text:
import { InterfaceInfo, EntityType } from '../types/lib-types.js';
/**
 * Resolves a field path against the given Type. Returns the Type referenced by
 * the field path if valid. Throws an exception if the field path is invalid.
 */
export function resolveFieldPathType(fieldPath, type) {
    if (fieldPath.length === 0) {
        return type;
    }
    if (typeof type === 'string') {
        throw new FieldPathError(`Field path '${fieldPath.join('.')}' could not be resolved because the target type is a primitive: '${type}'.`);
    }
    if (type.isTupleType()) {
        return resolveForTuple(fieldPath, type);
    }
    else if (type.isTypeContainer()) {
        return resolveFieldPathType(fieldPath, type.getContainedType());
    }
    const schema = type.getEntitySchema();
    if (!schema) {
        if (InterfaceInfo.isTypeVar(type)) {
            const innerType = type.canWriteSuperset || type.variable.resolution;
            if (innerType == null) {
                throw new FieldPathError(`Type variable ${type} does not contain field '${fieldPath[0]}'.`);
            }
            return resolveFieldPathType(fieldPath, type.canWriteSuperset);
        }
        else {
            throw new FieldPathError(`Expected type to contain an entity schema: ${type}.`);
        }
    }
    return resolveForSchema(fieldPath, schema);
}
/** Checks a field path for a particular field definition. */
function resolveForField(fieldPath, field) {
    switch (field.kind) {
        case 'kotlin-primitive':
        case 'schema-primitive': {
            // Field path must end here.
            if (fieldPath.length === 1) {
                return field.getType();
            }
            else {
                throw new FieldPathError(`Field path '${fieldPath.join('.')}' could not be resolved because '${fieldPath[1]}' is a primitive.`);
            }
        }
        case 'schema-collection':
        case 'schema-ordered-list':
        case 'schema-nullable': {
            // Check inner type.
            return resolveForField(fieldPath, field.getFieldType());
        }
        case 'schema-nested':
        case 'schema-reference': {
            // Check rest of field path against inner type.
            return resolveForSchema(fieldPath.slice(1), field.getEntityType().entitySchema);
        }
        default:
            throw new FieldPathError(`Unsupported field type: ${JSON.stringify(field)}`);
    }
}
/** Checks a field path against the given Schema. */
function resolveForSchema(fieldPath, schema) {
    if (fieldPath.length === 0) {
        return new EntityType(schema);
    }
    const fieldName = fieldPath[0];
    if (!(fieldName in schema.fields)) {
        throw new FieldPathError(`Schema '${schema.toInlineSchemaString()}' does not contain field '${fieldName}'.`);
    }
    const field = schema.fields[fieldName];
    return resolveForField(fieldPath, field);
}
function resolveForTuple(fieldPath, tupleType) {
    if (fieldPath.length === 0) {
        return tupleType;
    }
    const first = fieldPath[0];
    const component = parseTupleAccessor(first);
    if (component >= tupleType.innerTypes.length) {
        throw new FieldPathError(`The ${first} tuple component was requested but tuple only has ${tupleType.innerTypes.length} components.`);
    }
    return resolveFieldPathType(fieldPath.slice(1), tupleType.innerTypes[component]);
}
const tupleAccessors = {
    'first': 0,
    'second': 1,
    'third': 2,
    'fourth': 3,
    'fifth': 4,
};
function parseTupleAccessor(field) {
    const result = tupleAccessors[field];
    if (result == null) {
        throw new FieldPathError(`Expected a tuple component accessor of the form 'first', 'second', etc., but found '${field}'.`);
    }
    return result;
}
export class FieldPathError extends Error {
}
//# sourceMappingURL=field-path.js.map

redpajama_set_name: RedPajamaGithub


text:
Home > Commentary and Features
Welcome To Nerd Vegas: A Guide To Visiting Comic-Con International 2014 (The Placeholder Edition)
Comic-Con International, also known as CCI, Comic-Con and San Diego Con, is the largest gathering of comics industry professionals and fans in North America. It is a show of great importance to hundreds of pros in related publishing, merchandising and film businesses.
In 2014, the show is scheduled for July 24-27, with a preview night on July 23. This is I believe a one-week-later-than-traditional placement for the event, but no one will mind the extra week of preparation.
What follows is a short list of observations related to early-in-the-cycle issues that will hopefully prepare you in a timely fashion for your San Diego con-going experience next summer. This post will be available in the archives for the remainder of the Fall and Winter and then supplanted by a brand new, full guide on Memorial Day 2014 (May 26).
For more information, a fuller idea of what you may be getting yourself into, and a lot of not-always-successful jokes, go to last year's full guide.
Why Should I Attend Comic-Con International?
Comic-Con International has become a crossroads meeting ground for all of North American pop culture entertainment. It offers a massive main-floor shopping experience; sophisticated programming ranging from premiere movie trailers with stars in tow to comics how-to sessions; an exuberant social experience in the cradle of San Diego's high-end downtown hotel, bar and restaurant district; and the potential for quality face time and professional networking opportunities in comics and a dozen related entertainment industries. It is the biggest public event in the North American comics industry calendar year, and an increasingly important weekend for the film, television, toy-making and prose publishing industries.
For an idea of the range of experiences available to con-goers, start here.
Why Should I Not Attend Comic-Con International?
Comic-Con International can be expensive, difficult and exhausting. The flush of new attendees over the last half-dozen years has made it harder than ever to secure a hotel room and, once there at the show itself, to see all of the events on the convention floor and in the programming halls that one might wish to see. While the convention continues to offer unique shopping opportunities, the chances you and I can find the bulk of what we want to enjoy our hobbies outside of convention-floor shopping has increased in exponential fashion over the last 20 years, making CCI less necessary in that way.
If you have a focused fan interest, say a single property or individual creator or sub-set of artistic expression, there are smaller conventions that might be tailored to your focused agenda and thus better serve your needs. If you just want to look at a few comics and meet some cartoonists, you may be able to do that at one of the great regional conventions that have popped up around the country without the cost and stress of going to San Diego.
It's also always worth mentioning that the basic convention experience -- wherever it's offered -- simply isn't for everyone. For every person that comes face to face with a crush of people in costumes and folks trying to sell them things and lines to get into rooms to hear people talk and thinks it's heaven on earth, there is another person for whom all of that is closer to hell.
What Questions Should I Ask Myself Before I Commit Either Way?
1. "Do I Really, Really Want to Go?"
Again: If it feels like it will be a chore in any way, don't go. It's not a requirement. If you're connected in any way to people that are going, or a fan of something receiving special consideration at a specific year's show, you may feel a twinge of regret caused by being left out, but that feeling goes away really quickly.
2. "Do I Need to Be There the Whole Weekend?"
I almost never go the full length of the show. Greatest benefit? There's no better way to reduce the costs of a convention than to cut the time spent there. Second greatest benefit? It's much more likely you'll leave wanting more.
3. "Do I Need a Room or Just a Bed?"
Figure out exactly what you need at all stages of your trip and what you're willing to accept. For instance, in terms of where you stay, a bed may be easier to find than a room. A room anywhere in town will be easier to find than a room right next to the convention center. A series of rooms for a bunch of your family members is going to be more difficult to track down than one room for yourself. And so on.
4. "Do I Want to Go for Realistic Reasons?"
A comic book convention is not a young-woman-with-her-first-job-in-the-big-city movie. If it were, there are way more of us playing the wacky supporting character role than the lead. Go for the experience you're likely to have, not the experience you think you deserve. Also: there's always a chance that if you target one type of entertainment, one creator or property, one thing you want to do at the show, that person or film/book/comic might not be represented at the show that year.
What Was 2013 Like That Should Indicate Some Of What Might Be In Store For 2014?
2013 was a bit odd for longtime con-goers. It was an atypical year for being a very, very typical year. No big event stands out -- no one standing in line was hurt, no one was stabbed in the face, no event or cartoonist appearance or even celebrity pop-in caused the kind of buzz that makes one look up from one's safe place in front of a longbox. It was very, very pleasant, though, and populated on the comics end by a lot of longtime con-goers and veterans of this specific show. There were very few of those people slackjawed and dazzled and amazed on the comics end of things, very few people to kid about being exhausted and overwhelmed.
When the show came off, Kim Thompson's passing was still on the mind of a lot of people on the comics publishing end of the show, so there was a lot of talk about his legacy. This included a lot of talk at the Eisner Awards from nice people on the podium like Chip Kidd and Neil Gaiman, but also just sort of casually. Although I sense that this must have been intensely wearying for those constantly receiving this specific attention, I also think it was genuine and very, very nice. Kim was missed.
The show was pretty fascinating from a comics aspect. That Wednesday and Thursday were slower than the usual crush but Sunday was a pretty solid day traffic-wise was just the start of it. I still think publishers are still piecing together how to use the show itself. The backstage aspects of the comics show were thriving: it was meeting central. Every single person I talked to was having meetings or on their way to one, or waiting around to have dinner with someone who could potentially do something for what they had going on, if only down the line. Panels continue to be thoroughly well-attended, especially noticeable with those that played to almost empty rooms a decade ago. What was confusing to many of the publishers to whom I spoke was how to make use of time on the floor, how to launch a book at the show, how to best show off their cartoonists. So expect publishers to make a more concerted effort to kind of narrow their focus and really hit a few strong goals in years to come.
I did not get the same sense I did in 2012 that a certain kind of comics figure was departing the show entirely, but whether that was because this shift had stalled or had already completed in favor of a new status quo, I'm trying to figure that out.
It was a very good year for second-tier mainstream publishers, or at least seemed that way: Image Comics, Boom, Archaia, Oni all seemed super busy and excited to be on the floor. As mentioned, there was also a crush of traffic on Sunday at all opublishers, or at least it seemed there was as opposed to a traditional top-heavy shopping weekend. I'm not sure there was a book of the show, but I'm not sure how genuine the efforts were to find one, either. Certainly folks were delighted to meet the usual array of cartoonists-rarely-seen, like Tom Gauld.
A lot of publishers and cartoonists and even comics fans on the floor spoke with fondness of the days when Comic Relief served as an anchor retail presence on the show, a place to send people for books more generally when a publisher wasn't carrying a specific item.
I also think the show turned a corner in terms of just having a lot of its energy outside of the convention center. Walking five or six blocks east used to be a ticket to a deserted movie set. A combination of off-site anchor events and people doing things like renting restaurant for private events really spread out the traffic. I bet just about every single comics person had something important or vital to their weekend to do that wasn't in the convention center. It feels like the Big North American Show is ready to step squarely into a new phase of its existence.
Your Possible Response One: "That All Sounds Like A Bit Much. I Think I'm Going To Skip It The Year. That Okay?"
Oh, sure. I think unless you're really focused on going it's probably too big an event at this point to "just attend," even for a day. We'll miss you, and hope to see you in a future year when you're geared up to go. Can I maybe interest you in a TCAF, an Emerald City Comicon, a HeroesCon, a C2E2, SPX, WonderCon or APE in the meantime?
Your Possible Response Two: "Okay, That All Sounds Awesome. I'm In. So What Do I Need to Do Right Now?"
1. First, make certain you can afford what you're getting into.
As mentioned, it costs a decent amount to go to Comic-Con International. Air travel, hotels, meals, convention expenses, anything you're planning to buy, incidental costs like cab rides... Don't get caught short. I have a friend that actually stashes away money orders to "pay" for the trip as early as possible. My friend is kind of loopy, mind you, and bound to do things like count all the bugs he may see in a weekend, but his thinking is that if he pre-pays for the trip, he'll be happier about going and he'll avoid additional stress that might spoil his weekend. It's difficult to fault this logic.
2. Once you've made the decision to go, register as early as possible.
If you're going as a con attendee -- as opposed to an industry professional or as press -- you can sometimes get discounts for registering for the show before certain dates. More to the point: if you don't register early, you may not get to at all. Last year's show sold out of four-day passes and then individual passes months before the show began.
If you're an industry professional or a press person, the convention will offer limited windows for registration in the spring. They come up more quickly than you think, and they are not guaranteed. Make a habit of visiting the Comic-Con site.
3. Bookmark the convention's web site as early on as possible; include the Toucan blog.
Here. It's still the best place for announcements and the like. If nothing else, keep an eye out for 1) their announcement of the day hotel rooms will start being made available through their travel partner (known among longtime con-goers as The Day Of Massive, Soul-Destroying Frustration), 2) registration information by type of admittance sought, and 3) their growing guest list. You really don't have to follow #3, but it's fun.
4. Start thinking about a room.
Because hotel rooms are so expensive, and because so many people want them, a lot of potential attendees make securing a room at Comic-Con a minor hobby on the level of cleaning out the car or shampooing the dogs -- something you look into once a month or so. The convention will provide the opportunity to reserve discount rooms through their site in Spring 2013. Getting one on that day or on one of the days immediately after is extremely competitive -- although seemingly less so in 2012 than in the previous few years -- to the point of throwing your laptop into the wall and screaming "I Hate Comics" for three and a half hours. If you can find a room you can live with at any time between the moment you decide to go and the moment you get on the plane, snatch it up! Rooms at several standard San Diego hotels are currently open via the various search engines, albeit at far higher prices than you might be able to secure through the show. Still, some folks place a premium on piece of mind.
5. If you're reading this after the New Year and before Memorial Day, make getting a room a major priority.
Many of the rooms are snatched up before the con makes their rooms available, and many of the con rooms are snatched up in the first hour or so upon going on sale. After the con's rooms see their initial sell out at some date early in 2013, take the best rooms you can find as soon as you can find them.
6. Don't all the way panic on the room thing, but don't sit back, either.
Let me make one thing perfectly clear: It's not impossible to get a room later in the Spring. It's just really, really difficult, and it's admittedly a lot harder now since changes were made last year in how hotel rooms are secured through the convention. Before 2011, scoring a late room was one of those reasonably easy things that no one talked about. You just had to monitor the convention site daily for returned rooms, perhaps splitting your time between two and three hotels as individual nights were easier to get than a bloc of four straight evenings in one place. You also saw rooms pop up from the boutique hotels that one imagines gave up on providing those rooms to Hollywood people at full price. In 2011, a more severe advanced room fee -- one full night -- and a ratcheting up as to when that becomes non-refundable fell into place, working together to really calcify the ability to seize rooms late. I bet you could still do it, but it's going to be hard. Take care of it as early and with as much decisiveness as you can -- and monitor when the hotels become non-refundable for a likely date up to a week before when a group of rooms might go back on the site.
7. As far as rooms go, keep in mind this general rule.
Closer is better. Certainly that's not always the case. Sometimes a nicer hotel further away is the better choice. I stayed further away in 2010 and loved it. In fact, I tend to favor the slight removal that comes with a hotel on Broadway than the cloistered feeling I get staying at a hotel right next door to the convention center. All other things being equal, however, you want the closest hotel you can find. This is doubly true if you have things you have to carry back and forth with you each day. Hotels past Broadway going North or hotels going east more than five or six blocks require a mental adjustment, as you will not be able to easily pop back to the room whenever you want. Hotels further away than the highways require a major mental adjustment and, realistically, a car.
8. Start paying attention to air travel.
Once you're committed, and if you're flying, it sometimes pays to start paying attention to air travel through your favorite on-line ticket site in order to secure the best prices. As fuel prices fluctuate and airlines cut flights, it can be expensive to fly unless you seek out this kind of bargain.
What Can You Tell Me About The Hotels?
1. The hotels in San Diego basically fall into six different groupings: 1) those hotels right up next to the convention center (Omni, Hilton Gaslamp, Hilton Bayfront, Hard Rock, Marriott Marquis and Marina, Hyatt), 2) random hotels sprinkled throughout downtown (Solamar, Indigo, Horton Grand, Embassy Suites), 3) the Broadway corridor about five blocks removed from the convention center (Westin San Diego, Westin Gaslamp, US Grant, Westgate, Bristol, Sofia), 4) the remainder of the downtown hotels varying distances from the convention center (La Pensione, Doubletree, Holiday Inn On The Bay), 5) the Hotel Circle a few miles north of town (Crowne Plaza Hotel San Diego), and 6) everything else that's miles away (Dolphin Motel, Hotel Del Coronado).
2. As stated above, the closer you are to the convention center, the better off you generally are, especially if you have to lug stuff back and forth. However, the first three groups are more than close enough for anyone but the most picky convention-goers, and with a car just about anywhere in the county or slightly outside of it can be made to work if you consider it part of the adventure rather than part of the hassle.
3. I've stayed in a lot of the San Diego hotels at this point, and they've all had something to recommend them and, better yet, it's not hard to pick up on the majority of these things just by doing a little research. There also tend to be trade-offs. For instance:
* I felt my room at the Hilton Gaslamp in 2009 was sort of cramped, but the hotel was right across the street from the convention center, had easy-to-use valet parking and had a little-used but perfectly serviceable business office I made use of when my computer broke down. My stay there in 2013 was much, much improved; my room was even huge. Go figure.
* I've never liked the Hyatt all that much. The rooms are ordinary, and I never found the staff all that friendly. Still, it's fun walking through that huge lobby as if you're a Captain Of Industry. While it's no longer Team Comics' absolutely default, late-night, hanging-out place -- it has competition from off-site locations and directly from the Bayfront Hilton -- if you have the time and the money you can have fun with room upgrades and the usual, full array of stand-alone, big-ass hotel services.
* The San Diego Marriott Marquis and Marina is consistently underrated: it's super close, obviously, but it's also generally nice, it has a lot of extras including a nice buffet breakfast in a newer space just past the Starbucks area. I always like eating breakfast there because it's the modern funnybook equivalent of chowing down at some Hollywood studio lot mess hall circa 1940. The major drawback with a place like the Marriott is that at times you feel like you've never left the show -- probably because you haven't (the con has placed events in that hotel for years).
* Stay at or close to the Omni to get a piece of the per diem action any of your "special guest" friends are flaunting.
* The Westgate and the US Grant (and the Bristol to a lesser extent) are basically old-timey hotels from the '60s and '70s still hanging in there -- they're furbished in modern fashion, for certain. It's just that they seem to me like the kinds of hotels my Silent Generation parents would frequently target, the ones where my dad insisted we put on ties before hitting the lobby -- like The Drake in Chicago, or The Columbia Club on the circle in Indianapolis. Until at least recently, the Westgate even had a piano bar where a lady sang Mabel Mercer songs at four in the afternoon. The potential downside to these hotels and their classic, hotels-for-adults attitude is they seem to expect you to act like an adult, too, which at times during a four-day pop culture wallow hardly seems fair.
* A lot of people use the Embassy Suites if they're sharing space and wish to enjoy the convenience of a free breakfast before they head over to the show. Then again, a lot of people complain about that breakfast.
* The new boutique hotels are great places to dawdle in the morning, better places to have any friends in the area meet you for drinks and in recent years have become a bit more Hollywood-oriented, as has the Omni (although perhaps a bit less brazenly and thoroughly; still, that's the hotel for random celebrity encounters, it seems). Good luck finding a room at any of them or, for most folks, affording the one you can find.
* The two Westins are solid chain hotels that have upgraded on the experiences provided by past owners. You might not be looking for four days of "solid," though. I stayed at the Westin Gaslamp this year and they had totally re-done the lobby so it was very, very nice and much less cramped. I thought the service was really good, too, until Sunday when they didn't have enough people checking bags in -- an avoidable situation. Anyway, I'd stay at that one every year if I could. I'm very comfortable there. They also need to go full, free wi-fi, but I get that hotels sometimes are locked into sort-of crappy plans.
* The Horton Grand feels a bit like a comfortable bed and breakfast in terms of staying in the rooms, and is in a location that's about as quiet as you get on that relatively low a floor in downtown San Diego. It can also be a bit too quiet for some folks, and is neither far enough away from the convention to put you in a different neighborhood with unique restaurants and a sense of leaving the show behind, nor is it so close that you'd volunteer to pop over from the convention center when you have 30 minutes between panels.
Anyway, you get the idea. There's no systemically, automatically bad hotel choice since the days where after about the first half-dozen you were talking dives and Navy personnel sex-with-prostitutes places. That doesn't mean they'll all be great, but there's a good chance they'll all be pretty good.
4. As nearly all the hotels available have something to offer your stay, other than the general principles involved in terms of maybe staying within close proximity of the convention center if you can help it, or making sure you get your chain points, or -- if you're paranoid -- reserving a room that you can cancel after you see what you get in the rooms-through-the-convention lottery next Spring, you're probably going to find something you like about your convention hotel. You're probably going to find something that annoys you, too.
5. In the end, your hotel is probably going to be selected for you as much you choose where to stay. Price points, availability through the convention's hotel lottery, your needs in San Diego will all conspire to mercilessly winnow your options. If you have the luxury of choosing where to stay, you probably also have the luxury of taking the time to decide where that will be. The rest of us will scramble to find out where we end up. There's no wrong way to do it. Heck, some people aren't staying in hotels at all anymore but in rented apartments and houses. These days, a bunch of kids always seem to be sleeping outside. In the end, where you stay is probably going to be a bonus feature to your weekend, not the make-or-break proposition some would have you believe.
What Are Some Of The Different Ways I Can Arrange A Comic-Con Vacation?
1. The Classic! (Wednesday PM to Sunday PM/Monday AM)
Fly into San Diego on mid-afternoon Wednesday. Go to Preview Night. Attend the con Thursday to Sunday. Leave late Sunday night or early Monday morning. Gorge on comics and pop culture between your first airplane landing and your last airplane leaving. Compare notes with other full convention attendees about what a rigorous enterprise this is.
2. The Hard-Core Industry Touch and Go! (Wednesday PM to Saturday AM)
I like to go in Wednesday and leave Saturday morning while everyone is still reasonably fresh and ready to go and before the weekend's slight shift in emphasis in the direction of blockbusters and big mainstream hits. In 2008 I went for two days and one night (Friday). There's no better way to cut costs than to go on a limited schedule and there's no better way to avoid burnout than to go for one or two days rather than four.
3. The Prime Time! (Friday AM to Sunday Noon)
Actually it's not true that the really big panels are only on Friday and Saturday, not anymore, but you can pretend that's the case and show up for the weekend and act like you're dismissing the preliminaries (Wednesday-Thursday) and the Wind-Down (Sunday afternoon). If you do this one, you're required by con law to tell people that all you did on Sunday is have breakfast and leave. "I didn't even go to the show on Sunday." Having fresh eyes and healthy feet when everyone else is starting to flag can be an advantage as well.
4. The Clowes! (Saturday AM to Saturday PM)
Wake up, fly down, pop over to the convention center, set up, sell art, shake hands, sell more art, sign autographs, get treated to dinner, leave. I kid, but day trips of the drive down or short flight variety are a way to cut out a lot of the hassle and still get a big chunk of what's fun about the show. It seemed like every single person I talked to over the age of 40 has considered shifting over to this kind of schedule.
5. The Extended! (Monday AM to Monday PM or Tuesday AM)
A lot of my comics industry friends make a full week out of CCI, heading out on Tuesday before the show and heading home Monday afterward. Going for an extra day allows you the time to more easily enjoy different aspects of the city, enables you to fly in and out on potentially less crowded aircraft, and makes it so that you can relax into the show and decompress after it's done.
This isn't just an option for the rich. I know some very economically-challenged comics publishing employees that have slipped a real vacation on the end of the show by having their company shift the date of their return flight and booking a couple of extra days of hotel rooms at non-convention price levels.
6. The SoCal! (Wednesday and Sunday -- or more -- in Los Angeles; Thursday/Friday/Saturday in San Diego)
For those of you that have friends, family or business in Los Angeles, LAX may offer a cheaper flight destination, and may have better times available, than coming straight into San Diego from your town more than 400 miles away. The commuter flights and AMTRAK options to get to San Diego are plentiful and, all things considered, modestly priced. My brother is in LA, and this is what I did in 2009 and 2010. The thing that's nice about this is if you initially miss out on getting a hotel room you can still commit to your time in Southern California knowing that you can likely stay an extra day up in LA if you have to.
7. The Vegas! (Monday-Tuesday before or after CCI in Las Vegas; Thursday-Sunday in San Diego)
I used to extend my CCI visits by going to Las Vegas, which I think is a perfect place to decompress and relax after a long weekend of walking around and looking at funnybooks.
Okay, I'm kidding: I just sort of like going to Las Vegas.
The two big advantages here are 1) the cheapest days of the Las Vegas hotel week tend to be the Mondays through Wednesdays that fall on either side of Comic-Con, and 2) as is the case with LAX it may be easier to find cheap airfare in and out of Las Vegas -- at much better times -- than what's available from your home airport.
Say you have to be in San Diego on Wednesday at 3:00 PM to meet with a publisher. You find out the only flight from Indianapolis on Wednesday puts you in San Diego at 6 PM. You could go to San Diego Tuesday and pay $275 for a hotel and sit around waiting for everyone else to show up. Or you could go to Las Vegas on Tuesday and stay at the Flamingo for $89 and break even playing blackjack for three hours and see Donny Osmond and eat lobster bisque and then fly out Wednesday morning to San Diego well in advance of your 3:00 PM appointment.
Plus you can tell people you had to go to Vegas to save money, which is funny.
I did this one in 2012. It worked out great. I would have had to leave at 7 AM if I had flown to Tucson, but instead I got to stay in San Diego to about 3 PM and have a long breakfast, see some programming, do some shopping and say hey to everyone. A really good day, that last day in San Diego. In Las Vegas I impressed none of the young people with my comics-industry body at the pool, ate a lot of great food, wrote my final con report and got plenty of rest before I took off for home. I enjoyed it so much I'm probably going to make this my default strategy for however many years I still go to the con, or at leas for as many years as I can afford to do this.
That's it for now. Get your passes or figure out which pro or press ones you'll qualify to receive. Bookmark the convention site. Buy your tickets for travel. Think about hotels for now, and pull the trigger on one either through the lottery or when you feel like it's time. Come back in May for the full guide. Between now and then feel free if you have specific questions. I may not be able to answer them, but I sure like reading them.

redpajama_set_name: RedPajamaCommonCrawl


text:
Yankees reach .500 with 11-7 win over Indians
The Yankees' Jacoby Ellsbury hits a three-run home run against Cleveland on Sunday. (Ron Schwane / AP)
CLEVELAND — The New York Yankees rolled into the All-Star break on a high note.
Jacoby Ellsbury hit a three-run homer and the Yankees overcame a shaky outing by Masahiro Tanaka to beat the Cleveland Indians 11-7 on Sunday, moving to .500 (44-44) going into the break.
"It's a positive thing for us. We beat a good team three out of four," manager Joe Girardi said. "Hopefully we can carry the momentum into the second half."
New York scored four runs in the second and six in the fifth, but Sunday's win was anything but easy.
Tanaka took an 11-1 lead into the fifth, but was charged with seven runs (three earned) and fell one out short of qualifying for his seventh win. The right-hander was pulled after Tyler Naquin's two-run homer capped a six-run rally.
[More Sports] With focus on Sixers, Ben Simmons won't play for Australia in World Cup »
Tanaka couldn't pinpoint why he didn't hold the lead that cost him what appeared to be a certain win.
"If I knew the reason I'd fix that and go out and do it," he said through a translator. "Bottom line, I have to go out there and shut them down."
Nathan Eovaldi (7-6), demoted to the bullpen last week, allowed one hit over the final 4 1/3 innings for his first career win in relief. Dellin Betances warmed up in the ninth while Andrew Miller and Aroldis Chapman were unavailable after Saturday's 7-6 win in 11 innings.
"It feels a little different to come into a game with a four-run lead," Eovaldi said. "I was glad to get in there and help Tanaka out."
[More Sports] Penn State lags behind rivals in Big Ten media poll »
The fifth inning featured 12 runs and 11 hits, lasting 46 minutes.
Carlos Carrasco (5-3) allowed five runs -- one earned -- in 3 2/3 innings. Cleveland, which is 3-6 since a franchise-record, 14-game winning streak, committed three errors, leading to eight unearned runs.
"It didn't help," Indians manager Terry Francona said. "Shoot, it seemed like the ball was going every different direction today."
Ellsbury, who angrily objected to a strike call by plate umpire Ramon DeJesus on the previous pitch, homered to right-center in the second to start New York's big offensive day.
[More Sports] How the Phillies went from an 'objectively excellent' offseason to an 'if we don't, we don't' attitude about reaching playoffs »
Errors by first baseman Carlos Santana and third baseman Jose Ramirez made four of the runs Carrasco gave up unearned. Right fielder Lonnie Chisenhall failed to come up with a catchable fly ball in New York's big inning and All-Star shortstop Francisco Lindor committed a throwing error in the fifth.
Starlin Castro started the second with a double. With one out, Santana failed to catch Lindor's throw on a grounder hit by Rob Refsnyder. The ball rolled to the stands, scoring Castro.
Chisenhall got a glove on Austin Romine's fly ball to the warning track, but couldn't hold on. Romine was given a double, putting runners at second and third.
Ellsbury headed to first on a 3-1 pitch, which DeJesus called a strike. Ellsbury argued the call to the point where Girardi came out of the dugout before his center fielder calmed down.
[More Sports] The Sixers would like you to think they're a 'destination' team, but they're not ... yet »
"It ended up working out," said Ellsbury, who homered on the next pitch. "I guess I'm happy he made that call."
TOUGH STRETCH AHEAD
The Yankees finished their road trip 5-5, but Girardi knows there's work to do. New York plays Boston, Baltimore and San Francisco on a 10-game homestand.
"It's tough to go into the break under .500, but we still have to make up ground, starting Friday, after the break," he said.
[More Sports] Cedar Beach Summer Basketball: Northampton, Emmaus, Freedom and Easton among the winners »
Yankees: 1B Mark Teixeira (sore right knee) returned to the lineup after not playing Saturday. He will receive an injection in the knee and rest during the All-Star break.
Indians: OF Michael Brantley, who has missed of the season with a sore right shoulder, will begin a minor league rehab assignment Monday.
[More Sports] Ready, set, hike! Here's a look at the top Big Ten storylines as football season inches closer »
Yankees: RHP Michael Pineda will start against Boston in the first game following the break Friday.
Indians: Carrasco will start the first game after the break in Minnesota on Friday.
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Speed kills: How Penn State got faster, and better, this summer


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I've just found this and thought I'd share.
Free to subscribe and goes direct to your inbox, like I said only just found it but have subscribed.
Happy Birthday Ollie, time for cake?
Awh hope he perks up and you do get a good night.
Happy birthday, hope you've had a little time to yourself today.


text:
Q: Clarification on Phase wave derivation in De Broglie's paper De Broglie's paper refers to his theorem

A periodic phenomenon is seen by a stationary observer to exhibit the
  frequency $ν_1=h^{-1}m_0c^2\sqrt{1-\beta^2}$   that appears constantly
  in phase with a wave having frequency
  $ν=h^{-1}m_0c^2/\sqrt{1-\beta^2}$  propagating in the same direction
  with velocity $V=c/\beta$.

where,

*

*$\beta$=Velocity of periodic matter/ speed of light

*$m_0$=proper mass

*$c$=velocity of light

*$ν_1$=refers to frequency of the periodic oscillation as seen by the
fixed observer

*$ν$= refers to frequency obtained by equating E=hν=m$c^2$
De Broglie also provides a proof for this theorem. He calculates the phase of the two waves($ν_1$ and $ν$) and shows that the two waves maintain equal phase for any given distance x travelled by the waves.
He calculates phase of $ν_1$ at time t by calculating $ν_1\cdot t$. He then goes on to calculate phase of $ν$ by calculating  $ν\cdot(t-\frac{\beta \cdot x}{c})$.I have a question here. Can someone explain how does the factor $(t-\frac{\beta \cdot x}{c})$ comes into play for  calculating phase of $ν$
Another question, What does $ν$ frequency obtained through energy relation (hν) indicates. Is it a hypothetical frequency that has no relation to real world?
The full de broglie paper can be downloaded from http://aflb.ensmp.fr/LDB-oeuvres/De_Broglie_Kracklauer.pdf . I am referring to Chapter 1 'The Phase Wave' derivation.

redpajama_set_name: RedPajamaStackExchange


text:
Music For Half Time
OK, there's no football for a couple of days & while it's probably not coming home the England team are still in Russia. I'll be, like the rest of the country, shouting at the TV on Saturday afternoon, my neighbours will appreciate that it's not my turn to host this time. Dan has only been in his house for a month, I'm sure that his new friends next door will be OK with the noise. Today is the sixth birthday of Loosehandlebars so let's feature some of the music that has been filling the gaps between some very enjoyable World Cup matches.
The new LP from Half Man Half Biscuit is titled "No-one Cares About Your Creative Hub So Get Your Fuckin' Hedge Cut"…that's a good start. It's over 30 years now since the first 2 albums by HMHB were at the front of the stack & at #1 in the UK Indie chart. On "Back in the DHSS" (1985) & "Back Again…" (1987) Nigel Blackwell's lugubrious commentaries on British popular culture matched to a spirited bit of Punk Rock were wry relief from the dole-drums of Thatcher's Britain. Playing in the band got the boys away from daytime TV & declining to appear on "The Tube" because of a previous Friday night appointment with Tranmere Rovers confirmed that they walked it like they talked it. Maybe, just maybe, references to Fred Titmus, Nerys Hughes, Bob Todd ("99% of Gargoyles Look Like…") & Len Ganley didn't mean much outside of the UK but HMHB were making the most pertinent funny music sice the Bonzo Dog Doo Dah Band. Which of us here have not often called the mind the opening lines of "Dickie Davies' Eyes", "Mention The Lord Of The Rings just once more & I'll more than likely kill you". That's so right.
The band still has a big enough following to play plenty of gigs & subsequent records have come to my attention when the band has been discovered by those younger than myself. There are always good songs & it's not only "Restless Legs", "Joy Division Oven Gloves" & "National Shite Day" ("There's a man with a mullet going mad with a mallet in Millets") that's made Nigel a bit of a national treasure. On "No-one cares…" he's still piercingly accurate about pretension, going on about football, "Swerving the Checkatrade", "Knobheads on Quiz Shows" is self-explanatory. There are even a couple of more poignant songs about ageing & loss. Great titles, better lyrics, British Folk Pop Punk, they do that better than anyone.
One of my favourite recent purchases (alongside a rather fine Popeye the Sailorman tee-shirt) is "In Concert, November 1975" by Richard & Linda Thompson. I can't remember why I missed out on this tour because I loved the first 2 records by this pair & "Pour Down Like Silver", the new album at the time, has become the one I play the most from an outstanding, enduring body of work. In 2007, 25 years after the Thompson's professional & romantic separation, Island Records finally released this gem from a couple at the top of their game backed by an all-star band.
There are plenty of Richard & Linda classics, the extended versions of "Night Comes In" & "Calvary Cross" (all 14 minutes!) are even better than the studio versions. There are cover versions, Hank Williams, Buck Owens, Ricky Nelson, reflecting Richard's interest in American Country as well as British Folk music. "Now Be Thankful" first appeared on "Full House", the final LP Richard made with Fairport Convention. On that fine record it's sung by co-writer Dave Swarbrick. I'm an enthusiast of Fairport's work, I know (& so do you) that Sandy Denny is one of the great vocalists but when Linda sings & Richard plays resistance is futile. I just kick back & enjoy some of the most beautiful, emotional music that I am aware of. This spectacular rendition took my breath away, touched my heart & opened my wallet.
The weather's been great here this past week, how about you? Time to dig out the past feelgood hits of the Summer to be enjoyed sitting outside with a cold beverage, a refreshing bit of green & good conversation. There's been, of course, plenty of Reggae, Marvin & Tammi's "United" always hits the spot & every Summer, however fleeting, since 2010 "One Fast Move or I'm Gone: Kerouac's Big Sur" has been a fine accompaniment to warm evenings. Ben Gibbard (Death Cab for Cutie, Postal Service) & Jay Farrar (Uncle Tupelo, Son Volt) didn't seem to the most likely pairing, brought together by a mutual respect for Jack Kerouac & producing an album of, mainly Farrar's, songs. This is not Beat poetry & anyway I'm more a Steinbeck man myself, it's a fine collection of modern Country Rock, a fresh take on the music I've enjoyed since the late 1960's.
Right, I'm away to order a Gareth Southgate waistcoat from Amazon. Happy Birthday to the blog & bring on Sweden!
tagged as ben gibbard, every time a bell rings, half man half biscuit, in concert november 1975, jay farrar, now be thankful, one fast move or i'm gone, richard and linda thompson


Sneak out the back door of The Palmer House and grab a meal or drinks at Miller's. Kitchcn open very late and bar very very late. Menu ranges from omelettes, reubens and ribs to whitefish and corned beef and cabbage. Great mix of tourists and locals. Drinking a Tom and Jerry at the holidays is a tradition not to be missed. Fine Food and Spirits.


Haydenn wrote: Mind you anything is possible and it makes more sense than some other eva stuff out there (like anime....which is still ace) and would be very cool, i mean id expect more from Shinji considering all he's gone through, i mean the kid did awaken an eva and live in it for 13 years. Anyhow prob getting off the original topic too much isn't this about an eye or something?
The thread is about Asuka's contamination and her corrupted left eye, let's not drift too far from that.
'potential' contamination and corruption i assume.
Her hidden eye glows blue when she's angry or during Beast Mode(while it's supposed to glow green, like her other eye), and his bright enough to glow through the eyepatch, and said eyepatch is imbued with Angel Sealing runes, at this point I think we can safely exclude the 'potential' part of her contamination.
ElMariachi wrote: Her hidden eye glows blue when she's angry or during Beast Mode(while it's supposed to glow green, like her other eye), and his bright enough to glow through the eyepatch, and said eyepatch is imbued with Angel Sealing runes, at this point I think we can safely exclude the 'potential' part of her contamination.
Actually we can't. Like I said in my post. We don't know what is in her eye. It might have nothing to do with Bardiel and we certainly can't call it contamination. It could be an enhancement. There is nothing about her actions in 3 that would suggest "contamination".
Too much jumping to conclusions without any evidence on this board. Have you learned nothing from Evangelion over the past 15 some odd years? Anything you expect or think is certain can be instantly overturned without a character explicitly stating "Asuka is corrupted".
The conclusion may or may not be right; but evidence there is - in the form of the Angel-sealing runes on the eye-patch. I find it hard to imagine they were put there without reason, but you are free to suggest a different reason if you can find a convincing one!
Lonecow12 wrote: Actually we can't. Like I said in my post. We don't know what is in her eye. It might have nothing to do with Bardiel and we certainly can't call it contamination. It could be an enhancement. There is nothing about her actions in 3 that would suggest "contamination".
Maybe it has nothing to do with Bardiel himself, but her eyepatch have Angel Sealing Hex runes on it, runes that have been created for the purpose of sealing the power of the Angels, so whether it's from an experiment made on her, from Bardiel or from something else, there is definitively something Angelic going on with her eye!
See you are all throwing that out. No their arnt!!! there are runes, not Angel sealing runes! Have you translated them? if so feel free to post it up and prove me wrong. the runes we know have an alphabet so it could be you have translated them and they say 'Seal....for ANGEL contamination' and if that's the case then please by all mean post the evidence. The runes are used on hypothesized angel suppression/repelling devices and even that's conjecture however secure it is (i agree that's what the devices are doing) However the runes are used in instances that have nothing to do with angel suppression. The runes are on the NERV logo now and just spell NERV they arnt sealing an angel in the wall. The runes on the DSS choker are the note to a piano piece. What evidence do you have that the runes on the eye patch have anything to do with angel suppression?
Haydenn wrote: See you are all throwing that out. No their arnt!!! there are runes, not Angel sealing runes! Have you translated them? if so feel free to post it up and prove me wrong. the runes we know have an alphabet so it could be you have translated them and they say 'Seal....for ANGEL contamination' and if that's the case then please by all mean post the evidence. The runes are used on hypothesized angel suppression/repelling devices and even that's conjecture however secure it is (i agree that's what the devices are doing) However the runes are used in instances that have nothing to do with angel suppression. The runes are on the NERV logo now and just spell NERV they arnt sealing an angel in the wall. The runes on the DSS choker are the note to a piano piece. What evidence do you have that the runes on the eye patch have anything to do with angel suppression?
Read TMBounty_Hunter's post. Glyphs and sealing pillars are definitely connected IMO.
Of course, they might not have any HUGE-MIND BLOWING-PLOT EFFECT.
yes, yes they are connected. The sealing pillars have glyph's on them so they are literally connected. That does not mean the glyph's are in and of them self in any way seals. They are an alphabet that's established, its writing. It shows it in the film. They appear plenty of times when clearly not in a sealing capacity, such as the nerv logo and you cant be implying that the word NERV on a logo, on a wall at the bottom of a near abandoned base has anything to do with sealing angels.
Last edited by Haydenn on Tue Jun 18, 2013 12:55 pm, edited 1 time in total.
Well, if i'ts not anything angel related........Just to look cool...? mechanical eye? Pretty lame.
Google gives 使徒封印用呪詛文様 as "Apostle Sealing curse pattern" so it seems to be the typical Gainax/khara Kanjiflood way of saying some straightforward as Anti-Angel Runes.
huh...... yes i am aware, all instances of things with glyphs on the are directly credited to Anno and the translation "Apostle Sealing curse pattern" that is just matter of factually assumed to be the typical Gainax/khara Kanjiflood way of saying some straightforward as Anti-Angel Runes is complete conjecture!
"Apostle Sealing curse pattern" to me that sounds more like the exact configuration of the runes or PATTERN is used for sealing, like say the words to a spell comprised of letters from an alphabet. That does NOT mean the individual letter, or glyphs are themselves anti-angel runes like he says, its a complete guess. "a possibly correct translation says this, so i've decided that it must mean this" thats all it is and it may in actually be the case but it is far from a FACT, its just someones guess based upon a slither of information and should in no way be set down as concrete truth. I've never said i don't think the glyph's on those devices aren't seals in fact i'm certain they are (the image in the book is of the pillars) but the glyph's themselves are just letters and numbers as far as the evidence presented.
But it would be cool if it was something angelic.
Haydenn, you're doing it on purpose right?
The title is 使徒封印用呪詛文様, shito fuuin'you mon'yoo or "Apostle Sealing curse pattern", "Apostle"(shito) being the Japanese term used to design the Angels.
So yes, these runes can be used to make fancy writing on walls or in neo-NERV logo because someone bothered to use some of then as a latin alphabet, but the primary function of those runes are the Sealing of Angels.
There is also in the CRC a term for the pillars : 使徒封印用呪詛柱, shito fuuin'you jusochuu or "Apostle Sealing curse pillar".
So the "Angel Sealing Hex Pillars"(which is a name keeping the Japanese sense but more clear to the ear) are composed of "Angel Sealing Hex Glyphs".
Besides why would Asuka's eyepatch be embedded with these runes, to write something in a fancy alphabet? No if these runes are here and if Anno took the trouble to hide then in an half-second long scene, there is a reason for that.
Evangelion always had many questions left unanswered, but not something as big as why one of the main character have an eye that doesn't act like a normal eye.
Why would Wille go through the trouble of making sure the runes on Shinji's choker make a song? It's just an Easter Egg.
Using stuff from a fan book and saying it is canon or confirmed to be true is a huge mistake. Nothing in the narrative in the film has confirmed the runes do anything one way or another.
We aren't saying it isn't possible, and in 4 sure enough, Misato could rip off Asuka's eye patch and say, "Behold the 18th Eyengle! Get it? We put these little runes on her eyepatch to seal it up, but now it's UNLEASHED!!!"
But until that or something like it happens, we can only speculate what they are.
I have a machine i have made to keep out spiders. I write on the wood "abra kadabra." That wood i call Apostle Sealing curse pattern. Now what im saying is this is a pattern that seals out spiders. "abra kadabra." is the seal however it is comprised of individual letters a.b.r.a ect and thoes individual letters are the glyphs. I then get an eye patch and i write 'eye' i have used the 'glyphs' but that does not mean that it is a seal against spiders.
There is no proof that the individual glyphs are seals against angels, the best you can come up with is some possibly correct translations and what someone else has decided to interpret that translation as with nothing really to back that than pure opinion. However in the ACTUAL film you see that each glyph actually represents a letter. I have no idea how you can go, oh there angel seals AND someone decided to give them a 'fancy' alphabet meaning too!!! I mean how do you get that?! fanboy opinion as a priority over evidence presented within the film itself?!
Are you kidding? simply put BECAUSE ITS EVA?! why did Ritsuko mouth something to gendo at the End of EOE? for half a second that Anno went to the trouble of putting in?! Its what he does, all the time!! Its not even like the runes where made just for EVA to be angel seals he lifted them directly from Nadia secret of blue water!
anyhow, i'm going to drop out of this thread now as it keeps swinging off topic and that's probably my fault as much as anyone. Fun chatting about this. Personally i think the Eye will amount to nothing but id be pleased to be proven wrong.
My personal hypothesis is that the "runes" are probably made up by the alphabet which the First Ancestral Race used, if they haven't been purged from NTE.
Haydenn wrote: I have a machine i have made to keep out spiders. I write on the wood "abra kadabra." That wood i call Apostle Sealing curse pattern. Now what im saying is this is a pattern that seals out spiders. "abra kadabra." is the seal however it is comprised of individual letters a.b.r.a ect and thoes individual letters are the glyphs. I then get an eye patch and i write 'eye' i have used the 'glyphs' but that does not mean that it is a seal against spiders.
Truth be told, outside of some obscure religious symbolism, most of the smaller details in Eva have a meaning, one way or another. Stuff like the mindrapes and whatever Gendo said to Ritsuko in Eoe, may not be explicit or clear and leave the chance to the viewer to come up with a personal interpretation, that cannot be proven (indisputably) right or wrong (within certain boundaries...) but they are mainly relevant to the characters and not to the plot itself. It seems to me like the entire thing with Asuka's eye has been set up to have actual relevance to the plot and not to be some kind of easter egg.
-In 2.0 we can see that Asuka's left eye was wounded after the Bardiel's incident, seemingly implying that whatever happened to her eye is connected to that incident (which involved an angel essentially talking control of her).
-Still in 2.0 (if i remember correctly) Ritsuko states that Asuka's mind may have been corrupted by Bardiel (even though she was physically all right).
-In 3.0 when her eye glows, it does so in a cross shaped, blue colored, pattern. Shape and color usually associated with angelic beings in Eva.
-Still in 3.0, it seems like runes appear on her eyepatch. Runes that seem to have been designed to seal angelic "powers" (ofc we can't know that for sure).
The "core" of the plugsuit is blue (angel color) unlike everyone else's plugsuits (Mari, Kaworu, Rei and Shinji) that have a red "core".
The two parts of the suit in the chest region are of different colors (once again, something unique to Asuka). Both colors are used to indicate specific blood patterns in Eva (orange and blue). Link to the wiki article http://wiki.evageeks.org/Blood_Type.
Add to those the fact that it seems to be quite likely that Asuka will get more screentime in 4.0 and that an angel contamination could easily provide some effective drama and, from my perspective, it would be very weird if the eye turned out to be a red herring. That said, it's true that there's no way to know for sure, but let's not even treat the "Asuka has been contaminated" theory as something far fetched.


On the move! Jinger Vuolo (née Duggar) and Jeremy Vuolo's 8-month-old daughter, Felicity, is crawling like a pro.  Jinger Duggar and Jeremy Vuolo's Daughter's First Days at Home	 "Come here, baby. Keep going," Jinger, 25, said in her husband's Monday, March 18, Instagram Story. She sat on a couch while her daughter slowly made her way across a carpet. "Don't look at me, angel," Jeremy, 31, said from behind the camera when Felicity turned back to him for help. "You gotta go to mommy."  Duggar Family: The Next Generation	 Not only did their baby girl make it to Jinger, but she used the reality star's foot and hand to pull herself up to a standing position. She cooed for the camera when her mom picked her up. The Counting On star and her husband, who tied the knot in November 2016, four months after their engagement, welcomed their daughter in July 2018. "God is so kind. Jinger gave birth to Felicity Nicole Vuolo this morning at 4:37 a.m.," the former Major League Soccer player told Us Weekly exclusively at the time. "Felicity weighs 8 lbs and 3 oz, and is 19.5 inches long. Both mom and baby are healthy, doing great, and resting well. We are very thankful for her safe arrival and look forward to life as parents!" Jinger opened up about her birth to Us as well. "The moment I saw Felicity in Jeremy's arms, I melted," she said one week later. "She is blessed to have such a remarkable father." Felicity has been learning all kinds of new skills lately. Earlier this month, the mini TLC personality took a stab at playing the piano like her mom.  Duggar Family Pics: Couples, Babies & More!	 "Her mother's protégé," Jeremy captioned the Instagram upload. His daughter stood on Jinger's lap with her hands on the keys, while the new mom laughed and tried to play around her. "I think you've taken it over," Jinger said with a smile.


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text:
Many Paleontologists Today Are Part Of The 'Jurassic Park' Generation
Right now, paleontology is booming. Lots of scientists are entering the field, competing for academic and research jobs. And a new dinosaur species is being discovered on average every 10 days.
Many people who work in paleontology think what's happening today is tied to a summer blockbuster that hit movie theaters 25 years ago.
(SOUNDBITE OF FILM, "JURASSIC PARK")
BOB PECK: (As Muldoon) Joffrey, raise the gate.
JOSEPH FREDERICKSON: I remember leaving my kindergarten class running to the car where my aunt and uncle were picking me up, and they took me to the movie theater and took me to go see this PG-13 rated movie called "Jurassic Park." And from the onset, when you see that first cage with the raptor in it... and.
FREDERICKSON: ...I was standing on top of my chair.
SHAPIRO: That is paleontologist Joseph Frederickson. He's part of the "Jurassic Park" generation that's now helping to create a golden age of dinosaur discovery.
FREDERICKSON: Right off the bat, dino mania; I owned every dinosaur, "Jurassic Park" thing that I could get my hands on. And for at least four to five years, "Jurassic Park" was the biggest thing in my life. But going through adolescence, you know, you kind of forget about those things, and it wasn't really until I got into college and I kind of started to reflect on really what did I want to do with my life. And I ended up picking up "Jurassic Park" the novel again at that point, and I read it, and I found myself getting more and more interested in it again as I got through it. As soon as I put it down, I realized I needed to enroll in a paleontology class or a Earth science class to learn more.
(SOUNDBITE OF JOHN WILLIAMS AND BOSTON POP ORCHESTRA'S "THEME (FROM "JURASSIC PARK")")
FREDERICKSON: The "Jurassic" generation is 100 percent a thing. I have colleagues - so many colleagues - who are, you know, in their early 30s who were just children when "Jurassic Park" came out. And I have no doubt that it meant just as much to every one of them as it did to me and can really point to that moment as being one of these life-changing events that really made them want to get into paleontology.
FREDERICKSON: You know, we are finding more dinosaurs and more prehistoric animals than we ever have before at a rate that is just unprecedented. And it's not going to stop anytime soon because we have an army of paleontologists who are chomping at the bit to get out there who are all, in my situation, starting their careers right now.
CHANG: That's Joseph Frederickson, a newly minted professor at Southwestern Oklahoma State University. He's a member of the "Jurassic Park" generation - paleontologists who were first inspired by the Steven Spielberg film 25 years ago.
SHAPIRO: Frederickson will defend his Ph.D. dissertation at the end of this month. It addresses a question prompted by the original "Jurassic Park" - did velociraptors, in fact, hunt in packs?
UNIDENTIFIED ACTOR: (As character, screaming).
SHAPIRO: His conclusion - the movie probably took some liberties.
(SOUNDBITE OF JOHN WILLIAMS AND BOSTON POP ORCHESTRA'S "THEME (FROM "JURASSIC PARK")") Transcript provided by NPR, Copyright NPR.


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text:
Q: ajax upload file form I have two forms, one for uploading a file and another for filling the form with information. I need to upload the file without refreshing the page first and then submit the form using ajax. And here are the codes:
form_file

Insert Employee

        <form id="form">

            <input id="name" placeholder="arabic name.." type="text" name="name_ar"/>

            <input id="name" placeholder="english name.." type="text" name="name_en" value=""/>

            <input id="name" placeholder="arabic department.." type="text" name="dep_ar" />

            <input id="name" placeholder="english department.." type="text" name="dep_en" />

            <input id="name" placeholder="arabic job.." type="text" name="job_ar"/>

            <input id="name" placeholder="english job.." type="text" name="job_en" />

            <input id="name" placeholder="extention#.." type="text" name="ext" />

            <input id="name" placeholder="office#.." type="text" name="office" />

            <input id="name" placeholder="mobile#.." type="text" name="mobile" />

            <input id="email" placeholder="email" type="text" name="email"/>

                <form id='form1'>
                    <input type="file" name="userfile" size="20" />

                    <input type="button" value="upload" id="upload" />
                </form>

            <input type="button" value="Click" id="submit"/>
            <input type="reset" value="Reset"/>
        </form>

AND HERE IS THE AJAX: I know how to submit data using ajax but I need help for how to upload a file using ajax without refreshing the page, and then take the name of that file, send it again with the form, and save it to database.

A: Not sure whether I get it properly or not. I will try to answer as per my understanding.

*

*You need to write server side code which will save the image on server.

*I believe you are able to make the AJAX call to initiate point 1.

*From your upload service (point 1), your should return the "relative path" of the image which was uploaded.

*In success callback of your AJAX call (point 2) you should be able to capture the relative path.

*Once the relative path has been captured you should add it to DOM or say any element.

*Then you can start another AJAX call or post back (submit form) based on your requirement.

If this is not the problem then please be specific in what you need and provide more information.

A: I do it like this and it's work for me  :)

        <form>
            <input type="file" name="userfile" id="userfile" size="20" />

            <input type="button" id="upload" value="upload" />
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text:
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IBM Closes Landmark Acquisition of Red Hat for $34 Billion; Defines Open, Hybrid Cloud Future
ARMONK, N.Y. and RALEIGH, N.C. — July 9, 2019 —
Joining forces with IBM gives Red Hat the opportunity to bring more open source innovation to an even broader range of organizations and will enable us to scale to meet the need for hybrid cloud solutions that deliver true choice and agility.
Jim Whitehurstpresident and CEO, Red Hat
Acquisition positions IBM as the leading hybrid cloud provider and accelerates IBM's high-value business model, extending Red Hat's open source innovation to a broader range of clients
IBM preserves Red Hat's independence and neutrality; Red Hat will strengthen its existing partnerships to give customers freedom, choice and flexibility
Red Hat's unwavering commitment to open source remains unchanged
Together, IBM and Red Hat will deliver next-generation hybrid multicloud platform
IBM (NYSE:IBM) and Red Hat announced today that they have closed the transaction under which IBM acquired all of the issued and outstanding common shares of Red Hat for $190.00 per share in cash, representing a total equity value of approximately $34 billion.
The acquisition redefines the cloud market for business. Red Hat's open hybrid cloud technologies are now paired with the unmatched scale and depth of IBM's innovation and industry expertise, and sales leadership in more than 175 countries. Together, IBM and Red Hat will accelerate innovation by offering a next-generation hybrid multicloud platform. Based on open source technologies, such as Linux and Kubernetes, the platform will allow businesses to securely deploy, run and manage data and applications on-premises and on private and multiple public clouds.
"Businesses are starting the next chapter of their digital reinventions, modernizing infrastructure and moving mission-critical workloads across private clouds and multiple clouds from multiple vendors," said Ginni Rometty, IBM chairman, president and CEO. "They need open, flexible technology to manage these hybrid multicloud environments. And they need partners they can trust to manage and secure these systems. IBM and Red Hat are uniquely suited to meet these needs. As the leading hybrid cloud provider, we will help clients forge the technology foundations of their business for decades to come."
"When we talk to customers, their challenges are clear: They need to move faster and differentiate through technology. They want to build more collaborative cultures, and they need solutions that give them the flexibility to build and deploy any app or workload, anywhere," said Jim Whitehurst, president and CEO, Red Hat. "We think open source has become the de facto standard in technology because it enables these solutions. Joining forces with IBM gives Red Hat the opportunity to bring more open source innovation to an even broader range of organizations and will enable us to scale to meet the need for hybrid cloud solutions that deliver true choice and agility."
Red Hat will continue to be led by Jim Whitehurst and its current management team. Whitehurst is joining IBM's senior management team, reporting to Ginni Rometty. IBM will maintain Red Hat's headquarters in Raleigh, North Carolina, its facilities, brands and practices. Red Hat will operate as a distinct unit within IBM and will be reported as part of IBM's Cloud and Cognitive Software segment.
Both companies have already built leading enterprise cloud businesses with consistent strong revenue growth by helping customers transition their business models to the cloud.
IBM's cloud revenue has grown from 4 percent of total revenue in 2013 to 25 percent today. This growth comes through a comprehensive range of as-a-service offerings and software, services and hardware that enable IBM to advise, build, move and manage cloud solutions across public, private and on-premises environments for customers. IBM cloud revenue for the 12-month period through the first quarter of this year grew to over $19 billion. The Red Hat acquisition is expected to contribute approximately two points of compound annual revenue growth to IBM over a five-year period.
Red Hat's fiscal year 2019 revenue was $3.4 billion, up 15 percent year-over-year. Fiscal first quarter 2020 revenue, reported in June, was $934 million, up 15 percent year-over-year. In that quarter, subscription revenue was up 15 percent year-over-year, including revenue from application development-related and other emerging technology offerings up 24 percent year-over-year. Services revenue also grew 17 percent.
The Hybrid Cloud Opportunity
Digital reinvention is at an inflection point as businesses enter the next chapter of their cloud journey. Most enterprises today are approximately 20 percent into their transition to the cloud. In this first chapter of their cloud journey, businesses made great strides in reducing costs, boosting productivity and revitalizing their customer-facing innovation programs. Chapter two, however, is about shifting mission-critical workloads to the cloud and optimizing everything from supply chains to core banking systems.
To succeed in the next chapter of the cloud, businesses need to manage their entire IT infrastructure, on and off-premises and across different clouds — private and public – in a way that is simple, consistent and integrated. Businesses are seeking one common environment they can build once and deploy in any one of the appropriate footprints to be faster and more agile. IBM's offerings have evolved to reflect new customer needs and drive greater growth. The acquisition of Red Hat further strengthens IBM as the leader in hybrid cloud for the enterprise.
"As organizations seek to increase their pace of innovation to stay competitive, they are looking to open source and a distributed cloud environment to enable a new wave of digital innovation that wasn't possible before. Over the next five years, IDC expects enterprises to invest heavily in their journeys to the cloud, and innovation on it. A large and increasing portion of this investment will be on open hybrid and multicloud environments that enable them to move apps, data and workloads across different environments," said Frank Gens, Senior Vice President and Chief Analyst, IDC. "With the acquisition of Red Hat, and IBM's commitment to Red Hat's independence, IBM is well positioned to help enterprises differentiate themselves in their industry by capitalizing on open source in this emerging hybrid and multicloud world."
The collective ability of IBM and Red Hat to unlock the true value of hybrid cloud for businesses is already resonating among customers moving to the next chapter of digital reinvention.
"Delta is constantly exploring current and emerging technology as we transform the air travel experience," said Ed Bastian, Delta CEO. "We've been working with both IBM and Red Hat for years to deliver on that goal, and as they together build the next generation IT company, they will be an essential part of our digital transformation."
"As a long-standing partner of Red Hat and IBM, we look forward to capabilities that these two companies will bring together," said Michael Poser, Managing Director and Chief Information Officer, Enterprise Technology & Services, Morgan Stanley. "We know first-hand how important and impactful cloud technology contributes to unlocking business value."
IBM Reinforces Commitment to Open Source and Red Hat Neutrality
IBM and Red Hat have deep open source values and experience. The two companies have worked together for more than 20 years to make open source the default choice for modern IT solutions. This includes the importance of open governance and helping open source projects and communities flourish through continued contribution.
With Red Hat, IBM has acquired one of the most important software companies in the IT industry. Red Hat's pioneering business model helped bring open source – including technologies like Linux, Kubernetes, Ansible, Java, Ceph and many more – into the mainstream for enterprises. Today, Linux is the most used platform for development. Red Hat Enterprise Linux alone is expected to contribute to more than $10 trillion worth of global business revenues in 2019. By 2023, an additional 640,000 people are expected to work in Red Hat-related jobs.
IBM has committed to scaling and accelerating open source and hybrid cloud for businesses across industries, as well as preserving the independence and neutrality of Red Hat's open source heritage. This includes its open source community leadership, contributions and development model; product portfolio, services, and go-to-market strategy; robust developer and partner ecosystems, and unique culture.
Red Hat's mission and unwavering commitment to open source will remain unchanged, and Red Hat will continue to offer the choice and flexibility inherent to open source and hybrid IT environments. Red Hat also will continue to build and expand its partnerships, including those with major cloud providers, such as Amazon Web Services, Microsoft Azure, Google Cloud and Alibaba.
IBM and Red Hat also share a strong commitment to social responsibility and a sense of purpose for applying technology and expertise to help address some of the world's most significant societal challenges. Together, the two companies have committed to expanding this longstanding commitment through new joint initiatives, addressing education and skills, civic and societal needs and Science, Technology, Engineering, and Math (STEM) workforce development. For more information visit: https://ibm.com/blogs/corporate-social-responsibility/2019/07/be-open-and-change-the-world/
For more information on today's news, visit: https://newsroom.ibm.com/ and https://www.ibm.com/redhat
For more information about IBM, visit https://www.ibm.com.
Red Hat is the world's leading provider of enterprise open source software solutions, using a community-powered approach to deliver reliable and high-performing Linux, hybrid cloud, container, and Kubernetes technologies. Red Hat helps customers integrate new and existing IT applications, develop cloud-native applications, standardize on our industry-leading operating system, and automate, secure, and manage complex environments. Award-winning support, training, and consulting services make Red Hat a trusted adviser to the Fortune 500. As a strategic partner to cloud providers, system integrators, application vendors, customers, and open source communities, Red Hat can help organizations prepare for the digital future.
Certain statements contained in this press release may constitute "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995. Forward-looking statements provide current expectations of future events based on certain assumptions and include any statement that does not directly relate to any historical or current fact. Actual results may differ materially from those indicated by such forward-looking statements as a result of various important factors, including: risks related to our pending merger with International Business Machines Corporation, the ability of the Company to compete effectively; the ability to deliver and stimulate demand for new products and technological innovations on a timely basis; delays or reductions in information technology spending; the integration of acquisitions and the ability to market successfully acquired technologies and products; risks related to errors or defects in our offerings and third-party products upon which our offerings depend; risks related to the security of our offerings and other data security vulnerabilities; fluctuations in exchange rates; changes in and a dependence on key personnel; the effects of industry consolidation; uncertainty and adverse results in litigation and related settlements; the inability to adequately protect Company intellectual property and the potential for infringement or breach of license claims of or relating to third party intellectual property; the ability to meet financial and operational challenges encountered in our international operations; and ineffective management of, and control over, the Company's growth and international operations, as well as other factors contained in our most recent Quarterly Report on Form 10-Q (copies of which may be accessed through the Securities and Exchange Commission's website at www.sec.gov), including those found therein under the captions "Risk Factors" and "Management's Discussion and Analysis of Financial Condition and Results of Operations". In addition to these factors, actual future performance, outcomes, and results may differ materially because of more general factors including (without limitation) general industry and market conditions and growth rates, economic and political conditions, governmental and public policy changes and the impact of natural disasters such as earthquakes and floods. The forward-looking statements included in this press release represent the Company's views as of the date of this press release and these views could change. However, while the Company may elect to update these forward-looking statements at some point in the future, the Company specifically disclaims any obligation to do so. These forward-looking statements should not be relied upon as representing the Company's views as of any date subsequent to the date of this press release.
Red Hat, Red Hat Enterprise Linux, the Red Hat logo, Ansible, and Ceph are trademarks or registered trademarks of Red Hat, Inc. or its subsidiaries in the U.S. and other countries. Linux® is the registered trademark of Linus Torvalds in the U.S. and other countries.
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text:
RevivalTREM Bias Tremolo
RevivalDRIVE Hot Rod Edition
Cali76 Compact Deluxe
Cali76 Stacked Edition
Cali76-TX & TX-L
Cali76 Compact Bass
SlideRIG Compact Deluxe Mk2
RevivalDRIVE
RevivalDRIVE Compact
Revival Footswitch
Switcher Interface for RevivalDRIVE
Remote Switcher Cable for RevivalDRIVE
TRS Jack Cable for Revival Footswitch or Switcher Interface
Limited Edition Pedals
Sample Settings
Cali76 vs. SlideRIG
Origin Effects – Guitarist Magazine Issue #445
by Adam Wilshire on June 17, 2019 in News
May 2019 Issue #445
"This issue, we venture to the leafy outreaches of Buckinghamshire to discover more about an effects manufacturer whose pedals are turning up on the 'boards of top players all around the world."
Words: David Mead. Photography: Olly Curtis
When guitarists as diverse as Joe Walsh, Josh Smith, Ed O'Brien and David Gilmour start clearing space on their pedalboards for the effects output of a particular company, it's time to sit up and take notice. Such is the case with Origin Effects. Its compressors – the Cali76 and SlideRIG – and the RevivalDRIVE have quite literally been getting under the feet of a whole host of players, the common denominator between them being superlative tone. So, what exactly is the lure? We thought the best way to find out was to pay the company a visit and talk to its designer-in-chief, Simon Keats. Simon began his fascination with effects pedals in his teens, the intention being to attend music college and turn professional. "I decided I was probably never going to get a job being a session player or whatever," he tells us as we'd settled in a room lined with some jaw- droppingly awesome vintage amps and guitars. "So I ended up doing a degree in electronics." After leaving university Simon began working in Vox's R&D department, where he designed some of the Cooltron effects range and assisted with the company's Brian May signature AC30. He went on to work for companies such as Nokia and Audio-Technica as an analogue designer before deciding it was time to strike out on his own.
As a fan of slide guitar – and Little Feat legend Lowell George, in particular – a plan began to form while he was maintaining some 1176 studio compressors. "I'd read about how Lowell George, in the studio, chained two 1176s together," he says. "I had two. I had my Strat and put the right strings on it – flatwounds – and got the same slide that he used and I chained them together. I was just blown away by how good it sounded. "Running the two 1176s in this configuration, it just made my guitar feel more tactile to play and it really enhanced the qualities of the instrument. It was then that I really understood what compression could do for guitar. If I could take the sound and transfer it into a pedal, that would be something that I would enjoy, just from a selfish perspective. I wasn't really thinking about selling them at that point. It was just something I wanted to do for myself?' Dubbing his creation the SlideRIG, Simon began making prototypes and taking them out to local jam sessions. "I plugged it into a clean Valvestate that no-one ever wanted to use," he says. "But with the SlideRIG, the sustain was better and it was loud and clear and clean, and everybody just turned round and looked. At that point, I realised I was onto something, and I thought, I'll have to start selling these!
We suggest to Simon that compression is a much-misunderstood effect among guitarists, mainly because compression doesn't appear to do anything as spectacular as, say, chorus or distortion. "I think it is misunderstood because it's not as easy to explain like, 'You switch this on and everything gets really distorted and sounds cool? It's a tougher thing to convey, particularly with a decent compressor, where it can enhance everything you already liked about the instrument and suddenly you like it four times as much because it's more tactile and sensitive." If the whole idea of chaining two compressors together started in recording studios, we wondered how this might have come about in the first place. "For people plugging straight into a desk in the days before SansAmps and things like that, applying a lot of compression made it feel like playing through a guitar amp, because a note would sustain. It would make the guitar more sensitive so you could do things like pull-offs and hammer-ons and stuff and it would be easy, rather than the guitar just feeling dead under your fingers. You could also hit the front end of the compressor quite hard and get it to break up a little bit; I think Led Zeppelin's Black Dog guitar tone was two 1176s."
DIRT TRACKS
The other side of the Origin Effects coin is its overdrive pedal range, the RevivalDRIVE in particular – so, in a way, we've gone from enhancing a clean tone and producing transparency with the Cali series to raising some good old-fashioned dirt. "Even before I worked at Vox, I was building my own amps;' says Simon, "so the challenge has always been there, in the back of my mind, to make a non-valve device sound like a valve device. It's something that people have been trying to do for a long time. It's a challenge that appealed – and I'd identified the ghosting aspect of a valve amplifier's breakup as being something that my ear particularly latched onto."
Ghosts in the machine? We might need a quick explanation here, Simon… "In the 50s, guitar amplifiers used parts that were available and they consisted of a preamp, a power amp that would drive the speaker, and a power supply. The power supply takes the AC mains signal, which is like a sine wave, and converts that to something that can drive the power amp and preamp stages. You have to get rid of that cyclic aspect of the mains and turn into a nice, clean DC voltage source, which is, in basic terms, what could be compared to something we get off a battery." Okay, we're with you so far, but we have the feeling that some serious science is not too far off .. "In the 50s, compared with the way it's done today, it was done quite crudely, using the cheap components that they could get to make guitar amps affordable. So it was done imperfectly and you would get DC with an element of AC still there. Most guitar amplifiers use what's called an AB output stage where you've got two complementary electronic active devices: one mainly handling the positive peaks of signal, one doing the negative. And when the amp's not producing any audio signal, the valves are just conducting a bit of current, which is called bias – everyone knows you've got to bias your valves. If they're biased the same, which they ought to be, then it cancels out the AC component on the mains, so you don't hear it. If you don't have them matched, then you hear some hum, and that's an indicator that your valves aren't matched.
"But when you overdrive an amplifier -and, again, this is more to do with 50s and 60s amps – you'll push it to the point where these devices clip, and they can't turn on any more. You get a square waveform; if you looked at the waveform of an overdriven guitar sound, it's a square wave. So when one device is switched on and the other one's not, what it means is that cancelling this AC component on the power supply is no longer happening, so the AC component is, in effect, reintroduced into the output stage and combines with the guitar signal, and the two modulate each other." Where would we have to go to hear this ghosting in action? "If you play something like an ACI5, that does it a lot; that's probably quite an easy way to hear it. If you wanted to punish your ears, a Twin Reverb – if you turn that all the way up, that does it a lot. With vintage guitar tones, it's just a cool thing that is niche, but, for me, I just thought, 'I don't know whether anybody's done this before..?" And so Simon set out to build this particular vintage amp phenomenon into his RevivalDRIVE unit. "That's right. And it wasn't easy – it took me two years! The other thing that pedal does is replicate the output stage of the amplifier, the AC mains stuff going on, and also the reactive load, so that it replicates all what I consider to be the key parts of any non-master volume valve amplifier."
Once the pedals were on the market, word spread rapidly, with Simon employing a tactical social media campaign, as well as the usual word of mouth between players. "I didn't have to try that hard. I would receive phone calls from the guitar techs of people like David Gilmour, or from Gary Lucas, who worked with Jeff Buckley; he just phoned up from New York, and these things started to happen more frequently. "We don't have the largest range of pedals, but everything we produce is as good as we could have possibly made it and so we take a lot of time to get stuff right. We haven't paid anybody to use them, we haven't given the product away; people have come to us and used it, and that's a real honour. But it works, and I'm really happy with it. It took two years because I was being ridiculously fussy, which is why we've got a room full of vintage amplifiers. I opened them up, took measurements of gains, looked at waveforms, looked at how the power supplies sagged and how the ripple – the AC component on the power supply – changed as the amplifier was driving a load. Then did audio tests where I had an A/B switcher and could switch between the pedal drive and the speaker through a power amp, and then the real amplifier. I kind of got a bit carried away."
Existing users and converts to the brand alike, will be glad to know there are some exciting products coming soon. "The Cali76 Stacked Edition allows you to apply different attack and release parameters to each compressor: how much you drive the input of the first compressor and how hard the first compressor drives the second. We're doing a RevivalDRIVE LE, which is the size of one of our smaller compact pedals. It removes the ghosting; a lot of the cost of that unit is making that ghosting feature work. So for people where that sound doesn't appeal to them or they've never picked up on it, the compact one is probably more suited. It also generally cleans up the panel so there's not so many switches and dials and stuff. It's more of a kind of, 'Right, I'm going to tweak a few things and get the sound more quickly; so that'll be out in the summer. "Meanwhile, we are currently working on some tremolo pedals, too – a more earthy, harmonic-rich tremolo."
Job Vacancy: Development Engineer
Press Release: RevivalDRIVE Compact
2 replies on "Origin Effects – Guitarist Magazine Issue #445"
When do you anticipate releasing your tremolo pedal? (as per your guitarisy interview) and when will you be accepting pre-orders?
thanks, Norman
origineffects
Hi, Norman.
We're still looking at release dates and we wouldn't want to announce anything until we're confident with one.
Please keep your eyes peeled!
Yes, add me to the Origin Effects mailing list (no spam, just good things!)
'Origin Effects', 'Cali76', 'SlideRIG', and 'RevivalDRIVE' are all registered trademarks of ORIGIN EFFECTS LIMITED © 2020
Press Release: RevivalDRIVE Hot Rod
Press Release: RevivalTREM Bias Tremolo
Press Release: Cali76-TX compressor reissue
You Could Win Cali76 Compact Deluxe #10K
RevivalDRIVE Compact Impresses Sound On Sound Magazine
Remote Switcher Cable for RevivalDRIVE US$46.80
Switcher Interface for RevivalDRIVE US$130.80
Cali76 Compact Deluxe Pedal Genie Blue US$454.80


text:
package com.lzx.demo;

import android.animation.Animator;
import android.animation.AnimatorListenerAdapter;
import android.animation.ObjectAnimator;
import android.animation.PropertyValuesHolder;
import android.content.Intent;
import android.os.Bundle;
import android.support.annotation.Nullable;
import android.support.design.widget.FloatingActionButton;
import android.support.v4.content.ContextCompat;
import android.support.v7.app.AppCompatActivity;
import android.view.View;
import android.view.WindowManager;
import android.view.animation.AccelerateDecelerateInterpolator;
import android.widget.TextView;

import com.lzx.demo.ui.CustomLoadingFootActivity;

import static com.lzx.demo.R.id.textView;

public class SplashActivity extends AppCompatActivity implements Runnable {

    FloatingActionButton fab;
    TextView nameTextView;

    @Override
    protected void onCreate(@Nullable Bundle savedInstanceState) {
        this.getWindow().setFlags(WindowManager.LayoutParams.FLAG_FULLSCREEN, WindowManager.LayoutParams.FLAG_FULLSCREEN);
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_splash);

        fab = (FloatingActionButton) findViewById(R.id.fab);
        nameTextView = (TextView) findViewById(R.id.textView);

        fab.postDelayed(this, 200);
    }

    @Override
    public void run() {
        final View parentView = (View) fab.getParent();
        float scale = (float) (Math.sqrt(parentView.getHeight() * parentView.getHeight() + parentView.getWidth() * parentView.getWidth()) / fab.getHeight());
        PropertyValuesHolder scaleX = PropertyValuesHolder.ofFloat("scaleX", scale);
        PropertyValuesHolder scaleY = PropertyValuesHolder.ofFloat("scaleY", scale);
        ObjectAnimator objectAnimator = ObjectAnimator.ofPropertyValuesHolder(fab, scaleX, scaleY).setDuration(1800);
        objectAnimator.setInterpolator(new AccelerateDecelerateInterpolator());
        objectAnimator.addListener(new AnimatorListenerAdapter() {
            @Override
            public void onAnimationEnd(Animator animation) {
                super.onAnimationEnd(animation);
                parentView.setBackgroundColor(ContextCompat.getColor(SplashActivity.this, R.color.colorPrimary));
                fab.setVisibility(View.GONE);
                nameTextView.setVisibility(View.VISIBLE);
            }
        });
        PropertyValuesHolder holderA = PropertyValuesHolder.ofFloat("alpha", 0, 1);
        PropertyValuesHolder holderYm = PropertyValuesHolder.ofFloat("translationY", 0, 300);
        ObjectAnimator textAnimator = ObjectAnimator.ofPropertyValuesHolder(textView, holderA, holderYm).setDuration(1000);
        textAnimator.setInterpolator(new AccelerateDecelerateInterpolator());
        textAnimator.setStartDelay(800);

        textAnimator.addListener(new AnimatorListenerAdapter() {
            @Override
            public void onAnimationEnd(Animator animation) {
                super.onAnimationEnd(animation);
                startActivity(new Intent(SplashActivity.this, MainActivity.class));
                finish();
            }
        });
        objectAnimator.start();
        textAnimator.start();
    }
}


text:
Q: how to print the longest of three strings? Is there a quick way to select the longest of three strings (s1,s2,s3) using if/else method?
I'm using Java
I have tried using something like this
if (s1.length() > s2.length()) {
    System.out.println(s1); ...

but did not get it right.

A: Don't try to program all possible combinations with an if-else construct, as the complexity will grow exponentially if you add more strings.
This solution works well for a small number of strings with a linear complexity:
string longest = s1;
if (s2.length() > longest.length()) {
    longest = s2;
}
if (s3.length() > longest.length()) {
    longest = s3;
}
System.out.println(longest);

For a lager number of strings, put them in collection and find the longest using a loop.

A: You can use if, else if, else in C# (if you aren't actually using Java which it looks like you are) to handle this.
string current = str;

if(str2.Length > current.Length)
{
    current = str2;
}
if (str3.Length > current.Length)
{
    current = str3;
}

Unless using if/else is a requirement of this code, using a collection and LINQ will be a cleaner option.
List<string> strList = new List<string>
{
    "str",
    "strLen",
    "strLength"
};

// This aggregate will return the longest string in a list.
string longestStr = strList.Aggregate("", (max, cur) => max.Length > cur.Length ? max : cur);

A:             string a = "123";
            string b = "1322";
            string c = "122332";
            if (a.Length > b.Length && a.Length > c.Length)
            {

                    Console.WriteLine(a);
            }
            else if (b.Length > c.Length)
            {
                Console.WriteLine(b);
            }
            else
            {
                Console.WriteLine(c);
            }
        }

A: if/then/else constructs Java is same as C#. you can use solutions above. LINQ is like Streams in Java. In Java you can code:
public static void main(String args[]) {
  printtLongest ("VampireApi","C#-Api","Java Api");
}

public static void printtLongest(String ... strings){
     java.util.Arrays
      .stream(strings)
      .sorted(java.util.Comparator.comparingInt(String::length).reversed())
      .findFirst().ifPresent(System.out::println);

}

A: create an array and input a string into each part of the array(can do this through loop or manually add- String[] st= new st String[];  then you can:  st[0]="aaa"; st[1]="eff"... after this you can use a loop which takes the current length of the string at the array[i] and use a variable max(which will start at 0) which keep the highest length using the Math.max() function.
if the length(which is an integer) is larger then max then you save the string in a string variable and the loop will go through every string In your array and will update the max if needed. after this you can either return or print the string which is the longest.
this is one of many ways. or you could do three if's to check. this method would work great with larger amount of strings.

A: Not using if-else as the OP asked, but a cleaner solution is this:
void longest(String a, String b, String c) {
    String[] triplet = {a, b, c};
    Arrays.sort(triplet, Comparator.comparingInt(String::length));
    System.out.println(triplet[2]);
}