Connexion
Even if you don’t follow Simone Giertz on social media or YouTube, there’s a good chance you know of her work. Originally hailed as the Queen of S***** Robots, Simone’s early videos of questionable contraptions, such as the Toothbrush Machine and Hair Washing Robot, quickly went viral, birthing a variety of GIFs and shareable content that quickly took over the internet. But, nowadays, she’s shelved her bots and focuses her attention on more reliable projects, such as her highly successful crowdfunding campaign for The Every Day Calendar, and the impressive Truckla, a Tesla pickup truck that beat Elon Musk’s Cybertruck to the post when shared online in June 2019.
Alex Bate caught up with Simone Giertz (pronounced Yetch, not Gerts) to discuss how she went from unreliable robots and GIF stardom to bunk-beds made of leaves and office chair sidecars for needy pets, and why her openly discussed brain tumour helped to realign her business model.
HS To me, as a viewer, it feels like your YouTube career is split into two halves. There’s Simone, the Queen of S***** Robots, and then there’s everything post-surgery, like Truckla and The Every Day Calendar. Do you see it too?
SG The difficult part about YouTube, and also the good side of it, is that if you have a really long career, you grow up during that career, and you change and your interests change. And I don’t want to just play a role, I want to be genuinely excited about the things I do – you get sick of things, and you want to explore new things. So, in order to do that, I’ve really tried to be ‘theme agnostic’ for my YouTube channel.
And that was something that was really hard with S***** Robots, because it was something that I knew that people really liked, and that I had a level of success with. But I was just not that excited about it anymore. And I think the brain tumour became a really good page turner for me, because I had such limited energy capital, you know, and I really just wanted to spend my time and my very limited energy on doing things that I was super-pumped about.
I think the projects I build now still have some elements of the stuff I did in my early days, but they’re definitely less GIF-compatible.
In the beginning, all I was thinking about for every project was a GIF. That was the main deliverable that I had in my head, and the main piece of content that I focused on, and then I kind of built a YouTube video around it, and around the process of creating this GIF. And I let go of that. Not every project needs to have a punchline. It can be fine. It can be a little bit more dull.
But, I still feel guilty about it.
HS Really?
SG Yeah. People are very sweet about it, but I still get comments with people being like, ’Oh, I miss the robots.’ But, at the same time, you have to think, ’It’s my life, and I really want to do the things I want to do.’ And I’m also so drawn to my product business and wanting to focus on that. And the way that my YouTube channel can co-exist with that is for me to explore different products and make videos about them. And it’s actually becoming a pretty good tag team.
HS Talking about your product business, the biggest one to date was obviously The Every Day Calendar. 2300-odd backers, and over half a million dollars raised. How did you feel when your first Kickstarter just soared like that?
SG It was fun and scary. Because, as somebody who’s terrified of disappointing people, crowdfunding campaigns are kind of like the worst position to put yourself in because you really risk disappointing people. But, I don’t think we did. I mean, we were late, but I really just wanted to deliver a good product because it was expensive. And, yes, we raised over half a million dollars, but it’s not until now that we’ve actually broken even.
HS Wow.
SG It’s so expensive. And so much of that is in product development. When it comes down to it, and you’re actually putting something out in the world, it’s just crazy how much it costs. And I mean, we probably didn’t do it in the most efficient way we could, because we were rookies. But, it was definitely very humbling and terrifying.
HS Would you do further products with Kickstarter? Or do you think you’re now at a point where you would just create a product and sell it, and not have to rely on crowdfunding?
SG We’re hopefully launching our store this summer, and we’re going to have four different products in it. And, I’m hoping that any easier products can be self-funded. And, if there’s something more complicated, like the Companion Chair, which is definitely going to be a bigger project, it might end up being crowdfunded because with funding, you also get market testing. You can get a lot out of it. But, that said, after I did The Every Day Calendar, I remember saying I’d never do it again. Every night at 3 am, I would just wake up and be like, ’Oh my god, what if we send out the calendars and then, in two years, all of them stop working! People are going to be really angry.’ I’m scared of that. But, I guess that also, even if customers are buying your product off the shelf, you are always going to live with that fear over your head.
HS It’s really interesting to go back and watch your earliest videos, particularly the first one in Swedish, and see how far you’ve come. Was it always the aim to start the business? To have staff and be opening an online store and selling your products?
SG I mean, no, I would definitely be lying if I said that this is some sort of master plan. There was no scheming where I had the large whiteboard – ’This is the trajectory of how I’m going to become known as the Queen of S***** Robots. And then I’m going to pivot that into running a product business.’ I’m definitely not that smart.
But, I had an inkling of what I was interested in. And I mean, I really liked making videos. And I think that everything kind of happened in a very fortunate way. Because I had this job where I was a Maker in Residence at a US company called Punch Through Design. And my job was just to build different things. And right when my job there was ending, I posted the Toothbrush Helmet, and that started getting some traction. I was moving back to Sweden because my visa expired, and I just had this year of living with my mom again, and having very few expenses and I was like, ’OK, I’m gonna just make sure I work enough to get by, but then the rest of the time, I’m just gonna spend it on building these machines that I want to build.’
So I was very fortunate in the way that I could structure things so I was able to spend time on my YouTube channel in the early days.
But, it’s also so easy to look back and be like, ’Of course, all these things led me to where I am today.’ But when you’re in the middle of it, you’re just flailing. And my flailing, fortunately, landed me in a position that I’m very happy with today.
[It’s at this point of the conversation that Simone’s three-legged canine sidekick, Commander Scraps, decides to join us. Those who have seen Simone’s build video for the Companion Chair or Lego-based Dog Selfie Booth will already know of Scraps. Those who haven’t, well, Scraps is adorable, so you should definitely check them out.]
HS Some online content creators are often stuck within a theme – wood working, electronics, 3D printing, and so on. But, for you, it seems that you’re the theme, you’re the brand, and you can get away with creating whatever content you want. Do you see that when you interact with your community? That freedom?
SG It’s something that I thought a lot about in the early days, like, how much is the channel about me and my life? And how much is it about the things that I build? And I think what I struggled with is that I’m not that interested in my life. Like, I really want to make videos that I myself would want to watch. I’m not really interested in vlogs, so I decided early on that while it’s about my life to an extent, it’s still centred around these projects I’m building.
In some ways, I’m pretty private on the internet, but also very open, like when it comes to brain tumour stuff. I was really open about it, and I wanted to tell everyone about it because it was a way for me to process what was happening. I remember having to tell myself that I had to stop telling waiters or Uber drivers that I had a brain tumour. ’Hi sweetie, how are you today? Well, I have a brain tumour, but other than that, I’m pretty good.’
When it came to talking about it online, it was a no-brainer. Haha.
But then there’s other stuff that I don’t talk about, like, I don’t really document my life. I don’t talk about my friends really, or my relationship status, or anything like that. Because you have to draw the line somewhere. And I always felt like documenting my life was just too intrusive.
HS When you look at your most popular videos on your channel, even though you’re known as the Queen of S***** Robots, those videos aren’t actually in the Top 5. Instead, it’s the video of you in the zero gravity simulations, and Truckla, and locking yourself in your bathroom for 48 hours. It’s interesting that the thing you’re most known for isn’t the thing your audience is most interacting with.
SG Those robot videos mostly did really well on other platforms, like Twitter and Reddit. Not so much on YouTube because it has its own metrics and algorithms.
The thing that is really useful for other creators who are getting started is to figure out what is your hook, or what is the very simple version of what you’re doing. Like, Queen of S***** Robots kind of became the headline. And it was this very clear message, and it was something that was really easy for journalists to write about. It was a spearhead for branding.
This was not something I was thinking about at the time, but looking back, my fear then was to make sure I didn’t get pigeonholed, and that I could never move on from it, because that’s the problem when people only know you for one thing – you can’t really move on beyond that. It’s really nice to have that spearhead, and then you can broaden it, and that’s how you have longevity.
I didn’t want this to be over in a year. I wanted to be able to keep on doing it because I was really enjoying it. And now, I want to make sure that I have more legs to stand on, because when you’re going through health problems, you realise that if you can’t be in front of a camera, everything grinds to a halt. If you’re not well enough to work, or if YouTube changes its algorithm, it becomes such a fragile business structure. So, that was one of the reasons why I decided I needed to go into products.
HS I guess you can’t really be known as the Queen of S***** Robots where everything you make doesn’t really do what it’s meant to do, and then expect people to buy serious products from you and trust they’ll work.
SG That’s definitely one of the things when we launched The Every Day Calendar – I was wondering how are people going to be able to take this seriously? But, I think that’s what’s really nice, that my audience has been around long enough and they’ve seen that there’s more to it than that – there’s actually, ironically, a lot of work that goes into making S***** Robots.
HS I remember the first time I saw your work was when you collaborated with Adam Savage to make an automated popcorn machine in 2016. It’s a great video that really highlights how great collaborative work can be when two people focus on what they’re really interested in to make a final product. And you’ve worked on other videos with creators such as Laura Kampf. Is there anyone else you’d like to work with?
SG I’m really interested in people who are kind of beyond the community that I’m currently in. It would be really fun to do stuff with musical artists; I’d love to collaborate with OK Go. Or venture beyond that and work with people who make art, and fashion designers. People who are outside the world where I’m creating. And there are people that I just love and would always want to work with, like Laura. She’s the sweetest, most talented, down-to-earth and funny person. I really love working with her. I should really think of who’s on my bucket list.
Something I’ve really missed during the pandemic is just getting to spend time with people who are excited about what they’re doing, and having that excitement rub off on me. There’s nothing more inspiring than someone being pumped about something, even if you don’t understand what it is. In some ways, lockdown has been great for creating as I’ve had more time to loiter in the shop, but I definitely miss that input and just being able to talk to people.
HS And are there any projects you’d like to build that you just haven’t gotten around to doing yet?
SG Honestly, I just want to build stuff for my house right now, which I know isn’t the most interesting answer. I still have the CEO Bouncy Chair on my list – I want to make this kids’ bouncy chair, the type where you’re almost in some sort of plastic diaper. But I want it to look like a mahogany desk with a Rolodex and it’s for grown-ups. And make some spoof commercial for it when it’s marketed as an exercise device, but there’s just some balding white guy in it. I think that’s the only one that I’m still eager to build. Let me look at my notes…
[Simone proceeds to pull out her phone and list project ideas from the notes app. Should I tell you what they are or should I leave them as a surprise? With great power comes great responsibility!]
HS Those are definitely some interesting ideas…
[I’m very responsible].
HS Going back to your audience, you seem to have been somewhat spared a lot of the negativity people receive in comments, and online in general. Why do you think that is?
SG I’m just always so scared. Haha. I’ve been spared from the trolls and the hate, and I’m just terrified of ruining whatever equilibrium is happening right now. That’s one of the reasons I post so seldomly. I was looking the other day and thought, ’Oh, it’s been 45 days since I last posted on Instagram!’, and I notice I keep getting DMs from people asking if I’m OK. I’m just always scared to overstep, or do something that would upset people, or cause me to fall from some sort of pedestal. I just never want to post something that doesn’t work for other people, you know?
HS I get it. The comments section of YouTube alone can be an awful place sometimes. Speaking of YouTube, are there any other makers at the moment who are inspiring you?
SG I love 3×3 Custom. She’s my happy place because she’s at a level of making that I’m just not at. Her jig work is just wild, and the quality she puts out. And I love Nicole McLaughlin. She does these really fun and weird fashion contraptions, like shoes made out of tennis balls. She’s very cool. She’s a level of coolness that I aspire to and never expect to get to.
But, one of the most inspiring things for me is time. And I know that if I run out of ideas, it’s because I’m overworked and I haven’t had enough downtime and time to just loiter in the shop. I try to enforce this on Fridays, where me and my teammates just work on whatever project, and it doesn’t have to be work-related. And some of my best ideas have come from that type of work, where I don’t know what my end goal with this is, but I’m just going to tinker with it for a little bit.
You can follow Simone on Instagram for behind-the-scenes photos of her project, and subscribe to her YouTube channel for new content. Also, because why wouldn’t you, you can follow Scraps on Instagram too!
Each month, HackSpace magazine brings you the best projects, tips, tricks and tutorials from the makersphere. You can get it from the Raspberry Pi Press online store or your local newsagents.
As always, every issue is free to download from the HackSpace magazine website.
The post Meet Simone Giertz: Inventor, robotics enthusiast, and YouTuber appeared first on Raspberry Pi.
This rotary phone features a built-in Raspberry Pi that communicates with radiooooo.com (a musical time machine) and an Arduino working behind the map to control the selection of the country. Just pick up the phone, choose a country and a decade, and listen to some great music!
The Raspberry Pi:
The Arduino:
We saw this project on hackster.io and loved how maker Caroline Buttet dug into the finer detail of an old-fashioned rotary phone’s pick-up/put-down mechanism, as well as how the phone knows which numbers you’re dialling. She goes into more detail about that aspect in the second build video, above.
Some countries have a jack pin – this is how you select the music
As well as a Raspberry Pi 4 and Arduino UNO, you’ll need a world map (obviously) and something to mount it on which can be drilled into. This is because the jack pins you can see in the image above need to poke out of different countries.
Caroline’s grandma donated the old rotary phone she used for this project. You should be able to pick one up from a second-hand shop or, if you can get a new handset made in the retro style online.
The shopping list for this build also includes: jumper wires; audio/video cable assembly; LED, breadboard; jack socket 3-pin; resistors
A simplified visual representation of how everything works
In her original post, Caroline explains in detail how to connect the rotary phone’s switches to the pins on your Raspberry Pi, how to build in audio sockets on the board you glue your map to, how to run the necessary Python script from the command line, and what a Chrome extension to use to make radiooooo.com work with your Raspberry Pi.
The Raspberry Pi inside the rotary phone
And yes, Caroline is one of those most magical of makers who deposits all the code needed for this build on GitHub!
And here’s the Arduino mounted onto the back of the map, with the audio jacks taped up to the holes drilled into different countries
The post Travel the world with a retro musical phone appeared first on Raspberry Pi.
TL;DR: we made a fully automated luxury gay space communist type-in-listing book. Buy it now and get it in time for Christmas.
Back in the dawn of time, in the late 1980s, I grew up on a diet of type-in computer game listings. From the BBC Micro User Guide, to The Micro User magazine, to the ubiquitous Usborne books: an hour or two of painstaking copying and a little imagination would provide you with an experience which wasn’t a million miles away from what you could buy on the shelves of your local computer store.
Can you believe they did “Machine Code for Beginners”?
The simple act of typing in a game helped to familiarise you with a programming language (usually a dialect of BASIC), and by making mistakes you could start to understand what other, more intentional changes might accomplish. Some of the earliest games I wrote started off as heavily modified versions of type-in listings; in fact, one of these made a sneaky reappearance on this blog last year.
Fast forward to the present day, and aside from regular appearances in our own MagPi and Wireframe magazines, type-in listings have faded from view. Commercial games, even casual ones, have become much more sophisticated, beyond what you might expect to be able to enter into a computer in a reasonable amount of time. At the same time, tools like Unity remove the need to develop every title from the ground up.
But there’s still a lot to be said for the immediacy of the type-in experience. Three years ago, we asked ourselves whether we could make a type-in game listing book for the modern era. The end result, of which we’re launching the first volume today, is Code the Classics. David Crookes and Liz Upton will take you behind the scenes of the creation of five classic arcade games, and then I’ll show you how to implement a simple Python game inspired by each one.
Cavern
Substitute Soccer
Developing retro arcade games has been a hobby of mine since those early BBC Micro days, and I spent many happy evenings developing these titles, ably assisted by Andrew Gillett and Sean Tracey. It was important to us that these games be as close as possible to the standard of modern commercial casual games. With this in mind, we invited Dan Malone, famous among many other things for his work with The Bitmap Brothers, to provide graphics, and long-time game audio pro Allister Brimble to provide music and sound effects. I’ve known Dan for nearly twenty years, and have admired Allister’s work since childhood; it was an enormous pleasure to work with them, and we took the opportunity to snag interviews with them both, which you’ll also find in the book. Here’s Dan to offer you a taster.
Meet the artist behind Code the Classics
Subscribe to our YouTube channel: http://rpf.io/ytsub Help us reach a wider audience by translating our video content: http://rpf.io/yttranslate Buy a Raspberry Pi from one of our Approved Resellers: http://rpf.io/ytproducts Find out more about the #RaspberryPi Foundation: Raspberry Pi http://rpf.io/ytrpi Code Club UK http://rpf.io/ytccuk Code Club International http://rpf.io/ytcci CoderDojo http://rpf.io/ytcd Check out our free online training courses: http://rpf.io/ytfl Find your local Raspberry Jam event: http://rpf.io/ytjam Work through our free online projects: http://rpf.io/ytprojects Do you have a question about your Raspberry Pi?
We’ve pushed the boat out on the production values for the book itself too: think of it as an object from a parallel universe where Usborne made luxury hardbound coffee-table type-in listing books rather than paperbacks.
So although, like all our books, you can download this one for free, you’ll really want a physical copy of Code the Classics to have, and to hold, and to leave on your bedside table to club intruders with.
And while the listings are rather long, and fully-commented versions are available on GitHub, perhaps you should think about spending a rainy afternoon actually typing one in.
The post Code the Classics on sale now appeared first on Raspberry Pi.
You can see how the skies above Stonehenge affect the iconic stones via a web browser thanks to a Raspberry Pi computer.
Stonehenge is Britain’s greatest monument and it currently attracts more than 1.5 million visitors each year. It’s possible to walk around the iconic stone circle and visit the Neolithic houses outside the visitor centre. Yet, worries about potential damage have forced preservationists to limit access.
With that in mind, Eric Winbolt, Interim Head of Digital/Innovation at English Heritage, had a brainwave. “We decided to give people an idea of what it’s like to see the sunrise and sunset within the circle, and allow them to enjoy the skies over Stonehenge in real time without actually stepping inside,” he explains.
This could have been achieved by permanently positioning a camera within the stone circle, but this was ruled out for fear of being too intrusive. Instead, Eric and developers from The Bespoke Pixel agency snapped a single panoramic shot of the circle’s interior using a large 8K high-res, 360-degree camera when the shadows and light were quite neutral.
“We then took the sky out of the image with the aim of capturing an approximation of the view without impacting on the actual stones themselves,” Eric says.
By taking a separate hemispherical snapshot of the sky from a nearby position and merging it with the master photograph of the stones, the team discovered they could create a near real-time effect for online visitors. They used an off-the-shelf, upwards-pointing, 220-degree fish-eye lens camera connected to a Raspberry Pi 3 Model A+ computer, taking images once every four minutes.
This Raspberry Pi was also fitted with a Pimoroni Enviro pHAT containing atmospheric, air pressure, and light sensors. Captured light values from the sky image were then used to alter the colour values of the master image of the stones so that the light on Stonehenge, as seen via the web, reflected the ambient light of the sky.
“What it does is give a view of the stones as it looks right now, or at least within a few minutes,” says Eric. “It also means the effect doesn’t look like two images simply Photoshopped together.”
Indeed, coder Mark Griffiths says the magic all runs from Node.js. “It uses a Python shell to get the sensor data and integrates with Amazon’s AWS and an IoT messaging service called DweetPro to tie all the events together,” he adds.
There was also a lot of experimentation. “We used the HAT via the I2C connectors so that we could mount it away from the main board to get better temperature readings,” says Mark, “We also tried a number of experiments with different cameras, lenses, and connections and it became clear that just connecting the camera via USB didnít allow access to the full functionality and resolutions.”
Mark reverse-engineered the camera’s WiFi connection and binary protocol to work out how to communicate with it via Raspberry Pi so that full-quality images could be taken and downloaded. “We also found the camera’s WiFi connection would time out after several days,” reveals Mark, “so we had to use a relay board connected via the GPIO pins.”
With such issues resolved, the team then created an easy-to-use online interface that lets users click boxes and see the view over the past 24 hours. They also added a computer model to depict the night sky.
“Visitors can go to the website day and night and allow the tool to pan around Stonehenge or pause it and pan manually, viewing the stones as they would be at the time of visiting,” Eric says. “It can look especially good on a smart television. It’s very relaxing.”
View the stones in realtime right now by visiting the English Heritage website.
The post View Stonehenge in real time via Raspberry Pi appeared first on Raspberry Pi.
Channel your inner Targaryen by building this voice-activated, colour-changing, 3D-printed Drogon before watching the next episode of Game of Thrones.
This is a spoiler-free zone! I’ve already seen the new episode of season 8, but I won’t ruin anything, I promise.
Even if you’ve never watched an episode of Game of Thrones (if so, that’s fine, I don’t judge you), you’re probably aware that the final season has started.
And you might also know that the show has dragons in it — big, hulking, scaley dragons called Rhaegal, Viserion, and Drogon. They look a little something like this:
Well, not anymore. They look like this now:
The creator of this project goes by the moniker Botmation. To begin with, they 3D printed modified a Drogon model they found on Thingiverse. Then, with Dremel in hand, they modified the print, to replace its eyes with RGB LEDs. Before drawing the LEDs through the hollowed-out body of the model, they soldered them to wires connected to a Raspberry Pi Zero W‘s GPIO pins.
Located in the tin beneath Drogon, the Pi Zero W is also equipped with a microphone and runs the Python code for the project. And thanks to Google’s Speech to Text API, Drogon’s eyes change colour whenever a GoT character repeats one of two keywords: white turns the eyes blue, while fire turns them red.
If you’d like more information about building your own interactive Drogon, here’s a handy video. At the end, Botmation asks viewers to help improve their code for a cleaner voice-activation experience.
3D printed Drogon with LED eyes for Game of Thrones
Going into the final season of Game of Thrones with your very own 3D printed Drogron dragon! The eyes are made of LEDs that changes between Red and Blue depending on what happens in the show. When you’re watching the show, Drogon will watch the show with you and listen for cues to change the eye color.
I’ve managed to bag two of the three dragons in the Pi Towers Game of Thrones fantasy league, so I reckon my chances of winning are pretty good thanks to all the points I’ll rack up by killing White Walker.
Wait — does killing a White Walker count as a kill, since they’re already dead?
Ah, crud.
The post Watch Game of Thrones with a Raspberry Pi-powered Drogon appeared first on Raspberry Pi.
Never let it be said that some makers won’t jump in at the deep end for their ambitious experiments with the Raspberry Pi. When Ievgenii Tkachenko fancied a challenge, he sought to go where few had gone before by creating an underwater drone, successfully producing a working prototype that he’s now hard at work refining.
Inspired by watching inventors on the Discovery Channel, Ievgenii has learned much from his endeavour. “For me it was a significant engineering challenge,” he says, and while he has ended up submerging himself within a process of trial-and-error, the results so far have been impressive.
The project began with a loose plan in Ievgenii’s head. “I knew what I should have in the project as a minimum: motions, lights, camera, and a gyroscope inside the device and smartphone control outside,” he explains. “Pretty simple, but I didn’t have a clue what equipment I would be able to use for the drone, and I was limited by finances.”
Bearing that in mind, one of his first moves was to choose a Raspberry Pi 3B, which he says was perfect for controlling the motors, diodes, and gyroscope while sending video streams from a camera and receiving commands from a control device.
The Raspberry Pi 3 sits in the housing and connects to a LiPo battery that also powers the LEDs and motors
“I was really surprised that this small board has a fully functional UNIX-based OS and that software like the Node.js server can be easily installed,” he tells us. “It has control input and output pins and there are a lot of libraries. With an Ethernet port and wireless LAN and a camera, it just felt plug-and-play. I couldn’t find a better solution.”
The LEDs are attached to radiators to prevent overheating, and a pulse driver is used for flashlight control
Working with a friend, Ievgenii sought to create suitable housing for the components, which included a twin twisted-pair wire suitable for transferring data underwater, an electric motor, an electronic speed control, an LED together with a pulse driver, and a battery. Four motors were attached to the outside of the housing, and efforts were made to ensure it was waterproof. Tests in a bath and out on a lake were conducted.
With a WiFi router on the shore connected to the Raspberry Pi via RJ45 connectors and an Ethernet cable, Ievgenii developed an Android application to connect to the Raspberry Pi by address and port (“as an Android developer, I’m used to working with the platform”). This also allowed movement to be controlled via the touchscreen, although he says a gamepad for Android can also be used. When it’s up and running, the Pi streams a video from the camera to the app — “live video streaming is not simple, and I spent a lot of time on the solution” — but the wired connection means the drone can only currently travel as far as the cable length allows.
The camera was placed in this transparent waterproof case attached to the front of the waterproof housing
In that sense, it’s not perfect. “It’s also hard to handle the drone, and it needs to be enhanced with an additional controls board and a few more electromotors for smooth movement,” Ievgenii admits. But as well as wanting to base the project on fast and reliable C++ code and make use of a USB 4K camera, he can see the future potential and he feels it will swim rather than sink.
“Similar drones are used for boat inspections, and they can also be used by rescue squads or for scientific purposes,” he points out. “They can be used to discover a vast marine world without training and risks too. In fact, now that I understand the Raspberry Pi, I know I can create almost anything, from a radio electronic toy car to a smart home.”
This article was lovingly borrowed from the latest issue of The MagPi magazine. Pick up your copy of issue 80 from your local stockist, online, or by downloading the free PDF.
Subscribers to The MagPi also get a rather delightful subscription gift!
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