Tom Thum: The orchestra in my mouth | TED

36,503,711 views ใƒป 2013-07-19

TED


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

ืžืชืจื’ื: David Forrai ืžื‘ืงืจ: Ido Dekkers
00:12
My name is Tom,
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ืฉืžื™ ื˜ื•ื
00:13
and I've come here today to come clean
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ื•ื”ื’ืขืชื™ ื”ื ื” ื”ื™ื•ื ื›ื“ื™ ืœื”ืชื•ื•ื“ื•ืช
00:17
about what I do for money.
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ืขืœ ื”ื“ื‘ืจื™ื ืฉืื ื™ ืขื•ืฉื” ื‘ืชืžื•ืจื” ืœื›ืกืฃ.
00:20
Basically, I use my mouth in strange ways
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ื‘ืขื™ืงืจื•ืŸ, ืื ื™ ืžืฉืชืžืฉ ื‘ืคื” ืฉืœื™ ื‘ื“ืจื›ื™ื ืžืฉื•ื ื•ืช
00:24
in exchange for cash.
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ืชืžื•ืจืช ื›ืกืฃ ืžื–ื•ืžืŸ.
00:26
(Laughter)
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(ืฆื—ื•ืง)
00:27
I usually do this kind of thing in seedy downtown bars
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ืื ื™ ื‘ื“ืจืš ื›ืœืœ ืขื•ืฉื” ืืช ื”ื“ื‘ืจื™ื ื”ืืœื” ื‘ื‘ืืจื™ื ืžื•ื–ื ื—ื™ื ื‘ื“ืื•ืŸ-ื˜ืื•ืŸ
00:30
and on street corners,
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ื•ื‘ืคื™ื ื•ืช ืจื—ื•ื‘,
00:32
so this mightn't be the most appropriate setting,
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ืื– ื™ื™ืชื›ืŸ ืฉื”ืžืงื•ื ื”ื–ื” ืื™ื ื• ื”ืชืคืื•ืจื” ื”ืžืชืื™ืžื” ื‘ื™ื•ืชืจ,
00:35
but I'd like to give you guys a bit of a demonstration
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ืื‘ืœ ื”ื™ื™ืชื™ ืจื•ืฆื” ืœืชืช ืœื›ื ื”ื“ื’ืžื” ืงื˜ื ื”
00:39
about what I do.
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ืฉืœ ื”ื“ื‘ืจื™ื ืฉืื ื™ ืขื•ืฉื”.
00:45
(Beatboxing)
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(ื‘ื™ื˜ื‘ื•ืงืกื™ื ื’)
02:14
And now, for my next number,
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ื•ื›ืขืช, ืœืงื˜ืข ื”ื‘ื ืฉืœื™,
02:17
I'd like to return to the classics.
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ื”ื™ื™ืชื™ ืจื•ืฆื” ืœื—ื–ื•ืจ ืืœ ื”ืงืœืืกื™ืงื•ืช.
02:22
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
02:24
We're going to take it back,
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ืื ื—ื ื• ืขื•ืžื“ื™ื ืœื—ื–ื•ืจ ื—ื–ืจื”,
02:26
way back,
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ืœื—ื–ื•ืจ ืจื—ื•ืง,
02:28
back into time.
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ืจื—ื•ืง ืืœ ื”ืขื‘ืจ.
02:34
(Beatboxing: "Billie Jean")
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(ื‘ื™ื˜ื‘ื•ืงืกื™ื ื’: "ื‘ื™ืœื™ ื’'ื™ืŸ")
02:53
โ™ซ Billie Jean is not my lover โ™ซ
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ื‘ื™ืœื™ ื’'ื™ืŸ ื”ื™ื ืœื ื”ืžืื”ื‘ืช ืฉืœื™
02:57
โ™ซ She's just a girl who claims that I am the one โ™ซ
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ื”ื™ื ืจืง ื ืขืจื” ืฉื˜ื•ืขื ืช ืฉืื ื™ ื”ื•ื ื”ืื—ื“
03:02
โ™ซ But the kid is not my son โ™ซ
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ืื‘ืœ ื”ื™ืœื“ ื”ื–ื” ื”ื•ื ืœื ื”ื‘ืŸ ืฉืœื™
03:06
(Applause) All right.
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื) ื˜ื•ื‘.
03:13
Wassup.
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ืžื” ื ืฉืžืข?
03:16
Thank you very much, TEDx.
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ืชื•ื“ื” ืจื‘ื” ืœื›ื, Tedx.
03:18
If you guys haven't figured it out already,
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ืื ืขื•ื“ ืœื ืขืœื™ืชื ืขืœ ื–ื” ืขื“ ืขื›ืฉื™ื•,
03:21
my name's Tom Thum, and I'm a beatboxer,
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ื”ืฉื ืฉืœื™ ื”ื•ื ื˜ื•ื ืช'ื ื•ืื ื™ ื‘ื™ื˜ื‘ื•ืงืกืจ,
03:23
which means all the sounds that you just heard
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ืžื” ืฉืื•ืžืจ ืฉื›ืœ ื”ืฆืœื™ืœื™ื ืฉื–ื” ืขืชื” ืฉืžืขืชื
03:26
were made entirely using just my voice,
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ื ื•ืฆืจื• ืขืœ ื™ื“ื™ ื”ืงื•ืœ ืฉืœื™ ื‘ืœื‘ื“
03:29
and the only thing was my voice.
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ื•ื”ื“ื‘ืจ ื”ื™ื—ื™ื“ ื›ืืŸ ื”ื™ื” ื”ืงื•ืœ ืฉืœื™.
03:31
And I can assure you
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ื•ืื ื™ ื™ื›ื•ืœ ืœื”ื‘ื˜ื™ื— ืœื›ื
03:33
there are absolutely no effects
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ืฉืื™ืŸ ื›ืืŸ ืฉื•ื ืืคืงื˜ื™ื
03:37
on this microphone whatsoever.
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ื‘ืžื™ืงืจื•ืคื•ืŸ ื”ื–ื” ื‘ื›ืœืœ.
03:43
And I'm very, very stoked โ€”
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ื•ืื ื™ ืžืื•ื“, ืžืื•ื“ ื ืจื’ืฉ -
03:45
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
03:46
You guys are just applauding for everything. It's great.
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ื—ื‘ืจ'ื”, ืืชื ืคืฉื•ื˜ ืžื•ื—ืื™ื ื›ืคื™ื™ื ืœื›ืœ ื“ื‘ืจ. ื–ื” ื ื”ื“ืจ.
03:50
Look at this, Mom! I made it!
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ืชืจืื™ ืืช ื–ื” ืืžื, ืขืฉื™ืชื™ ืืช ื–ื”!
03:54
I'm very, very stoked to be here today,
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ืื ื™ ืžืื•ื“, ืžืื•ื“ ื ืจื’ืฉ ืœื”ื™ื•ืช ื›ืืŸ ื”ื™ื•ื,
03:57
representing my kinfolk
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ืžื™ื™ืฆื’ ืืช ื”ื—ื‘ืจ'ื” ืฉืœื™
03:59
and all those that haven't managed to make a career
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ื•ืืช ื›ืœ ืืœื” ืฉืœื ื”ืฆืœื™ื—ื• ืœืขืฉื•ืช ืงืจื™ื™ืจื”
04:03
out of an innate ability for inhuman noisemaking.
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ืžื”ื™ื›ื•ืœืช ื”ืžื•ืœื“ืช ืฉืœื”ื ืœืขืฉื•ืช ืงื•ืœื•ืช ืœื ืื ื•ืฉื™ื™ื.
04:06
Because it is a bit of a niche market,
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ื›ื™ ื”ืฉื•ืง ื”ื–ื” ื”ื•ื ืงืฆืช ื ื™ืฉืชื™,
04:09
and there's not much work going on,
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ื•ืื™ืŸ ื”ืจื‘ื” ืขื‘ื•ื“ื” ื‘ืชื—ื•ื,
04:12
especially where I'm from.
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ื‘ืžื™ื•ื—ื“ ื‘ืžืงื•ื ืฉืžืžื ื• ืื ื™ ืžื’ื™ืข.
04:13
You know, I'm from Brisbane,
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ืืชื ื™ื•ื“ืขื™ื, ืื ื™ ืžื‘ืจื™ืกื‘ื™ื™ืŸ,
04:14
which is a great city to live in.
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ืฉื”ื™ื ืขื™ืจ ื ื”ื“ืจืช ืœื’ื•ืจ ื‘ื”.
04:16
Yeah! All right! Most of Brisbane's here. That's good.
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ื›ืŸ! ืžืฆื•ื™ืŸ! ืื ื™ ืจื•ืื” ืฉืจื•ื‘ ื”ื‘ืจื™ืกื‘ื™ื™ื ื™ื ืคื”. ื–ื” ื˜ื•ื‘.
04:19
(Laughter)
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(ืฆื—ื•ืง)
04:20
You know, I'm from Brizzy,
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ืืชื ื™ื•ื“ืขื™ื, ืื– ืื ื™ ืžื‘ืจื™ื–ื™,
04:23
which is a great city to live in,
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ืฉื–ื• ืขื™ืจ ื ื”ื“ืจืช ืœื’ื•ืจ ื‘ื”,
04:24
but let's be honest --
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ืื‘ืœ ื‘ื•ืื• ื ื”ื™ื” ื›ื ื™ื --
04:26
it's not exactly the cultural hub of the Southern Hemisphere.
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ื–ื” ืœื ื‘ื“ื™ื•ืง ื—ื™ืง ื”ืชืจื‘ื•ืช ืฉืœ ื—ืฆื™ ื”ื›ื“ื•ืจ ื”ื“ืจื•ืžื™.
04:30
So I do a lot of my work outside Brisbane
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ืื– ืืช ืจื•ื‘ ื”ืขื‘ื•ื“ื” ืฉืœื™ ืื ื™ ืขื•ืฉื” ืžื—ื•ืฅ ืœื‘ืจื™ืกื‘ื™ื™ืŸ
04:33
and outside Australia,
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ื•ืžื—ื•ืฅ ืœืื•ืกื˜ืจืœื™ื”,
04:35
and so the pursuit of this crazy passion of mine
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ื•ื›ืš ืงืจื” ืฉื”ืขื™ืกื•ืง ื‘ืชืฉื•ืงื” ื”ืžืฉื•ื’ืขืช ื”ื–ื• ืฉืœื™
04:38
has enabled me to see
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ืื™ืคืฉืจ ืœื™ ืœืจืื•ืช
04:39
so many amazing places in the world.
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ื›ืœ ื›ืš ื”ืจื‘ื” ืžืงื•ืžื•ืช ืžื“ื”ื™ืžื™ื ื‘ืขื•ืœื.
04:42
So I'd like to share with you, if I may, my experiences.
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ืื– ื”ื™ื™ืชื™ ืจื•ืฆื” ืœื—ืœื•ืง ืื™ืชื›ื, ืื ื™ื•ืจืฉื” ืœื™, ืืช ื”ื—ื•ื•ื™ื•ืช ืฉืœื™.
04:47
So ladies and gentlemen,
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ืื– ื’ื‘ื™ืจื•ืชื™ื™ ื•ืจื‘ื•ืชื™ื™,
04:49
I would like to take you on a journey
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ืื ื™ ืจื•ืฆื” ืœืงื—ืช ืืชื›ื ืœืžืกืข
04:52
throughout the continents
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ื—ื•ืฆื” ื™ื‘ืฉื•ืช
04:54
and throughout sound itself.
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ื“ืจืš ื”ืฆืœื™ืœ ืขืฆืžื•.
04:58
We start our journey in the central deserts.
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ืื ื—ื ื• ืžืชื—ื™ืœื™ื ืืช ื”ืžืกืข ืฉืœื ื• ื‘ืžื“ื‘ืจื™ื•ืช ื”ืžืจื›ื–ื™ื™ื ืฉืœ ืื•ืกื˜ืจืœื™ื”.
05:02
(Didgeridoo)
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(ื“ื™ื“ื’'ืจื™ื“ื•)
05:12
(Airplane)
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(ืžื˜ื•ืก)
05:16
India.
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ื”ื•ื“ื•
05:17
(Beatboxing)
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(ื‘ื™ื˜ื‘ื•ืงืกื™ื ื’)
05:31
(Sitar)
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(ืกื™ื˜ืืจ)
05:37
China.
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ืกื™ืŸ.
05:38
(Guzheng)
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(ื’ื•-ื–ื ื’)
05:51
(Beatboxing)
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(ื‘ื™ื˜ื‘ื•ืงืกื™ื ื’)
05:58
Germany.
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ื’ืจืžื ื™ื”.
06:00
(Beatboxing)
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(ื‘ื™ื˜ื‘ื•ืงืกื™ื ื’)
06:19
Party, party, yeah.
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ืžืกื™ื‘ื”, ืžืกื™ื‘ื”, ื™ื”.
06:20
(Laughter)
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(ืฆื—ื•ืง)
06:25
And before we reach our final destination,
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ื•ืœืคื ื™ ืฉื ื’ื™ืข ืืœ ื”ื™ืขื“ ื”ืกื•ืคื™ ืฉืœื ื•,
06:29
ladies and gentlemen,
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ื’ื‘ื™ืจื•ืชื™ื™ ื•ืจื‘ื•ืชื™ื™,
06:30
I would like to share with you some technology
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ื”ื™ื™ืชื™ ืจื•ืฆื” ืœื—ืœื•ืง ืื™ืชื›ื ืงืฆืช ื˜ื›ื ื•ืœื•ื’ื™ื”
06:33
that I brought all the way from the thriving metropolis of Brisbane.
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ืฉื”ื‘ืืชื™ ืื™ืชื™ ื›ืœ ื”ื“ืจืš ืžื”ื›ืจืš ื”ืกื•ืืŸ ืฉืœ ื‘ืจื™ืกื‘ื™ื™ืŸ.
06:36
These things in front of me here are called Kaoss Pads,
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ื”ื“ื‘ืจื™ื ื”ืืœื” ื›ืืŸ ื ืงืจืื™ื ื›ืื•ืก ืคืื“ืก,
06:40
and they allow me to do a whole lot of different things
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ื•ื”ื ืžืืคืฉืจื™ื ืœื™ ืœืขืฉื•ืช ื”ืžื•ืŸ ื“ื‘ืจื™ื ืฉื•ื ื™ื ื•ืžืฉื•ื ื™ื
06:43
with my voice.
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ืขื ื”ืงื•ืœ ืฉืœื™.
06:45
For example, the one on the left here
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ืœืžืฉืœ, ื–ื” ืคื” ืžืฉืžืืœ
06:48
allows me to add
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ืžืืคืฉืจ ืœื™ ืœื”ื•ืกื™ืฃ
06:50
a little bit of reverb to my sound,
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ืžืขื˜ ื”ื“ื”ื•ื“ ืœืงื•ืœ ืฉืœื™,
06:53
which gives me that --
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ืžื” ืฉื ื•ืชืŸ ืœื™ ืืช ื” --
06:55
(Trumpet) --
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(ื—ืฆื•ืฆืจื”)--
07:01
flavor.
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ื’ื•ื•ืŸ ื”ื–ื”.
07:03
(Laughter)
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(ืฆื—ื•ืง)
07:04
And the other ones here,
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ื•ื”ืื—ืจื™ื ื›ืืŸ,
07:06
I can use them in unison
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ืื ื™ ื™ื›ื•ืœ ืœื”ืฉืชืžืฉ ื‘ื”ื ื™ื—ื“
07:08
to mimic the effect of a drum machine
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ื›ื“ื™ ืœื—ืงื•ืช ืืช ื”ืืคืงื˜ ืฉืœ ืžื›ื•ื ืช ืชื•ืคื™ื
07:11
or something like that.
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ืื• ืžืฉื”ื• ื‘ืกื’ื ื•ืŸ.
07:12
I can sample in my own sounds and I can play it back
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ืื ื™ ื™ื›ื•ืœ ืœื”ืงืœื™ื˜ ืืช ื”ืงื•ืœื•ืช ืฉืœื™ ื•ืื ื™ ื™ื›ื•ืœ ืœื ื’ืŸ ืื•ืชื ืฉื•ื‘
07:14
just by hitting the pads here.
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ืคืฉื•ื˜ ืขืœ ื™ื“ื™ ื”ืงืฉื” ืขืœ ื”ืžืฉื˜ื— ื›ืืŸ.
07:20
(Noises)
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(ืจืขืฉื™ื)
07:33
TEDx.
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Tedx.
07:39
(Music)
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(ืžื•ืกื™ืงื”)
07:57
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
08:01
I got way too much time on my hands.
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ื™ืฉ ืœื™ ื™ื•ืชืจ ืžื“ื™ ื–ืžืŸ ืฉืขื•ืžื“ ืœืจืฉื•ืชื™.
08:06
And last but not least,
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ื•ืื—ืจื•ืŸ ื—ื‘ื™ื‘,
08:07
the one on my right here allows me to
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ื–ื” ื›ืืŸ ืžื™ืžื™ื ื™ ืžืืคืฉืจ ืœื™
08:10
loop loop loop loop loop loop loop loop
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ืœื”ื›ื ื™ืก ืœืœื•ืœืื” ืœื•ืœืื” ืœื•ืœืื” ืœื•ืœืื” ืœื•ืœืื” ืœื•ืœืื” ืœื•ืœืื” ืœื•ืœืื”
08:14
my voice.
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ืืช ื”ืงื•ืœ ืฉืœื™.
08:16
So with all that in mind, ladies and gentlemen,
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ืื– ืขื ื›ืœ ื–ื”, ื’ื‘ื™ืจื•ืชื™ื™ ื•ืจื‘ื•ืชื™ื™,
08:20
I would like to take you on a journey
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ื”ื™ื™ืชื™ ืจื•ืฆื” ืœืงื—ืช ืืชื›ื ืœืžืกืข
08:22
to a completely separate part of Earth
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ืืœ ื—ืœืง ืื—ืจ ืœื’ืžืจื™ ืฉืœ ื›ื“ื•ืจ ื”ืืจืฅ
08:25
as I transform the Sydney Opera House
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ื›ืฉืื ื™ ื”ื•ืคืš ืืช ื‘ื™ืช ื”ืื•ืคืจื” ืฉืœ ืกื™ื“ื ื™
08:27
into a smoky downtown jazz bar.
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ืœื‘ืืจ ื’'ืื– ืžืขื•ืฉืŸ ื‘ื“ืื•ืŸ ื˜ืื•ืŸ.
08:32
All right boys, take it away.
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ืงื“ื™ืžื” ื‘ื—ื•ืจื™ื, ื‘ื•ืื• ื ืชื—ื™ืœ.
08:35
(Music)
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(ืžื•ืกื™ืงื”)
08:45
Ladies and gentlemen, I'd like to introduce you
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ื’ื‘ื™ืจื•ืชื™ื™ ื•ืจื‘ื•ืชื™ื™, ืื ื™ ืจื•ืฆื” ืœื”ืฆื™ื’ ื‘ืคื ื™ื›ื
08:47
to a very special friend of mine,
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ื—ื‘ืจ ืžื™ื•ื—ื“ ืžืื•ื“ ืฉืœื™,
08:48
one of the greatest double bassists I know.
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ืื—ื“ ืžื”ืงื•ื ื˜ืจื”-ื‘ืืกื™ืกื˜ื™ื ื”ื˜ื•ื‘ื™ื ื‘ื™ื•ืชืจ ืฉืื ื™ ืžื›ื™ืจ,
08:51
Mr. Smokey Jefferson, let's take it for a walk. Come on, baby.
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ืžืจ ืกืžื•ืงื™ ื’'ืคืจืกื•ืŸ, ื‘ื•ืื• ื ืœืš ืขืœ ื–ื”. ืงื“ื™ืžื”, ื‘ื™ื™ื‘ื™.
08:55
(Music)
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(ืžื•ืกื™ืงื”)
09:38
All right, ladies and gentlemen,
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ื‘ืกื“ืจ, ื’ื‘ื™ืจื•ืชื™ื™ ื•ืจื‘ื•ืชื™ื™,
09:40
I'd like to introduce you to the star of the show,
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ืื ื™ ืจื•ืฆื” ืœื”ืฆื™ื’ ืœื›ื ืืช ื›ื•ื›ื‘ ื”ืžื•ืคืข,
09:42
one of the greatest jazz legends of our time.
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ืื—ืช ืžืื’ื“ื•ืช ื”ื’'ืื– ื”ื’ื“ื•ืœื•ืช ืฉืœ ื–ืžื ื ื•.
09:45
Music lovers and jazz lovers alike,
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ืื•ื”ื‘ื™ ืžื•ืกื™ืงื” ื•ืื•ื”ื‘ื™ ื’'ืื– ื’ื ื™ื—ื“,
09:47
please give a warm hand of applause
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ืงื‘ืœื• ื‘ืžื—ื™ืื•ืช ื›ืคื™ื™ื ื—ืžื•ืช
09:49
for the one and only Mr. Peeping Tom. Take it away.
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ืืช ื”ืื—ื“ ื•ื”ื™ื—ื™ื“, ืžืจ ื˜ื•ื ื”ืžืฆืคืฆืฃ. ื‘ื•ืื• ื ืจื™ืฅ ืืช ื–ื”.
09:53
(Music)
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(ืžื•ืกื™ืงื”)
09:58
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
11:14
Thank you. Thank you very much.
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ืชื•ื“ื” ืœื›ื. ืชื•ื“ื” ืจื‘ื” ืœื›ื.
11:16
(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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