What's going on everyone? I'm Joe for jaspyscasebreaks.com coming at you with 2022 Fnatic Underwraps 2.0 Autograph Baseball's 3 box random player break number 21 The last three boxes of this case that we did Just picking out boxes out of this case that we popped open earlier today We don't have any more after this to post But keep you're on the website you never know when these might come back All right, so now let's do our Randomizing here, of course the any and all multi-signed spot will get any and all multi-signed Autograph baseballs now. Let's fill in your Multiply to your one spot gets you nine Very good point someone brought up the other day. I think it was Joe Christian. Maybe who was like so if I have Here's a good example if I have Vlad if I get randomized Vlad jr. Vlad senior I don't get that ball, right? It still goes to the any on it. Yes, that's true That multi-signed baseball would go to that any and all multi-signed baseball spot So that was a good good scenario to to bring up Charles They've been saying that since the since the 50s. I think somehow they're still kicking still around. I Love when people say that All right, let's roll it and randomize names and players six and a one seven times one two three Four five six and a one seventh and final time. Let's put the results here six and a one seven times and Seven then final time Correct Rex. Yeah, I like that too, especially if it's like five autographs on a baseball Then the randomizer becomes a little bit of a bit of a one happy person multiple sad people alright Big thanks to everyone here Dilo who is a Daniel who is a Philly's fan a big Philly's fan saying that if I end up getting a Joe Carter Baseball, can I pay extra just to have it launched into the ocean? No, I Will do that for you. I'll just walk right down Pier Avenue here in Hermosa Beach And I'll toss that into the mighty Pacific for you All right, so there are the list of players just as is and now here it is Alphabetized by your first name so you kind of see it all grouped together So Brandon, there are your players Chris here your players right here.  Did you actually get Joe Carter? No, it looks like you avoided Joe Carter It's doing good shape Jason K Kyle Harper Richard Oh Richard Oh ended up with Joe Carter and And Tristan they're your players right here It's true T. Is that usually Tristan? Is that usually the last name here Tristan? What other names could be after Tristan? you names How many names start with a you? All right, we're gonna pause a video When we come back, we're gonna see if there's any trades and then we'll have the three-box break stick around be right back All right, welcome back everybody TWC trade window closed and thinking caps on The world-famous who am I game? Let's see what we got this guy's pretty good Who am I? retired lefty currently 42 years old had a win-loss record of 251 251 wins 161 losses a lifetime three seven four ERA and A little over three almost thirty one hundred strikeouts in my career played for three teams my entire career six time all-star a World Series champion won the Cy Young won the ALCS MVP in a two-time Major League Baseball wins leader Two seasons in a row. I signed for a 1.3 million dollar signing bonus in the late 90s Which was which that's that's a lot back then Think he I think he has a podcast going on right now Might have some kids come coming up Maybe possibly playing since and commercials Yeah, I think it's the it's a podcast R2 C2 It was part of the players tribune in 2018 to move to the uninterrupted podcast now. I'm not sure if he's still doing it, but But yeah, there's some interesting episodes there. That's right Husky Dolphins got it. It's cc. Sabathia And this one I know we had a cc. Sabathia baseball last night or maybe earlier today He's all kind of blurred together, but this one is inscribed 3000th K, that's the cool thing about this fanatics product or all the stickers right there is that I know sometimes we'll see some repeats of names but sometimes The repeats you'll often get you know, but there's enough like different ones It'll be like just one raise autograph than one where it's inscribed with something different. So Those inscriptions are always nice. I think depending on the inscriptions might give Give the ball a little boost in value than maybe a normal one That was a good one Husky Dolphin. What what gave that away? I Feel like I did I didn't give too many Sabathia specific clues Tristan with cc. Sabathia. He's a Yankees guy. So he's gonna like this one next ball coming up Am I the kind of guy that would like a podcast called R2 C2? Shockingly not enough Star Wars content on that on that pot Although I haven't listened to it too often. So Maybe they started incorporating more Star Wars related content the Mandalorian drops on Wednesday If you're on the West Coast midnight on Tuesday, I guess technically Wednesday, but midnight late Tuesday night So we get to watch it late at night Which is perfect because it's usually by the time I finish breaking tomorrow night, right Tuesday by the time I finish breaking And then I make my you know close down the shop made my way back home. Then it's pretty much It's pretty much Mandalorian time. I could sit down with a adult beverage and Enjoy a little little Mando Who are you this is on a world series ball? It's on a world series ball ladies and gentlemen Who am I a? World series champion. I have a lifetime 259 batting average 335 home runs and a thousand runs batted in played on four teams my entire career an eight-time all-star a three-time world series champion in three different decades an NL rookie of the year Two times silver slugger and an NL home run leader This world series baseball is from my first world series That's kind of a cool record. Oh, sorry two decades. I missed it by I've missed it by a year I won a world series in 1999 in 1996 and 1986 And a lefty you could say that the team here. This was the night is 1986 ball you could say That this this 86 World Series winning team was Was pretty amazing Yep, Delos got it. It's the straw man Daryl Strawberry your 1986 World Series champ on An old 1986 World Series baseball that's pretty cool They're the two right there an official 80 1986 World Series Baseball They should chop you should chop this in half Dilo and then compare it with a baseball from this year and see how different they are They say the seams are a lot lower on this one Nice Matt would That's a good one Yeah, you could probably put You can probably put a lot in here, right? Daryl Strawberry could probably tell us how much could fit in the bag. I mean that's a lot actually that's probably too much Maybe not for Daryl Strawberry. I don't know. Maybe maybe uncut might be able to To put enough there way too much for me Maybe not for Daryl Strawberry and Doc good and the rest of that Mets team That's probably enough for a Mets. That's probably enough for a team, right?  That was a slim-looking team, right? Oh, I don't think it was alleged Rex I think he fully admits it now nowadays. I don't think that's a legend Here are your Mets. Gary Carty. I mean everyone probably did it right Gary Carter Keith Hernandez Wally Backman Raphael Santana Ray Knight George Foster Lenny Dykstra Daryl Strawberry Mookie Wilson Kevin Mitchell. I feel like Tim Tuffle. No, right Tim Tuffle Doesn't sound doesn't look like a guy that that would do that, but probably I don't think it's in the it's the mid 80s Howard Johnson Danny heat at hern Kevin Elster. Yeah, these guys are all doing it. You know Dave Magadan Dwight Gooden Ron Darling Bob O'Hata Sid Fernandez Rick Aguilera Roger McDowell. Yeah, these guys are all Jesse Roscoe One night that bag size easy every night Easy good one Matt. All right. Now. I'm gonna have to check mark the unsafe for unlike Adult content on like my upload of this video. All right. Who am I? I'm a lefty hit 287 174 home runs 1300 runs batted or 1300 hits 630 runs batted in and 156 stolen bases I'm a two-time all-star a gold glove award winner three times silver slugger a two-time batting champion hit for the cycle three times Twice in 2008 part of the 30 30 club 2018 where I hit two cycles. That's the year I won the NL MVP I should give it away born in Thousand Oaks, California attended Westlake High school. It's just over the hill probably about 45 minutes north of Jasper's case sports cars and collectibles He never thought that I heard some I remember some early interviews with him. He never thought he was gonna develop into a a Hitter like a power hitter You know, you always thought he was he was just gonna be a slap single maybe a doubles kind of guy But ended up developing the power later on If you can get get that back If you can get that back that would be good for the hobby, I think yep Chris Butler's got it Christian Yelich Christian Yelich, which is gonna go to Tristan Now again, we've had a Yelich fall earlier But I don't think we had the NL MVP inscription on on the yelch or the NL MVP baseball not inscription But there's the there's the baseball There's the yelich's autograph This one already already looks a little different from that 86 ball, right? It looks a little different than the Bay Major League baseball always fiddling with autographs. All right Chris Butler Good guess right there Tristan good ball right there You're gonna get the Christian Yelich and there you have it ladies and gentlemen. I'm Joe for jazby's case breaks calm I'll see you next time for the next break. Bye. Bye


We're changing lives in Latin America.   You've made it possible for me to buy a house, for me to buy a car. So it's like pretty magical to have that culture of building not just careers but dreams.


All right. Hello, everybody. I am here today to talk about talking in backstage, which it feels a bit of an inception thing. But the reason why I want to talk about this is because a few months ago, I was talking with a backstage contributor and he asked me, why is a developer portal? And I was like, oh, well, backstage does create, supposed to make, is a framework for making developer portals. So that got me thinking of how there is maybe a disconnection of how we talk about backstage in different scenarios or different people because people have different interests. And, well, I introduce myself. I am Jorge Cana Fiesta. And before, I used to have no problem with people running away from me. But nowadays, when they see that I have the marketing name in my title, the developers just want to leave the room. But no, I am not going to sell you anything. I just want to talk about talking in backstage because words are important and they carry a lot of meaning. And I got confronted with this because recently I was commissioned to write the introduction to backstage course by the Linux Foundation. So that got me confronted with having to explain backstage to an audience who has not been exposed to anything that we are so used to. And the reason why it might be tricky to talk about backstage is because adopting backstage is an organical passing initiative. To do it right, you have to go all the way in to get the most value out of it. And it is very significant because we are going to put people who have never met working together, sharing the knowledge, sharing software with other people in the organization. It is going to create a lot of possibilities, but also it is going to make us find out that there are things that we didn't know were working as expected. And everybody has their own objectives. Just because we have backstage doesn't mean that everybody is aligned all of a sudden. They will keep having their own context, their own priorities. And that's why the way I want to frame these concepts that I'm going to do is to provide a little glossary. And to do that, I want to take into account three personas. First are the words, which is most of the people in this room. We touch backstage with our hands. We get dirty trying to set it up. And then for it to be easy, a success, we need sponsors, people who are ready to support backstage at a larger scale and push it at the organizational level. And then it's the most important part of backstage adoption, which are the users. Without developers using backstage, it would have no point to set up the scaffolder and the templates and all of this. So it's really important that we can come, we can get our point across of why they should use backstage. Because how we saw on the previous dark Q&A developers just don't trust it.  I don't trust you.  And that's something that we have to get them to go through. So I want to present a very brief backstage glossary because I only have very few minutes. I actually don't know what the time is. So I'm just going to go through it as I can. And this is also something embedded in the grand tradition of the CNCF. The CNCF has its own glossary for things cloud native. Because all of these are new terms.  It's like, I don't know. We have to have some, some more clear idea of what things are. So the following definitions are going to be more of a broader scope. Rather than technically, they want to communicate what it does. So several people that are not embedded in the backstage community can get an understanding of what we're talking about. So the first one is backstage. What is backstage? Backstage, the way you see it, it's a framework for building developer portals that promote discoverability and autonomy. And it's important for me for people to understand that backstage is a framework because I have witnessed a lot of people who get frustrated because they run the, create backstage CLI and that, oh, my whole company is not running on a unified developer platform. No, because you have to make it your own. So that's, I think, an important point to communicate when talking about backstage. Next word is developer portal. This is also a new concept that has emerged and it's still shaping the form. You can still see, you can already see several reports and news reports and people are starting to talk about this. And the way I phrase it is that it's a self-service one-stop shop for everybody who wants to contribute to our ecosystem. And this is something that is not new. Before we had developer portals, public developer portals for Apple, there was a developer portal where you could access tools for developing documentation. And this is something that we are doing now internally. So it's everybody who wants to communicate, do something for us. Any developer, whether it's an employee, a contractor, another company, they can do so through the developer portal. The next definition would be then is discoverability. That is how easy it is to find something. And this seems like a kind of trivial thing written down, but the reality is that it's very difficult. I have to talk with people who tell me that they take weeks or even, I don't know, it can take you a month to find out all the APIs, all the tools, all the libraries to find how do you build this new feature that you're asked to do? Because you have to go through Slack and there are these people living in Japan and your offices in Atlanta and you have to figure out how to get a hold of them to get, even to know if their login method that you're using is going to be compatible with another API that somebody else wrote. So if this is taking you too much time, then you have a problem of discoverability and Baxi can help you address this. The next word in the glossary is software catalog. Software catalog is an instructor collection of software assets. The idea is that it's not just a list of things because you can have hundreds of thousands of entities, as we'll see soon in one of the talks, that you can build, kind of model your ecosystem with backstage. And that is what makes it easier to navigate and go through what is very complex. It can be consumable by somebody who's new to the organization, for example, or a contributor that is used to working with his team or her team, but now has to contribute with somebody else. And they can see what are the affordances that they have available at the company. The next one is the entity. This is a horror movie. But it's not going to be a horror to work with entities. Entities are just the unit of information stored in the catalog. And I think these entities are very important because at the end there are going to be a foundation on the information that we can consume in backstage and depending on how we structure the entities, that's how we are going to see what's going to be resulting in the catalog. And you can just link so many things into the entities like documentation and all the integrations. So it's really a central piece of backstage. Next is search. And search is a way of discovering as well. It's because developers not only want to see, like, oh, here's the model of the ecosystem. Sometimes you just want to know something. And a natural way of doing it is searching it. But if you have to go through GitHub and your internal documentation and to go through all kind of cloud providers trying to find just how to use the API, then it becomes difficult to even get started. So I think this is one of the biggest features of boxes that you can have different sources and search across them. So you can actually discover more easily what you want without having to go through the overload of going through an entire organization. Because sometimes you don't even know what you are looking for. You just know a keyword and then you have to go through it. So I think this is a great thing that Backstage provides. Next is plugins. And in Backstage, your plugins are not their regular plugin where you just log something and you add functionality. In Backstage, plugins are your features. And I think it's useful to say that plugins are features because then when somebody is another team wants a feature in Backstage because they want something for their analytics. Instead of opening a feature request to your team that is the Backstage maintainer or the Instant maintainer, then you just say, oh, to add a feature, you create a plugin and then you can contribute that to your internal developer platform. And this is helpful for people to understand that they also own the developer portal and they can contribute back to it, which is a model that Backstage promotes. Then is self-service, which is just getting the resources that you need without having to ask anybody to give it to you without opening tickets or being in the amount of slack to tell you how to use an API or setting up a meeting with 20 people to find out how to authenticate to a certain service. So the idea in Backstage is that you can just get it yourself. Next is open source, which is not free. You still need to invest to make it work, to make it your own and contribute back because that's the only way to actually get the most out of Backstage because if you develop everything on private and never share upstream, then the problem is going to be for you because then you're going to be straining away from the open source part and then it's going to be more intensive for you to keep up and you end up outside being caught off the community because you didn't contribute back. So it's actually an investment to work in open source. And then the final word is community, which is power, because this is what has led us here. After Spotify shared on the CNCF, it was very generous and they donated to the CNCF Backstage project, it became truly successful, it's a public good and then we can all contribute and make it grow so fast as it has over the past few years. If you notice, this is the biggest conference on the co-located events and Backstage is not even like a very old project. It's very new, but we have hundreds of adopters and people are always pushing it to do more things. So it's great that you all are here today and thank you for your attention.


What's the difference between cat 8 cable and fiber optic cable? What is fiber optic cable? Fiber cable is a type of cable that uses light for the transmission of data. This is in comparison to network cabling, or copper cabling which uses electrical pulses. Fiber optic cable is constructed of thin strands of glass or plastic as its central core. It has a separate outer core of similar construction. It is then wrapped in a strength member such as Kevlar, and then wrapped in a plastic cable sheath. The central core is a vessel to transmit data as pulses of light. Due to the ability for light to travel fast down these cores, it offers exceptional bandwidth. Therefore, it is widely used in telecommunications and networking for long distance and high speed to data transmission. Types of fiber optic cabling In a similar way to copper cabling, there are different categories of fiber optic cabling. Firstly, we have the mode type. Single mode. Multi mode. This refers to the type of light used to send signals along the fiber cable. Multi mode is multiple modes of light sent along the cable as transmission. By contrast, single mode is a single laser light sent directly along the cable. Single mode fiber categories. Single mode fiber comes in two different categories. OS 1. OS 2. OS 2 is the most advanced and offers increased transmission capabilities. This is the most commonly used single mode fiber in applications today. Multi mode fiber categories. Multi mode fiber comes in five different categories. OM 1. OM 2. OM 3. OM 4. OM 5. OM 3 and OM 4 are the most widely used fiber cables today. OM 1 and OM 2 are only found in legacy cabling and OM 5 isn't used as much but is making traction in data centers. OM 1 is the only fiber cable that has a different central core size from the other multi mode cables. Therefore, if one of these cables needs to be repaired or replaced it is sometimes a requirement to use it. What is CAT 8 cabling? CAT 8 cabling is the highest grade of network cabling or copper cabling. It is mainly used in data centers where the shorter cable link distances are most suited to its higher transmission capabilities. It can transmit 25 gigabit and 40 gigabit speeds up to 30 meters. It is now a viable option to replace fiber optic cabling in some instances within the data center. Is CAT 8 better than fiber optic? The question should always be, what are my requirements and what cable best suits that requirement? While CAT 8 cable is a high performance copper based network cable, fiber optic cable offers distinct advantages over it. Especially when it comes to longer distances. Fiber cables also have a high transmission capability. Fiber optic cables can transmit data over longer distances with less loss of signal quality. Furthermore, they are immune to electromagnetic interference. Thus, they provide higher bandwidth capabilities compared to CAT 8 cables. Which is faster, CAT 8 or fiber optic cable. The maximum transmission speed for CAT 8 cables is 30 meters. OM 3, OM 4, OM 5, and OS 2 are all capable of 100 gigabit. It is also an advantage to use fiber cabling for longer distances. For example, for 40 gigabit these are the maximum distances that cable can transmit at that speed. 40 gigabit transmission. CAT 8, 30 meters. OM 3, 100 meters. OM 4, 150 meters. OM 5, 150 meters. Is CAT 8 good for fiber internet? Both cable types, copper and fiber, are only suitable and possible with their own category. For example, you can't combine a copper cable and a fiber cable in the same link. To combine fiber cabling and copper cabling, active equipment is required. Media converters do the following. Change light transmission to electrical transmission. Change electrical transmission to light transmission. Where CAT 8 can be used as a replacement for backbone links between patch panels or cabinets instead of fiber cabling. Backbone links have traditionally been installed in fiber cabling. With the new higher speeds of CAT 6A, CAT 7 and CAT 8 cabling these links can potentially now be installed in copper. However, with copper links, you need one cable per link. By comparison, a fiber cable may have 24 individual links all within one cable so a much smaller cable size. Is fiber optic the fastest cable? Fiber optic cable is considered the fastest cable available for data transmission. This is because of its capabilities of 100 gigabit and also its distance capabilities. Due to its ability to transmit data using light, fiber optic technology can achieve incredibly high bandwidths. Furthermore, the increased transmission speeds that come with it. The speed and bandwidth capabilities fiber optic cabling exceed those of traditional copper based cables. This is all network cables, including CAT 8. Fiber optic cables have become the go to choose for applications that require ultra-fast and reliable data transmission. These include high speed internet connections, data centers, main carrier telecommunications networks, CAT 8 versus fiber optic cabling summary. In summary, fiber optic cable offers numerous advantages over CAT 8 cable. Faster data transmission speeds, longer transmission distance, higher bandwidth capabilities. Fiber optic technology is particularly well suited for demanding applications, especially where ultra-fast and reliable data transfer is essential. If you have access to fiber internet or require high performance networking solutions, fiber optic cables are the recommended choice. However, always remember that both high grade copper cabling solutions and fiber optic cabling need hardware, switches, and media to operate them. This hardware also needs to be part of your planning when it comes to space, installation, budget and future growth. For further assistance or a free survey, please email or call on the details below, and click like and subscribe if you have enjoyed this video.


Maxime Vacherlagrav scored a nice win in round 6 of the Gibraltar Masters. The game, very instructive and very nice, but the end very surprising. Watch what happened. Maxime, a couple of solid games, solid results in the last few rounds and now a nice win. Pleased with the way things went today? Yeah, I'm a bit shocked, under-shocked, but we'll come to that later. Because the opening went very well. Nf5 was the move I think is not in my notes. And so I was trying to basically refute it. And I wanted Nx3 first, Nxpx, and to take advantage of the pawn f7, but then there's Bxp7. And Q1, Qg3 is basically nothing. So I stumbled on this idea of h4 and the... This was over the board for you. And the idea is if it doesn't go h5, so for instance it goes Bb5, it seems very logical, then I go g4, Nx7, and h5, and there's no more h5 counterplay. And these positions are supposed to be good for me, and I think basically they are because I can get as much space as I want on the king side. Maxime, we're going to have to ask you to just... Yeah, thank you. Some ideas with h6, g6, Bg5, so... Creating dark square weaknesses. Yeah, so this is better. But after h5, Nx3, Nxpx, you have to stop Ng5.  So Ng5, Bg5, Hg5, and here, Fernando thought for like 45 minutes. Yeah. The thing is, if it goes, for instance, g6, then B3, you have to go Nxc6, Nx7 at some point, which is also why I was taking advantage of this move, Nx5. Now, I probably have to take on e7. For me? Yeah, king takes, and something like Bd3, Qf3, it looks very bad for him. Another big idea is if he goes Qd8, to get immediately some counterplay, then g6 is a killer. Nx, and I don't remember Qc2, Bd3, probably Bd3. So Nx5, you've got e4? Exactly, Nxg5, e4 is... So Qh4, still some of the fights on, but it looks... You can take on, okay, you mean... I could play Bx3, probably, I can start with Qf4 as well, forcing Qg3, then take, take, and... I mean, something, maybe Qx3, maybe e6. It looks very unpleasant for black with no development. It just looks very bad. So Nxc6, which I thought was the only move, so the thing is now he gets... I mean, I don't have time for Bx3, because he goes Nxf5, this I have to avoid. So I took this pawn, even though it's a bit scary to open this file. It's hard for him to get a second piece on this file. The idea is whenever he gets his knight on f5, I will go g4. Right. I mean, at the appropriate time. So f5 would not be an outpost for him. And so after Bx2, now my plan was to exchange queens. So like, if he went Nx87, I would have gone the same, Qb3. So you say your plan was to exchange the queen. Can you explain to us why this was... why you felt a queen trade would benefit you here? Basically, because if his queen gets to the king side, then suddenly there's a lot of things that I should care about, Qh2, Qh4. Whenever I go Bxf3, it's unclear. Sometimes the black's bishop can get to B5. So pawn on g5 is also quite weak, meaning that I should have worked my rook to f6 at some point. And it gets a bit messy. So if I exchange queens, for instance, if I exchange these queens here, I mean, even without this B4, B5 idea, I'll just be dominant. Somehow I'll go Bxd2, Qf2, Qh1. Try to exchange one pair of rooks, and then some are probably at some point before like getting my bishop. And how are you evaluating this position after Qb3? Do you think you're already much better here? Oh, clearly. Clearly better. Another point, of course, if he goes Qd8, then rook f6 clearly, and I cover g5, and now he's never in time to get... The queen to the h-file. Yeah. So I went Qc7, Bd2. I was not happy about Bd2. I think I should have gone Qa3 immediately. The idea is long castle, now I go B4. And Qh8, B5 should be winning. So this is clearly what I should have done in the game. So it looks like I'm very much in control. So Qa3, yeah. Rooking is perfectly safe on f2, so there's really not much... One nice line also is if he goes Qd8, Qa3, it's an important move, rook h1. Take... Take, and now he threatens already this counter play with Qh8. But I take Qg5, Qf8 check, Nd8 is forced, and rook f4. And he doesn't have a check, I threatened something with like rook g4, so should be winning. So your idea of rook f4 is to stop Qh4 check. Yes, and he doesn't have an idea anymore. Nice. But Qb8, and here... So I played Rxc1, Qa3 first, of course, because you cannot go. So I decided to keep the rooks to get for the queen trade, to prepare for the queen trade, and here... This moment here actually, I was looking at the game at this point. There was an idea of bishop b4, this was actually suggested by Adibon, who was here before for an interview. Did you consider this? I didn't like it, so maybe Qd8, and bishop d6, I guess, Qa8, b4, I assume this is the idea. And now, the thing is I was afraid that his queen comes into play. But it's still hard, because bishop d7, you probably have... b5, yeah? Yeah. Yeah, and I don't know. I mean, it's totally random, but... Yeah. But you just felt that queen trade would just make things much simpler, you wouldn't have to calculate as much. Yeah. No, I felt that after b4, I crashed through. And actually, it's not that easy. So like, knight b4, and yeah, we're gonna get to the part of the game where I'm shocked. So like, here, rook b7, knight a2, I was trying to find the win. And I saw that... It looks like black should get mated here, because the king is in sort of a tail zone. And I thought I found it with e4, de, so I cannot go rook a7 immediately, because of e3 check, bishop e3. And now, we understand why we played e3 to cover e4 as an escape square. But I saw bishop f4, rook d5, rook c7, a3, and rook c5 check. Wait, you played rook c7 on the board. We actually thought that's a really problem, because he can just go king d4 here. Yes, this is a shocking part. So when I played rook c7, I realized you can just take on d4, and it's not made. I saw bishop e3, and rook c5 was made. But he has king d6 there. So you thought this was made while you were calculating. When we saw this in the live stream, we actually thought that this was entered wrongly or something, because he resigned here. He resigned. He had the same hallucination. So this is the shocking part. And I don't know, but I couldn't find a mate after knight a2. Actually, in this position, bishop e5 is killing for black. Ah, okay. Simplices. Yeah, because I think the idea then you have rook c7, and even rook c7 next. Yeah, yeah, no, clearly. I mean, I just... After he... When you played rook c7, did you realize instantly over the board? I realized after one minute or something, and so I suddenly was deep in thought, and then he surprised me by resigning. A pleasant surprise. And how would you evaluate the position after this? I didn't find more than a draw. Sorry, I still have a draw, but I don't have more than that, I think. Yeah, yeah, no, it was a shocking end of the game. Wow, they normally say that in chess you make your own luck, but here it was just very lucky that... Yeah, but I mean, in general, of course, my position was so good that... Yeah, throughout the game. Yeah, that should have been winning anyway, but yeah, you don't want to have these unpleasant moments over the board, where you realize you've blundered and... But okay, I'll take the win. Of course, I think overall it's kind of deserved that I win this game, but yeah, I'm still shocked. So after he resigned, did you, when you were analyzing at the lobby, did you... Did he realize also instantly or was it only when you went to analyze that it came out that king d4 was a possibility? Yeah, he told him at the end that king d4 was an option, but yeah, he suffered basically the same hallucinations that looks like Rook C5 and Bishop C3 is mating net, and after king d4, there's no net anymore. So this oversight, would you put it on... The battle of the sexes we had last night, it was a late night, do you think that could be the reason for this oversight? No, this kind of oversight, I can only blame myself, and that's what I'll do. All right, but tell us, how did you enjoy last night? And the men's team won 2-1, but the first loss was quite horrendous? Yeah, no, it was very stressful. Then there was this first game where even suffered this hallucination and other ones that Bishop b5 had been played instead of Bishop c4, then after f5 the positions are too bad. Yeah, when he touched his f1, he should have just gone f6, I guess. And so, but yeah, then of course we... You made a comeback. We recovered, we recovered from this, say it moves loss, and I'm proud of the way we fought back. As a captain, you should be, and now we're at the half, we've crossed the half mark here at the tournament. Evaluate your play for us so far? An even. So I've had a couple of nice games with nice calculations, but overall I'm still maybe a bit tired, and in some of the games I've suffered big calculating mistakes, so even in this one, but I can't think of a couple others. So of course, but there's still hope, I mean, I'm still close to the leading pack, and if I manage to get a strong one and maybe less blunders, I do think I will have a shot at winning it. All right, well, before you go, I have to ask you this question, a move like Rooksy 7 when it happens, and then missing it and resigning on the spot for players of your level, or Fernando's level, how, if you have to explain to that very shortly, why that something like that happens, how would you explain it? Well, I think it's because of the scenario also, like you expect like to get mated here, and so like, okay, from my side, it's like, okay, I think I found the mate, and I feel like it should be mate, so I basically don't bother. Once I play E4, I think Rooksy 7. You took three seconds for Rooksy 7 as well, or did you take longer, maybe? A bit longer, but not much. No, basically I was expecting E3 check, which I thought was the only move to prevent mate, and E3 would be 3, Bishop D3 and Rooksy 3, but it's winning, of course, for me. And then, from Fernando's point of view, it's like, okay, he played it, so it must be mate, and you see the mate and you don't bother and King takes D4, looks like it's mate, so you know, these are hallucinations happen. I mean, if it's like a complicated game, and you know, you double edged, you can't really suffer these hallucinations, but here with this King on D5, it's just begging to be mated, but suddenly it escapes. All right, we're gonna let you get some rest. Thank you so much for joining us, Maxime, and we look forward to having you back in our studio. Thank you for your time. Thank you.


By all, by now you all will have met in some catastrophe another speaker for today our keynote speaker, Dionysius Agous. But now I'll tell you why he's here and who he is. He's a fellow at the British Academy, Emeritus, Autosomy Professor of Arabic Studies in Islamic Material Culture at the University of Exeter and now an Adjunct Professor at King Abdulaziz University in Jeddah. Dr. Agous was educated at the Jesuit Université Saint-Joseph in Beirut and at the University of Toronto. He's an ethnographer and linguist specializing in traditional wooden sea craft, the people of the sea and their material culture in the western Indian Ocean and the Mediterranean from classical periods to modern times. And just so we know just how much he's engaged in this part of the world, these are some of his books. In the wake of the dull, seabird in the Arabian Gulf and all men, classical ships of Islam and another one that is yet forthcoming with Ivy Taurus and Bloomsbury, the life of the Red Sea Dull. So now you know why we brought him here and please welcome with me Dr. Dionysius Agous. It was a good introduction today. Sea stories in medieval Islam are relatively under study. They are compared to a vast array of more literary Arabic words of different genre. They are written in a simple vernacular style and would appear at various lengths to have an easy to offer beyond entertainment value. However, a closer look at them can yield insights into the maritime culture and sea law and the early medieval Islam in the Indian Ocean. And the sharing of such sea law with neighboring cultures and civilization conducted feedback in the Arabian Gulf and Oma several years ago. I connected a number of persons and stories from marinades, pearl divers, and fishermen. Admittedly, although much of what was recounted had an element of truth based on experience and skills, there was also an element of exaggeration, of embellishment in the narratives. Some of these, some of their stories, in part, of whom are included in my book, Sea Fairy in the Year in England and Oma in the Year in England and Oma in the Year in England. The whole idea was to capture the voices of members in their different activities, in their experience out at sea. There were, in the stories, sea creatures never seen before, pirates that jumped on board and threatened to kill the crew, gales and storms witnessing the abyss of the ocean, and gin, evil spirits which guided the ship to destruction. Such stories, I found later, met a parallel to those related by travelers of the Arabian modern and remarkable. There is a collection of stories called The Marbles of England, which was written in the 10th century. In this unique collection, six stories that I'm going to talk about today, although the title contains the name India, the stories are not about India, but perhaps reflect the centrality in the ocean, in the Indian Ocean. India brings maritime communities of Indian Ocean together, and the cargo of pilgrim ships drop or wave angle at their spots. I would like to begin with a few words about the medieval words of maritime culture before coming to this marbles of India. It's authorship and problem. A description will follow on the landscape and seascape of the region, where the stories were connected, and what the stories entail. One of the stories narrated by this one by the ship, the old man, Al-Barakhti, I will end with a discussion of factions on the genre of sea stories and the unique collection of the marbles of stories in India. Early maritime works were written to offer information on sea trade rules, navigation, description of landscape and seascape, imported and exported goods, and as well as commenting on the customs and traditions of the coasted regions. The early maritime works, Akhbari-l-Him-Pasim, the use of the Indian Ocean, Sitsara-l-Tarawih, Tawari-l-Chain of the Americas, and Aja'i-l-Him, marbles of India. The first two are trigger cards of geographic context, with information on maritime activity in the Indian Ocean, from Basra to Seraf, from Soha to Ertzi, in Tafil, to India. The author of the original Akhbari-l-Him is not known, but the book was re-edited by a merchant opposing a Seraf. The second one, there comes the Sitsara, where it is collected by Sulaiman, Tajir, Sulaiman, the merchant, both connected to the medieval port of Seraf. When it tells one, Akhbari-l-Him, the marbles of India, has been attributed to Busuk, even in Shahriar, but the question is, what is the definition of its origin? The significance of these three works is that they are the earliest non-examples of the distinctive sub-Jami of medieval architecture. All three works were published in the 9th and 10th centuries. The marbles of India contain 136 sea stories. Many of which centered on the lives of members who ventured into the open sea, as far indeed as Sumatra, Java, and China. They are a collection of disparate sea stories, with no particular structure of them connected to them. The particular sub-Jama of medieval architecture to which these stories belong is called Ajah. The word for marbles, marbles, kiosks, they are often narrated with a touch of ironic humor, and with an element of exaggeration, for effect, making them similar in many ways in content and style to the tales of the seven voyages that have been seen by the sailor in the Alive Nights, where the listener already is lost in wonder and the stories of exploration treasure. In the words of one modern day traveler, every returning ship seemed to bring back fresh and ever more bizarre curiosities, and every departure was packed with ever ambitious dreams. To note that the marbles preferred to be factual stories printing on a chain of authorities on the story, but their content was not just animal's. While the stories of Sinbad are presumed to be fiction, it is entirely probable that they were embroideries of earlier factual accounts, and we stand here at crossroads between cultural history, these stories may well contain underlying information of use, not to the literature person, but to the story, even to the archaeologists. So what do the sea stories of the marbles of India entail? The stories contain entertainments witnessed by mariners, merchants and traders, embarking on cargo ships, sailing to distant lands for trade. They recount stories about how they survived storms and fruitless, their encounters with spirits and sea creatures and other experiences of marbles. The stories are about the Indian Ocean, which is divided into the seven seas. The Sea of Zanj, which refers to the Africans. The Sea of Laar, the Arabian Sea, the Sea of Kharkham, the Bay of Bangal, the Sea of Kalahbar, the West Coast of Malaya, the Sea of Salahit, Sumatra, the Sea of Kharkham between the islands of Sumatra and Borneo and the Sea of Zanj. Countries are grouped according to the trade commodities that they were known for. So in Africa, in the land of Zanj, known for ivory and slaves, the countries around the southern region both referred to as the land of power. India, the land of pepper, Sumatra, Java, Malaya were the land of gold and Murukkas, were known as the Spice Island. Until some years ago, the marbles were attributed to Buzur Ibn Shafiq of Ramul-Hul. Set up the province of Kuzistar, southwest of Iran. This alleged that he was a sea captain. He lived in Seraf on the Iranian coast. He had, however, no date for his death. No date for his death. From a few dates in the stories, we can gather that they were conducted in the 10th century. It came to light. It did not have a spot actually. It's actually not Buzur. But one who came from Seraf and lived in Egypt in 1910. His name was Abu Imran Moussa Ibn-Baba in Ausid. Extract of similar stories from Ausid were found in the later world in the 14th century by an encyclopedist and woman. So how did this name Buzur came to be found? According to a study conducted by Khamid Shah Al-Dussein, his name was not recorded by Buzur Al-Dussein, but was added to an Istanbul manuscript, I.S. of Piyan 3,3,4,5. Leading us to understand that Buzur had been apocalyptic. By the way, our fictional boat Buzur Ibn-Baba Ausid came from Buzur. Which is at the center of the stories. Seraf was a prosperous port as is evident from written medieval Arabic sources. Located at the opposite Bahrain Islands in the Iranian Persian Gulf, it was connected diagonally to Shiraz in the 10th century. Seraf today lies in Buzur. It was a great way to China. Indeed, all Syrians, two and from China, connected with the Red Sea in Istanbul. Excavations in Seraf show an active port as a sailing pier. It is not a port. With a fort, palaces as it is, mosques and buildings. The ship Graphitum is but a memory of the seafaring parts. It is evident from medieval Arabic accounts that the sea route was much preferred to the land route. Most of the maritime trade was transferred to Seraf, on the Oman. Two geographers of the 10th century are Istachry and Almaktasi, visited the port city on the second part of the century. Both were impressed by the beauty and its effluent population. The historian Mahmoudi describes a number of mariners and merchants from the Indian Ocean Gallery in Seraf. This information about maritime activity in Seraf is also mentioned in terms of wealth. Seraf was the rival of Basra which was measured by its size and its splendor of Istachry mountains. Nearly equal to Shiraz where he had to carve Shiraz. And Almaktasi could not help but comment on the charm of the city. I have not seen in the realm of Islam more remarkable buildings than those of Seraf. The heyday of Seraf was during the early decades of the buoyant dynasty. It was a decline in the population. Maritime people left Seraf, went to Seraf, went to Aden, went to Jeddah, went to West India went to West Indian coast trade declined and it was not clear as to what brought the end of Seraf, whether it was precipitated by a earthquake natural disaster. But its fame was echoed of many centuries later in the Seraf. Seraf mariners are described by the geography of Al-Isachry men who passed their whole lifetime on the ship. Al-Nusudi met many of the Seraf skippers on voyages to West India East Africa and China. He says that they were the most known and experienced of long distant voyagers. Although he does not comment about their lives on the ship they were skippers of some famous and in a number of stories about Seraf mariners found in the Marvits of India exemplifies the heroism these people had shown in braving the seas of Arabia and China. The Marvits sea stories are eyewitness accounts of what the stories and geographers have reported about Seraf. They captured their lives at sea crystallizing that moment in time. The Marvits of India like the Sinbad stories were connected with a name to entertain but also to instruct as many were now they can make it with a purpose of connecting events and keeping often fortune to misfortune but ending with the Marvits. There is a pattern of Marvits and history long distant journeys fire and volcano eruptions and shipwrecks sailing for gold ivory and precious stones encountered with the unexpected the sieging monsters and giants what captivated the audience was really without magic experiencing the unknown and escaping to a different world through the air reassuring expectation that the main character would return back to normal was that of the sea captain Akhara an extraordinary man who progressed from shepherd in the desert to fisherman then he became a sailor then he became a skipper sailing from Seraph to India and China Akhara's story was meant to be an example of one sea captain with much sailing experience and force he sailed to China seven times prompting the narrator to come only adventurous men had made this voyage before no one had managed without an accident even a man with a chance would have died on the way returning safe and sound was unheard of I have never heard tell of anyone except him Akhara who had made the two voyages there and back without disaster the storyteller is making an important point the journey to China was not without hazard an often disaster befell the voyages whether from the forces of nature or human aggression here is a story written by a ship owner Abu Zahra Al-Barkadi about a fellow sheikh master a person who was a group who experienced just such a disaster on their way to China the calamity was purely human in origin and this is what happened the storyteller engages his message by telling that Al-Barkadi was truly a man of integrity worthy of respect was indeed a man everyone took heed to every man took heed to what he said and therefore the story is worth telling and worth believing the story is about the island of women intrigued the audience the ship carried a number of merchants of diverse ethnic religious and linguistic backgrounds who in the course of their voyage from Zaraf to China faced the violence of the gate in a sea that boiled beaten about by frightening waves on a ship that left and plunged and shuddered and trembled each merchant in fear prayed according to his religion of surrender that the ship was about to crumble of the waves and winds it returned but because the negligence of the crew and the state of the rigging generated fear as the silent audience waited in suspense then on the third day the passengers and crew experienced an even more frightening sight the ship was approaching a fire that spread over the whole horizon they preferred to die rather than to witness the suffering of each one of them once more the audience felt in silence until the narrator continued there was on board a ship an old man of Kadif from Islamic Spain who was hiding all through the voyage he was being fed by a sailor but actually this sailor believed that a guardian angel was eating the food and drinking the water and was not aware of the man and hiding he believed that by feeding the angel the ship would be protected against disaster when the old man of Kadif saw the danger of the ship of fear of all those concerned he came out from the hiding some sailors saw the man and they were bewildered and were shaken by how he appeared from nowhere he was taken to the captain after some time arguing about how and what the old man said and reassured them that there was nothing to worry about become by the grace of God what you see is an island bordered and encircled by mountains on which the ocean waves harrowing themselves during the night this produces the effect of an enormous fire which frightens him sometimes he reassured them fear not oh man this brought joy to the captain when they all were almost gone they approached the island they all disembarked and threw themselves on the sand and rolled in the light on the ground the tragedy was yet to come this island was inhabited by who fell upon each one of the crew and passengers and used them for their pleasure sadly all the men died of exhaustion one after the other the old man of Kadid however was taken away by one woman and treated kindly and together they escaped on the ship's boat and reached the port where the ship had come she became a soldier gave him several children and they lived happily there are four parts in this story this is presenting facts about the narrator Al-Baghdadi the ship owner he was an agent converted to Islam we are also getting details about the ship sailing to China and the merchants of different backgrounds the crew and their monotonic skills the second feature is the embellishment of the story with marvelous curiosities the island of women the tragic death of the passengers and crew sadly the hero who seems to have had divine guidance on the ship will not be lost in spite of the incompetent crew who did not render the rigging properly while both crew and passengers they all deserve to be overcome by the sexually marriage experience leaving the men of Kadid and this Muslim converted one to sail off into the sunset the story is gone and I will not go into detail in this part we can gather what is it that we can gather from this story is the first the actual information navigating the route to China the hazards of the Malay sea the nautical skills of the skipper boats and so on the skipper was guided by stars al-Baghdadi al-Baghdadi's fellowship speaks of these characters we are at the wind of the wind and waves first of all there is that fire we are running towards and that already fills the horizon we would not we would not the stars guide and navigate and they still do especially the pin-a-ring there and they warn voyagers of climatic change they warn voyagers of storms and cranes some are believed to be symbolic of something to happen in these characters certainly in this story the characters signify the bending of hope that is another factual information is that the skipper takes a note not to expose a ship to loss for us captains when we board the ship stay loyalized and destiny loyal if the ship is safe we remain loyal if there is loss we die of practice if there is one of the 12 principles of navigation recorded by the book of education second we have the human interaction the state of fear the people experience by the violence of the game and the approaching value of fire the superstition of the belief in a violent engine from destruction the belief in it that it would happen so it was a real shame there is the last thing version of fire playing together according to one's religion there was a Muslim put this the last thing the men becoming tools of the wooden expressions in the old man and the old world the sea stories in the marbles of India the earliest example of this subject in many times the belief in Arabic literature there are many in the book all the choices of stories is the exception of the seven colleges of cinema the same has actually the same and it is important to note that the simple voyages are only a part of the favorite life which is largely under the sea although the marbles of India sea stories fall within the agile team of wonders and marbles that offer a wealth of information on diverse subject that are both instructive touching on the new element of life time at sea the moral, law and the end the marbles are written in Arabic representing a diversity of ethnic and religious and linguistic communities in the ocean their background they contain facts about the poor cities seers, trade groups and they often demonstrate the commonality these stories have obviously developed from the older culture which would have been the commonality they bond communities together with the events that they share they came to be written down as a way of solidifying in the past the many stories we find parallel themes of these sea stories in the Sanskrit and Persian tradition and indeed in the west there is a striking similarity between the story of the island of women Indian marbles of India and owners obviously where the women played the roles of sedactresses such as the goddess Sirse who lived in the island of Ereya and the goddess Kadipso on the island of Ojija who both seduced Oji Seyos away from his return to his home and wife Indian marbles of India the theme of the island of women is taken into a more darker theme the apocryphal acts of Angel in the Christian Bible tradition portrays scenes of shepherds pirates and cannibals such stories were known by the early Christians of Africa Egypt, Syria Asia Minor and other places they run parallel to see stories of the Arabian version of Indian cultures although it may be argued that they have influenced each other it could be that they have risen independently the Ajaib is a genre which pervades in early and medieval times it is important to note that the Quran is one of God's marbles and that extraordinary things were the signs of God's creative power the marbles of God's creation was then a pious act the marbles stories are written in mixed literary and vernacular style of Arabic thus breaking away from the canon of good Arabic literary style which was the known for any Arabic written written the marbles and the Arabian stories follow this big style and there is even another connection of things of the marbles such stories were memorized and then narrated to the common people and marbles come in places of blessing in doing so the story told the terror they have felt here to improvise rather than stick to the inflexible written story the mixed style of this story is thus a reflection of the ordinary but the ordinary culture is dynamic and in the background of this culture connects men of literature historians geographers travelers have given us a few scattered examples of maritime stories and there are hints that there may have been more many more but certainly there are lost recordings which makes the marbles of India such a joy such a joy not only to be enjoyed for their narratives and to enjoy by us but also for the researcher looking for the nuggets of information on the social culture history of the times they are indeed a unique source like the audience thank you for listening to me a little bit of time we're only slightly behind and the comment I'd like to make is not a question at all is that have you noticed how well Dr. Anthony was tied together all the themes it's like he's written the one that is himself yes the friction the reality effect the bringing back of the curiosities from other parts of the world and also telling the story the performer any comment beyond this very hard yes this is the comment from India in regard to the account of the designator and of course we'll have a legacy of such taxes and even before and again that so many things from India in the context of and two things are very striking in terms of the accounts that could be related to the Indian cost have there been some efforts in this regard so that it's not simply the friction rather it is related to the fact number one number two what has been impossible the relationship between the accounts and our valuable things the tools that we find in the alfalfa especially in the Indian context yes two main points the names of ports are factual but not only in India by the way this is why we have Southeast Asia and up to Indian China and of course the commonality with the Indian Islands which mentions a number of islands and ports and a lot of it of this tradition is of course Sanskrit and Persian and later of course but thank you it literally takes of ancient times of suffering there's very much about umina and you could have known better if you have if you have seen this sign or if you have taken this sign into consideration of any importance to these texts as well so by starting the cruise there's some light signal which might sign to the later development that there is a catastrophe ahead of something like this or are they utterly surprised surprise that's an interesting I'm not aware of this but it's very important in ancient times you could have known this because umina are even today of great importance on which side to spit, on which side to stand etc. is of great importance to seafaring up to today so how did they want to prepare for the travel by some gestures habits or something to aid to secure travel are we talking factory no no it's the factory the customs are factory but the literary text makes something out of it as well which is purely fictional so there's a crow coming from heavens or something flying from right to left yeah everybody knows that you don't have to get on the journey when there's a crow flying as far as I know from the stories that I have read and I've heard them a few times this element of surprise is much more on the perspective that it takes I was wondering you mentioned from the text there's an incident that happens during the travel on sea but that kind has been occupied by the existence of the sea travel itself to say to me on the ship and you mentioned the Quran also and there are Quranic references between the two types of travel travel by land, travel by sea is there anything in the text that describes the particularity of the travel by sea in the site of the general way specifically in the stories to some extent yes yes I mean as opposed to traveling by land well all the stories are at sea yeah I mean the travel at sea or travel by sea as such has been a symbol for way of being way of living yes it's mentioned not in the ajar but by historians or geographers so you regard your experience what would you say if the particularity of the travel by sea is it virtuous in what sense my experience in other words if you take the ship as a symbol of the way of going through life as a voyage a particular type of voyage how would you think of travel by land or what is the particularity we're not talking philosophically over here I have to be careful the question is no no no because I mean there were many advantages by traveling by sea as opposed to by land sea was shorter the distance were shorter by land you had problems problems of problems of loading bad winds length of distance while the sea worked with the monsoons which worked in the six month cycle there were many benefits what does it mean that they were not hazardous they were as you have seen from the stories there's something there but I philosophically this is quite interesting because from an European perspective it is the other way around the land is more safe and you can go from city to city and everything is fine when you're on the sea you are highly dependent on the gods and if they want you to die you die but you can't do anything on your own if the gods want you to die it's that way so it's completely the other way around the way by land was remarked as a safe way I think you'll be surprised to know that going by land they were worried they wasn't safe in neither way it was safe but there was a feeling that you could do more on your own when you were by land you could prepare for thieves or robbers or anything like this by taking men into a cow or getting extra guards but on sea where the storm comes what can you do you're completely lost so this is the difference I think that the most important aspect of this type of stories is the invention of danger is more inventing danger than danger itself and then this is for the sake of creating the hero which you said by the end you provided us with several aspects and it looks like the colonial adventure stories also built later on in the 19th century for example about the English language later on built a lot on this aspect of inventing danger if it's not the weather then it is women women are also a major source of danger as it's always this engulfic woman type of woman engulfs enticing women which should be subdued I mean this is what happens I mean it's a very interesting perspective I don't obviously I don't subscribe to it 100% but there is some element of it I agree with you but the danger there was danger when you hear the stories in my book I see very many people that told stories especially different divers and so on the danger was incredible we are unexpected in our games unexpected winds currents and shipwrecks you hear so many times of hundreds of ships of dollars so too cruel to say them they invented yes natural dangers are there I mean storms and all don't forget that there is the element of for the sake of narrative some exaggeration but sea men do exaggerate they like that they love it to what extent is theological thought reflected in these stories for example Kada or predestination by God I mean you have to shipwreck because God predestined is there a notion of theological thought in these stories or are they only entertainment folk theology popular belief I know what you mean it's mainly popular belief superstition is very strong you often have the theme of the storm and you heard like there is famous stories about many you said they called them Nasi, Zahid in the ship like the and especially they wanted a story that was a sage with them in the ship and started praying in order to save the ship from the storm and the the ceiling of the clouds that they started to extend their tanks to move the ship everywhere so there was an element of exaggeration which what is the what is the advice the Ajay we have examples in the Ajay of piracy yes the identity of the pirates is clear it's Indian Indian they were famous but they were Portuguese which side of the coast on the west Indian coast they are mentioned with the decline of Sila anything historical question with the decline of Sila does another hub appear that takes over that function because presumably maritime travel is not actually the decline of Sila do we know anything about it you know these sea stories after this very day there is no connection of sea stories there is a job to do a moment because this has perpetuated the idea that Arabs are not sailors but clearly we have early evidence of the fact that they are but what the Ajay brings out maybe is this cosmopolitan maybe it's an illusion of Indian it's amazing it describes Islam at the time Islam was cosmopolitan Muslim often living in harmony that's what I was preaching in Bahrain we like that if only we go back to those times when we lived in harmony unfortunately for me ethnographic and also the Saharafi they have totally based on ERC some order some order of tradition for them they must have been corrected in some power studies just to recollect one example because I just recollect the text of Hamlet Saharafi he mentions about the illicit village relationship between women in India in the frist class the punishment that is you will tell it out which is actually incorrect for example burning then such type of traditions have never been thought of in any different language this is where the history is of course the archaeology is coming you can see that there is once the question is finished I'll just tell you about the story of the body according according to the aghaib the head thing you can tell the story abandon ship they went on the ships boat small 12 of them a fat boy quite plump he was what they called the cabin boy and they were rowing rowing and one day two days ago we took off to an island and they were all getting weaker and weaker you know for a day they were still rowing and the eyes the semen fell on this boy he was rowing his eyes until suddenly this boy turned his face and he said land and it ends there the whole thing is that they were going to be alone but I'm taking so it's nice to entertain but also a little more well there are no more comments and we can perhaps break for coffee and I would like to thank very much Dr. Anand Boops for coming in tie it together


talk indeed. Ladies and gentlemen on that note let's march ahead to invite on stage our guest of honor for the event. In fact we have with us the chairman of Karnataka state industrial and infrastructure development corporation wherein he's taking the initiative for spearheading implementation and industrial as well as infrastructure projects including projects on public-private partnership basis. He's formerly been the vice chairman of KPCC legal cell, the president of Bangalore district congress committee legal cell, the vice president young advocates forum and also the member central board of film certification and Karnataka state town planning board. So please put your hands together to welcome on stage our guest of honor Shri S. N. Dhananjay to share his address with you as gathering. I thank the organizer for having invited me to this function. However, Shri Anurag Batraji the chairman and editor-in-chief just spoke and he said he's got a child with boron in his home that is and he became a father of the child. I pray the goddess is Lakshmi. I feel the child in the by way of child entered or entered his house. I also like to go going before to my how I became in a chairman of KSI DC. I like to brief myself how I became in a chairman of that industrial corporation having a background of political background. I have studied in corporation school in Bangalore. Then I completed my BA degree while I was a studying. Of course, I studied in Canada medium. Oh, sometimes there is any mistake in my speaking in English kind of forgive me. I completed my degree. I was a student leader. Then I took up a law because of some advice, elderly advisors. During the days of law, especially it's in 1984, 85 is a totally different. If the one who joins the law, they say this is a last option. If you don't get any job, you are not in a qualified, then you will get in a LLB you can join. And the people who used to do law that time, the 99% of them, the one who is an employees in government jobs or there is no job unemployed is to join the law. Of course, now is a totally different. Now, in fact, after introduction of five years course, we are getting the best advocates coming out and a lot of companies, they are inviting, they are taking up, whereas in our during my studies after my completion of law, the people of that senior advocate so-called, we call them, they used to give us a 2000 rupees or something after completing the law. Whereas myself, because of my involvement with the public, I have started my own practice and somehow because of the maybe a face value, not a book value, face value, I was in a successful because the contact with the I can say openly the judicial and the police department, I was one of the well-known criminal lawyer in Bangalore and I had a vision in 2010, I had a vision to enter into politics. However, I think all of us know that Mr. Abhishek Manusingvi who is in Delhi a senior advocate who was also ACC, our legal department head. He has requested me to take our Karnataka state's legal department and I took up then whatever the for the causes of certain advocates have done the best. Then subsequently, 2013, there was an election was there and they wanted to contest me from Bangalore, one of the thing, but whereas it was only 15 days, so I refused. After the government has come, the Congress government had come. They gave me in 2016, they nominated me for the Karnataka state industrial and infrastructure development corporation, which is earlier only the headed by IS officers. Till 2016, 2015, only IS officer or industries to head this, then subsequently our industry minister, Sri Arvid Despandeji, became a chairman of this and 2016 November, they asked me to take up this prestigious KSS IDC as a chairman because KSS IDC earlier it was called as an industrial investment to take up this. So why I am taking out this, there is a possibility whoever interested to take up this project, they can come forward. We will give all the facilities, whatever is from our side, especially the clearance, no objections, all that will be see that we will go in accordance with the rules and regulation without harassing, without very much tiredness, the paper will be cleared. In this, we are as on now, we got a devenerly business park, which is about 408 acres. We want to do by PPA models. If any of the builders are interested, they can also come forward for that and we got one more to put up the Bangalore international convention center in 35 acres, where we lease the land and later they have to share the revenue sharing. It has to be totally taken up by the builders. So there is a possibility of that and we are also involved in natural gas line, that is, we are the noddle agency for CNG product. In fact, when I took up, I was the first person to fit a certain CNG gas natural product to our vehicle and it wasn't one of the best thing. And we also got a third ADC project, which is there in Uttarakhand Pradesh. And we are also doing this Bangalore Mumbai economic hardware, wherein we are also doing the noddle agency for that. And of course, there is an industrial nodes and national investment and manufacturing zones are there. Apart from this, what I like to request as far as the real estate is concerned, it is a backbone of India, apart from the agricultural setters. Because of the real estate, because of the builders, we are all aware that we are having so many affordable houses as created. I request all of you to see that, given a representation to the government of India or to the concern and all of you must get united and see what is the best you can put it. And I am sure that all the builders also got in a social, that is called as a social responsibility under CSR, you can do wonders, something good to the society. At the same time, what is required for you? That's the rules and regulation is there that has to be regulated or certain rules and regulation has to be modified. All this can be done by getting the unity of the real estate setters. So I also, in this occasion, I request, I welcome the industries and developers to join if they want to start anything in Karnataka. I welcome them and thank you for giving me the opportunity to speak a few words. Thank you. Well, thank you very much indeed, sir. If I may please request you to remain on the stage. And if I may please invite Mr. Anurag Bhattra to please come on the stage as well. Or if I may please invite Ms. Thrupthi and Ms. Sapna Srivastava. May I please invite Sri Denanjay to please, we have a token of gratitude to present to you as well for your valuable presence with us at the event.


Hello, my name is Annalise Demard and I'm Senior Curator of Sculpture and Decorative Arts here at the Depple Getty Museum. I specialize in sculpture of the 17th and 18th centuries, mostly in Italy and France. But of course, thanks to the fantastic collection that we have here at the Getty, I happen to work with many different artists of many different centuries. But now we will be focusing on one of her masterpieces, a fantastic bust created by Jean Lorenzo Bernini, whom I guess everyone knows because he was truly the most important sculptor of all the centuries, I would say, and a genius, he's often called like that, you know. He was not only a sculptor, but also a painter, an architect, he was truly a genius. That's the best way to summarize this artist. This bust is truly very particular for many reasons. Well, first we thought it was lost in art history sometimes. Of course, when you deal with works of art from past centuries, these are pieces had to go through many different steps in their life, and sometimes they get lost. This bust that from the time it was created up to the end of the 19th century was in the Borghese collection, but in the 19th century, the Borghese family had financial issues, so they organized some sales. This piece had been, we think, bought by a Viennese collector, but from the moment in which we had that sale in 1893, until two years ago, we didn't know where the bust was, and we knew it only thanks to a photograph in black and white in that catalogue. Just to give you a little bit of the history of the rediscovery of this bust, so it's really a major acquisition that the Getty has done. It's also very particular because it was created by Bernini when he was only 20 to 23 years old, so you can imagine that was quite important for such a young artist to create a portrait of a pope. The pope represented in this bust is Pope Paul V. Borghese. But when Bernini got the commission, the pope was already dead. The commission was made by the Cardinal Nephew, the Cardinal Cipione Borghese, six months after his uncle, the pope, had died. Pope Paul V. died in January 1621, and of the commission for the bust, we know that thanks to archival material in the Vatican, all the Borghese comptability is kept there, and thanks to a payment, we know that it's only in June of 1621 that Bernini was starting his work. And why? Most likely because Cipione Borghese, who had already commissioned many important artworks from Bernini, but not a portrait, may have gotten a little bit envious about the new pope, Gregory XV, Ludovici, who, as soon as he was elected, got his portrait carved by Bernini. So it's a little bit of a mystery for us specialists of Bernini. We don't understand why the Borghese family, so important as patrons for Bernini in his early career, never thought of commissioning a portrait of the pope and also of the Cardinal when the pope was alive. So the portrait of the pope, as I said, six months after the death of the pope, and the Cardinal himself asked Bernini to portray him only 10 years later in 1632. So anyway, but we can't explain why. So you have here precisely the second bust of the pope that Bernini created, the bust of Gregory XV is still to be rediscovered. The composition that Bernini created is actually quite traditional. We have that already in the Renaissance, meaning the way in which he would figure the pope is with this kind of hairstyle, where there is very little hair. It is called the Tonsura di San Pietro. So you would actually cut very a lot your hair and you would keep just little border. So that's the Tonsura di San Pietro of San Pietro. And then the pope is wearing a very heavy coat, the Piviale, which was a kind of mantle that not only the pope would wear, actually also Cardinals or bishops for their important ceremonies. But you can understand that this Piviale, this mantle is of the pope because it is decorated by two figures, Saint Peter, that you can recognize by the keys he's holding in his hands. And then on the other part, Saint Paul, that you can recognize with the sword, and that his martyrdom was beheaded with a sword. And Saint Peter and Saint Paul are the princes of the apostles and the Saint patrons of the city of Rome. So that's also the reason why they would have been represented on the mantle of the pope. And paired together, they're really sort of the symbols of papal authority. Exactly, exactly. And what is truly astonishing in this bust is of course the way in which Bernini was able to get so many different textures on the surface of his marble. So you can see some polished area here. Here instead it looks like, I don't know how to define that, like sponge. But you have to imagine that Morales is trying to recreate in marble something which was in fabric. It would have been perhaps that is imitating velvet, while all these decorative elements would have been embroideries in threads in gold or in silver because these vestments were really truly richly decorated, richly in terms of many motifs, but richly also in terms of the materials used to do the embroideries. And of course underneath you can see that he's trying to recreate another kind of fabric here with all these little details of lace, which is quite also... It seems like a fine linen or muslin shirt. Exactly, what it would have been. While of course on the face you have completely different surfaces, look at how all the differences he's able to achieve in the hair. So long hair here for the little beard, while here is just very, very short hair on the cheeks. It's quite astonishing. You find yourself appreciating the barber's skill on the beard. Exactly, and of course what is astonishing I think is also the intensity of these gates, which is obtained thanks to the representation of the pupil. You see that he's carving out this detail that creates of course a depression and hence a kind of strong shadow that gives you the impression that actually the pope is looking at you. And of course with all the other parts that he's able to carve as if this was, he's able to recreate the bones on the forehead and then of course look at how here, because the pope was of course a little bit old, look at how the skin here is falling on the eye. So very, very naturalistic. You find yourself wanting to really touch it to make sure that it's still so. Exactly, no, no, quite incredible. And of course you have this kind of very interesting expression. He's kind of looking to someone and we don't know if it's a smile or he's trying to be ironic with this little motion of the mouth. It's truly a part of the expression that is here expressed in this fantastic face. Now the particular treatment of the eyes, I know I associate it with Bernini, is this particular to him at this time period or are some of his contemporaries doing the same? We had other artists also carving details of the different elements of the eyes. But let's say that Bernini does it in such a skillful way that he's really having his marbles looking at us, let's say. And very often there is an expression we are using for Bernini which is speaking likeness. But because you will feel that these portraits will start speaking to you because they are so lively thanks to the expression he would give to the mouths and to the eyes. Well, he seems to have such an attention to light and shadow to just all of the possible ways that light could activate the surface. No, exactly. And you have this example, for instance, in something which is completely decorative. So forget about expression, which is here, the huge brooch closing the two parts of this big cope. Look at all the different elements. You have some shells here. You have a little ribbon here. And here would have been a crystal. So he's trying to recreate these effects in only one color white and one material being marble. You can see, of course, how he was able to create a very strong piercing in the stone. Look at this hole, for instance. And even here, that's a hole. And you can see actually the light coming on the other part on the shell. So it's quite, for sure, he used very thin drills to obtain all these holes. And, of course, the light plays with these holes. And it's how this brooch becomes so impressive in the middle of the composition. And the depth he's able to create, of course, in the head, in the brooch. Look at how anyway, even when Bernini doesn't have depth, he's able to create something that moves into the space. Because if we turn our attention back to the figures of saints, it's what we call very low relief. You see what I mean? It's just very, very thin. And although it's very thin, look at how you get anyway thanks to these two legs. The feeling that this figure is walking. Look at any way. You feel the thickness of his beard here. So that's quite also astonishing that in one single artwork, you get more than one art piece. Because you have actually two masterpieces of art in relief in these two figures of Saint Peter's and Saint Paul. You have one masterpiece of decorative elements with a brooch. And you have, of course, a masterpiece of portraiture in this very compelling face of the pope. And this is not sufficient for Bernini. Even in planning the circle of his bust is very careful. He decides first to carve everything out of one single block of marble. The circle is part of the same block of stone. It's not a different part of stone. And look at, unfortunately, here at the Getty, there is a risk of earthquakes. So these are mounts to secure the artwork on the pedestal, of course. But look at how delicate is the profile of this pedestal with a little bit of a depression here. It's really this kind of detail that is refined in every, every part of this masterpiece. And one last thing I would love to insist on is... So of course, you have to imagine that Bernini is still very young. As I told you, he is following a tradition using this kind of composition with this mantle. In the far future, in his career, he won't use this kind of mantle. Because it's too heavy and you know, you all have in mind the very baroque compositions of Bernini that are created a little bit later. He always wants his bodies to move. Right. And he will use another kind of vestment, which is the mozzetta. But here, he's anyway trying to convey the sense of a body in movement underneath the mantle. And you need to realize that in looking at this area. Look at how there is this kind of wave here. Well, just because just this detail, if you look carefully, gives you a feeling that here, underneath the mantle, there's a shoulder that has moved. Because actually the pope is lightly turning his head on his right. And of course, consequently, the opposite shoulder on the left has moved a little bit and that's created this fantastic undulation of the mantle. So it's how even in a very, let's say, symmetrical composition with this, let's say, thick, heavy mantle that Bernini had to represent in marble is anyway able to give this feeling of movement and of lightness, which is quite astonishing, I think.