Hey everyone, welcome back for Onmyoji, the card game content. So today we'll be featuring my main deck that I've been using in ranked matches. But before that, if you want updated videos, please hit the subscribe button, it's down below. Hey guys, before we go to our actual gameplay of this deck, let me just show you around on the chicken garment that I'm using and what are their roles in this deck. So we'll start off with Kaguya. So Kaguya is a chicken gami that specializes in bringing out fields in the deck. Her fields are actually like enchantments that affect you and affect your opponents as well. They sometimes affect you alone or sometimes it affects your opponents alone. So basically they are just their opposite, actually on the left side of your screen and they usually have certain effects. So my deck or this deck is actually made around her. She is actually my win condition here and she's my primary win condition. But I have also other win conditions aside from her. But she is the main component of this deck. So the deck is really called Field Control. Pouka here is actually my second win condition. She actually is about dealing damage to opposing chicken gami and also she deals damage directly to the opponent as well. So that is why she's here. She's here to clear the board of opposing chicken gami and deal a lot of damage as well to the opponent. So she is my second win condition for this deck. Then we go to Andon. I'm calling her Andon because I can't really pronounce her name. I don't know if I'm pronouncing it right. But she is here number one for lantern support because she gives you additional lanterns. And actually if you may recall in my first video in terms of the gameplay, I'll put the link up there so that you may see the first video on how you go about your turns in this game. So lanterns are in the game because they are the only times that you could perform an action. So the more lanterns you have, the more actions you can perform. So she is here for that sole purpose and her secondary skill is actually what I like as well. It's card drawing, it's sifting through your library and getting the cards that you want. So she actually has a lot of utility which I like and she's actually the mascot of my team. So I'm very excited to use her in this game because she speeds up the hand or the cards in my hand. She speeds up refilling it and also she speeds up the number of spells that I or the number of actions that I can do per what they call this per turn. So the Lashik and Gami that I have here, he is more or less the one that does the cleanup for the rest. If all else fails, Hangan is there too. Number one, clean out the board as well. He has spells that can destroy directly, she can Gami and he is actually also one of my win conditions because he actually grows bigger with this spell, condemn. So once he has enough she can Gami that he has killed, then he grows bigger with this skill or with this form. So those are the four she can Gami that I have in this deck. This deck has been fine tuned, this had a lot of versions when it started. So more or less this is my final deck. I'm actually moving on to other decks that I am actually currently making. So if you can see I have an aggro deck and this is the other deck that I'm also trying to figure out. So I'll upload some of the decks that I have ready or I have created in future videos. And also after this video I'll give my tips on the various content that you have within this game especially for your Rank Matches, Seal Deck, Yakubon Chess and others as well. So let's proceed to a Rank Match. So for Rank Match I just recently reached the tier 5 Rank 1. So let's try to see if I can win a game here. So let's start the match. So we're off to matching. So I hope this time it won't take that long. Sometimes matching reaches up to a minute or so. But most of the time it usually ranges from 10, 5 seconds to 30 seconds. So I hope that this matching won't take that much time. This deck actually that I'm going to feature I was actually tinkering with various decks before I ended up with this. The mainstay there are Hangan and the other one is Hoka. Those are the two that have been constant in my previous decks. These two I just added. So let's actually try to select the cards that I can use. So for this deck when you select cards, you try to select the lowest casting or cost as early as possible preferably more of one casting than two. So this is good already, let's confirm. So to start I'm not usually aggressive during the start of matches because I would like to keep my Shikangami alive so that I could set up this deck before putting out my win condition. So let's wait for my turn. Okay, drawing Ignite, let's see what I can play here. I don't think I can play some spells so I'll draw Hangan. I need to actually set this up. I need to put this out, put a stone bowl so that I could create a defensive wall while I set up as well. So ideally I would play both two cards because I need this to go up to 10 for it to have a attack stat so that it could try to attack the opposing attackers as well. Then this one sometimes I would deploy at the end. So for now I don't have anything to cast then let's end our turn. So basically this deck is you have to take a lot of hits to start the game. I hope not that much because I'm about ready to take a lot of damage. So three it's good that he didn't use this guy so just choose one. I can't cast this anyway because this only deals two damage then I'll end my turn as well. So really in your first few turns you'll just have to be contented with taking damage and eventually choose the time in which you can retaliate and set up. So taking another three damage. The reason why I want to go second not first because once you add your last level of your level one you will have a chance again to go to level up again for level two right away. So what I do is I usually take her then I cast this one then I cast Buddhist Stonebowl so that I can have a little bit more of defense while I set this deck more. So now we're out of orbs then we end my turn. So at least now we have something every turn so the orbs actually appear right after I end my turn. So at least when you have 10 for your Buddhist bowl it has a certain power but if you have below than 10 then it returns to 0-5 so you won't have the chance to deal damage to the opponent. So this is what I like when I have him at 4-5 at least you could deal damage again. It's good that he's not really attacking that much so right now I'll try to level her up because I've seen a spell that can take out one of them or even two of them so try to deal this one 5 damage so that he's dead then also use this one defeat an opponent so reap so that you could kill this one anyone with 2 power and below can be killed. So try to as much as possible delay your opponent in setting up that's the idea for this deck so that you could set up for yourself so as much as possible have more field control so that you can delay damages and also accelerate your setup as well. So it's good that we had a blocker because that's 9-10 and you'll really have a headache getting that 9 damage. So next is I have a couple of spells that I can cast at here we go so 2 but I'll use this first so that I could kill him so down to one opponent then I can also I can also use actually one good one good ability of Andon is if you still have one orb left you can gain an orb at the end of your turn as well so that is why sometimes if you don't have anything to do you can actually stack orbs by not consuming the last orb then that is what we'll do and turn then another ball will appear with 4 or 5 so let's it's this deck is kind of annoying as well that is why I want to build this because I've had opponents that have used this deck in the past and I saw it as a potentially good deck to have so we're at level 2 for Hangan then our next move would be to eliminate this guy if I can so deals 2 damage deals 6 damage but I can't yet because it's a 3 casting spell so the next move would be just to level up your your Shikungami to change the former Shikungami then let's see 6 damage still let's try to kill him instead use one orb so that I could add one more oh I forgot I could kill him this turn so okay I'll just end my turn no I'll deal damage instead at least one consume one so I think it'll be down to six the opponent has an annoying spell that decreases your attacks by one so if you deal one damage eventually you'll deal zero so this is that Shikungami so it's very annoying and you have to you know have much damage dealt so that it's only decreased by one so if you attack with two with with this guy then you'll end up only dealing one so I actually forgot about that but it's okay we still have we still have time set this up he's I think his main win con is just to attack me with a big monster so let's continue with this one so I have a three casting spell already but I'll defer that because nobody's here so this one this spell is actually pretty good your swaying blaze is one of the best spells that you could have in the game especially for Hauoka because it deals six damage and the rest if you have enough damage that would you know exceed the the defense of your opponents then you could deal it to to your opponent as well so don't forget this bowl actually attacks if no one is in front of him so that is why I attacked using him then I think I'll be done for now so also you can also chip away especially if you have an opportunity to to attack especially if no one's in front of you using the bowl so it's not only a defender it's also an attacker as well at four five it's actually a good deal to have him every turn so let's wait for let's wait for what is his strategy and again attacking it's okay as long as he doesn't have any more attacks it's okay that he can attack every turn I don't really care the the problem is if he can destroy your blocker then attack or have two attacks then that would be a problem so right now what I have so this spell is actually good because when the bowl comes around and I can use this when triggered when he attacks the bowl he gets killed as well so I'll use this as a as a secret then I'll probably later what do you call this I'll probably surprise him later so I'll take out a few enemies first before anything else have do I end my turn now yeah I think so let's test this out this card whims of death so as long as you have one you know have one orb left you can actually trigger trigger that card so if you see this um a icon above the exclamation point it can be triggered once once anybody attacks the bowl so once anybody attacks the bowl let right now see that triggered the bowl is destroyed as well as the opposing opponent so that's actually the trap that it does so that was a very good free attack so he ends his turn doesn't do anything he's actually getting pissed at not being able to deal damage and I also gain gain life because of hanggan when I destroy she can gami so I gain one life as well so let's have kaguya so kaguya is actually here her evolved form because I can actually for for her for her fur fields you can only have one but when she has this evolved form of hers you can actually put multiple fields here so multiple fields can already activate because I have dragon jewel and buda stone dragon jewel is actually my main um my main constant um attacker or you know it actually deals a lot of damage to the field so if you can see her at the end of each turn deals two damage if this card is uh greater than 10 deal one damage to all opponent and she can gami in this in the standby zone so it acts as a constant damage to the opponent and to your your opposing she can gami as well so let's end this so after you summon the bowl it automatically deals damage to to opposing she can gami that are still alive so this is actually a very annoying deck because you have to set this up but once you're set up you're almost impossible to defeat unless the opposing team has shenanigans especially if they have combat cards in play so this field these two fields will activate especially especially um dragon jewel it will activate every turn every end of turn for the for the opponent and also for me so we have a lot of lantern support cards already and we have um all she can gami at three levels so i'll use this card if you don't have any she can gami to level up you can actually draw an extra card so i've i've drawn this one so i'm gonna consume one lantern so that i could have two then this one i could choose an extra extra what do you call this extra field you can actually add more fields to this the fields that are present is only one but the ability stack so that is what is good with with kaguya's evolved form but i'll use this instead go story so that i could search for more you know for better cards so like this one death penalty death defeat a she can gami so i'll take this one so that i could defeat somebody the next turn ran out of orbs so just just have it as defense just get cards that are you know that you might need eventually in case that the enemy recovers so this is a very slow playing deck and it's actually very annoying to have as an opponent i haven't encountered anybody yet using this deck so if you guys would want to to to take a to to have a copy of this deck be my guest this deck is actually a joy to play especially now that i have i have more or less fine-tuned it to the way that i want i still lack a few cards though that i will need eventually but currently i'm already satisfied with this one so i'm just clearing out you know the board so that opposing she can gami won't have a chance to attack and i think i'll finish the game already if this is already eight so projectile damage eight so last attack so that is it guys for my field control deck if you actually have any comment suggestions about the deck if you want a listing of the cards i could actually take screenshots and or probably send to you the list of all the cards that i've been using and so that you may actually you know build this deck for yourself so that is it i'll take you back first to to the decks that i have and show you the some of the cards that i think that i may actually use as an addition so this one i'm actually trying to save up so that i can get this um this is not really the main feature but this is just an extra that i could think her with or more options so that your deck would be more all around and i don't think i have cards for her and for her as well for undone it's actually lantern drain i'd like to have this one this is also pretty much expensive to add to this deck this actually adds more damage and undone gives you more flexibility in terms of what she has once she has given you the cards already and if you still need more damage or lantern drain is actually good so those are the two cards that i'm still looking for to add to this deck so i hope that i have given you an idea on what you know what what deck next that you could you know explore with try to build this deck i would be happy if you you know um play with this deck and for other deck ideas i will upload more in the future so anyway guys always take care this is the warden and i'm out


President, Vice President, fellows and guests, it is with great pleasure that I am here at the Society of Enquiries of London to share some aspects of my research on Castilian painting of the 13th and 14th centuries.  Research for this lecture was carried out some years ago at both the Public Record Office and the Society of Enquiries of London. So I feel I have now been given the opportunity of returning attention to what I received. Further research was done at the Borough and Courtauld Institutes in London as well as the Index of Christian Art in Princeton when your fellow column owner was its director. Special thanks to him who is accompanying us. And now let's proceed. Salamanca is a well-known city of western Spain. It is famous for its historic university founded exactly 800 years ago and for its monumental landscape, created throughout the centuries using an easily recognizable orange stone that compares its eccentric charm to the entire city center. In the Middle Ages, Salamanca was an outstanding city of the Kingdom of Leon which has merged with the neighboring Kingdom of Castile since 1230 to form the Crown of Castile, the most powerful Christian state of medieval Biberia. A large number of monuments, ranging from the Romanesque period to the Neoplasical Era, attest Salamanca's former splendor and one of the most important among them is the resemble of the cathedrals. We must say cathedrals in the plural because in Salamanca there are two cathedrals built side by side. The old cathedral which is a Romanesque building from the late 12th century and the new cathedral which is a late Gothic building from the 16th century. When the decision was made to build a new cathedral to replace the medieval and already old fashioned one, this was not done by replacing the old building with the new one which was what usually occurred but by preserving the old building in the first place to enable continuity of cult and finally to serve as the parish church for the cathedral. This is why the Romanesque cathedral of Salamanca turned into a sort of fossil that nowadays still has almost all its medieval features. These include the richest collection of Gothic wall paintings to be found in any Spanish cathedral dating from the 13th century to the 15th century. These wall paintings are in the Chapel of Saint Martin, in the High Chapel, in the South Transit and also in the cloister and surrounding chapels. This by the same year and by your discovery has been made in one of these chapels the one dedicated to Saint Barnard. In the Chapel of Saint Martin there are currently three Gothic wall paintings. One on the east wall where the altar once stood, another on the north wall is joined into the former and another decorating the tomb of Bishop Rodrigo Villa who died in 1339. Documentary evidence suggests that the tomb of Bishop Pedro Pérez who died in 1264 was also painted. What was the chapel of Saint Martin and why is there such a collection of wall paintings? Especially important for us among them is art paintings on the east wall which will be the focus of my lecture. First of all, you must notice that I say what was the chapel of Saint Martin in the past tense because nowadays the chapel of Saint Martin is just a space for tourism. One of the main areas of the old cathedral of Salamanca you can visit after purchasing a ticket. It was any liturgical use many centuries ago and it is precisely these circumstances that led to the preservation of the wall paintings inside it without further alterations and even without whitewashing. The chapel of Saint Martin lies on the lower level of the north tower of the west front of the old cathedral of Salamanca the so-called Torre de las Campanas, the bell tower. If we examine the overall plan of the building we realize that its west front which comprises two towers flanking the originally researched main door corresponds to a type that was quite common during the late Romanesque period in western Iberia. The most outstanding example of this ultimate Bergerian origin is to be found in the cathedral of Santiago de Compostela concealed by Baroque revetments and the rest of the sepetuane still exists in the church of San Vincen in Adina. In the case of Salamanca the room in the lower level of the north tower is only accessible from the north aisle of the church. There are no references about its use until the middle of the 13th century when the burial of Peter of Peret in 1264 attests its funerary use and the mention of a chaplain in 1274 attests its liturgical use. Further burials including those of several bishops of the period are recorded until 1339 which suggests that the golden age of the chapel lasted from the middle of the 13th century when it was founded and doughed and decorated to the middle of the 14th century when the most modern wall paintings in Saïdid were commissioned. By then a period of decay started which resulted in abandonment and ultimately in oblique. To understand the rise and fall of the chapel of San Martin it's important to be aware of its use its architectural features and its evolution. Regarding its use it has already been said that it housed several tomes from the period between 1264 and 1339 which allows us to conclude that it was a funerary chapel. Its dedication itself insist on this as San Martin was a much-vanerated saint associated with the practice of charity a virtue of scatological value that prompted its presence either physical or rhetorical in funerary contexts. In connection with this it's important to notice that the burial of peace of Peno Pérez in 1264 is not only the first one recorded inside the chapel but also the first one recorded inside any space of the cathedral. In Spain and I suppose elsewhere it was not until the beginning of the 13th century that ordinary people, by that I mean those who were not venerated as saints began to be buried inside churches and at an early stage of this process peripheral areas were preferred. The chapel of San Martin is a very good example of this and it's very likely that it was founded and doughed and decorated circa 1260 by Bishop Pedro Pérez himself to serve for this burial. But the very reasons that made it attractive as a funerary space that emerged in century located in a peripheral area connected with the church made it less desirable when in the late Gothic period funerary chapels became singular spaces, visible spaces designed to impress and to proclaim the grandeur of those who founded them. From the mid-14th century onwards the pieces of Salamanca built their own private funerary chapels in the cloister and the chapels in Martin became a marginal and old-fashioned room. The architectural features of the chapels contributed to its oblivion the construction of the new cathedral to the north of the existing one beginning in the early 16th century and the reinforcement of the walls of the tower in the 18th century resulted in the blocking of all the existing windows of the chapel which turned into a dark and sinister space that was unsuitable for any liturgical, novel or even practical purpose. The chapel was converted into a warehouse for storing the oil used for lamps in the cathedral so even its name was forgotten. It was no longer known as the chapel of Martin but as the capilla de la Tate, the oil chapel. It was only in the late 19th century that antiquaries and scholars realized that it housed a written symbol of an altar but deteriorated wall paintings as well as the tomes dating back to the 13th and 14th centuries which was when its rehabilitation began. The wall paintings we are going to examine which originally served to decorate the other of the chapels in Martin are to be found on its east wall. They were restored in 1950-1951 in the context of a wider restoration program carried out in the entire cathedral. Work on them was done by Fakim and his NSP an experienced professional but his restoration may seem to us too aggressive impact by the state's speed inadvertently pacified certain details. However, the value of these murals should not be denied as a result since they were perfectly recognizable with all their features prior to 1950. Moreover, we have at least two sets of photographs taken before 1950 that enabled their present condition to be compared with their previous one. The oldest photographs were dated in 1901 by Manuel Gómic Moreno at the time when this much-acclaimed scholar a sort of patriarch of art history in Spain was compiling his catalog of the artistic heritage of the province of Salamanca where these wall paintings were seriously studied for the first time. His picture is the one we have seen in a previous slide sewing the condition of the chapel at the beginning of the 20th century. The wall paintings were subsequently photographed in 1927 by the Archive Mask of Bartolona a leading photographic archive of Spanish art. By comparing the present condition of the wall paintings with these images it appears that by the state's speed acted with an aesthetic criterion not with an archaeological or a scientific one which led him to abandon the lower part of the wall paintings the most iterated area competing instead the upper part of them not always accurately. Let's now examine the wall paintings themselves. These wall paintings are intelligently adapted to the conditions imposed by the Romanesque customary of the chapel which comprises an off-center window that at the time of the creation of the murals was blocked to serve as a niche for a cult image lost long ago. This required the wall paintings to be distributed in three bays of different widths in the left bay being extremely narrow. A problem skillfully overcome by the artist thanks to his profound knowledge of architectural design and to his choice of postures and grouping of figures. In the side bays the upper register shows the representation of prophets identified by inscriptions appearing on the books or scroll they hold this being Jeremiah on the left and Isaiah and Daniel on the right. Who is in the lower register equally identified by inscriptions we see Santan on the left and Sant'Jackie on the right. In the central bay around the niche that once undoubtedly enclosed an image of the Virgin on the side meaning which an inscription records the dedication of the chapel to Saint Martin we see the representation of glorifying angels most of them playing musical instruments. Finally in the lower in the lower stadium of the wall at the picture of the crucifixion once occupied its entire week but it is now almost completely erasing. This area is framed by inscriptions and reproducing the biblical text of Lamentations 112 of both Omnescu, Danzi, Bisper, B, and C which in turn encloses the arms of Castile and Leon. In an article published in 2005 I related the layout of the ensemble described above to the Parisian grand charge the great reliquary commanded by Saint Louis for the most beloved relics of the Passion of Christ for which he built the Champ Chapelle. I still believe in this relationship but now I'm convinced that the artist also used other sources to create this unique ensemble. In fact the painting on the east wall of the chapels and marking of the old cathedral Salamanca could be described as a compendium or summa of the different types of altar decorations that have been developing in the medieval west since the high Middle Ages. On the one hand the wall paintings in Salamanca recall those altar decorations that used the fissures of the mass movie behind the altar to create a backdrop for the eukaryst understanding an early sample which is the Marian altar of the airport cathedral. If we pay attention to the now almost disappeared crucifixion of the lower part of the wall paintings in Salamanca then remind us of those altars decorated with a panel altarpiece usually a low rectangular one like the well-known Westminster altarpiece surmounted by a canopy sculpture. As Paul Winske noted the wall paintings of the chapels in phase in Westminster Abbey offer a facsimile of this type of altar decoration. If we pay attention instead to the upper part of the wall paintings in Salamanca the canopy's virginal side lost long ago flunked by a side base with related figures remind us of talonacle altarpieces with their wings open. And finally the lesson of great reliquaries placed above the altar as in the aforementioned case of the Parisians and chapels is also present in Salamanca where the overall distribution and some architectural details seem precise quotations from the now destroyed grand shafts. It's really astonishing how elaborate and how complex the wall paintings of the chapels and martins in the old cathedral of Salamanca are which are not a peripheral or a regional world. One of the most outstanding features of these wall paintings is the presence of an inscription above the sideways of both participants. This is the inscription reads Esta obra fitrio and Don San Tesegobia era de 1300 which means I and Don San Tesegobia did this work in the era 1300. The Spanish word era refers to the Hispanic era which started in the year 38 before Christ and was generally employed in the crown of Castile and to avoid a disposition in 1384 decreed the use of the Christian era. Era 1300 therefore is to be understood as year 1262. The two circumstances stated by the inscription that is the author and Don San Tesegobia and the year of execution 1262 have been the subject of controversial dispute. What is certain is that the condition of the inscription was still quite good before the 1950-1951 restoration even that it could be read in its substance by Gomet Moreno prior to this day. And it is also certain that the inscription was not modified in any way neither during the process of restoration as proved by Gomet Moreno and other authors of Sweden and by the aforementioned photographs and it was not modified previously as by the status P, fulfillment and parts. So the inscription says what it appears to say that these wall paintings were created by someone called Anton San Tesegobia in 1262. However, with respect to the author it has been said that perhaps Anton San Tesegobia was not the painter but the donor. Certainly the formula when painted now it's by a version of it sometimes refers not to the artist but to the donor. But I reject this idea in this instance as known in Titulatio saying for example Cano, Axpico and Dean also accompanies his name. Moreover this name is not recorded at all in Salamanca in the 13th century and also in the 14th century a most strange circumstance for someone who is able to patronize such an ensemble as these wall paintings. I would also like to point out that the inscription says fifth job not merely fifth. In Spanish also in medieval Spanish quite different from English personal pronouns are not required because conjugation itself makes clear who is the person responsible for the action. You say I did you did you see it did but we say it did it did say it thought. In this inscription Joe I was not necessary at all and I interpret its presence as a formula intended to emphasize the authorship of the mural certainly proving an extraordinary level of self-consciousness by the artist. With respect to the year of execution it has been suggested that 1262 refers maybe to something different and prior to the wall paintings themselves or that there is some sort of mistake in its writing. Something different and prior to the wall paintings could be for example the construction of the chapel an argument pronounced by the reputed United States core app handle the platform post. However nothing in the inscription means that it refers to the chapel or to anything other at the wall paintings themselves and the chapel was actually built at the beginning of the 13th century at the time of the completion of the cathedral. The possibility of a mistake has been upheld by several scholars who say that the painter wrote year of 1300 in the year 1262 where he should have pre-written annual 1300 year 1300 so that the wall painting would have been executed in 1300. In my opinion this is not credible at all. Certainly mistakes like these happen sometimes. But such a mistake in one of the most cultivated miliares of the crown of Castile in the 13th century the university city of Salamanca is more than very unlikely. Much more if we consider that the possible founder of the chapel and the pattern of the wall paintings Pedro Pérez is credited as having served for many years as royal chancellor of the kingdom of León and as so the person responsible for his reign royal documents. Does anybody imagine such a personage incurring such a mistake or even consenting it? I sure don't. I have studied how Salamanca documents were dated in the 13th and 14th centuries and I have observed that until the 1270s documents could be dated either by the era or by the year. But dating later by the year would have been the most strange much more so in a text that is not in Latin. This is why as we get the objections made to the apparent credence of the inscription what we have is a mural dated 1262 and produced by an unknown artist named Anton Sanchez de Segovia. Its chronology sets out these wall paintings as a truly outstanding piece of work progressive not only in the context of Caspian painting of the linear Gothic style but also in the context of European painting. Researching of this work should investigate the reasons for such an exceptional character rather than challenge a date whose validity has been firmly established. The wall paintings by Anton Sanchez de Segovia are so extraordinary for a date as well as 1262 because of the way they fit into what has sometimes been referred to as Preziosite Gothic that is to say the mature Gothic style characteristic of figurative art which reached its full expression in mid-13th century Paris and was to survive for over a century. According to Robert Brana this style displayed its maturity in the wall paintings of the Jean Chapelle in connection with the consecration of 1248. Its style is characterized by the monumentality of their figures balanced by the their stylization and by the elegant even mannered postures and gestures which are nevertheless willing to hide any tension. Now the stylistic features of Anton Sanchez de Segovia are to be traced in former works of the town of Castile for the transition from late Romanesque to early Gothic in wall painting is evident in creations of the 1240s sometimes of a remarkable quality and interest. This is the case for example of the wall paintings in the Chapel of St. Peter in the Cistercian abbey of Santa Maria de Valuena created between 1244 and 1249 about 15 years before the Salamanca murals. On the contrary almost every fold almost every posture drawn by Anton Sanchez de Segovia finds a counterpart in works from Paris and northern France from the third quarter of the 13th century. The figure of Jeremiah with its body turned at its head in profile is associated with the taste of figures in profile as a way to explore the expressive abilities of human faces. This is the way in which this character places his clothes over his head created a cross-screen in the rear is to be found for example in a shelter in the seminary of Padua or in a tantis can be found in Assisi both of which are the Parisian works of the 1250s. The figures of Asaia and Daniel present even more explicit contacts with Parisian and northern's words of the third quarter of the 13th century. Both reproduce two of the most characterizing post postures of the manner and elegant style of the period. Asaia responds to the model of figure adjusted in his body to a pronoun segment of circle marked at both ends by the head and one fold. One of the first examples of this posture is to be found in the market on San Sebastian in the Champs-Épée. Daniel, on the other hand, corresponds to the model of figure in a pronounced contrapposto. To be found for example in a standard glass windows of the choir of the cathedral of Le Mans dated circa 1254. Despite these coincidences which suggest the direct knowledge of French models by Anton Sanchez de Cevovia the world paintings in Salamanca find better parallels in English art of the very same period. Or, more precisely, in the idiosyncratic way in which English art of the very same period assimilated the Parisian style. This is expressed by several manuscripts and by the world paintings of the painted chamber at Westminster Palace completely renewed after a fire in February 1263 and unfortunately destroyed by an empire in 1834. With split reference to the English case Robert Brenner noted that the Parisian style tended to be amplified to the extreme whenever it was taken abroad. One of the most of the more specifically English manners for example is the adaptation in representing postures and expressions. The taste for figures in profile with k-form to the figure of German in Salamanca became rather an obsession in England where we can find a good deal of them with some coincidental examples appearing in those apocalypse unrelated manuscripts. Apectation in the treatment of postures with those English figures with a sense of dramatism and known in French figures and therefore the figures of Isaiah and Daniel as specialists in tracking in Salamanca correspond better to the English concept. Most comparisons presented until now are made with manuscript painting as it is best preserved but it's worth comparing the mural by Anton Sanchez Egovia with the previously mentioned murals in the Feindland chamber at Westminster Palace. Paul Minsky dates the first phase of these murals back to the 1263 fire between 1263 and 1272. Identifying it with the mural of the coronation of St. Edward on the Northern Wall and with the murals on displays of the windows sometimes showing the figures of St. Edward and the pilgrim and others representing the film fan purchase. The analysis of Charles Tothard's watercolors copies copying the painted chamber murals before the fire of 1834 which are presided in this house reveals an almost total similarity between this and the mural of the chapel of St. Martin of the Old Cathedral of Salamanca with respect to the formula used in the drawings of the faces. There are also coincidences between the London figure of St. John the pilgrim and the Salamanca figure of St. Joachim that are close enough for one to imagine even the use of the very same model. The layout of the London paintings exceeds the execution of the Salamanca paintings probably by no more than a few months but I think it's possible that both derived from models used by the painters of King Henry III of England during the immediately preceding period. The stylistic approach to the wall paintings of the chapel of St. Martin reveals that they are not understandable in terms of mid-13th century Castilian arts of color sewing instead an accurate knowledge of contemporary French and English art. The side of the paintings on the east wall of the chapel of St. Martin of the Old Cathedral of Salamanca is extraordinary as is also their iconography. However, this question has often been neglected as it is apparently expanded by the paintings themselves through their inscriptions. Nonetheless, an iconographic analysis does not end with the identification of its figures separately but with the discovery of the key that compels a sense to their assemblage. In short, the mural by Anton Sanchez is obviously much more than the mere addition of St. John, St. Joachim, Jeremiah, Isaiah, Daniel, Engels. But before analyzing this in depth, we must remember that there are two key elements missing. The first one is the sculpted image of the Virgin and Child that once presided the Virgin sample. The one I have been showing in the slide does not correspond to it. It's just for you to form an idea about how it was. And the second feature that is now disappeared is the painted scene of the crucifixion on the lower part which is now completely disappeared. I confronted the question of the iconography of these wall paintings in an article published in 2018 whose second part was inspected in 2020. My thesis, at least at the iconographic program, represents the meeting at the Golden Gate in an depiction that is not narrative but dogmatic, intended to offer a visual representation of the immaculate conception whose doctrine was being expanded at that time. As we well know, the doctrine of the immaculate conception emerged in England in the 12th century in the writings of authors such as Edmer, Mokotson, Augustine, Scanderbully, and Osberg of Clare prior to Westminster in order to justify the celebration of the feast of the conception of the Virgin of the 8th of December. That feast was deeply rooted in the precise since the high middle 80s but was regarded with discomfort from the continent. This doctrine raised great controversy before it became widespread by the 15th century and was approved as a dogma in 1854. It was only at the time the doctrine became widespread that an iconographic formula based on the chapter 12 of the Book of Revelation was adopted for it. Before that date, the announcements to Jacqueline or the nativity of the Virgin were prepared in the biblical context and the meeting at the Bolton Gate was prepared in narrative context. From the second half of the 14th century in words, the latter substituted the foreman in the biblical context too. In any case, it's very difficult to determine when any of these images acquires an immaculist meaning as sometimes the very same images were used for both immaculist and immaculist purposes. Regarding the meeting at the Golden Gate, a variant was developed that the diverted from the standard a standard way of representing this scene fashioned upon the depiction of the visitation with the parents of the Virgin embracing each other with a respiratory instinct. Instead, the variant passionate upon the depiction of the annunciation saw with the parents of the Virgin completely separate and gesturing to each other. Jacqueline with an active pose of addressing playing the role of the kind of Gabriel and Anne with a passive attitude of reception and acceptation playing the role of Mary. In this variant they are both symmetrically displayed on each side of an architectural element or display that is clearly intended to be the Golden Gate of Jerusalem. I propose designating this alternative arrangement of the scene at the meeting at the Golden Gate the annunciation type as opposed to the standard visitation type. The annunciation type for the meeting at the Golden Gate is much more than a simple compositional device. As it visually merges the starting point of the life of Mary the conception and the starting point of the life of Jesus incarnation it emphasizes the start of the former so that the encounter becomes no longer an episode in the history of an average even sublime human being as other conception scenes but a few moments in the history of mankind consider the history of salvation. The message is that the salvation starts not with the conception of the Virgin an idea expressed by Edmer and by Osbert of Claire in the 1120s that soon became a commonplace among those who supported the peace of the conception of the Virgin. The annunciation type for the meeting at the Golden Gate appears significantly in the Winchester Salter of circa 1150-1160 and also in a standard glass window in 1215 before being used in Salamanca in 1262 in both cases the Winchester Salter and also in the Chartres Cathedral an immaculist intention has been convincingly argued in Salamanca the annunciation type for the meeting at the Golden Gate was enriched by the inclusion of the prophets the Virgin and the crucifixion this allowed conception an incarnation to be justified by pointing to passion and ultimately to redemption stating the active role of the Virgin in this crucial moment of the history of Mankind by sharing the sufferings of Christ according to the idea of compassion expressed in the crucifixion scene by the fainting Virgin that is now almost impossible to see but that was described by Gomet Moreno and is possible to see in all photographs. The fist of the conception in the second half of the 13th century but it was regarded with great reluctance generalization of the fist was to come only in the early 14th century in a process with the church of Santiago de Compostela and the church of Salamanca were to assume a leading role that suggests that this devotion was firmly established in them prior to this day Bishop Pedro Perez the president founder of the chapel and pattern of the wall paintings discussed here probably belonging to the group of learned clerics who were the forerunners of this devotion in Castile. My conclusion is that the style and layout of these wall paintings reflect the art developed in France and England the same as we said regarding the iconography at the time these wall paintings were created the ideas involved and the models in France and England so the artists who worked in Salamanca must have been familiar with them. How was this possible? Perhaps the fit of the understanding of the paintings on the east wall of the chapel of San Martin of the old cathedral of Salamanca lies in a well known personage the painter Peter of Spain recorded in the service of King Henry III of England from 1251 to 1262 it's a well known fact that the court of Henry III played a leading role in the reception of the new French styles in England and also that some artists were particularly favored by the model as it is manifest in the constant appeal for their services and in the privilege granted to them. This was the case in the 1250s of the painter named Peter of Spain who worked at Westminster both Palace and Abbey. His most important commission were the panels for the Lady Chapel of Westminster Abbey for which he was paid in 1258. Unfortunately neither this work nor any other by him survived so we cannot determine his style. His name raises the question whether he was actually a Spaniard or not. In 13th century England someone named of Spain could perfectly be an Englishman as this name has been recorded in Essex since the 12th century. Actually Christopher Wilson has recently stated that Peter of Spain belonged to a family from London but someone named of Spain could also be a Spaniard and could also be a Spaniard. One of the records about Peter of Spain known since the 19th century sets light on this point as I argued in an article published in 2005. In 1257 Peter of Spain was paid for accompanying a high-ranking personage beyond the sea. English historiography credited this personage first as a clerk of Toulouse and later as the Inviso a elect of Toulouse. Checking the original document which is preserved from the public record office makes it clear that the personage was not a clerical C. L. C. O. as John Rothboth transcribed in the 19th century but an elect of E. L. T. O. Thus the document undoubtedly refers to a bishop-elect and not to a clerk or a cleric. The problem arises when in search of the identity of this bishop-elect we realize that in 1257 there was no bishop-elect in Toulouse. Its sea has been occupied since 1232 by Rangón de Pelgar who died in 1270. In this historiography read the word adjoining to elect of as Toulouse T-H-O-L-O-S and interpreted it as Toulousano which is apparently coherent but this reading does not fit into the statistical evidence. If we closely examine the original document we realize that it actually does not with T-H-O-L-O-S but T-H-A-L-O-S which does not correspond with Toulousano nor unfortunately with any other diocese of this period. It becomes clear that some sort of mistake was made by the scribe and considering the historical circumstances of the document its only possible interpretation is that T-H-A-L-O-S Talos is a corrupted abbreviation for Toletano and that the document refers to Castilian empanther which means royal prince Don Sancio brother of King Alfonso the 10th of Castile and a piece of leg of Toledo between 1251 and 1259 when he was consecrated and acted as a piece of in his full right until his death in 1261. Impanthe Don Sancio visited England at the end of 1255 in a diplomatic mission described by Matthew Parish concerning the dispute between England and Castile about Cascone. On his return to Castile in January 1256 he was accompanied by Peter of Spain by order of King Henry III undoubtedly in my opinion for the very reason that our painter was of Castilian origin. The full content of the 1257 document hints that Peter of Spain at births before his lord after coming back from Castile and presents him with two seals as a proof of difference. I think that during the time he stayed in Castile Peter of Spain acted as a link between the English and the Castilian courts. Peter of Spain's profound knowledge of the Castilian language and customs by birth could facilitate the movement of the succession and basis sent by Henry III to the Castilian court a seemingly delicate moment for the relations between the two crowns. Actually once in Pantano-Sancho with Castile he went to the royal court which spent most of 1256 in the city of Segovia. Is it by chance that only six years later a painter who himself claims to be from Segovia Anton Sancho de Segovia signs a work reflecting the avant-garde of the European court of the time. Maybe it is by chance but my hypothesis is that the state of Peter of Spain Castile in 1256-1257 prompted the contact with and the training of local painters who were able to adopt the new styles of Paris and London. But accepting this implies accepting that the style of the painted chamber or the style of manuscripts like the well-known Lambert, Louis-Benguin and Abingdon apocalypses was already painted circa 1260 and I know this is problematic. What isn't disputable is that the paintings on the east wall of the chapel of Saint Martin of the old cathedral of Salamanca are a major work of the European art of the 13th century. Especially important we consider that many of the leading murals of both sides of the child have now disappeared. Thank you very much.


Hey guys, it's Andy. This is going to be a video that's going to show you when you're on the lot and asking for somebody's business, when they say I need to talk to my wife about it, I'm going to show you how to overcome it and advance the sell for it and end up closing it down. You guys are going to love this video. Okay, guys, all right. So here we are. I'm going to kind of set the stage, set the scenario for you. So you're outside on the lot, you ask somebody for their business, a husband, and by the way, we can reverse this. Maybe you're talking to somebody's wife and she gets a, hey man, I need my husband to make the decision. That would be fine. That would be fair. And by the way, I'm married, okay? So I've been in the car business for 23 years, but it is an objection that people get all the time I need to talk to my wife. When that happens and someone says I have to talk to my wife, I want you to understand this. That is a stall and that is real. So is there a way that you can do what? Still get them committed, locked down, and advance the sell forward. I believe there is. I do it all the time. I did it when I sold and I would tell you probably 80% of the time this worked for me. So let's kind of go through it. I'm outside on the lot and I say hey, you know, is there any reason why you wouldn't be happy taking the home if I, you know, if I could make the deal right? A guy says, you know what, Andy, I need to talk to my wife. And that is going to be the objection. I need to talk to my wife. This is the word track that I want you to use, okay? And I underline specific key words that really are important, that make a big difference, okay? So it goes like this, I need to talk to my wife and I'll say I completely respect that both of you need to make a big decision together. Would it offend you if I showed you a five minute proposal of what your trading is worth, the best price on mine, and a ballpark of how low the payments can be so you can talk it over with her? Also that way you too can make an educated decision and I'm sure she wouldn't mind and appreciate it if I saved her some time by showing you all the information up front. Does that sound fair? And guess what? This is something that works almost all the time. Now I'm going to step out real quick and I want you to pause the video and I want you to kind of look at it. Hey guys, it's Andy. I hope you're enjoying the video. If you are, please like and subscribe below. Also, click on the link below. Join me in a free strategy session. I'd love to help you set up a game plan to crush it. Let's get back to the video. It says I completely respect that both of you need to make a big decision together. Would it offend you if I showed you a five minute proposal of what your trading is worth, the best price on mine, and a ballpark, and just how low the payments could be? That way you can talk it over with her. I'm sure that both of you too need to make an educated decision together. And also I'm sure she would appreciate, notice the keywords, the time that we are going to save her that we're getting all this up front. Does that sound good? And here's my goal. So the wife's not here.  You can use my office. Now, she doesn't need permission to say you can buy. By the way, the wife, the husband, 99% of the time, they already know that they're thinking about buying a car. It's not the first time that it's popped up, so the conversation's been had. In order to get the second half on board with making a deal, it's going to have to be something that's enticing, and the party that is with you needs to be more invested. Now let me explain what that means. So we found a car, right? See this? We found a car that the hubby wants to buy, okay? We got the wife. She's either going to be at one or two places at work or at home. That's what we know. So what happens? You got the car lot, we'll just call this car a lot here, I'm here, the customer's here, and the car's here. The only person we don't have is mama. She's at home or she's at work. So now what do we do here? Well what I want to do is say, hey, let me show you a five minute proposal of all the numbers so that way that basically when you do talk to her, right, she has everything that she needs or that she would ask you for, hey, what do you think the numbers are going to be like? You know what? You don't have to say, I don't know, honey, we'll have to come back in here and sit down together and figure out what that is. Guess what? She will physically know what all the numbers will be because you'll have them to give them to her, right? You'll actually appreciate all the time that you have saved her. So with that being said, guess what? This right here is everybody. We just don't have this person. So what my goal to do is to take this hubby right here, okay? And I am going to get him 90% committed. Now watch this. If I want to go over payments, what do I have to get? Credit. Now when somebody gives credit, how involved are they? Man, they're really freaking involved. Think about it. So if this husband over here lets me go look at his trade-in. How involved is he? Man, he's really involved in the deal because I've gotten to see his trade-in. Man, guess what? It's kind of like I need to think about it when somebody says, hey, I need to think about it. You say, of course you need to think about it. Look, guys, I haven't given you enough information not to think about it. What I'd like to do is give you a five-minute proposal of all the figures so when you go home you truly have something to think about. Would that be fair? If I got you those numbers? And then they say, sure, that would be fair. And I go inside and as I look at their trade, right, and I kind of see what condition it's in, how much they owe, all that stuff, and I get their credit so I can tell them kind of what their payments are going to be and all that stuff. And I get everything. Do you know what happens? The customer is so far into the process that guess what? They're literally a signature away from signing. And if I can take that husband that far, which you can, okay, and I've already told him that I don't have a problem with him going home and talking to his wife about it. What I'm betting is on me as a salesperson that I can get him to commit and then I can end up closing him down towards the end with the phone call to his wife. Let's play it the other way. The guy says my wife isn't here. And guess what happens? I say, okay, cool, when can she come back with you? And then he disappears and I never see him again. Would you rather take the bat of having somebody there with you going over everything with them, trying your hardest to close them down or not take a bat at all and then have hope that they come back with the wife, which a lot of the times is a good chance they won't. And by the way, 10% of the time you may know that somebody has to have their wife no matter what. Guess what? I can still close them down this way, get mama on the phone afterwards. In order for me to close the husband, right? When he's closed, he can call and close his wife. But if the husband isn't closed and he's bringing his wife back and then I got to close both them at the same time, here's what I am good at. I'm good at betting on me and making things happen up front. I have created this word track because I need to talk to my wife is a very common objection that we get in the automotive industry. Matter of fact, in every business in life. So if you can become great at this and you have something to say, it'll help you sell more cars. I hope you guys love this video. Rock and roll man. I hope you guys have a blessed day and keep up the training. Hey guys, congratulations on making it to the end of the video. Obviously you're the determined ones and you guys crush it. You're the one percenters. I just want to tell you number one, I appreciate you and anything you need to reach out to me. If you're struggling with anything, leave a comment in the comment section below. I always answer all my own comments. I'll reach out and help you. Also, don't forget to set up a strategy call with me. It's free. It takes 20 minutes. You can click the link below too and you can join me. I'd love to help you make a game plan to crush it. I hope you guys have a great day.


Hello, I am Takeshi Kanemoto from VNC Automotive and I'm here to talk to you about media aggregation for IVI systems. Here is the agenda for this talk. I'm going to start with a short introduction of the company I work for, VNC Automotive. Then I'm going to show you some current trends in content consumption, how people are consuming media. Next, I'll move on to in-car entertainment of the future, what the automotive passengers of the future would want from in-car entertainment. And then the state of in-car connectivity, where we are today in terms of in-car entertainment. And finally, I'm going to finish the talk with some of the challenges facing the automotive industry in trying to achieve that vision of the future. So, introduction. We are VNC Automotive. We started in 2019 as a division of real VNC. That's the inventor of the VNC protocol. Since 2018, we have been an independent company providing the automotive industry with connectivity software. Our products include device connectivity, remote control software, multimedia framework and telematics software. And I would like to share with you today our insight based on our experience in helping automakers realise in-car entertainment solutions. So, let me show you some trends in content consumption. These are mostly figures that apply to the general public, not limited to the automotive industry. So, it's not surprising that media consumption is on the rise. On the graph on the left, you can see how media consumption has shifted over the last 100 years in the US as an example. As people started to have more leisure time, they spent more time on consuming media content. You can see that Analog TV was starting to dominate in the 70s and 80s only to be replaced by digital media such as digital TV, streaming services and games. On the right, you'll see a trend of where the digital media content is consumed showing the number of hours US adults have spent with digital media. You can see that back in 2008, very few people were consuming digital media on their smartphones and as more personal computers dominated. With the arrival of smartphones and as more mobile-centric web technologies became prevalent, we started to see mobile consumption overtaking PC consumption around 2013. And in 2008, the mobile phone takes up majority of the media consumption space. So, media consumption has been and continues to be increasing and it's increasingly digital and it's increasingly mobile. And it wouldn't be 2020 without talking about COVID-19. With the lockdown and stay at home measures, the upward trend in media consumption is being accelerated as people need to fill the time they would have otherwise spent outdoors on other activities. The infographic on the right taken from the BBC is showing the figures that represent the viewing habits of adults in the UK during the first lockdown. So, let's have a look. Adults spent six and a half hours a day watching TV and online video and that's 45 hours a week. Out of those six and a half hours, they spent over an hour watching streaming services, double what it was before the pandemic. And 12 million customers signed up to news services like Netflix, Amazon Prime and Disney+. And viewing figures for video streaming services have gone up by 71% compared to 2019. So, these are some big shifts in people's behaviour and even though they might be temporary, undoubtedly some of them will have a long-term impact on people's lives. Here is another trend. More people are using screens to consume content and more people are using multiple screens to complete a daily task. In fact, 90% of all media interactions are happening on screens. More than 70% of digital users access the internet across multiple devices. And 90% of these users use multiple screens sequentially to accomplish a task. You can imagine a consumer starting their online purchasing on their mobile device, browsing for options perhaps on the train, but switching to their laptop once they get home and finally completing the purchase on their bigger screen that they have on their laptop. Consumers are getting more used to having access to the same content from multiple devices, expecting the content to be responsive to the nature of the device that they're using, choosing which device to access that content based on the experience they want. Another trend is the number of subscription services and how they are becoming increasingly fragmented. More exclusive content is being offered by services. In trying to attract more users. And this is leading to more subscription per user. Consumers often need to sign up to multiple services to watch their favorite shows. Almost all subscription services offer their own application for the best experience. And their other interfaces are often siloed as well. So you end up with different apps on and interfaces on any given device that you have to switch between when consuming content. And can this trend really carry on? I think we are starting to see people getting the so-called subscription fatigue. Some studies suggest that we are already seeing the start of a downward trend in the number of subscriptions per user in some regions. We can predict that there is a great value. There is great value in having services that offer usable aggregation of content from multiple content sources. Just to go back to COVID-19 again. COVID-19 is having an enormous impact on people's mobility. There is a clear shift away from means of transport such as aeroplanes and trains as people prefer private vehicles for intercity travel. A third of customers value having constant access to private vehicles more than before COVID-19. This percentage is higher amongst younger consumers. But how is that impacting media consumption in those private vehicles? Sources suggest that people are still bringing their own devices into cars. The current gen native infotainment systems are not quite there yet in terms of streaming user-generated and social content. Technologies such as CarPlay and UnderAuto are bridging the gap between the user's devices and the IVI systems. But they are overwhelmingly driver-centric. We are seeing some trends in automotive demos that give us an indication as to where the industry is headed. One of the things that we see in the horizon is autonomous driving. Once autonomous driving technology reaches level 3, 4 and 5, we'll start to see the driver having more time for other activities. And to look even further, mobility as a service will see a shift away from the idea of private car ownership and more towards cars being more of a commodity. This will free up time for other activities whilst on the move. And in fact some suggest that this passenger economy will free up more than 250 million hours of commuting time per year in some of the most congested cities in the world. And the rising consumer use of in-vehicle applications and content will add up to a total addressable market value of $200 billion. So that's a huge market to tap into. So with all these trends in mind, what does in-car entertainment look like in the future? Well, here are some examples. So imagine this scenario. You summon an autonomous car with your mobile phone and the vehicle pulls up, recognises your phone, it unlocks the door and welcomes you with a message projected on the window.  Once you're moving, the fun begins. The screen rises, the projectors extend the image to the side windows for a 180-degree experience. You can sit in the third row and enjoy interactive media en route to your destination on the available windows. Such example is already being demonstrated by Intel and BMW and there are other similar demos involving virtual reality and augmented reality, for instance. But it's not all just for fun. People can start to use the car as their mobile office with large high-resolution touchscreens with data connections. They can have a better working environment than simply working on their laptops. Even without sophisticated computing units in the car, simply mirroring laptops onto screens inside the car can provide a more comfortable working environment. With more reliable data connections in the car, use cases such as video conferencing will become commonplace. This may seem far in the future, but the basic building blocks of these examples are already here today. But for these examples to be truly accepted by the users and not just some gimmick, there is an important component that technology has to overcome and that is usability. And to achieve that, here are some important technological problems that need to be resolved or need to be solved. First of all, content aggregation. So sharing and aggregating content libraries is key to making the experience usable, flexible playback. That means playing any content from any device and service on any other screen in the car. Seamless media experience, so shifting between screens within and without the car for a better integration with the user's daily lives. So content aggregation. Aggregated and shared content libraries should become the norm. We should be able to see and play music from all registered devices in the car over Wi-Fi rather than the point-to-point link provided by current industry standards like Bluetooth, Android Auto, CarPlay, etc. Users should be able to share pre-downloaded videos with other passengers. And this will be a blessing for parents who will be able to use their smartphone to start a cartoon for a child in the rear seat without having to reach around and try to press buttons on a screen they can't see properly. Consumers should be able to, well, they should expect to be able to start playback from any device or screen on any other device in the vehicle. So that's flexible playback. Playback sources should include things like online streaming platforms, OEM provisioned content, local media like USB storage and optical disks, and devices on the Wi-Fi. Playback should include bring your own devices like smartphones and tablets, rear seat entertainment units, and even the main in-vehicle infotainment console, which are all subject to legal restrictions like viewing in motion. Seamlessly shifting the media experience from one device or screen to another within the car will become commonplace. For example, a consumer should expect to be able to continue playing the same content on their mobile device as they enter the vehicle on the screens inside. So to provide this capability, a flexible software solution is needed so that the service can be varied by manufacturers and based on the vehicle model and the target demographic. And this should be complemented by a content catalog. So that's the future. But let's take a look at what the current state of in-car connectivity. The so-called connected car has evolved over the years. And we saw some interesting ideas in as early as the 1960s, but it wasn't until the infotainment boom around 2007 that we saw connectivity solutions like MirrorLink arrive on the scene. From there, we saw companies like Google and Apple enter the market with Android Auto and CarPlay. We are seeing the ongoing development of V2X and mobility technologies today. In these following pictures, you can really see how the cockpit of a car has evolved over the years with the evolution of the connected car. So let's focus on the connectivity solutions for the cockpit. Smartphone connectivity is an important part of that as mobile devices have their own rich application ecosystems that the automaker can leverage. And the mobile devices often come with data connectivity. In terms of smartphone connectivity standards out there, there are quite a few and you can see some of them here. On the left, you have the more mobile-centric ones like Apple CarPlay, Android Auto and Baidu CarLife. These are driven by web and mobile technology companies. In the middle, you have the more community driven standards like Smart Device Link and MirrorLink. And on the right, you have the more OEM-centric proprietary solutions. The market is fairly fragmented and there's no clear winner. But all of them have a couple of things in common. They are often point-to-point designed for one phone and one display. Not really designed for having multiple devices connected or driving multiple displays using different content from the same phone. Or at least having multiple devices really adds any extra value. And they are also driver-centric. There's more focus on avoiding driver distraction with simplified UI and big buttons and the UI is often limited in what you can access. This means almost all of them are ill-fitted as connectivity standards for media consumption for other passengers. Apart from the projection-based smartphone connectivity, we have some more traditional means of media playback. We have optical disks and USB storage. These are simple but effective. And these days considered somewhat cumbersome because the user has to carry or store physical disks and drives. They would much rather carry the media around on their phones or even stream content from online services. It's much easier. Then you have the good old Bluetooth with protocols like A2DP. You can have a good multi-source experience with that but there's no video capability. And of course TV is quite important in parts of the world, in some parts of the world like Japan. So we've focused on the cockpit until now but what about rear-seat entertainment? Rear-seat entertainment has been around for years but adoption has been slow. It's largely provided by aftermarket equipment suppliers with high price tags. The resolution is often low and functionality is often limited. But cars are getting bigger and the interest in rear-seat entertainment systems is strong across all regions. Demand is mainly from the younger users but so far the lack of high bandwidth data connection inside cars has been one of the major barriers to rear-seat entertainment being more popular. But with the introduction of low-cost unlimited 5G data plans in the near future we can predict that the demand for rear-seat entertainment will go up. There are some other interesting technologies around for in-car entertainment such as personal audio zones. The use of in-car speaker arrays allows each passenger to be able to listen to their own content without interference and this vastly increases the possibilities for in-car and media consumption. The example shown here is from Harman using directional speakers combined with noise cancellation and there are other similar technologies around. And finally, what are some of the challenges facing the automotive industry in trying to achieve in-car entertainment of the future that is truly usable? So one of the key aspects is content provisioning and an important question for the manufacturers is compete or aggregate. How much should they compete with the likes of Netflix, Amazon etc. and provide their own content? Or should they simply aggregate these services to present to the end user? Should they choose to aggregate, they would be responsible for the management of these content sources. They would need to guarantee content delivery to all screens inside the car both built in and brought in. As manufacturers look to offer more content options though they will need to create commercial frameworks with games publishers, Hollywood studios, publishing houses to name only a few. Plus, there are content protection rules and requirement for rights management that are new to most manufacturers. These rules vary for each piece of content, destination device, region and delivery method. Manufacturers will also need to banish content across borders. Within the EU for example, this means complying with the EU content portability rules which allow services to offer the same content catalogue in many countries but moving this content out of the EU may incur geographical restrictions or additional content costs. So managing content provisioning is hard and there are also technological hurdles to consider. One of the main technological hurdles is interoperability when implementing media aggregation. In a car there's a multitude of operating systems, software and hardware platforms, protocols and schemas. The aggregation solution needs to work across all of these combinations and this requires a flexible and modern software stack. So we've had some protocols in the past that partially fulfil these requirements of media aggregation inside vehicles. One such example is DLNA. It's okay but it also has a lot of limitations. It lacks support for modern formats like MKV, etc. Plus, its predefined profiles restrict what can actually be discovered and listed. Some implementations work around this by adding extra on-the-fly transcoding but it's often clunky and inefficient. Most important of all, the protocol including the content protection extensions must involve files and it cannot stream screens like the modern casting technologies can. Technologies such as AirPlay 2, Google Cast, Miracast, VNC, etc. It suffices to say it's not really suited to the era of online video services, media streaming and photo sharing. So there's a real opportunity for a standard for aggregation, a new standard for aggregation, one that works across applications and services on mobile devices, online services and other forms of media. Perhaps one that can agnostically leverage existing casting technologies that are point-to-point with no aggregation but with solid content protection mechanisms already built in. They will be useful for content delivery to the playback devices once the aggregation is done. So this is where I will finish my talk and just to summarize, content consumption is on the rise. It's more digital and more mobile than ever. Passengers of the future will expect usability, not just some gimmick. Content provisioning is hard and media aggregation requires a flexible software stack and there's an opportunity for a new standard in media aggregation. Thank you.


Hey everybody, welcome back to the Star Wars channel. My name is David and today we're going to talk about my theory for the plot of the Mandalorian. I'm not really interested in your opinion, 3KR. Hey everybody, welcome back. Thanks for being here. Thanks for spending some time with me. If you don't know, I'm a Star Wars fan, been a Star Wars fan since the very beginning. I'm not a hater.  I love the entire universe. Love the expanded universe. Love the old films, the new films, the toys, all of it. Basically you slap Star Wars on something. I love it, right? So we've been watching the Mandalorian, watching Mandalorian on TV. It's out there on Disney Plus. And those of us who are watching it, I think when we start to watch some of these spin-offs or some of these side shows, TV shows, we wonder, okay, how does this fit into the overall expanded universe? Like, we understand the timeline, right? We get the timeline. But how is it as a puzzle piece going to fit in and lock itself in, you know, set itself into the rest of the story? Like, is this a total side story that has nothing to do with the other characters? Or are we going to see some integration? And I have a really big theory about how Mandalorian fits into the Star Wars universe. But to explain it, I'm going to have to go back and talk about some of the other Star Wars TV shows because those of us who've been around for a while know this is not the first Star Wars TV show. There's been a lot of different Star Wars shows on television. And they've been kind of put in their place in the Star Wars canon sometimes. And at least the timeline, they fall into the timeline. So let's talk about where the other shows fall into the Star Wars timeline. First of all, we have the show Droids. Droids was a cartoon released in 1985 and 1986. It takes place four years after Revenge of the Sith and 15 years before A New Hope. Then we have the Holiday Special. Holiday Special came out in 1978 and it takes place halfway between Star Wars and the Empire. So halfway between episodes four and five. Then we have three shows all about the Ewoks that take place between Empire and Jedi. First we have Caravan of Courage that came out in 1984. Then we have the Battle of Endor that came out in 1985. And then the Ewoks TV series that came out in 1985 and 86. And like I said, those all take place before Jedi. And here's where I think the Mandalorian fits in. Okay, here's where I think the Mandalorian fits in because we come now to the Force Awakens. And in the Force Awakens, there is a plot point where the heroes are all at Maz's castle. And Maz introduces the legacy lightsaber to Han Solo. Now, what is the legacy lightsaber? Legacy lightsaber is the lightsaber that has been in all of the films. Legacy lightsaber was first Anakin's lightsaber right before he became Darth Vader. That saber gets passed from Obi-Wan to Luke in A New Hope. And then of course that lightsaber is lost at the end of Empire Strikes Back. Then we see this lightsaber make its appearance again in Force Awakens. And it is the lightsaber that Rey now has. Hence legacy. It's been in all the films. Okay. When Maz has it in her hand, she holds it out to Han. And Han says, where did you get that? And Maz says, that's a good question for another time. A good question for another time. Which means, we don't know. Maybe. Possibly. Hasn't been written yet. Here's what I think. Maz has been running that, you know, bar for a long time. And she certainly sees her share of scoundrels and rough hooligans and bounty hunters that probably come in and out. Don't you think that it's very possible that in this new show of the Mandalorian that takes place between Jedi and Force Awakens, which is the perfect place for it, that the Mandalorian is going to come across the legacy lightsaber in the TV series. And he is going to bring it to Maz. And that is going to be the story about how the lightsaber gets from point A to point B will have all the answers because of Mandalorian. That's my theory. That's what I believe. Is that somewhere in the show, the Mandalorian is going to come across the legacy lightsaber. He's going to have it for a couple of episodes. He's going to make his way to Maz. And we're going to find out how she gets it from him. That is my theory. What do you think about that? Or do you have your own theories about how Mandalorian fits into the expanded universe? Let me hear what they are. Make some comments down there below. Loving the series so far, right? Loving it. Loving Baby Yoda or whoever he is, right? Loving some of the new recent episodes with the ATST and the Jawas and IG-11. They're doing some really cool stuff. Having a lot of fun watching the series. Hope you are too. May the Force be with you guys. I'll see you next time. Bye.


Hi everyone, happy new year. I'm Joe for jaspyscasebreaks.com, coming at you with a pack break of 2019 Panini Prism Football. That's what it is. It's gonna unlock the current version of Prism Football. That's gonna come up in a different video. Big thanks to this group right here for making it happen. Happy new year to you, ladies and gentlemen. All 32 teams are in. Let's do the pack break first before we randomize with a different dice roll for the team giveaway spot. So six and one, seven times. And Bill's just one time. Bill's beat the Dolphins to take the AFC East. Six and a one, seven times. One, two, three, four, five, six. That's right, Tyree going back to Kansas City. Got Douglas down to Nick. And seven times for the teams. We'll break down all of the playoff matchups in the Prism Football break. All right, so no trade windows here in these filler packs, but here's the first half of the list. There's the second half of the list. I'm sure bookmakers have some early odds loaded up. We can take a look at that and discuss all of that during the Prism Football break. We've got Joe Hayden to 199 for the Steelers there in the playoffs. All right, so nothing too crazy there. The Joe Hayden will go to Nick T in the Steelers. Now let's go back to the list. Let's gather everybody's names for our second dice roll, New Dice New List. And then we'll match you up with the team. Top four, we'll get a team. Top four after in that order, after seven, one and a six, seven times. One, two, three, four, five, six, and seventh and final time, good luck. So there'll be a lot of sad faces here. Steven very close, but just not quite. We'll get him next time. Five through 32, thanks for trying, but only the top four can be in the next break. That's gonna be Alec, Nick, Douglas and Alec. Alec with two of the four teams after seven, congrats. So Alec, you're gonna get my Raiders. Douglas with the Cowboys, Nick with the Patriots, and Alec with the Tampa Bay Buccaneers. We'll put Prism83 next to your name so you know where you won that. There you go again. I'll see you in the next video for the break itself. JaspysCaseBreaks.com.