The fundamentals of space-time: Part 1 - Andrew Pontzen and Tom Whyntie

1,541,676 views ใƒป 2014-03-24

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Tal Dekkers
00:06
Space: it's where things happen.
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ื”ืžืจื—ื‘: ืฉื ื”ื“ื‘ืจื™ื ืงื•ืจื™ื.
00:09
Time: it's when things happen.
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ื–ืžืŸ: ืฉื ื”ื“ื‘ืจื™ื ืžืชืจื—ืฉื™ื.
00:12
We can measure where things are
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ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืžื“ื•ื“ ืื™ืคื” ื“ื‘ืจื™ื ืงื•ืจื™ื
00:14
and when things take place,
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ื•ืžืชื™ ื“ื‘ืจื™ื ืžืชืจื—ืฉื™ื,
00:15
but in modern physics,
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ืื‘ืœ ื‘ืคื™ื–ื™ืงื” ื”ืžื•ื“ืจื ื™ืช,
00:17
we realize when and where
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ืื ื—ื ื• ืžื‘ื™ื ื™ื ืฉืื™ืคื” ื•ืžืชื™
00:18
are actually part of the same question.
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ื”ื ืœืžืขืฉื” ื—ืœืง ืžืื•ืชื” ืฉืืœื”.
00:22
Because when it comes to understanding the universe,
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ืžืคื ื™ ืฉื›ืฉื–ื” ืžื’ื™ืข ืœื”ื‘ื ื” ืฉืœ ื”ื™ืงื•ื,
00:24
we need to replace three-dimensional space plus time
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ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื”ื—ืœื™ืฃ ืืช ื”ืžืจื—ื‘ ื”ืชืœืช ืžื™ืžื“ื™ ื•ืขื•ื“ ื–ืžืŸ
00:28
with a single concept:
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ืœืจืขื™ื•ืŸ ื™ื—ื™ื“:
00:29
four-dimensional space-time.
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ืžืจื—ื‘ ื–ืžืŸ ืืจื‘ืข ืžื™ืžื“ื™.
00:33
We'll explore and explain space-time
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ืื ื—ื ื• ื ื—ืงื•ืจ ื•ื ืกื‘ื™ืจ ืืช ื”ืžืจื—ื‘-ื–ืžืŸ
00:35
in this series of animations.
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ื‘ืกื“ืจื” ื”ื–ื• ืฉืœ ืื ื™ืžืฆื™ื•ืช.
00:38
Animations?
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ืื ื™ืžืฆื™ื•ืช?
00:39
Yeah.
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ื‘ืจื•ืจ.
00:40
Well, we're not very animated are we?
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ื•ื‘ื›ืŸ, ืื ื—ื ื• ืœื ืžืžืฉ ืžืื•ื™ื™ืจื™ื ื ื›ื•ืŸ?
00:42
Sure we are! Look, I can go from here to here.
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ื‘ืจื•ืจ ืฉื›ืŸ! ืชืจืื•, ืื ื™ ื™ื›ื•ืœ ืœืขื‘ื•ืจ ืžืคื” ืœืคื”.
00:46
Whoa! How'd you get from here to there?
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ื•ื•ืื”! ืื™ืš ืขื‘ืจืช ืžืคื” ืœืฉื?
00:48
How fast did you go?
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ื›ืžื” ืžื”ืจ ื ืขืช?
00:50
Did you run? Walk?
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ื”ืื ืจืฆืช? ื”ืœื›ืช?
00:51
Did you even go in a straight line?
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ื”ืื ื‘ื›ืœืœ ื”ืœื›ืช ื‘ืงื• ื™ืฉืจ?
00:53
Ah! To answer that, you'll need to make our cartoon physics
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ืื”! ื›ื“ื™ ืœืขื ื•ืช ืขืœ ื–ื”, ืืชื ืชืฆื˜ืจื›ื• ืฉืงืจื™ืงื˜ื•ืจืช ื”ืคื™ื–ื™ืงื”
00:57
look more like physics physics.
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ืชืจืื” ื™ื•ืชืจ ื›ืžื• ืคื™ื–ื™ืงื” ืคื™ื–ื™ืงื”.
00:59
You'll need more panels.
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ืืชื ืชืฆื˜ืจื›ื• ื™ื•ืชืจ ืคื ืœื™ื.
01:02
More panels, please!
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ื™ื•ืชืจ ืคื ืœื™ื, ื‘ื‘ืงืฉื”!
01:05
Okay, in each panel, Andrew's in a slightly different place.
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ืื•ืงื™ื™, ื‘ื›ืœ ืคื ืœ, ืื ื“ืจื• ื ืžืฆื ื‘ืžื™ืงื•ื ืžืขื˜ ืฉื•ื ื”.
01:10
So I can see each one records
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ืื– ืื ื™ ื™ื›ื•ืœ ืœืจืื•ืช ื›ืœ ืชื™ืขื•ื“ ื™ื—ื™ื“
01:11
where Andrew is at a different time.
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ื‘ื• ืื ื“ืจื• ื ืžืฆื ื‘ื–ืžืŸ ืื—ืจ.
01:14
That's great. But it would be easier to see
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ื–ื” ื ืคืœื. ืื‘ืœ ื–ื” ื™ื”ื™ื” ื”ืจื‘ื” ื™ื•ืชืจ ืคืฉื•ื˜ ืœืจืื•ืช
01:18
what's going on if we could cut out
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ืžื” ืงื•ืจื” ืื ื”ื™ื™ื ื• ื™ื›ื•ืœื™ื ืœื—ืชื•ืš
01:20
all the hundreds of panels and stack them up
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ืืช ื›ืœ ืžืื•ืช ื”ืคื ืœื™ื ื•ืœืขืจื•ื ืื•ืชื
01:22
like a flip book.
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ื›ืžื• ืกืคืจ ื“ืคื“ื•ืฃ.
01:26
Right, now let's flip through the book
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ืขื›ืฉื™ื•, ื‘ื•ืื• ื ื“ืคื“ืฃ ื‘ืกืคืจ
01:28
so that we can see one panel after another
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ื›ืš ืฉื ื•ื›ืœ ืœืจืื•ืช ืคื ืœ ืื—ื“ ืื—ืจื™ ื”ืฉื ื™
01:30
getting through 24 in every second.
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ื•ื ืขื‘ื•ืจ ื“ืจืš 24 ื›ืœ ืฉื ื™ื”.
01:34
See! I told you it was an animation.
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ืชืจืื•! ืืžืจืชื™ ืœื›ื ืฉื–ื• ืื ื™ืžืฆื™ื”.
01:36
Now you can see me walking along.
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ืขื›ืฉื™ื• ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืื•ืชื™ ื”ื•ืœืš.
01:39
Drawing all those panels and putting them into a flip book
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ืœืฆื™ื™ืจ ืืช ื›ืœ ื”ืคื ืœื™ื ื”ืืœื” ื•ืœืฉื™ื ืื•ืชื ื‘ืกืคืจ ื“ืคื“ื•ืฃ
01:42
is just one way of recording the way I'm moving.
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ื–ื• ืจืง ื“ืจืš ืื—ืช ืœื”ืงืœื™ื˜ ืืช ื”ื“ืจืš ื‘ื” ืื ื™ ื–ื–.
01:45
It's how animation, or even movies, work.
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ื›ืš ืื ื™ืžืฆื™ื” ืื• ืืคื™ืœื• ืกืจื˜ื™ื, ืขื•ื‘ื“ื™ื.
01:49
As it turns out, at my walking speed,
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ื›ืžื• ืฉื–ื” ืžืชื‘ืจืจ, ื‘ืžื”ื™ืจื•ืช ื”ื”ืœื™ื›ื” ืฉืœื™,
01:52
it takes two seconds to get past each fence post,
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ื–ื” ืœื•ืงื— ืฉืชื™ ืฉื ื™ื•ืช ื›ื“ื™ ืœืขื‘ื•ืจ ื›ืœ ืขืžื•ื“ ื’ื“ืจ,
01:55
and they're spaced four meters apart.
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ื•ื”ื ืžืจื•ื•ื—ื™ื ื‘ืžืจื•ื•ื— ืฉืœ ื‘ืขืจืš ืืจื‘ืข ืžื˜ืจ.
01:58
So we can calculate my velocity --
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ืื– ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœื—ืฉื‘ ืืช ื”ืžื”ื™ืจื•ืช ืฉืœื™ --
02:00
how fast I'm moving through space - -
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ื‘ืื™ื–ื• ืžื”ื™ืจื•ืช ืื ื™ ื ืข ื‘ื—ืœืœ --
02:02
is two meters per second.
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ื–ื” ืฉื ื™ ืžื˜ืจ ื‘ืฉื ื™ื”.
02:05
But I could've worked that out from the panels
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ืื‘ืœ ืœื ื™ื›ื•ืœืชื™ ืœื—ืฉื‘ ืืช ื–ื” ืžื”ืคื ืœื™ื
02:08
without flipping through them.
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ื‘ืœื™ ืœื“ืคื“ืฃ ื‘ื™ื ื”ื.
02:11
From the edge of the flip book,
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ืžืงืฆื” ืกืคืจ ื”ื“ืคื“ื•ืฃ,
02:12
you can see all of the copies of the fence posts
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ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืืช ื›ืœ ื”ื”ืขืชืงื™ื ืฉืœ ืขืžื•ื“ื™ ื”ื’ื“ืจ
02:14
and all of the copies of Andrew
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ื•ื›ืœ ื”ืขื•ืชืงื™ื ืฉืœ ืื ื“ืจื•
02:16
and he's in a slightly different place in each one.
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ื•ื”ื•ื ื‘ืžื™ืงื•ื ืžืขื˜ ืฉื•ื ื” ื‘ื›ืœ ืื—ื“.
02:20
Now we can predict everything that will happen to Andrew
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ืขื›ืฉื™ื• ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœื—ื–ื•ืช ื›ืœ ืžื” ืฉื™ืงืจื” ืœืื ื“ืจื•
02:23
when we flip through 24 pages every second,
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ื›ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื ืœื“ืคื“ืฃ ื‘ 24 ืชืžื•ื ื•ืช ื‘ืฉื ื™ื”,
02:26
including his speed of motion,
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ื›ื•ืœืœ ืžื”ื™ืจื•ืช ื”ืชื ื•ืขื”,
02:28
just by looking.
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ืจืง ืขืœ ื™ื“ื™ ื”ืกืชื›ืœื•ืช.
02:30
No need to flip through at all.
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ืœื ืฆืจื™ืš ืœื“ืคื“ืฃ ื‘ื›ื•ืœื.
02:33
The edge of this flip book
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ื”ืงืฆื” ืฉืœ ืกืคืจ ื”ื“ืคื“ื•ืฃ ื”ื–ื”
02:34
is known as a space-time diagram
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ื™ื“ื•ืข ื›ื“ื™ืื’ืจืžืช ืžืจื—ื‘-ื–ืžืŸ
02:37
of Andrew's journey through, you guessed it,
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ืฉืœ ื”ืžืกืข ืฉืœ ืื ื“ืจื• ื“ืจืš, ื ื™ื—ืฉืชื ื ื›ื•ืŸ,
02:40
space and time.
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ื”ืžืจื—ื‘ ื•ื”ื–ืžืŸ.
02:42
We call the line that represents Andrew's journey
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ืื ื—ื ื• ืงื•ืจืื™ื ืœืงื• ืฉืžื™ื™ืฆื’ ืืช ื”ืžืกืข ืฉืœ ืื ื“ืจื•
02:45
his world line.
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ืงื• ื”ืขื•ืœื ืฉืœื•.
02:47
If i jog instead of walking,
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ืื ืืจื•ืฅ ื‘ืžืงื•ื ืœืœื›ืช,
02:49
I might be able to get past a fence post every second.
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ืื•ืœื™ ืื ื™ ืื”ื™ื” ืžืกื•ื’ืœ ืœืขื‘ื•ืจ ืขืžื•ื“ ื’ื“ืจ ื›ืœ ืฉื ื™ื”.
02:54
He's not very athletic.
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ื”ื•ื ืœื ืžืื•ื“ ืืชืœื˜ื™.
02:56
Anyway, when we look at this new flip book from the edge,
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ื‘ื›ืœ ืื•ืคืŸ, ื›ืฉืื ื—ื ื• ืžื‘ื™ื˜ื™ื ื‘ืกืคืจ ื”ื“ืคื“ื•ืฃ ื”ื—ื“ืฉ ื”ื–ื” ืžื”ืงืฆื”,
02:59
we can do the same analysis as before.
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ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ืืช ืื•ืชื” ืื ืœื™ื–ื” ื›ืžื• ืžืงื•ื“ื.
03:02
The world line for Andrew jogging
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ืงื• ื”ืขื•ืœื ืœืจื™ืฆื” ืฉืœ ืื ื“ืจื•
03:03
is more tilted over
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ื™ื•ืชืจ ื ื˜ื•ื™
03:05
than the world line for Andrew walking.
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ืžืืฉืจ ืงื• ื”ืขื•ืœื ืฉืœ ื”ื”ืœื™ื›ื” ืฉืœ ืื ื“ืจื•.
03:07
We can tell he's going twice as fast as before
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ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืจืื•ืช ืฉื”ื•ื ื ืข ืคื™ ืฉืชื™ื™ื ื™ื•ืชืจ ืžื”ืจ
03:10
without flipping the panels.
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ื‘ืœื™ ืœื“ืคื“ืฃ ื‘ืคื ืœื™ื.
03:14
But here's the clever bit.
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ืื‘ืœ ื”ื ื” ื”ื—ืœืง ื”ื—ื›ื.
03:16
In physics, it's always good to view things from other perspectives.
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ื‘ืคื™ื–ื™ืงื”, ื–ื” ืชืžื™ื“ ื˜ื•ื‘ ืœืจืื•ืช ื“ื‘ืจื™ื ืžื ืงื•ื“ื•ืช ืžื‘ื˜ ืฉื•ื ื•ืช.
03:20
After all, the laws of physics
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ืื—ืจื™ ื”ื›ืœ, ื”ื—ื•ืงื™ื ืฉืœ ื”ืคื™ื–ื™ืงื”
03:22
should be the same for everyone
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ืฆืจื™ื›ื™ื ืœื”ื™ื•ืช ื–ื”ื™ื ืœื›ื•ืœื
03:23
or no one will obey them.
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ืื• ืฉืืฃ ืื—ื“ ืœื ื™ืฆื™ื™ืช ืœื”ื.
03:26
So let's rethink our cartoon
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ืื– ื‘ื•ืื• ื ื—ืฉื•ื‘ ืžื—ื“ืฉ ืขืœ ื”ืงืจื™ืงื˜ื•ืจื” ืฉืœื ื•
03:29
and have the camera follow Andrew jogging along
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ื•ื ื™ืงื— ืืช ื”ืžืฆืœืžื” ืœืขืงื•ื‘ ืื—ืจื™ ืื ื“ืจื• ืจืฅ
03:31
as the fence posts approach and pass behind him.
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ื›ืฉืขืžื•ื“ื™ ื”ื’ื“ืจ ืžืชืงืจื‘ื™ื ื•ืขื•ื‘ืจื™ื ืžืื—ื•ืจื™ื•.
03:35
Still viewing it as a flip book of panels,
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ืขื“ื™ื™ืŸ ืจื•ืื™ื ืืช ื–ื” ื›ืกืคืจ ื“ืคื“ื•ืฃ ืฉืœ ืคื ืœื™ื,
03:37
we don't need to redraw anything.
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ืื ื—ื ื• ืœื ืฆืจื™ื›ื™ื ืœืฆื™ื™ืจ ืฉื•ื ื“ื‘ืจ ืžื—ื“ืฉ.
03:39
We simply move all of the cutout frames slightly
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ืื ื—ื ื• ืคืฉื•ื˜ ืžื–ื™ื–ื™ื ืืช ื›ืœ ื”ืคืจื™ื™ืžื™ื ื”ื—ืชื•ื›ื™ื ืžืขื˜
03:42
until Andrew's tilted world line
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ืขื“ ืฉืงื• ื”ืขื•ืœื ื”ืžืฉื•ืคืข ืฉืœ ืื ื“ืจื•
03:45
becomes completely vertical.
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ื”ื•ืคืš ืœืื ื›ื™ ืœื’ืžืจื™.
03:48
To see why, let's flip it.
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ื›ื“ื™ ืœืจืื•ืช ืœืžื”, ื‘ื•ืื• ื ื“ืคื“ืฃ ื‘ื•.
03:50
Yes, now I'm stationery, just jogging on the spot,
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ื›ืŸ, ืขื›ืฉื™ื• ืื ื™ ื ื™ื™ื—, ืคืฉื•ื˜ ืจืฅ ืขืœ ื”ื ืงื•ื“ื”,
03:54
in the center of the panel.
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ื‘ืžืจื›ื– ื”ืคื ืœ.
03:56
On the edge of the flip book,
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ื‘ืงืฆื” ืกืคืจ ื”ื“ืคื“ื•ืฃ,
03:57
my world line was going straight upwards.
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ืงื• ื”ืขื•ืœื ืฉืœื™ ืขืœื” ื™ืฉืจ ืœืžืขืœื”.
04:00
The fence posts are coming past me.
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ืขืžื•ื“ื™ ื”ื’ื“ืจ ืขื•ื‘ืจื™ื ืขืœ ืคื ื™.
04:03
It's now their world lines that are tilted.
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ื–ื” ืขื›ืฉื™ื• ื”ืขื•ืœื ืฉืœื”ื ืฉืžื•ื˜ื”.
04:06
This rearrangement of the panels is known as a
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ื”ืืจื’ื•ืŸ ืžื—ื“ืฉ ื”ื–ื” ืฉืœ ืคื ืœื™ื ื™ื“ื•ืข
04:09
Galilean transformation,
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ื›ื˜ืจื ืกืคื•ืจืžืฆื™ื” ื’ืœื™ืœืื™ืช,
04:11
and it lets us analyze physics from someeone else's perspective.
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ื•ื”ื™ื ืžืืคืฉืจืช ืœื ื• ืœื ืชื— ืคื™ื–ื™ืงื” ืžื ืงื•ื“ืช ืžื‘ื˜ ืฉืœ ืžื™ืฉื”ื• ืื—ืจ.
04:16
In this case, mine.
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ื‘ืžืงืจื” ื”ื–ื”, ืฉืœื™.
04:18
After all, it's always good to see things from other points of view,
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ืื—ืจื™ ื”ื›ืœ, ื–ื” ืชืžื™ื“ ื˜ื•ื‘ ืœืจืื•ืช ื“ื‘ืจื™ื ืžื ืงื•ื“ืช ืžื‘ื˜ ืื—ืจืช,
04:21
especially when the viewers are moving
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ื‘ืขื™ืงืจ ื›ืฉื”ืฆื•ืคื™ื ื ืขื™ื
04:24
at different speeds.
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ื‘ืžื”ื™ืจื•ื™ื•ืช ืฉื•ื ื•ืช.
04:26
So long as the speeds aren't too high.
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ื›ืœ ืขื•ื“ ื”ืžื”ื™ืจื•ื™ื•ืช ืœื ื’ื‘ื•ื”ื•ืช ืžื“ื™.
04:30
If you're a cosmic ray moving at the speed of light,
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ืื ืืชื ืงืจืŸ ืงื•ืกืžื™ืช ืฉื ืขื” ื‘ืžื”ื™ืจื•ืช ื”ืื•ืจ,
04:33
our flip book of your point of view falls apart.
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ืกืคืจ ื”ื“ืคื“ื•ืฃ ืฉืœื ื• ืฉืœ ื ืงื•ื“ืช ื”ืžื‘ื˜ ืฉืœื›ื ืžืชืคืจืง.
04:38
To stop that from happening,
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ื›ื“ื™ ืœืขืฆื•ืจ ืืช ื–ื” ืžืœืงืจื•ืช,
04:39
we'll have to glue panels together.
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ืื ื—ื ื• ื ืฆื˜ืจืš ืœื”ื“ื‘ื™ืง ืคื ืœื™ื ื™ื—ื“.
04:42
Instead of a stack of separate panels,
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ื‘ืžืงื•ื ืขืจืžื” ืฉืœ ืคื ืœื™ื ื ืคืจื“ื™ื,
04:44
we'll need a solid block of space-time,
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ืื ื—ื ื• ื ืฆื˜ืจืš ื‘ืœื•ืง ืงืฉื™ื— ืฉืœ ืžืจื—ื‘-ื–ืžืŸ,
04:47
which we'll come to in the next animation.
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ืฉืืœื™ื• ื ื’ื™ืข ื‘ืื ื™ืžืฆื™ื” ื”ื‘ืื”.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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