Reggie Watts disorients you in the most entertaining way | TED

10,528,723 views ใƒป 2012-05-25

TED


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Shlomo Adam
00:16
(Non English)
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[ืœื ืื ื’ืœื™ืช]
00:39
(French) Mais Des fois on peut voir parce Que Les gens
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00:44
ici faire Des choses on peut manger.
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00:46
(French) Mais quand tu es fรขchรฉ avec quelqu'un
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00:50
c'est pas passรฉ the first time.
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00:52
(British English) And that's one of the things that I enjoy most
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...ื•ื–ื” ืื—ื“ ื”ื“ื‘ืจื™ื ืžื”ื ืื ื™ ื”ื›ื™ ื ื”ื ื”
00:55
about this convention.
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ื‘ื›ื ืก ื”ื–ื”
ื–ื” ืœื ื›ืœ ื›ืš ื”ืจื‘ื”, ื›ืžื• ืฉื–ื” ื›ืœ ื›ืš ืžืขื˜ ื ื•ื’ืข ืœืžื” ืฉื”ื›ืœ ื”ื•ื.
00:59
It's not so much, as so little has to do with what everything is.
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01:06
(Laughter)
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(ืฆื—ื•ืง)
01:09
But it is within our self-interest
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ืื‘ืœ ื™ืฉ ืœื ื• ืื™ื ื˜ืจืกื˜
01:12
to understand the topography of our lives
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ืœื”ื‘ื™ืŸ ืืช ื”ื˜ื•ืคื•ื’ืจืคื™ื” ืฉืœ ื”ื—ื™ื™ื ืฉืœื ื•
ื‘ื™ื—ืก ืœืขืฆืžื ื•.
01:15
unto ourselves.
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01:16
(Laughter)
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(ืฆื—ื•ืง)
01:21
The future states that there is no time
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ื”ืขืชื™ื“ ืžืจืื”
ืฉืื™ืŸ ื–ืžืŸ
ื—ื•ืฅ ืžื”ื”ืชืžื•ื˜ื˜ื•ืช ืฉืœ ืชื—ื•ืฉืช ื”ืžืจืื”
01:25
other than the collapsation of that sensation
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01:28
of the mirror of the memories in which we are living.
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ืฉืœ ื”ื–ื›ืจื•ื ื•ืช ืฉื‘ื” ืื ื—ื ื• ื—ื™ื™ื.
01:31
(Laughter)
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(ืฆื—ื•ืง)
01:34
Common knowledge,
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ื–ื” ื™ื“ื•ืข,
01:36
but important nonetheless.
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ืื‘ืœ ืขื“ื™ื™ืŸ ื—ืฉื•ื‘.
01:37
(Laughter)
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(ืฆื—ื•ืง)
ื›ืฉืื ื—ื ื• ืขื•ืžื“ื™ื ื‘ืคื ื™ ืคื—ื“ ื‘ื™ืžื™ื ืืœื”,
01:41
As we face fear in these times,
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01:43
and fear is all around us,
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ื•ืคื—ื“ ืžืงื™ืฃ ืื•ืชื ื•,
01:45
we also have anti-fear.
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ื™ืฉ ืœื ื• ื’ื ืื ื˜ื™-ืคื—ื“.
ื–ื” ืงืฉื” ืœื“ืžื™ื™ืŸ ืื• ืœืžื“ื•ื“.
01:48
It's hard to imagine or measure.
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01:50
The background radiation is simply too static
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ืงืจื™ื ืช ื”ืจืงืข ื”ื™ื ืคืฉื•ื˜ ืกื˜ื˜ื™ืช ืžื“ื™
01:53
to be able to be seen under the normal spectral analysis.
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ืžื›ื“ื™ ืœื”ื™ืจืื•ืช ืžืชื—ืช ืœื ื™ืชื•ื— ื”ืกืคืงื˜ืจืœื™ ื”ืจื’ื™ืœ.
ืื‘ืœ ืื ื—ื ื• ืžืจื’ื™ืฉื™ื ื›ืื™ืœื• ื™ืฉ ื–ืžื ื™ื
01:58
(American accent) But we feel as though there are times
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02:01
when a lot of us -- you know what I'm saying?
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ื‘ื”ื ืจื‘ื™ื ืžืื™ืชื ื• -- ืืชื ืžื‘ื™ื ื™ื ืื•ืชื™?
02:03
But -- you know what I'm saying?
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ืื‘ืœ -- ืžื‘ื™ื ื™ื ืื•ืชื™?
02:05
Because, as a hip hop thing, you know what I'm saying,
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ืžืคื ื™, ื›ืื™ืœื•, ืžื™ืŸ ื”ื™ืค ื”ื•ืค ื›ื–ื”, ืืชื ืžื‘ื™ื ื™ื ืื•ืชื™,
02:07
TED be rocking -- you know what I'm saying.
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TED ื”ื•ื ืžื’ื ื™ื‘ -- ืืชื ืžื‘ื™ื ื™ื ืื•ืชื™.
02:10
Like so I wrote a song,
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ื›ืชื‘ืชื™ ืฉื™ืจ, ื›ืื™ืœื•,
ื•ืื ื™ ืžืงื•ื•ื” ืฉืืชื ืชืื”ื‘ื• ืื•ืชื•.
02:13
and I hope you guys dig it.
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ื–ื” ืฉื™ืจ ืขืœ ืื ืฉื™ื
02:15
It's a song about people
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ื•"ื‘ื™ื’-ืคื•ื˜" --
02:17
and sasquatches --
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02:19
(Laughter)
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(ืฆื—ื•ืง)
-- ื•ืขื ื™ื™ื ื™ ืžื“ืข ืฆืจืคืชื™ื™ื ืื—ืจื™ื.
02:22
And other French science stuff.
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ื–ื” ืžื“ืข ืฆืจืคืชื™.
02:25
That's French science.
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02:26
Okay, here we go.
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ืื•ืงื™ื™, ื”ื ื” ืื ื—ื ื• ืžืชื—ื™ืœื™ื.
02:30
(Singing) I've been trying inside
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โ™ซ ื ื™ืกื™ืชื™ ื‘ืคื ื™ื โ™ซ
02:37
I know that I'm in trouble
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โ™ซ ืื ื™ ื™ื•ื“ืข ืฉืื ื™ ื‘ืฆืจื•ืช ื•ืœื‘ื“ื™ โ™ซ
02:42
(Applause)
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02:44
that I'm in trouble
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02:50
by myself
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02:54
But every time it gets me
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โ™ซ ืื‘ืœ ื›ืœ ืคืขื ืฉื–ื” ืชื•ืคืก ืื•ืชื™ โ™ซ
02:58
(Vocalization)
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โ™ซ [ืœื ื‘ืจื•ืจ] โ™ซ
03:08
(Beatbox)
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(ืžื•ื–ื™ืงื”)
03:38
(Singing) And I've been trying to be the one that you believe in
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โ™ซ ื•ื ื™ืกื™ืชื™ ืœื”ื™ื•ืช ื–ื” ืฉืืชื ืžืืžื™ื ื™ื ื‘ื• โ™ซ
03:43
And you're the one that I want to be so saucy
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โ™ซ ื•ืืชื” ื–ื” ืฉืื ื™ ืจื•ืฆื” ืฉืชื”ื™ื” ื›ืœ ื›ืš ื‘ื•ื˜ื” โ™ซ
03:49
And you're the one I want to [unclear], baby
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โ™ซ ื•ืืชื” ื”ืื—ื“ ืฉืื ื™ ืจื•ืฆื” ืœื”ื™ื•ืช [ืœื ื‘ืจื•ืจ] , ืžื•ืชืงโ™ซ
03:53
And you can do anything
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โ™ซ ื•ืืชื” ื™ื›ื•ืœ ืœืขืฉื•ืช ื”ื›ืœ โ™ซ
03:56
as long as you don't get hurt along the way back
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โ™ซ ื›ืœ ืขื•ื“ ืœื ืชื™ืคื’ืข ื‘ื“ืจืš ื—ื–ืจื” โ™ซ
03:59
(Beatbox)
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04:00
If I survive, I'm going to tell you what is wrong
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โ™ซ ืื ืื ื™ ืืฉืจื•ื“, ืื ื™ ืืกืคืจ ืœืš ืžื” ืœื ื‘ืกื“ืจ โ™ซ
โ™ซ ืžืคื ื™ ืฉืื ื”ื™ืชื” [ืœื ื‘ืจื•ืจ] โ™ซ
04:05
Because if you were [unclear]
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04:10
And I think that you're looking like a [unclear]
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โ™ซ ื•ืื ื™ ื—ื•ืฉื‘ ืฉืืชื” ื ืจืื” ื›ืžื• [ืœื ื‘ืจื•ืจ] โ™ซ
04:16
I give you what I want to be
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โ™ซ ืื ื™ ื ื•ืชืŸ ืœืš ืืช ืžื” ืฉืื ื™ ืจื•ืฆื” ืœื”ื™ื•ืช โ™ซ
04:21
(Music)
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(ืžื•ื–ื™ืงื”)
04:34
(Music ends abruptly)
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04:36
(British accent) And it's like,
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ื•ื–ื” ื›ืื™ืœื•, ื”ื™ื™ืชื ื™ื›ื•ืœื™ื ืœื”ืฉืชืžืฉ ื‘ื›ืžื” ืžืืœื” ืฉื”ื™ื™ืชื ืจื•ืฆื™ื.
04:38
you could use as many of those things that you want.
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
04:41
(Applause)
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04:45
And the computer models,
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ื•ื”ืžื•ื“ืœื™ื ื”ืžืžื•ื—ืฉื‘ื™ื,
04:47
no matter how many that you have
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ืœื ืžืฉื ื” ื›ืžื” ื™ืฉ ืœื›ื
04:48
and how many people that you use,
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ื•ื‘ื›ืžื” ืื ืฉื™ื ืชืฉืชืžืฉื•,
04:50
are never going to be able to arrive at the same conclusions.
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ืœืขื•ืœื ืœื ื™ื”ื™ื• ืžืกื•ื’ืœื™ื ืœื”ื’ื™ืข ืœืื•ืชืŸ ืžืกืงื ื•ืช.
ืœืคื ื™ ืืจื‘ืข ืฉื ื™ื ืขื‘ื“ืชื™ ืขื ื›ืžื” ืื ืฉื™ื ื‘"ืžื›ื•ืŸ ื‘ืจื•ืงื™ื ื’ืก",
04:54
Four years ago I worked with a few people at the Brookings Institute,
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04:58
and I arrived at a conclusion.
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ื•ื”ื’ืขืชื™ ืœืžืกืงื ื”.
05:00
(Laughter)
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(ืฆื—ื•ืง)
05:07
Tomorrow is another day.
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ืžื—ืจ ื”ื•ื ืขื•ื“ ื™ื•ื.
05:09
(Laughter)
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(ืฆื—ื•ืง)
05:11
Not just any day,
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ืœื ืกืชื ืขื•ื“ ื™ื•ื,
05:13
but it is a day.
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ืื‘ืœ ื‘ื”ื—ืœื˜ ื™ื•ื.
05:15
It will get here, there's no question.
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ื”ื•ื ื™ื’ื™ืข ืœื›ืืŸ, ืื™ืŸ ืกืคืง.
05:19
And the important thing to remember
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ื•ื”ื“ื‘ืจ ื”ื—ืฉื•ื‘ ืœื–ื›ื•ืจ
05:21
is that this simulation is a good one.
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ื–ื” ืฉื”ื”ื“ืžื™ื” ื”ื–ื• ื˜ื•ื‘ื”.
05:25
It's believable, it's tactile.
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ื”ื™ื ืืžื™ื ื”, ื”ื•ื ืžื•ื—ืฉื™ืช.
05:28
You can reach out -- things are solid.
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ืืชื ื™ื›ื•ืœื™ื ืœื”ื•ืฉื™ื˜ ื™ื“ -- ื“ื‘ืจื™ื ื”ื ืžื•ืฆืงื™ื.
05:29
You can move objects from one area to another.
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ืืชื ื™ื›ื•ืœื™ื ืœื”ื–ื™ื– ื—ืคืฆื™ื ืžืื–ื•ืจ ืื—ื“ ืœืฉื ื™.
ืืชื ื™ื›ื•ืœื™ื ืœื”ืจื’ื™ืฉ ืืช ื”ื’ื•ืฃ ืฉืœื›ื.
05:33
You can feel your body.
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05:34
You can say, "I'd like to go over to this location,"
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ืืชื ื™ื›ื•ืœื™ื ืœื”ื’ื™ื“, "ื”ื™ื™ืชื™ ืจื•ืฆื” ืœื–ื•ื– ืœืฉื,"
ื•ืืชื ื™ื›ื•ืœื™ื ืœื”ื–ื™ื– ืืช ื”ืžืกื” ื”ื–ื• ืฉืœ ื”ืžื•ืœืงื•ืœื•ืช ื“ืจืš ื”ืื•ื™ืจ
05:37
and you can move this mass of molecules through the air
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ืœืžืงื•ื ืื—ืจ ื›ืจืฆื•ื ื›ื.
05:40
over to another location, at will.
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05:42
(Laughter)
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(ืฆื—ื•ืง)
05:45
That's something you live inside of every day.
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ื–ื” ืžืฉื”ื• ืฉืืชื ื—ื™ื™ื ื‘ืชื•ื›ื• ื›ืœ ื™ื•ื.
05:50
Now with the allocation and the understanding
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ืขื›ืฉื™ื• ืขื ื”ื”ืงืฆืื” ื•ื”ื”ื‘ื ื” ืฉืœ
05:53
of the lack of understanding,
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ื—ื•ืกืจ ื”ื”ื‘ื ื”,
05:54
we enter into a new era of science
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ืื ื—ื ื• ื ื›ื ืกื™ื ืœืชื•ืš ืขื™ื“ืŸ ื—ื“ืฉ ื‘ืžื“ืข
ื‘ื• ืื ื—ื ื• ืžืจื’ื™ืฉื™ื ืฉืฉื•ื ื“ื‘ืจ
05:57
in which we feel nothing more
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05:59
than so much so as to say
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ืื™ื ื ื• ื™ื•ืชืจ ืžืืฉืจ ืœื•ืžืจ
ืฉืืœื” ืฉื‘ืชื•ืš ืขืฆืžื,
06:02
that those within themselves,
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06:04
comporary or non-comporary,
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ืงื•ืžืคื•ืจืจื™ ืื• ื‘ืœืชื™-ืงื•ืžืคื•ืจืจื™,
ื™ืชืืจื• ื‘ืื•ืคืŸ ืžืชื•ืืจ
06:07
will figuratively figure
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06:08
into the folding of our non-understanding
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ืืช ื”ื”ืชืงืคืœื•ืช ืฉืœ ื—ื•ืกืจ ื”ื‘ื ืชื ื•
06:12
and our partial understanding
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ื•ืฉืœ ื”ื‘ื ืชื ื• ื”ื—ืœืงื™ืช
06:13
to the networks of which we all draw our source
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ื‘ืืฉืจ ืœืจืฉืชื•ืช ืžื”ื ื›ื•ืœื ื• ืฉื•ืื‘ื™ื ืืช ื”ืžืงื•ืจื•ืช
06:17
and conclusions from.
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ื•ื”ืžืกืงื ื•ืช ืฉืœื ื•.
06:18
(Laughter)
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(ืฆื—ื•ืง)
06:20
So, as I say before the last piece,
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ืื–, ื›ืžื• ืฉืื ื™ ืื•ืžืจ ืœืคื ื™ ื”ืงื˜ืข ื”ืื—ืจื•ืŸ,
ืืœ ืชืจื’ื™ืฉื• ื›ืื™ืœื• ืื ื—ื ื• ื—ื™ื™ื ืขืœ ื›ื“ื•ืจ,
06:25
feel not as though it is a sphere we live on,
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06:28
rather an infinite plane which has the illusion
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ืืœื ืขืœ ืžื™ืฉื•ืจ ืื™ื ืกื•ืคื™ ืฉื™ืฉ ื‘ื• ืืฉืœื™ื”
06:32
of leading yourself back to the point of origin.
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ืฉืืชื ืžื•ื‘ื™ืœื™ื ืืช ืขืฆืžื›ื ื‘ื—ื–ืจื” ืœื ืงื•ื“ืช ื”ืžื•ืฆื.
06:35
(Laughter)
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(ืฆื—ื•ืง)
06:36
Once we understand that all the spheres in the sky
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ื‘ืจื’ืข ืฉืžื‘ื™ื ื™ื ืฉื›ืœ ื”ื›ื“ื•ืจื™ื ืฉื‘ืฉืžื™ื™ื
06:39
are just large infinite planes,
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ื”ื ืจืง ืžื™ืฉื•ืจื™ื ื’ื“ื•ืœื™ื ื•ืื™ื ืกื•ืคื™ื™ื,
ื–ื” ื‘ืจื•ืจ ื›ืžื™ืฉื•ืจ. ื”ื ื”ื ื”ื.
06:41
it will be plain to see.
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06:42
(Laughter)
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06:43
(Audience) (Laughter)
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06:45
This is my final piece.
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ื–ื” ื”ืงื˜ืข ื”ืื—ืจื•ืŸ ืฉืœื™.
06:47
And just remember,
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ื•ืจืง ืชื–ื›ืจื•
06:49
everything you are --
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ื›ืœ ื“ื‘ืจ ืฉืืชื --
ื–ื” ื™ื•ืชืจ ื—ืฉื•ื‘ ืœื”ื‘ื™ืŸ
06:51
it's more important to realize the negative space,
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ืืช ื”ื—ืœืœ ื”ืฉืœื™ืœื™,
06:55
as music is only the division of space;
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ืžืคื ื™ ืฉืžื•ื–ื™ืงื” ื”ื™ื ืจืง ื—ืœื•ืงื” ืฉืœ ื”ื—ืœืœ;
06:58
it is the space we are listening to divided as such,
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ื”ื—ืœืœ ืฉืื ื• ืžืื–ื™ื ื™ื ืœื• ืžื—ื•ืœืง ื›ืš,
07:01
which gives us the information in comparison to something other
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ื•ื–ื” ืžื” ืฉื ื•ืชืŸ ืœื ื• ืืช ื”ืžื™ื“ืข
ื‘ื”ืฉื•ื•ืื” ืœืžืฉื”ื• ืื—ืจ
07:05
that gives us the idea of what the idea that wants to be transmitted
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ืฉื ื•ืชืŸ ืœื ื• ืืช ื”ืจืขื™ื•ืŸ ืฉืœ ืžื”ื• ื”ืจืขื™ื•ืŸ ืฉืจื•ืฆื” ืœื”ื™ื•ืช ืžืฉื•ื“ืจ
ืฉืจื•ืฆื” ืœื”ื™ื•ืช.
07:09
wants to be.
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07:10
So please, without further ado.
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ืื– ื‘ื‘ืงืฉื”, ืžื‘ืœื™ ืœื”ืจื‘ื•ืช ื‘ื“ื‘ืจื™ื.
07:11
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
07:13
Thank you.
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ืชื•ื“ื” ืœื›ื.
07:15
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
07:19
This is a fun one.
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ื–ื” ืงื˜ืข ื›ื™ืคื™.
07:21
It goes like this.
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ื–ื” ื”ื•ืœืš ื›ื›ื”.
07:22
(Beatbox)
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(ืžื•ื–ื™ืงื”)
07:29
(Gibberish)
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07:47
(Music ends)
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07:48
Okay, for the last piece I'd like to do,
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ืื•ืงื™ื™, ืœืงื˜ืข ื”ืื—ืจื•ืŸ ื”ื™ื™ืชื™ ืจื•ืฆื” ืœืขืฉื•ืช,
07:50
this one goes very similar to this.
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ื–ื” ื”ื•ืœืš ืžืื•ื“ ื“ื•ืžื” ืœื–ื”.
07:53
I hope you guys recognize it.
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ืื ื™ ืžืงื•ื•ื” ืฉืืชื ืžื›ื™ืจื™ื ืืช ื–ื”.
07:54
Here we go.
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ื”ื ื” ืื ื—ื ื• ืžืชื—ื™ืœื™ื.
08:00
Okay, that still works. Okay, good.
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ืื•ืงื™ื™, ื–ื” ืขื“ื™ื™ืŸ ืขื•ื‘ื“. ืื•ืงื™ื™, ื˜ื•ื‘.
ื‘ืกื“ืจ, ื”ื ื” ืžืชื—ื™ืœื™ื.
08:03
All right, here we go.
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08:04
(Laughter)
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(ืฆื—ื•ืง)
08:07
(Beatbox)
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(ืžื•ื–ื™ืงื”)
08:19
Here we go.
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ื”ื ื” ืžืชื—ื™ืœื™ื.
08:20
(Beatbox)
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(ืžื•ื–ื™ืงื”)
08:28
Yeah, yo, yo, yo
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โ™ซ ื™ื”, ื™ื•, ื™ื•, ื™ื• โ™ซ
08:32
(Gibberish)
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(ืžื•ื–ื™ืงื”)
09:18
(Music fades out)
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09:20
Thank you. Enjoy the rest.
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ืชื•ื“ื” ืœื›ื. ืชื”ื ื• ืžื”ืฉืืจ. ืชื•ื“ื” ืœื›ื.
09:22
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ื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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