Servus. Simon ist ja genau wie ich Fan von Unterwasser-Spielen. Ich habe nun eine Woche damit zugebracht diese Liste hier zusammenzutragen. Dieser Post dient eher als "Container" damit ich was habe was ich Simon per Twitter direkt schicken kann - Upvotes sind also unnötig, der Post kann ruhig verschwinden. Wenn ihr natürlich auch Fans von Spielen in diesem Szenario seid könnt ihr gerne diskutieren, bzw. Spiele nachtragen falls ich doch welche vergessen haben.
Interessanter Genre-Mix. Mit einem Uboot in 3D in einer Welt herumtauchen, die wie "Avatar" unter Wasser ausschaut? Aber gleichzeitig ein 2D-RPG inkorporiert? Plus ein erheblicher Gruselfaktor (Unbedingt bis zum Ende des Videos anschauen) https://www.youtube.com/watch?v=H4QFhfQCc5w
Noch ein Horror-Unterwasser Spiel, von den Amnesia-Machern. Scheint sich jedoch eher auf das innerer einer Tauchstation zu beschränken http://media2.giga.de/2014/04/SOMA.jpg
Sub Culture
Handels-Simulator im Stile von "Elite" und "Freelancer". Aber: Ihr seid klein. So klein, dass ihr mit eurem Uboot Zigarettenstummel und Kronkorken aufsammelt um diese zu Geld zu machen. Voll frei befahrbare 3D Umgebung. https://www.youtube.com/watch?v=L5Kw0_oGlSc
Nachfolger von Archimedian Dynasty. Mehr Action-Orientiert, fast schon ein reiner Ego-Shooter. Zweiter Teil etwas düsterer als der erste. Sehr interessante Atmosphäre und Story und auch heute noch gute Grafik https://www.youtube.com/watch?v=CxAS8AnhSB4
Hydrophobia Prophecy
Third-Person Action Spiel in einer modernen Unterwasserstadt. Erste Version sehr verbugged, wurde nun neu aufgelegt. Nun lässt es sich gut Spielen + interessante Story https://www.youtube.com/watch?v=1oU_Arq1qYg
Ableger von PS1 bis PS3. Auf den ersten Blick ein Entspannungspiel, einfach tauchen und die Unterwasserwelt genießen. Hat aber auch eine Story die noch richtig interssant wird. https://www.youtube.com/watch?v=BCRetRH9w68 (Video von PS)
Preamble: This should be a list of topics you can learn in general (and as long this isEngineeringStudentsyou may not learn in courses as well). Have a look what might fits you, what can be a benefit for you in future and what sounds fun. This list will never be 100% correct, there will be stuff missing and maybe some things change over time (also a lot of typos and bad grammar, I'm sorry). But withyourhelp we may create a list with interessting and helpful topics. Yes this post was made around half a year ago, but is usefull in my opinion and would be to sad to be lost in the archive. Hello everyone, I noticed a couple of posts in the last weeks where people are looking for stuff to learn, but are not sure what. So I want to make a small list of EE-stuff what I recommend, beside most standard stuff (like Calc I, Ohms law etc.). I have no clue about other engineering fields (I'm into automation & robotic), but maybe YOUcan help out for your engineering field, but please in another topic, not here*!* (but will be linked, if you post them in the comments) One general advice, if you know where you want to work in future, you shall not wear blinkers and concentrate just on stuff of your field. Take a look outside the box and try to learn some stuff. You don't have to be a master on all fields, but be able to know what other engineers are talking about. Short notice: I try to list mostly free or open-source stuff, because some of us haven't got a student-licence (and/or the money), but I also know that you can't beat some commercial products so far. General Stuff:
LaTex (and Addons you may want to use) - I know a lot of people are stucking on Work/OpenOffice/LibreOffice and similar programms. It is intuitive to deal with it, but if you are not an advanced/expert in Word and writing your thesis you may go nuts like I went. With LaTex you are "programming" your thesis. Sounds creepy, but it looks so good (and much better than Word-Stuff) . Have a look, because many professional papers are made with it. You may get help at LaTeX.
Programming languages:
Assembler - You want to programm stuff realy fast and want to be one with your embedded system? Than you have to learn assembler, the language every other programming language is speaking in the end. It depends on the microprocessor you are using, because they have different command lines. Try to deal with a RISC (PICxxx family) and a CISC processor (8086) and you will have a feeling how to deal with them. (Example Tutorial)
C - maybe you learned it already, maybe not. C is one of the fastes functional procedural, structured languages every made. Many microcontroller boards deal with it and is mostly used in embedded systems. You will have great power to do anything, but also great responsibility. It is easy to learn the basic stuff, but more complex when you want to do advanced stuff. Reddits: C_Programming Try the IDE Qt for such stuff, because it is packed full of good stuff and is free to use (afaik). Also you can programm in ...
C++ - as well in Qt. C++ is the bigger brother of C. Mostly the same blood is flooding along the code lines, but is a little bit different. C++ supports object-orientaded programming (OOP), what C can't do (so easily). If you can deal with C, it is maybe the best entrance in the OOP-World. It is used for operating systems, virtuall machines, embedded systems as well and some more. When you can deal with C++, you may be able to deal with Java(what I don't like, but different reasons) as well. Have a look on the actual new standard C++20! Reddit: cpp
Python 3 (yes there is Python 2 as well, but ...) - the most famous interpreter language in our time at the moment. It works different than C/++, but you will find much similarities. There are tons of tutorials out there. You can use python for big data-stuff, image processing, robotics, gaming, sensor stuff and many more things. Tons of packages are free to use for your project, if you download it you get a ligthweight IDE IDLE as well and is very dynamic. If you can deal the cons (it runs until errors appear and other stuff), it can be a good friend. If you have some experiences with IDEs and want to make bigger private projects I recommened PyCharm, because you will learn to programm in the PEP8 standard (rules how to write good code in Python) and have plenty of tools for your pure Python code. Watch licences! Reddit: Python
Matlab (free alternatives: Scilab/GNU Octave) - normally I would not support it, because a licence is expensive (even for unis and companies). But it is still used by many Profs., so you have to deal with it anyway. Matlab is "a giant calculator-interpreter-programming language". When you have matching packages it can be a good friend for image processing, controlling, robotics, math problems, numeric and many more (some of us may heared about Simulink and Stateflow which is based on Matlab). So it is a powerfull tool, but expensive. Maybe try Scilab or Octave as well (maybe not so powerfull, but usefull). Reddit: matlab
R - When you have to deal with stochastic stuff, data mining and big data stuff. Sometimes this language can be pretty handy, because it is specialised for this use case. Reddit: Rlanguage
Rust - An upcoming language, which promise to be safer than C, by great performance and slim in it's size. What you can do with it? Well theyself say nearly everything. It is more complex in the beginning, but if you are able to tame it, it may be a powerfull weapon. Learn Material- Reddit: rust
Electronic stuff:
Electromagnetic compatibility(EMC) - I'm an automation guy and EMC is Voodo for me. But it is one of the core competences you need to design circuits. How do you have to design your board, that obscure phenomenons won't happen (signals that shouldn't be there). What is this stuff and what weapons exists to fight these ghosts! :^)
VHDL and Verilog - There are three kingdoms of integrated ciruits (IC): Microcontrollers, FPGAs and ASICs. VHDL and Verilog are from FPGA land and very popular. FPGA is "hardware programming". But this is where my knowledge ends to be honest.
fritzing- Programm to create nice looking pictures with breadboards, motors, arduinos ... , circuit layouts and making your printed boards. Easy to use and for beginners helpful.
EAGLE - fritzing is for beginners and you want to be more professional in designing circuit diagramms? Then you may use EAGLE. I'm not sure what kind of licences exist at the moment, because it was bougth by Autodesk come years ago? But I think there is still a small free version for everyone and maybe a special license for students (but I'm not sure!). A good open source alternative is KiCAD.
Applied Mechanics - wait you will say, you are EE and tell me to learn ME stuff for circuit boards? Yes! Because your circuit boards may have to deal the toughest conditions. Dropping your smartphone, vibrating plates, bending...it happens to your board as well. So learn to deal with it.
LTSpice - simulating circuits with a high parameter variety (like termic noise etc) [thx CaulkParty ]
Altium for PCB-design, seems to be one of the mostly used in industry
Automation &Robotic:
Language standards for PLC - There are plenty of sellers of PLC stuff. Rockwell, Siemens, Mitsubishi and many more. Depending where you are living there is a "trend" to a company. When you have the money and/or possibility to work with it, do it. I don't know if there is a cheap one out there, but maybe YOU can help us out.
Applied Mechanics - A robot is not just DH-Parameters and cables alone. It is good to know what your robot can lift, what forces and torques exist while your robots tries to throw a 90kg stone 300m far...while driving on a truck ... taped on a ladder...while the truck is driving around a sharp corner up the hill (ME students may laugh or cry here as well).
Linux - Sooner or later you may be confronted with Linux. A free operating system, which is not like Windows or this thing with the fruit. It is used so many times, especially in the embedded field. It is not easy to get into it at the beginning, but an easy start is with Raspbian(and a Raspberry Pi, because it's optimised for that) or for Notebooks/PCs Ubuntu. There are plenty of distributions and you have to find your favourite one (I was distro hopping a couple of times).
Quaternion - when you are dealing with robotic the first time, you know the singularity problems. Not with Quaternions. If you know how to work with them, you will be a step ahead of other people.
Safety - A point I missed in my courses. How do I design a robot cell? Where does an emergency stop has to be? What is SIL? And when do I have to deal with a risk (there will never be 100% safety in a process).
Security - Like Safety I missed this in my courses as well. In a time where digitalisation is everywhere. From mobile apps, killer USBs, ransoftware, snake oils, 5G, GPG etc. How can I be sure that my data was not manipulated? How can I protect my system against introuders? Why has data securety to be such a thing? And when is it usefull?
CAE/CAD ( computer-aided engineering/design) - Sometimes you should be able to read a technical drawing and how you can design your own prototype. Especially while 3D-Printers are on the rise in the industry. Poorly I don't have a clue about good&free software in this case. =/ Otherwise SolidWorks and Autodesk Inventor is the most used software in this topic afaik and Studentlicences exist. This is not about mechanical constructions only, sometimes even electrical construction or simulations. Reddits: SolidWorks, AutodeskInventor
Hydraulic & pneumatic - Another topic from ME. If you know the basics as EE it is good enough (reading hydraulic and pneumatic plans, how do valves (and the sensoric) work, what are basic components in such systems, math of pressure etc. ...). [WANTED: GOOD PAGES FROM ME PEOPLE TO ADD AS LINK HERE)
computer networking - There will be much more technology working via networks. So you should know something about switches, routers, IP-Networks (especially IPv6), TCP/UDP (, fieldbus systems). It's not so popular in "classic" EE, but I think this will be a big deal in future anyway.
ROS and Industrial ROS - an open-source framework for robotic. It is good for fun stuff and to learn a bit around robotic, but in case of expensive constructs or safety stuff not reliable! Reddit: ROS
MPLab X IDE - IDE to simulate and programm microcontrollers. (thx UnDeaD_AmP )
Information - and communications technology:
Wireshark - paket analyser for network stuff. Can be usefull for automation as well (field bus). Reddit: wireshark
GNU Radio - (thx to CaulkParty): Capturing and demodulating real-time radio transmissions, Real-time signal capturing of cellphone transmission packets fed to Wireshark, Simulation of a radio and more.
Micro- and Nanoelectronics:
Here could be your advise as well!
Power Electronic/Electric:
Powerworld - used to simulate large power systems, old legacy software that's used all the time in industry
AutoCAD Electrical - See CAE/CAD
Batteries - LiPo, NiCd, LiFo etc. What is important to know, why you should have a safe charge place, fireressistant covers when you build your own charging electronic and more.
Renewable Energy - wind, solar, hydro and more. How they work, how to regulate them and if such a gadget would be good enough for the next hiking/camping trip
Learn about transformers, 3 phase power, know what a duck curve is and why it could be bad
Craftmanship (can be tricky, because you may not get the tools and somebody with experience for that)
Minecraft <--basic
soldering - because it is everywhere and breadboards are not made for eternity
drilling (sounds easy but you may should know some stuff)
making your own circuit board from scratch ( Never done it before? Be extra carful in case you want to deal with acid! Better grab somebody who can help you out with that!)
Softskills: Yes I can see some of you are rolling with their eyes and thinking "serious"? And you are right! And wrong! Don't underestimate Softskills. Having lectures about that stuff is sometimes pretty boring, but you won't believe what people are out there not being able to handle stuff. Neither Time management, not social skills to deal with conflicts and so on. Some people don't even know that they are missing this kind of skill set. Be honest to yourself and get at least a basic set. It is difficult to teach suc things for yourself and some techniques won't work, but others will (I manage my projects in another way than my workmates do). [Sources are welcome, because this field is huge. I will just describe stuff I know/recommened/warn about ...]
Time Management - Scheduling the week, an event, your life and more. Are you using your smart phone caleneder? A Notebook? How to know where to start with your pool of tasks? There are many ways how to handle stuff.
Conflict solving skills - My old Prof worked in a company before and he told us that 50% of his time was solving conflicts between people and 50% doing engineer stuff. Many conflicts are based on a misunderstanding, excalating over time and explode by a tiny spark. You need to moderate these conflicts which measn. Make rules (no bad words, don't get loud, we don't talk when the other one is talking), be neutral and don't take position, try to find the root of the evil, ask questions so the others have to answer and make breaks when needed ... and sometimes you even have to know a point where you have to say "Fuck it, you don't want a solution, deal with your own stuff".
Presentation Skills/Debate Skills - You know this one prof who is writing in a cryptic wingdings font in size 4, while mumbeling stuff with the blackboard to explain stuff and you are sitting in the other corner of the room, running your AI skills to understand stuff. Or the other one who is using yellow letters on white background and wondering, that you can't see them via beamer, but on the PC it was so clear. Don't be that type as well! Speak loud and clear, ask if every one can here you, make rules at the start like "Questions after the presentation please", check your presentation location, make tests if everything works, choose a good medium (free talk, powerpoint like things, placards, >> practical stuff if possible << (alsways good)), make the presentation for the target audience you expect, improvise if needed etc. Talk in front of a honest test audience, know how to built up your presentation (mine is Intro, definition, history, basics, topic, meta stuff/future, end statement). Know the fouls of a conversation and try to find a good way handeling them. It is important to stand against others in a discussion as well.
Project Management skills - The father of many softskills: Waterfall model, Kanban, V-Modell, time management, importants of tasks, how big is your team, handling budget, risk management, RISK MANAGEMENT (doubled, because especially as engineer it should be on your skill list or know what to do), teamwork and more.
... (more)
Other Topics that aren't mentioned yet Maybe I will add/change some stuff from time to time... Anything you are missing? Put it in the comments and if I know it (or enough other) I will add it on the list as well. Something wrong? Please let me notice so I can change that! You don't even know how to survive Engineering? You may check out this regular post from me.
Intellectual deep dives can be important, but Evidence shows they often miss the big picture and lead to tragic errors. Don’t lose sight of the big picture, blinded by weeds that give confidence, but less accuracy.
The Millennium Challenge 2002. In the summer of 2002, the US conducted a large war game known as the Millennium Challenge. US war games are mock battles where one group of military personnel (blue team) simulates defending the US against a separate group (red team) representing an enemy. In this war game, extensive enough to cost $250 million, the red team represented a threat from the Middle East. The blue team performed so badly, the exercise had to be restarted and rescripted “to ensure a Blue Force victory”. Malcolm Gladwall writes of this war game in Blink: The Power of Thinking Without Thinking. He shows the Blue team's main problem was becoming so lost in intellectual weeds they missed the bigger picture. Gladwell writes:
You get caught up in forms, in matrixes, in computer programs, and it just draws you in. They were so focused on the mechanics and the process that they never looked at the problem holistically. In the act of tearing something apart, you lost its meaning.
One example from the game: the blue team wanted to eliminate the red team’s air strike capabilities. They brought in experts, used sophisticated computer programs, and converged on taking out communications systems. While spending hours working out every minute detail, they lost sight of the big picture and discovered that “Everybody has a plan until they get punched in the mouth” (Mike Tyson). While planning, the red team started attacking. They used WWII style communications that were completely overlooked by the experts whose biases and codes were catered to modern communications systems. Though their intellectual deep dive made sense on paper, it was the biases of experts getting lost in the weeds that led to disaster. The CIA: those who study an issue to death are typically more confident, but also more biased and less accurate. When getting lost in the weeds, information beyond the basics is seldom helpful. Gladwell continues:
Extra information isn’t actually an advantage at all... in fact, you need to know very little to [understand] a complex phenomenon… extra information is more than useless, it’s harmful. It confuses the issues… As they received more information their certainty became entirely out of proportion to the correctness of their decisions.
After analyzing the Millennium Challenge, Gladwell shows this pattern plagues the entire medical profession as well. Gladwell’s observations are vindicated by several other studies. Some of my favorites were conducted by the CIA, demonstrating it’s not just the observation of academia. They found that going beyond the simplest 3-5 pieces of information - the weeds - is rarely helpful, even for complex decisions. This plot is from one of multiple studies they have done. It shows that though confidence went up as subjects incorporated more complicated information, the accuracy did not improve, and in many of their studies goes down. The CIA explains that given how few pieces of information fit in a human’s short term memory, as the number and/or complexity of the information increases, the more your mind must weigh, order, and prioritize that information in and out of your field of view. Thus such decisions become increasingly more about your biases than your rationality. If you think that going beyond the big picture and most basic facts makes you a better decision maker, think again. Like this graph, you may be brimming with confidence, but are probably light on accuracy, and heavy on bias. Your biases are dictating what fills up your short term memory and thus your decision boil down to that. We have seen tragic mistakes like this a thousand times. When someone puts the big picture - that they have experienced really blesses them and their family day by day for years - to the side for one opinion about an archeological dig they know nothing about, that is not the hallmark of rationality. That is arriving at a state so biased that weeds you don't know the first thing about now take precedence in your short-term memory over that what you have actually experienced for years. The big picture about the gospel. Though I welcome deep dives into the intellectual weeds of the gospel, let’s not lose sight of the big picture. A big picture without becomes easy to stumble, and where life’s most important meanings may become unintentionally lost. The big picture where the gospel has changed myriads of lives for good. A big picture that has led to the biggest advancements in democracy and human rights where “all men are created equal… endowed by their Creator”. A big picture where the cultivation of much - if not most - of modern science, philosophy, and humanities was made. “Almost every university and college founded in the U.S. and Europe until the mid-19th century—and many afterwards—was founded by some religious organization.” A big picture that has inspired the world's great works of music and art from Handel’s “Messiah” to Da Vinci’s “The Last Supper”. A big picture where countless acts of service and charity are motivated each year. Where youth are raised with the knowledge they have divine worth. Where young men and women quickly grow into mature adults on missions. Where families learn their relationships are more than mere chaotic connections between random matter, but have eternal significance. And most important, a big picture where in some way Jesus Christ gained the experiences needed to ensure that each of us has the path we need to inherit eternal splendor. Personally I can’t think of a single weed worth losing that over. Let’s not make a tragic Millennium Challenge class blunder by losing sight of that big picture, blinded by weeds that may give a person more confidence, but seldom gives that person more accuracy.
So i just redownloaded the game to see if whats going on with season 2 and the game is just a loading screen simulator. 2 minute loading screen, and then you need to wait for 3 minutes until the game decides that 32 players are enough. I don't think that i can handel this
This is a problem I have been having for months now. When I bake the particles in my Mantaflow simulation I get over 14 Million just for spray and foam alone, this is not only way too many for my PC to handel it does also not look good. Even when trying to follow a tutorial as close as possible, they get way less particles. Anyone know what could cause these extremly high amounts of particles for me?
Help Debugging using TD3, overwhelming warning/error outputs
Summary: I am attempting to implement RL using soft robotic hardware, skipping the modeling and simulation for various reasons. I have a pneumatic syringe hooked into a Gcode interpreter (hence the x/y notation through my code. I am using ROS as a messaging middle ware between my components. I have tried to implement some TD3 functionality to get my robot to learn to just move away from its starting point. I will start up (with tons of output), run one "step()" from my custom Gym environment, and then spit out an error that I understand at face value, but am having a lot of trouble tracking down. I have tested my entire system and It seems I have all functionality correct outside of implementing the RL tidbits. I can control the robot, read its sensors/state, and have a ground truth system giving feedback on the robot position for reward calculation. All of this data is being piped corretly into my script and stored in global variables to be used in different scopes throughout my gym and RL environment. My background is mechanical/electrical engineering. I am new to RL as well as software development on the whole. It looks like this all has a lot to do with the libraries, and I am scared to go and change anything in fear of breaking the whole library or something like that. I am unclear where to even start looking for all of these feedbacks, warnings, and errors. any guidance would be much appreciated. Please critique my post and help me present my issue better if it is not up to par with this sub's standards. ==========My RL script==========
#!/usbin/env python3 #you need this above to get ROS to execute the script - points to the python executable #use python 3 here due to the RL libraries being written in python 3 from gym import spaces import gym import numpy as np import time import random from math import sqrt # from stable_baselines.td3.policies import MlpPolicy as Td3MlpPolicy # # from stable_baselines import TD3 # from stable_baselines.ddpg.noise import OrnsteinUhlenbeckActionNoise # from stable_baselines.common.vec_env import DummyVecEnv #import necessary stable baselines TD3 libraries for learning purposes from stable_baselines import TD3 from stable_baselines.td3.policies import MlpPolicy as Td3MlpPolicy from stable_baselines.ddpg.noise import OrnsteinUhlenbeckActionNoise from stable_baselines.common.vec_env import DummyVecEnv #import ROS specific libraries and custom message types import rospy from std_msgs.msg import String from std_msgs.msg import Bool from std_msgs.msg import Empty from soft_robot_learning.msg import sensor_processing from soft_robot_learning.msg import gcode_packager from soft_robot_learning.msg import apriltag_data #global variables testString = "" xCommand = 0. yCommand = 0. xState = 0. yState = 0. xPosition = 0. yPosition = 0. xZero = 0. #zero values for each episode yZero = 0. action_done = False #define constants NUM_STEPS = 10 TIME_PER_STEP = 1 #this could be variable depending on hardware # define ROS publisher nodes cmd_pub = rospy.Publisher('/actuator_commands', gcode_packager, queue_size = 30) direct_cmd_publisher = rospy.Publisher('/grbl_commands', String, queue_size = 30) grbl_reset_pub = rospy.Publisher('/system_cmd', Empty, queue_size=1) #test pub to update the subscribed node. for testing testpub = rospy.Publisher('/testData', String, queue_size = 20) #define ROS subscriber callback methods def robot_state_callback(data): #print("Updating State") global xState global yState xState = data.xSensor yState = data.ySensor #print("x sensor: {}", format(xState)) #print("y sensor: {}", format(yState)) def gnd_truth_callback(data): #print("updating Ground Truth Data") global xPosition, yPosition xPosition = data.x_pos_gnd yPosition = data.y_pos_gnd #print("x position: {}", format(xPosition)) #print("y position: {}", format(yPosition)) def action_done_callback(data): global action_done action_done = data.data def testData_callback(data): #print("test data recieved") global testString testString = data.data + '\n' #Define ROS subscriber nodes def RL_subscribers(): rospy.init_node('soft_robot_learning', anonymous=True) rospy.Subscriber("/robot_state", sensor_processing, robot_state_callback) rospy.Subscriber("/gnd_pos_truth", apriltag_data, gnd_truth_callback) rospy.Subscriber("/action_done", Bool, action_done_callback) rospy.Subscriber("/testData", String, testData_callback) # skipping spin to see if the subscriber works without spinnign whle the thin is running #rospy.spin() def distanceFromOrigin(x,y,xZero,yZero): xDist = x - xZero yDist = y - yZero total_distance = sqrt(xDist*xDist+yDist*yDist) return total_distance, xDist, yDist def wait_for_action(): global action_done count = 0 while not action_done: count = count + 1 #print(action_done) print("Action Complete...") time.sleep(1) def homeGrblController(): print("Homing System....") direct_cmd_publisher.publish('$H') wait_for_action() direct_cmd_publisher.publish('G92 X0 Y0') print("Homing Complete") def initGrblController(): print("Initializing Grbl System...") direct_cmd_publisher.publish('$X') homeGrblController() def resetGrblController(): print("Resetting grbl controller...") msg = Empty() grbl_reset_pub.publish(msg) time.sleep(4) #wait for reset to take plae initGrblController() print("grbl controller reset!") def homeRobot(): print("Sending Robot Home") direct_cmd_publisher.publish('G0 X0 Y0') wait_for_action() print("Robot Home") class soft_learner(): def __init__(self): #init position variables self.testS = "" #test string for testing data passing self.x = 0 self.y = 0 #init steps and dt (time per step) self.n_steps = 0 self.dt = TIME_PER_STEP #1=1second - play with this variable #initialize proper spaces and metadata #both the action and state space are bounded by 0-100 for %of actuation #mapping these to real world actiona dnnand sensors are handeled in another script self.observation_space = spaces.Box(low=np.array([0.,0.]), high=np.array([100.,100.])) #obs space = continuous, self.action_space = spaces.Box(low=np.array([0.,0.]), high=np.array([100.,100.])) self.metadata = 0 #send initial commands to grbl (home, set 0 all that) def reset(self): global xZero, yZero, xPosition, yPosition self.x = 0 self.y = 0 self.n_steps = 0 #re calibrate and set x and y zero values for each new run for april tags data xZero = xPosition yZero = yPosition #reset grbl controller resetGrblController() #run calibration function here return self.x, self.y def step(self, generated_cmd_array): global xCommand, yCommand, xPosition, yPosition, xZero, yZero, xState, yState # print(generated_cmd_array) xCommand = generated_cmd_array[0] yCommand = generated_cmd_array[1] #generate an action # xCommand = random.randint(0,100) # yCommand = random.randint(0,100) print("command generated x {} y {}", format(xCommand), format(yCommand)) #v = np.clip(v, self.action_space.low, self.action_space.high) #above line in example not sure why it is used #publish action cmd_message = gcode_packager() cmd_message.x_percentage = xCommand cmd_message.y_percentage = yCommand cmd_pub.publish(cmd_message) #wait for hardware to complete action wait_for_action() #subscribe/read state state = {'x': xState, 'y': yState} print("xState: {}", format(xState)) print("yState: {}", format(yState)) #compute reward reward, x_calibrated, y_calibrated = distanceFromOrigin(xPosition,yPosition, xZero,yZero) #print("x position: {}", format(xPosition)) #print("y position: {}", format(yPosition)) print("x calibrated: {}", format(x_calibrated)) print("y calibrated: {}", format(y_calibrated)) print("reward: {}", format(reward)) #increment and finish step self.n_steps += 1 done = self.n_steps > NUM_STEPS return state, reward, done, {} if __name__ == '__main__': #run suscriber nodes RL_subscribers() print("Starting...") time.sleep(3) #give ros time to set up #init environmnet env = soft_learner() env.reset() #run and testing a_dim = env.action_space.shape[0] td3_noise = OrnsteinUhlenbeckActionNoise(np.zeros(a_dim), 0.003*np.ones(a_dim)) td3_env = DummyVecEnv([lambda: env]) td3_model = TD3(Td3MlpPolicy, td3_env, verbose=0, action_noise=td3_noise, tensorboard_log='~/tensorboard') td3_model.learn(total_timesteps=100) td3_model.save("~/td3_model") print('Complete training TD3') x = td3_env.reset() # for i in range(100): # x, r, _, _ = td3_env.step(td3_model.predict(x)) # print(x) # print(r) # #rospy.spin() # print("running sensor mount testing") # count = 1 # cmd_message = gcode_packager() # while True: # cmd_message.x_percentage = 95 # cmd_message.y_percentage = 0 # cmd_pub.publish(cmd_message) # wait_for_action() # print("fully inflated...") # cmd_message.x_percentage = 0 # cmd_message.y_percentage = 0 # cmd_pub.publish(cmd_message) # wait_for_action() # print("Not inflated...") # count =count+1 # print (count) # if (count%10 == 0): # resetGrblController() # #for i in range(10): # # time.sleep(1) # # env.step()
===========Terminal Feedback==============
earning/src$ rosrun soft_robot_learning learning.py P-Pavilion-Gaming-Laptop-15-cx0xxx:~/rl/home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/framework/dtypes.py:516: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_qint8 = np.dtype([("qint8", np.int8, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/framework/dtypes.py:517: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_quint8 = np.dtype([("quint8", np.uint8, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/framework/dtypes.py:518: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_qint16 = np.dtype([("qint16", np.int16, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/framework/dtypes.py:519: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_quint16 = np.dtype([("quint16", np.uint16, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/framework/dtypes.py:520: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_qint32 = np.dtype([("qint32", np.int32, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/framework/dtypes.py:525: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. np_resource = np.dtype([("resource", np.ubyte, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorboard/compat/tensorflow_stub/dtypes.py:541: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_qint8 = np.dtype([("qint8", np.int8, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorboard/compat/tensorflow_stub/dtypes.py:542: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_quint8 = np.dtype([("quint8", np.uint8, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorboard/compat/tensorflow_stub/dtypes.py:543: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_qint16 = np.dtype([("qint16", np.int16, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorboard/compat/tensorflow_stub/dtypes.py:544: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_quint16 = np.dtype([("quint16", np.uint16, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorboard/compat/tensorflow_stub/dtypes.py:545: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. _np_qint32 = np.dtype([("qint32", np.int32, 1)]) /home/robertslab/.local/lib/python3.6/site-packages/tensorboard/compat/tensorflow_stub/dtypes.py:550: FutureWarning: Passing (type, 1) or '1type' as a synonym of type is deprecated; in a future version of numpy, it will be understood as (type, (1,)) / '(1,)type'. np_resource = np.dtype([("resource", np.ubyte, 1)]) Starting... /home/robertslab/.local/lib/python3.6/site-packages/gym/logger.py:30: UserWarning: WARN: Box bound precision lowered by casting to float32 warnings.warn(colorize('%s: %s'%('WARN', msg % args), 'yellow')) Resetting grbl controller... Initializing Grbl System... Homing System.... Action Complete... Homing Complete grbl controller reset! WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/tf_util.py:191: The name tf.ConfigProto is deprecated. Please use tf.compat.v1.ConfigProto instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/tf_util.py:200: The name tf.Session is deprecated. Please use tf.compat.v1.Session instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/td3.py:132: The name tf.variable_scope is deprecated. Please use tf.compat.v1.variable_scope instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/input.py:25: The name tf.placeholder is deprecated. Please use tf.compat.v1.placeholder instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/policies.py:125: flatten (from tensorflow.python.layers.core) is deprecated and will be removed in a future version. Instructions for updating: Use keras.layers.flatten instead. WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AttributeError: module 'gast' has no attribute 'Num' WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/tf_layers.py:57: dense (from tensorflow.python.layers.core) is deprecated and will be removed in a future version. Instructions for updating: Use keras.layers.dense instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/ops/init_ops.py:1251: calling VarianceScaling.__init__ (from tensorflow.python.ops.init_ops) with dtype is deprecated and will be removed in a future version. Instructions for updating: Call initializer instance with the dtype argument instead of passing it to the constructor WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AttributeError: module 'gast' has no attribute 'Num' WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AttributeError: module 'gast' has no attribute 'Num' WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AttributeError: module 'gast' has no attribute 'Num' WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/td3.py:165: The name tf.random_normal is deprecated. Please use tf.random.normal instead. WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AttributeError: module 'gast' has no attribute 'Num' WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:Entity > could not be transformed and will be executed as-is. Please report this to the AutgoGraph team. When filing the bug, set the verbosity to 10 (on Linux, `export AUTOGRAPH_VERBOSITY=10`) and attach the full output. Cause: converting >: AssertionError: Bad argument number for Name: 3, expecting 4 WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/td3.py:195: The name tf.train.AdamOptimizer is deprecated. Please use tf.compat.v1.train.AdamOptimizer instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/tensorflow/python/ops/math_grad.py:1205: add_dispatch_support..wrapper (from tensorflow.python.ops.array_ops) is deprecated and will be removed in a future version. Instructions for updating: Use tf.where in 2.0, which has the same broadcast rule as np.where WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/td3.py:227: The name tf.summary.scalar is deprecated. Please use tf.compat.v1.summary.scalar instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/td3.py:241: The name tf.summary.merge_all is deprecated. Please use tf.compat.v1.summary.merge_all instead. WARNING:tensorflow:From /home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/base_class.py:1143: The name tf.summary.FileWriter is deprecated. Please use tf.compat.v1.summary.FileWriter instead. Resetting grbl controller... Initializing Grbl System... Homing System.... Action Complete... Homing Complete grbl controller reset! command generated x {} y {} 58.89289093017578 14.919524192810059 Action Complete... xState: {} 0.0 yState: {} 0.0 x calibrated: {} -0.00041447579860687256 y calibrated: {} -0.0005988478660583496 reward: {} 0.0007282918057437168 Traceback (most recent call last): File "/home/robertslab/rl_workspace_0/src/soft_robot_learning/src/learning.py", line 244, in td3_model.learn(total_timesteps=100) File "/home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/td3/td3.py", line 331, in learn new_obs, reward, done, info = self.env.step(unscaled_action) File "/home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/vec_env/base_vec_env.py", line 150, in step return self.step_wait() File "/home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/base_class.py", line 1084, in step_wait obs, rewards, dones, information = self.venv.step_wait() File "/home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/vec_env/dummy_vec_env.py", line 47, in step_wait self._save_obs(env_idx, obs) File "/home/robertslab/.local/lib/python3.6/site-packages/stable_baselines/common/vec_env/dummy_vec_env.py", line 90, in _save_obs self.buf_obs[key][env_idx] = obs TypeError: float() argument must be a string or a number, not 'dict'
Vision: play one character in a realistic timeframe over many ingame years. With seasonal prices, actions causing game time to pass, realistic travel times and compatible needs
Hello, my vision is to play one character in a realistic timeframe over many ingame years. Since i played the Gothic series where you had food, beds and miscellaneous items like in skyrim i play arround with that idea. Maybe we can share and collect ideas on archiving a specific mod setup.
light version for maximal compatibility, Prowler's Profit is nerfed, there are a few loot changes
mcm: disable everything not changing the gold rewards, unfortunately you would have to disable some additional stuff you don´t like manually - would like to have the regional changes to merchant inventories and some of the small changes too but those require the full version
changes the soul trap spells and enchantments so you never underfill a soul gem, full support for trapping multiple souls at once, compatibility patches
realism features
you have a life without beeing hindered by it needs mod (eat, drink, sleep)
it requires time to learn spells from books, you can configure the chance to learn and more
no instant connection to higher powers
The Constellations
i would like to have the time sensitive activation of standing stones from the mod: Religion 3.0 and to disable the normal standing stone effects for example
gradual shrine buffs or a faith / worship system & longer blessings
regional differences, jailbreak results a low bounty, more foregiving guards, lower npc greeting distance, Thane bonus, attack forgiveness, if you pay your bounty you won´t get escorted, for murder you always get jail
customize the starting conditions for various quests. You can choose to delay the start of Dragonborn, Dawnguard, or Hearthfire quests, as well as other quest events. You can also reduce the level requirements to allow a quest to begin earlier than it normally would
The thing that grinds my gears with the NFS community [RANT]
This is gonna be a rant post, so buckle up and stay constructive!
The NFS Community is a nostalgia-whore.
I get it that you want the same experience from the older games, (tbh. I want that too) but you can still play the old games. They are still available, and probably are dirt cheap to buy.
The reactions of the fanbase.
"It will have drift to win. Developers apparently don't think players can handle normal grip physics."
"Also not that Forza type of drifting or else it will become simulator nfs aint a sim"
"Learn from forza please guys give us options don't make things fixed. Thanks in advance sincerely old nfs gamer"
"We don´t want this and we don´t want that and definetly remove these things from the new game because they are BORING!" "JUST DO A REMAKE OF MW!" You know what, I bet every fucking penny of mine, that if Ghost Games or any other developer remakes the whole game they would still dissapoint, just because in the mind of an old NFS gamer, they couldn´t get it right.
"Need For Speed: Most Wanted is the best game of the series because..."
Because of its cinematics? Because of its gameplay? Because it just worked? And why haven´t they been able to replicate that for the last 14 years?
The old NFS games weren´t so rushed out like they are now.
Oh boy are you wrong. All of the games that made the NFS franchise as it is are not only rushed, they released them like machine gun fire: NFS Underground 2003 NFS Underground 2 2004 NFS Most Wanted 2005 NFS Carbon 2006 NFS ProStreet 2007 And I sure don´t know why or what made the old games special, but I sure do know that throwing shit at a wall and calling it an argument isn`t supposed to help anybody. But I sure as hell am frustrated about Ghost, but I also am frustrated and extremely dissapointed about us fans handeling this situation. And I do not for the love of god want this series to end in a war full of shit being tossed at each other. So please reevaluate the whole situation, and lets pray for NFS Heat.
OK, yeah...this is long. If you have the debilitating TL;DR Syndrome that results in a complete loss of mental composure due to exposure to more than two paragraphs of text, stop reading now and discuss your symptoms with your health care provider. There are medications that may help. Aside of that, this grew out of a question some months back on here where someone asked me what the “lineage” for vaporwave actually is. Sooooo...I got started on this, and discovered that, in truth, there is a LOT of lineage there. In this timeline, I opted to look at developments that directly affect or inform the development of vaporwave that have occurred right up to the inception of the style. And yes, it does go all the way back to the concept of the melodic trope, as that is a clear ancestor of the practices of de/restructuring through existing material that is a major aspect of vaporwave. Some extramusical events are also noted here that are significant to vaporwave's overall concepts and which link together quite smoothly with the musical parts of the timeline at various points. And some of these linkages will doubtless be both revelatory and and informative. Why is this significant? Basically, music does not occur in a vacuum (both literally and figuratively). And events in present-day music often have their causes at other points in music's history or from sources outside of music altogether. In vaporwave's case, this becomes particularly interesting and complex, as things which are relevant here often have less relevance to the pop music corpus which vaporwave often draws upon for its source material and aethetic. Part of this is likely due to vaporwave being a musical style which actually has more to do with experimental music, but also to the fact that vaporwave's development is so incredibly decentralized. As a result, it can be noted that the timeline starts to become very densely-packed as entertainment media assumes an ubiquitous role in worldwide society. This linkage makes perfect sense, however, when one considers what happens within vaporwave; the point that vaporwave exists as both a development from and reaction to entertainment media becomes quite clear as this timeline goes on. So...here it is. Now, this doesn't cover every bit of minutae, but is intended more as a set of major “signposts”, events and developments which clearly move the direction of musical development toward the inception of vaporwave itself. As a result, there are certainly things that perhaps should be in here which are not...but then, that's what comment sections are for. Discuss, add to the discourse, and as that happens, everyone benefits from knowing/understanding more about vaporwave...and vaporwave itself benefits, as “lineage” tends to be viewed as critically-important in the study of music. And there is PLENTY to study...both in vaporwave and, as this shows, where vaporwave came from over a long span of time. Approximately first half of 10th c.: In the monastery at St. Gallen (now in Switzerland) a manuscript is created that documents the “tropes”, or musical addenda, to the Liturgical Plainchant. A scanned facsimile can be found at https://www.e-codices.unifr.ch/en/list/one/csg/0484 These tropes are extra compositions and/or additions to be added to the longstanding chant forms that made up the Liturgy, creating a library of musical fragments which can be used amongst the Liturgy to generate variation on that core body of chant. Mid-15th c.: A composer, presumably Antoine Busnois, writes a secular song called "L'homme armé". This “hit”, popular throughout Western Europe at the time, then finds its way into several dozen settings of the Mass as a “cantus firmus”, a melody that is recycled with ample variation into the polyphony of the Mass setting. Settings of this continue into the 16th c., when the practices of creating “parody masses” (masses based around a secular song) and troping in general are banned during the Counter-reformation at the Council of Trent. However, works based on the "L'homme armé" melody continue up into the present day; more about this at https://en.wikipedia.org/wiki/L%27homme_arm%C3%A9 Around 1600, Florence: Several composers, poets, and patrons of the arts devise a new artform by combining aspects of theatre, literature, music, and stagecraft to create opera. This new form, over a period of 400 or so years, eventually develops into an encompassing one that eventually goes beyond the stage, becoming the source for musical theatre in the late 19th century and, by extension, the staged pop music video, which began to appear in the mid-1950s; perhaps the best-known example from this time being Elvis Presley's “Jailhouse Rock”, a production number which was part of the 1957 Elvis movie of the same name and which today is perhaps more significant than the movie itself. 1611, Nagoya, Japan: Sukemichi Ito founds a kimono and lacquerware manufactory that, over time, becomes the oldest still-operating department store in the world, Matsuzakaya. Originally called Ito Gofuku, the firm's focus gradually shifted to retail sales in its first century and it became a Western-style department store in 1910. 17 July 1717, London, England: George Frideric Handel's “Water Music” is premiered during a cruise on the Thames hosted by King George I. As opposed to a proper concert setting, the orchestra for this work was placed on a barge towed behind the royal craft, as the work was intended as accompaniment for the river cruise and not the focus of the event itself. This is not only a significant date for ambient music, as it also is the premiere of a purely-background work of music, intended as such by the composer himself. Technically, this is where concepts such as Muzak begin, as well as the underlying precepts behind ambient music. 1787, Vienna, Austria: Wolfgang Amadeus Mozart publishes his “Musikalisches Würfelspiel”, or “Musical Dice Game”, in which precomposed musical fragments are assembled into entire pieces of music through the use of chance procedures operated by dice throws. While there are previous examples of this, Mozart's version appears to have been the first to offer up a fully-formed “score” for the process, allowing “players” to restructure 272 bars of his work into completely new musical pieces. An online version of the work, a direct precursor to sampling processes, can be found and played at http://www.playonlinedicegames.com/mozart February 1848, London, England: “The Communist Manifesto” by Karl Marx and Friedrich Engels is first published. An analytical critique of class struggle and capitalism, the pamphlet became one of the most influential...and controversial...political documents in history, framing all of existing history to that point as a “history of class struggles” and examining how capitalist society continues to perpetuate this conflict. Mid-19th c., Bayreuth, Germany: Richard Wagner conceives of the “gesamtkunstwerk” as a logical outgrowth of opera. While the term predates Wagner, he was the first to put the concept into practice, taking opera beyond its current constraints by demanding that the orchestra be hidden, by employing offstage musical forces, and by taking staging to a far more elaborate level which, eventually, required a complete reworking of the concept of the European opera house itself. Wagner's idea was to encourage artists to rely on hidden dream states and emotional responses to create works which both went beyond the separate aspects of opera and which also embodied the shadowy incompleteness of dreams, creating a unified spectacle both grounded in and divorced from mundane reality. This all-encompassing concept eventually finds its way into art in general by the end of the 19th century, informing visual artists, composers and some working in the new field of cinema. 1877, Menlo Park, New Jersey, USA: Thomas Alva Edison invents the phonograph. This device was capable of recording sound, which had already been demonstrated by numerous inventors prior to Edison's invention. These other recorders, however, were not capable of reproducing the recorded sound, making Edison's phonograph the first device to have the capability of storing audio for playback. 1889, Paris, France: Claude Debussy hears Javanese gamelan music for the first time at the Paris Exposition Universelle. This would mark the first time in which a composer of Western music would be directly influenced by non-Western musical forms. While prior examples of “musical exoticism” do exist, Debussy was less interested in gamelan music as a “gimmick” and much moreso as a source for expanding the vocabulary of Western composition. Not only would this encounter filter down through Western music to the present-day, it had a reverse influence on the Indonesian musicians, especially at Debussy's second encounter with this music at the 1900 Exposition; innovations in Javanese and especially Balinese music after 1900 are directly traceable to this encounter. More about this can be found at: https://symposium.music.org/index.php?option=com_k2&view=item&id=22:claude-debussys-gamelan&Itemid=124 1897, USA: Thaddeus Cahill patents his designs for the “Telharmonium”, now considered the first “synthesizer”, although the architecture of the instrument is more akin to that of the Hammond organ. Since the instrument predated the development of electronic amplification, it was built as a huge series of dynamos, required to generate the sizable voltages needed to serve the subscription service for Cahill's background music service which served New York City at the beginning of the 20th century. This led to the instrument's downfall, however, as the Telharmonium transmissions caused extensive interference on telephone circuits; Cahill's service was ended around 1912, which eventually led to the scrapping of the 200-ton instrument housed in Telharmonic Hall, located at 39th and Broadway in Manhattan. Laurens Hammond, a clockmaker, would later miniaturize concepts of the Telharmonium to create the Hammond organ about 15 years later, and this instrument would be far more successful due to its use of tube amplification and (relative) portability. 1900, Cobb Island, Maryland, USA: Reginald Fessenden begins his experiments with the transmission of audio via radio. This would culminate in his Xmas Eve experimental broadcast in 1906 from Brant Rock, Massachusetts of music and entertainment, the first such broadcast in history. This, basically, is the birth of the broadcast industry. 1913, Italy: Luigi Russolo publishes the manifesto “L'Arte dei Rumori”, or “The Art of Noises”, postulating a futuristic music based on replications of everyday noises. His response to the Industrial Revolution, the manifesto proposed that man, now used to complex sounds, would eventually turn toward a music constructed purely of noise. A year later, the premiere concert of this new music using special noise instruments which Russolo called “Intonarumori” would devolve into a riot. A single recording of two of these works, performed with Russolo's original instruments, was made in 1921, and these pieces can be heard at https://www.thereminvox.com/filemanagelist/12/ All of Russolo's original intonarumori were either lost or destroyed during World War II, but new versions of some have been recently built. 1915/16, New York City and Zurich, Switzerland: Several artists, including Marcel Duchamp, Tristan Tzara, Hugo Ball, Francis Picabia and numerous others, create Dada. Dada was an artistic movement that came about as a reaction to World War I, and artists and works produced by them rejected notions of logic, reason, then-current aesthetics, and bourgeois capitalism and consumerism. Dada subsequently sparked works of visual, musical, written and performance art that spurred the development of other art movements that rejected the then-current principles in the arts, such as surrealism and social realism while adopting a positive stance toward modernity and urban life. Dadaist works also made considerable use of methods that fit into the general heading of “sampling”, both visually and in some written works. However, its most visible musical proponent was Erik Satie, whose works played no small part in the development of ambient music; Satie's 1917 works of "Musique d'ameublement" or “furniture music” are considered the first such instances where music was composed for the deliberate purpose of being ignored as a sonic background. 1922, Staten Island, New York, USA: Gen. George Squier's new service, Wired Radio, Inc., debuts. Using the existing telephone network, the company offers home music delivery as a subscription service, but as radio becomes more commonplace as an free entertainment medium, Squier changed both the focus of the company and its name. So, in 1934, Squier's newly-rebranded Muzak company begins to offer his subscription service primarily to commercial clients. 14 December 1924: Ottorino Respighi's “The Pines of Rome” is premiered in that city. The third movement of that work requires the playback of a gramophone recording of a nightingale, with the composer specifying a specific model of playback (using a Brunswick Panatrope) and recording in the work's score. This is the very first instance of what is known as an audio sample being used in a musical work; in fact, in modern performances of this work, digital samplers are usually employed for this purpose. 1935, Berlin, Germany: AEG demonstrates the Model K1 Magnetophon, the first commercial tape recorder, at the Berlin Radio Show. While there had been prior “tape” machines, mot notably the very large and very dangerous Marconi-Stille steel razor-tape machines used by the BBC around this time, AEG was able to create a much smaller and more practical device by designing the K1 to use plastic-based tape stock. In subsequent years, German engineers continued to refine the machine to the point that it was used as a propaganda device, allowing radio broadcasts that seemed live to continue even at the height of combat during World War II. As such, the Magnetophon was viewed as an “enemy asset”, allowing for military personnel to confiscate ones used in broadcasting around the war's end. These confiscated Magnetophons became the basis for recording developments in the USA, UK, and France after WWII. Most importantly, the development of recording on plastic tape allowed engineers to physically edit the recordings, ostensibly for removing imperfections from performances, unlike either steel tape or gramophone lathe technology of that period. 1948, Paris, France: Broadcast engineer Pierre Schaeffer composes his “Cinq études de bruits” (Five Noise Studies) in which various recorded bits of audio (initially on disc, later on tape) are subjected to studio transformation processes, yielding the earliest pieces of what would be called “Musique concrète”, or music using pre-existing sounds. A notable example of this, the “Etude aux chemins de fer”, can be heard at https://archive.org/details/PierreSchaffertudeAuxCheminsDeFer. Schaeffer, in collaboration with the Club d'Essai (which eventually become the “Groupe de Recherches Musicales”, or GRM) and the French broadcast authority ORTF, would go on to create numerous devices and techniques for this new compositional medium. Many of these techniques still form the core of sampling technology today. 1949, Hollywood, California, USA. Bing Crosby, now the head of Ampex, gifts guitarist Les Paul with a Model 200A tape recorder, a device based on confiscated AEG Magnetophon technology. Paul's experiments with the machine eventually yield the single “Lover (When You're Near Me)”, released by Capitol Records in 1950. This track was created by Les Paul by using multitracking and overdubbing techniques developed by him, and stands as one of the very first significant uses of these tape techniques in music production. In later years, Les Paul would develop effects techniques such as tape delay and flanging, and worked with engineer Ross Snyder to develop Ampex's first multitrack tape machine. Along with this, Paul worked with the engineer Rein Narma to create the first multitrack mixing desk, as well as important sonic devices such as the first “look-ahead” audio compressors, the still-prized Fairchild 660 and 670. 1953/1954, Cologne, West Germany: Karlheinz Stockhausen, working in the new electronic music studio at Nord-West Deutsche Rundfunk in Cologne, composes the first fully-electronically-generated musical works, “Studie I & II”, which premiere on 19 October 1954. These two pieces, unlike previous “concrete” efforts, utilize sound spectra synthetically derived by electronic means, primarily using test equipment and broadcast tech, which alowed for empirical control over all aspects of sound. Stockhausen's Studies, as well as many of his subsequent electronic studio compositions, massively alter the course of music, setting in motion many later developments in music composition, music and recording technology, and altering general conceptions of how music can and should be created. 1955, Honolulu, Hawaii, USA: During a performance at the Shell Bar at the Hawaiian Village resort, a number of frogs in a pond in the semi-outdoor venue begin to make noises during a performance by Martin Denny and his lounge combo. When the group stopped, the frogs stopped. And when the group started up again, so would the frogs. But then, Denny began to receive audience requests to “play the song with the frogs”, so members of the group began to make simulated frog, bird, and other “jungle” noises amongst the music, in particular an arrangement of the Les Baxter tune “Quiet Village”. This arrangement of Baxter's song went on to sell over one million copies, and the concept of “exotica” was born. A fusion of easy listening, ethnic appropriations, lighter Latin jazz, and jungle ambiances, exotica became a major force in pop music in the USA at the end of the 1950s and the beginning of the '60s, but just as quickly disappeared when the British Invasion began in 1963. However, after the rediscovery of Denny's work in the late 1970s (by the likes of the pioneering Industrial group Throbbing Gristle, no less!), astute listeners began to realize that Martin Denny's work was part of the DNA of ambient music, with the group working to create a displaced tropical sensibility by inserting artificial “tropical” elements into basic lounge jazz. October 1955, Luleå, Sweden: Shopping, the world's first completely enclosed shopping mall, opens. Built to allow indoor shopping in the severe Arctic weather of northern Sweden, the design by British architect Ralph Erskine was intended to bring the “city life” indoors during the winter. Shopping is still open to this day. 1957, Urbana, Illinois, USA: Lejaren Hiller, in collaboration with Leonard Isaacson, composes the “Illiac Suite”, the first composition to make large-scale use of a computer for composition. This work for string quartet used the ILLIAC I computer at the University of Illinois to generate the data which was then translated into musical notation for the performers. Alongside developments by Max Mathews at Bell Labs around the same time, this opened up music to the possibilities that computers could bring to composers as a tool for musical work. 1959, Paris, France: Authors William S. Burroughs and Brion Gysin collaborate on the development of “cut-up technique”, an array of methods for deconstructing and reconstructing texts, although over time and further collaboration with other writers and artists the technique would grow to encompass visual art, tape recordings, computer-generated texts, and so on. Burroughs felt that the method allowed a “Third Mind” into a work, beyond that of the artist and his or her source material, and the book “The Third Mind” by himself and Gysin functions both as an anthology of their experiments as well as a manifesto for the technique itself. 1961, Cherry Hill, New Jersey, USA: Max Mathews works with Bell Labs engineers to have a computer generate both the background music and the vocal sounds for the song “Daisy Bell”. One of the people to hear this demonstration was the author Arthur C. Clarke, visiting a colleague of his at Bell Labs at the time. This encounter formed the basis for the song's use in Clarke and Stanley Kubrick's “2001: A Space Odyssey”, one of the first science-fiction films to look at the future in a realistic light, which would inspire futurist concepts up into the present day. But the demonstration also showed that a computer could be used to synthesize ALL aspects of a musical performance...including vocals. Developments stemming from this early work are now very much a part of present-day digital audio technology. 6 February 1961: Marty Robbins' single “Don't Worry” is released. The track contains six-string bass parts which were recorded by Nashville engineer Glen Snoddy through a defective preamplifier for the “fuzz” sound the problematic circuit caused. Over the next year, Snoddy and broadcast engineer Revis Hobbs of WSM collaborate on reverse-engineering the defective circuit as an guitar effect device. This was eventually issued by Maestro in 1962, and was known as the “FZ-1 Fuzz-Tone”, the first commercially-available fuzzbox. Sales of the unit were slow until Keith Richards used one on his guitar for the Rolling Stones' hit “(I Can't Get No) Satisfaction”. The FZ-1 is also interesting in that it was the first device sold for the purpose of degrading audio quality as an aesthetic choice. 1963, Wuppertal, West Germany: An exhibition by the composer Nam June Paik entitled “Exposition of Music – Electronic Television” opens, in which Paik shows several video sculptures which were made by using magnets and circuit alterations on everyday CRT televisions. A participant in the post-Dada art group Fluxus, Paik went on to explore video synthesis, combinations of electronic sculpture and performance art, videotape field recording, and robotics, in addition to theoretical work in the mid-1970s which helped to define the later development of the Internet. However, Paik's work with video was perhaps the most critical aspect, showing the artistic potential in intervening in and tampering with the various signals that make up video. And in a very real sense, Paik's work also laid important groundwork for the fields of glitch art and circuit bending. 1964, San Francisco, California and upstate New York, USA: At around the same time, two engineers set out to come up with the same solution to different problems. One, in California, starts to build a system of circuits to assist a group of tape music composers, and the other in New York was working on solving an issue with controlling electronic music circuits with voltages. Both of these men would lend their names to the synthesizers that resulted from these developments: Don Buchla and Robert Moog. The systems they devised would alter the landscape of music altogether, and would take the tedious and esoteric methods used ten years previously by Karlheinz Stockhausen and all electronic composers who would follow in his lead and condense them into playable musical instruments. With further developments in electronics yet to come, synthesizers would become smaller, portable, and eventually ubiquitous. 30 November 1967, Cologne, West Germany: Karlheinz Stockhausen's magnum opus for electronic and concrete sound “Hymnen” premiers in its version for 4-channel tape and soloists. Comprised of electronic soundscapes peppered with manipulated and transformed tape samples from national anthems, shortwave and other field recordings, and songs from around the world. The two-hour piece, in four movements, was intended as a “world portrait” in sound of mankind at that juncture in time. At the time, its length was groundbreaking, but its free combination of both pure electronic and concrete sounds was equally significant in breaking the barrier between these two directions in electronic music. And, coming at the time that it did, “Hymnen” elevated Stockhausen to something approximating rockstar status for several years, leading to offers of collaboration with the likes of the Beatles. 1968, Kingston, Jamaica: Osborne Ruddock, aka King Tubby, creates the first true “dub” mix from Slim Smith's “Ain't Too Proud to Beg” at Treasure Isle. Producer Bunny Lee encouraged Tubby to rework the track after an instrumental “version” of The Paragons' “On the Beach” caused a sensation at a Kingston sound system the previous evening. Not only would this become the birth of dub, but it was essentially the birth of remix culture in general, as innovations from the Jamaican dub scene went on to play a formative role in hiphop, house, techno, and more futuristic spins on the dub style that would begin to emerge in the 1990s. October 1968: Columbia Records releases “Switched-On Bach”, a reworking of ten pieces by the Baroque composer Johann Sebastian Bach, performed and multitracked by Walter (now Wendy) Carlos on an early Moog system. While there had been recordings of electronic works prior to the album's release, Carlos's efforts connected with the listening public partly due to the familiarity of the musical works that the new electronic sounds had been deployed in. The album makes the Moog a household word, goes on to become the first album of electronic music to sell one million copies, and attracts an immense amount of attention to electronic music from all quarters...most notably, from other musicians, who then become eager to work with the new instrument. This development spurs the emergence of new companies that start their own lines of electronic instruments, as well as the portability of the instruments themselves. This last factor is the beginning of the separation of the development of electronic music from academic and broadcasting institutions as the new portable synthesizers draw yet more attention and revenue, beginning the gradual democratization of electronic music in general. 29 October 1969, Los Angeles, California, USA: UCLA Prof. Leonard Kleinrock and his assistant Charley Kline become the first people to successfully send a message from one computer to another via an experimental US Department of Defense network, ARPANET. This event marks the beginning of what would come to be known as the Internet. (1970 forward is below, as the doc appears to be a bit long for Reddit)
(München) – Nach dem missglückten Anschlagsversuch vom Montag in München, bei dem zwei Menschen ums Leben kamen und dutzende schwer verletzt wurden, geraten immer mehr Details über den dringend Tatverdächtigen Horst S. ans Licht. Wie Ermittlerkreisen zu entnehmen ist, soll sich der 70-jährige Deutsche Politarbeiter intensiv auf die Tat vorbereitet und dabei womöglich Unterstützung erhalten haben. Bei einer Durchsuchung seiner Wohnung am Dienstag sei man auf umfangreiches Material gestoßen, das in unmittelbarem Zusammenhang mit der Tat stehe. Auf Nachfrage wollte die zuständige Polizeidirektion München II aus ermittlungstaktischen Gründen keine genaueren Angaben machen. Wie diese Zeitung aber von einer in der Sache vertrauten Person erfuhr, handele es sich unter anderem um detailgetreue Nachbildungen des als Tatwaffe verwendeten ICE-3 sowie eine in Szenekreisen als „Eisenbahnplatte“ bezeichnete Modellstrecke der Firma Märklin. Märklin steht schon länger in der Kritik, die Abverkäufe und Exporte seiner Produkte nicht streng genug zu überwachen. Experten fordern daher seit geraumer Zeit einen Modellbahnführerschein, um die Zuverlässigkeit potentieller Käufer zu gewährleisten sowie entsprechende Gesetze für Hersteller, nur an Inhaber solcher Scheine liefern zu dürfen. In der Sache befragt, ließ man durch Pressesprecher Johann Riedel lediglich verlauten, dass man zwar den Missbrauch ihrer Produkte aufs schärfste verurteile, man bei Märklin aber nach geltendem Recht und Gesetz operiere. Die Verantwortung für die öffentliche Sicherheit liege „ganz klar“ beim Staat, so Riedel. Horst S. war am Montag mit einem ICE-3 in offenbar terroristischer Absicht in den Hauptbahnhof München eingefahren und hatte dabei zwei Passanten, die sich trotz Ansage nicht hinter der Sicherheitslinie befanden, direkt mit dem Zug erfasst. Auf einem kurz vor der Tat veröffentlichten Video, das zwischenzeitlich im Netz kursierte, ist S. dabei zu sehen, wie er einen seiner Modellzüge ungebremst in eine Gruppe von Lego-Figuren fahren lässt und dabei ruft: "Tschuu, Tschuu, dieser Zug hat keine Bremsen!" - ein Ausruf, der auf den Vordenker-Zugstremisten Martin Schulz zurückgeht. Weiterhin finden sich in sozialen Netzwerken zahlreiche Fotos von S., wie er militant mit Modellwagons- und bahnen posiert. Die Szenen, die an die Anleitung einer Modelleisenbahn erinnern, dienten offenbar der Vorbereitung auf den Anschlag und sollten Teil einer medialen Inszenierung werden - wir veröffentlichten sie hier ungekürzt. Bei der abgebildeten Moldelleisenbahn handelt es sich offenbar um dieselbe, die in seiner Münchener Wohnung gefunden wurde. Es grenzt an ein Wunder, dass S., der sich wie der Schulz in der sogenannten ICE-L-Szene über Modellbahnmagazine und per Fax radikalisiert hatte, mit seinem Anschlag nicht mehr Opfer gefordert hat. Sein Versagen ist vor allem darauf zurückzuführen, dass er die Bahn pünktlich am Anschlagsziel einfahren ließ, weshalb nur wenige Menschen vor Ort waren. Auch Schulz war 2017 bei einem Attentat auf das politische Deutschland gescheitert, als er in seinem selbst gebauten „Schulzzug“ gegen eine Wand fuhr. Unmittelbar nach dem Anschlag wurden, wie bereits nach dem Anschlag 2017, Forderungen danach laut, Personen im Umfeld von Zügen genauer zu beobachten, um früher einschreiten zu können. Renate Künast von den Grünen sagte auf dem Kurznachrichtendienst Twitter, es könne nicht sein, dass in einem Land wie Deutschland Tätern wie S. der Zugang zu Zügen oder Killerspielen wie dem „Euro Train Simulator“ so einfach gemacht werde und gleichzeitig eine Frühradikalisierung von Kindern und Jugendlichen im Kinderzimmer stattfinde. Kinder würden so auf spielerische Art an das Bedienen von Zügen herangeführt in dem Glauben „es sei normal, Züge führen pünktlich.“ Ermittlungen zu möglichen Hintermännern im Umfeld von S. laufen indes auf Hochtouren. Wie das Recherchenetzwerk Deutschland (RND) aus Aktenvermerken erfuhr, soll S. Mitglied des sogenannten Christ-Sozialen Untergrunds (CSU) sein – einer rechten Splittergruppe, die seit Jahrzehnten in Bayern operiert. In Verdacht steht in diesem Zusammenhang auch der Deutsche Andreas S., 45, sowie der Deutsche Alexander D. S. und D. sollen den Hauptbahnhof-Täter finanziell unterstützt haben und gehören beide zum CSU. Sie werden schon länger illegaler Geschäfte verdächtigt, die dazu dienen sollen, den CSU mit Schwarzgeld für seine Operationen zu versorgen. D. soll sich sogar einen Posten bei der Deutschen Bahn verschafft haben, um mögliche Anschlagsziele auszukundschaften. Unterstützer des CSU finden sich aber auch außerhalb Bayerns und sollen sogar bis in das Umfeld von Bundeskanzlerin Angela Merkel reichen. Oppositionsparteien fordern deshalb seit Jahren eine Beobachtung durch den Verfassungsschutz. Auf einer kurzfristig einberufenen Pressekonferenz der Bundesregierung bat Regierungssprecher Steffen Seibert um Verständnis, dann man erst einmal die polizeilichen und staatsanwaltlichen Ermittlungen abwarten müsse und sich bis dahin „nicht an Spekulationen beteiligen“ werde. Kanzlerin Merkel wollte sich nicht persönlich in der Sache äußern. Den ursprünglichen Post gibt's hier.
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Ich baue mein ERSTES HANDY Der HANDY Simulator - YouTube
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