust it But when I look at this, it's like that was there It got pulled And that was I kind of it Right like that that was all so it's kind of interesting, right? It's kind of interesting