Deep sea diving ... in a wheelchair | Sue Austin

526,162 views ใƒป 2013-01-08

TED


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

00:00
Translator: Joseph Geni Reviewer: Morton Bast
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ืžืชืจื’ื: Shlomo Adam ืžื‘ืงืจ: Ido Dekkers
00:15
It's wonderful to be here
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ื ืคืœื ืœื”ื™ื•ืช ื›ืืŸ ื•ืœื“ื‘ืจ ืขืœ ื”ืžืกืข ืฉืœื™,
00:18
to talk about my journey,
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00:20
to talk about the wheelchair
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ืœื“ื‘ืจ ืขืœ ื›ื™ืกื ื”ื’ืœื’ืœื™ื ื•ืขืœ ื”ื—ื•ืคืฉ ืฉื”ื•ื ื ืชืŸ ืœื™.
00:21
and the freedom it has bought me.
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00:24
I started using a wheelchair 16 years ago
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ื”ืชื—ืœืชื™ ืœื”ืฉืชืžืฉ ื‘ื›ื™ืกื-ื’ืœื’ืœื™ื ืœืคื ื™ 16 ืฉื ื”, ื›ืฉืžื—ืœื” ืžืžื•ืฉื›ืช
00:27
when an extended illness
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00:29
changed the way I could access the world.
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ืฉื™ื ืชื” ืืช ื”ื’ื™ืฉื” ื”ืคื™ื–ื™ืช ืฉืœื™ ืœืขื•ืœื.
00:32
When I started using the wheelchair,
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ื›ืฉื”ืชื—ืœืชื™ ืœื”ืฉืชืžืฉ ื‘ื›ื™ืกื ื”ื’ืœื’ืœื™ื, ื–ื” ื”ื™ื” ื—ื•ืคืฉ ื—ื“ืฉ ื•ื›ื‘ื™ืจ.
00:35
it was a tremendous new freedom.
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00:37
I'd seen my life slip away and become restricted.
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ื›ื‘ืจ ืจืื™ืชื™ ืฉื—ื™ื™ ื—ื•ืžืงื™ื ืžืžื ื™ ื•ื ืขืฉื™ื ืžื•ื’ื‘ืœื™ื.
00:40
It was like having an enormous new toy.
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ื–ื” ื”ื™ื” ื›ืžื• ืœืงื‘ืœ ืฆืขืฆื•ืข ื’ื“ื•ืœ ื•ื—ื“ืฉ.
00:43
I could whiz around and feel the wind in my face again.
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ื™ื›ื•ืœืชื™ ืœื”ืกืชื—ืจืจ ื‘ื• ื•ืœื—ื•ืฉ ืฉื•ื‘ ืืช ื”ืจื•ื— ืขืœ ืคื ื™.
00:47
Just being out on the street was exhilarating.
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ื”ื™ื” ืžืœื”ื™ื‘ ืœื”ื™ื•ืช ืกืชื ื‘ื—ื•ืฅ, ื‘ืจื—ื•ื‘.
00:51
But even though I had this newfound joy and freedom,
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ืื‘ืœ ืœืžืจื•ืช ืฉื ื”ื ื™ืชื™ ืžื”ืฉืžื—ื” ื•ื”ื—ื•ืคืฉ ื”ื—ื“ืฉื™ื ื”ืืœื”,
00:55
people's reaction completely changed towards me.
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ื”ืชื’ื•ื‘ื” ืฉืœ ื”ืื ืฉื™ื ื›ืœืคื™ ื”ืฉืชื ืชื” ืœื’ืžืจื™.
00:58
It was as if they couldn't see me anymore,
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ื–ื” ื”ื™ื” ื›ืื™ืœื• ื”ื ื›ื‘ืจ ืœื ืจื•ืื™ื ืื•ืชื™,
01:01
as if an invisibility cloak had descended.
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ื›ืื™ืœื• ื™ืจื“ื” ืขืœื™ ื’ืœื™ืžืช ื”ื™ืขืœืžื•ืช.
01:05
They seemed to see me in terms of their assumptions
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ื”ื ื›ืื™ืœื• ืจืื• ืื•ืชื™ ืœืคื™ ื”ื ื—ื•ืช ื”ื™ืกื•ื“ ืฉืœื”ื
01:08
of what it must be like to be in a wheelchair.
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ืžื‘ื—ื™ื ืช ื”ื”ืจื’ืฉื” ืœื”ื™ื•ืช ื‘ื›ื™ืกื-ื’ืœื’ืœื™ื.
01:12
When I asked people their associations with the wheelchair,
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ื›ืฉืฉืืœืชื™ ืื ืฉื™ื ืขืœ ื”ืืกื•ืฆื™ืืฆื™ื•ืช ืฉืžืขื•ืจืจ ื‘ื”ื ื›ื™ืกื ื”ื’ืœื’ืœื™ื,
01:17
they used words like "limitation," "fear,"
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ื”ื ื”ืฉืชืžืฉื• ื‘ืžืœื™ื ื›ืžื• "ืžื•ื’ื‘ืœื•ืช", "ืคื—ื“", "ืจื—ืžื™ื" ื•"ื ื›ื•ืช".
01:21
"pity" and "restriction."
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01:24
I realized I'd internalized these responses
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ื”ื‘ื ืชื™ ืฉืžืื– ื•ืžืชืžื™ื“ ื”ืคื›ืชื™ ืชื’ื•ื‘ื•ืช ืืœื” ืœื—ืœืง ืžื–ื”ื•ืชื™
01:29
and it had changed who I was on a core level.
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ื•ืฉื–ื” ืฉื™ื ื” ืื•ืชื™ ื‘ืจืžื” ืขืžื•ืงื” ื‘ื™ื•ืชืจ.
01:32
A part of me had become alienated from myself.
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ื—ืœืง ืžืžื ื™ ื”ืคืš ืœื–ืจ ืœื™.
01:36
I was seeing myself not from my perspective,
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ืจืื™ืชื™ ืืช ืขืฆืžื™ ืœื ืžื ืงื•ื“ืช ืžื‘ื˜ื™,
01:40
but vividly and continuously from the perspective
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ืืœื ื‘ื‘ื™ืจื•ืจ ื•ื‘ื”ืชืžื“ื” ืžื ืงื•ื“ืช ื”ืžื‘ื˜ ืฉืœ ืชื’ื•ื‘ืชื• ืฉืœ ื”ื–ื•ืœืช.
01:44
of other people's responses to me.
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01:47
As a result, I knew I needed to make my own stories
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ื•ืœื›ืŸ ื™ื“ืขืชื™ ืฉืขืœื™ ืœื›ืชื•ื‘ ืกื™ืคื•ืจื™ื ืžืฉืœื™ ืื•ื“ื•ืช ื”ื—ื•ื•ื™ื” ื”ื–ื•,
01:52
about this experience,
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01:54
new narratives to reclaim my identity.
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ื ืจื˜ื™ื‘ื™ื ื—ื“ืฉื™ื, ื›ื“ื™ ืœื”ืฉื™ื‘ ืœืขืฆืžื™ ืืช ื–ื”ื•ืชื™.
01:57
["Finding Freedom: 'By creating our own stories we learn to take the texts of our lives as seriously as we do 'official' narratives.' โ€” Davis 2009, TEDx Women"]
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ืœืžืฆื•ื ื—ื•ืคืฉ: ื‘ื›ืชื‘ื ื• ืืช ืกื™ืคื•ืจื™ื ื•-ืื ื•, ืื ื—ื ื• ืœื•ืžื“ื™ื ืœื”ืชื™ื™ื—ืก ืœื›ืชื‘ื™-ื—ื™ื™ื ื• ื‘ืื•ืชื” ืจืฆื™ื ื•ืช ื›ืžื• ืœื ืจื˜ื™ื‘ื™ื 'ืจืฉืžื™ื™ื'.
02:00
I started making work
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ื”ืชื—ืœืชื™ ืœื™ืฆื•ืจ ืืžื ื•ืช ืฉืžื˜ืจืชื” ืœืžืกื•ืจ ืžืฉื”ื•
02:02
that aimed to communicate something
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02:05
of the joy and freedom I felt when using a wheelchair --
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ืื•ื“ื•ืช ื”ื—ื“ื•ื•ื” ื•ื”ื—ื•ืคืฉ ืฉื—ืฉืชื™ ื‘ืขืช ื”ืฉื™ืžื•ืฉ ื‘ื›ื™ืกื-ื’ืœื’ืœื™ื --
02:10
a power chair -- to negotiate the world.
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ื›ื™ืกื ื—ืฉืžืœื™/ื›ื™ืกื-ื›ื•ื— -- ื›ื“ื™ ืœื”ืชืžื•ื“ื“ ืขื ื”ืขื•ืœื.
02:15
I was working to transform these internalized responses,
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ืขื‘ื“ืชื™ ืขืœ ื”ืžืจืช ืื•ืชืŸ ืชื’ื•ื‘ื•ืช ืฉื”ืคื ืžืชื™,
02:21
to transform the preconceptions that had so shaped
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ืื•ืชืŸ ื“ืขื•ืช ืžื•ืงื“ืžื•ืช ืฉืขื™ืฆื‘ื• ื‘ืžื™ื“ื” ื›ื” ืจื‘ื” ืืช ื–ื”ื•ืชื™
02:25
my identity when I started using a wheelchair,
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ื›ืฉื”ืชื—ืœืชื™ ืœื”ืฉืชืžืฉ ื‘ื›ื™ืกื-ื’ืœื’ืœื™ื,
02:28
by creating unexpected images.
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ืข"ื™ ื™ืฆื™ืจืช ื“ื™ืžื•ื™ื™ื ืœื-ืฆืคื•ื™ื™ื.
02:32
The wheelchair became an object to paint and play with.
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ื›ื™ืกื ื”ื’ืœื’ืœื™ื ื”ืคืš ืœืขืฆื ื”ืžืฉืžืฉ ืœืฆื™ื•ืจ ื•ืœืžืฉื—ืง.
02:38
When I literally started leaving
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ื›ืฉื”ืชื—ืœืชื™ ืœื”ื•ืชื™ืจ ืขืงื‘ื•ืช, ืคืฉื•ื˜ื• ื›ืžืฉืžืขื•, ืœื—ื“ื•ื•ืชื™ ื•ืœื—ื™ืจื•ืชื™,
02:40
traces of my joy and freedom,
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02:44
it was exciting to see
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ื”ื™ื” ืžืจื’ืฉ ืœืจืื•ืช ืืช ืชื’ื•ื‘ื•ืชื™ื”ื ื”ืžืชืขื ื™ื™ื ื•ืช ื•ื”ืžื•ืคืชืขื•ืช ืฉืœ ื”ืื ืฉื™ื.
02:46
the interested and surprised responses from people.
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02:51
It seemed to open up new perspectives,
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ื ืจืื” ืฉื–ื” ืขื•ืจืจ ื ืงื•ื“ื•ืช-ืžื‘ื˜ ื—ื“ืฉื•ืช,
02:53
and therein lay the paradigm shift.
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ื•ื–ื” ืชืจื ืœืฉื™ื ื•ื™ ื‘ื—ืฉื™ื‘ื”.
02:56
It showed that an arts practice
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ื–ื” ื”ื•ื›ื™ื— ืฉืขื™ืกื•ืง ื‘ืืžื ื•ืช ื™ื›ื•ืœ ืœืขืฆื‘ ืžื—ื“ืฉ ื–ื”ื•ืช
02:58
can remake one's identity
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03:01
and transform preconceptions by revisioning the familiar.
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ื•ืœืฉื ื•ืช ื“ืขื•ืช ืžื•ืงื“ืžื•ืช ื‘ืขื–ืจืช ืžื‘ื˜ ืžื—ื•ื“ืฉ ืขืœ ื”ืžื•ื›ึผืจ.
03:05
So when I began to dive, in 2005,
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ืื– ื›ืฉื”ืชื—ืœืชื™ ืœืฆืœื•ืœ, ื‘-2005,
03:09
I realized scuba gear extends your range of activity
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ืชืคืฉืชื™ ืฉืฆื™ื•ื“ ื”ืฆืœื™ืœื” ืžืจื—ื™ื‘ ืืช ืชื—ื•ื ื”ืคืขื™ืœื•ืช
03:13
in just the same way as a wheelchair does,
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ืžืžืฉ ื›ืžื• ื›ื™ืกื-ื’ืœื’ืœื™ื,
03:16
but the associations attached to scuba gear
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ืื‘ืœ ื”ืืกื•ืฆื™ืืฆื™ื•ืช ืฉืžืขืœื” ืฆื™ื•ื“ ืฆืœื™ืœื” ื”ืŸ ืฉืœ ืจื™ื’ื•ืฉ ื•ื”ืจืคืชืงื”,
03:18
are ones of excitement and adventure,
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03:21
completely different to people's responses to the wheelchair.
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ื‘ืฉื•ื ื” ืœื’ืžืจื™ ืžื”ืชื’ื•ื‘ื•ืช ืฉืžืขื•ืจืจ ื›ื™ืกื-ื’ืœื’ืœื™ื.
03:25
So I thought, "I wonder what'll happen
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ืื– ื—ืฉื‘ืชื™ ืœืขืฆืžื™:
"ืžืขื ื™ื™ืŸ ืžื” ื™ืงืจื” ืื ืื—ื‘ืจ ื‘ื™ืŸ ืฉื ื™ ืืœื”."
03:28
if I put the two together?" (Laughter) (Applause)
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[ืฆื—ื•ืง ื•ืžื—ื™ืื•ืช ื›ืคื™ื™ื]
03:32
And the underwater wheelchair that has resulted
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ื•ื›ื™ืกื ื”ื’ืœื’ืœื™ื ื”ืชืช-ืžื™ืžื™ ืฉื ื•ืœื“ ืžื›ืš
03:36
has taken me on the most amazing journey
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ืœืงื— ืื•ืชื™ ืœืžืกืข ืžื•ืคืœื ื‘ื™ื•ืชืจ ืœืื•ืจืš 7 ื”ืฉื ื™ื ื”ืื—ืจื•ื ื•ืช.
03:39
over the last seven years.
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03:41
So to give you an idea of what that's like,
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ื•ื›ื“ื™ ืœืชืช ืœื›ื ืžื•ืฉื’ ืื™ืš ื–ื”,
03:45
I'd like to share with you one of the outcomes
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ืื ื™ ืจื•ืฆื” ืœืฉืชืฃ ืืชื›ื ื‘ืื—ืช ื”ืชื•ืฆืื•ืช ืฉืœ ื™ืฆื™ืจืช ื”ื—ื–ื™ื•ืŸ ื”ื–ื”,
03:48
from creating this spectacle,
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03:50
and show you what an amazing journey it's taken me on.
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ื•ืœื”ืจืื•ืช ืœื›ื ืœืื™ื–ื” ืžืกืข ืžื•ืคืœื ื–ื” ืœืงื— ืื•ืชื™.
03:53
(Music)
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[ืžื•ืกื™ืงื”]
07:23
(Applause)
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[ืžื—ื™ืื•ืช ื›ืคื™ื™ื]
07:30
It is the most amazing experience,
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ื–ื• ื—ื•ื•ื™ื” ืžื“ื”ื™ืžื” ื‘ื™ื•ืชืจ,
07:33
beyond most other things I've experienced in life.
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ื™ื•ืชืจ ืžืจื•ื‘ ื”ื“ื‘ืจื™ื ืฉื—ื•ื•ื™ืชื™ ื‘ื™ืžื™ ื—ื™ื™.
07:37
I literally have the freedom to move
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ื”ื™ื” ืœื™ ื—ื•ืคืฉ ืชื ื•ืขื”, ืคืฉื•ื˜ื• ื›ืžืฉืžืขื•,
07:40
in 360 degrees of space
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ื‘ืžืจื—ื‘ ืฉืœ 360 ืžืขืœื•ืช
07:42
and an ecstatic experience of joy and freedom.
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ื•ืชื—ื•ืฉืช ืืงืกื˜ื–ื” ืฉืœ ื—ื“ื•ื•ื” ื•ื—ื•ืคืฉ.
07:46
And the incredibly unexpected thing
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ื•ืžืฉื”ื• ืœื-ืฆืคื•ื™ ืขื“ ืœื”ืคืชื™ืข
07:49
is that other people seem to see and feel that too.
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ื”ื™ื” ืฉื ืจืื” ืฉืื ืฉื™ื ืื—ืจื™ื ืจื•ืื™ื ื•ื—ืฉื™ื ื–ืืช ื’ื ื”ื.
07:53
Their eyes literally light up,
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ืขื™ื ื™ื”ื ืžืžืฉ ื‘ื•ืจืงื•ืช, ื•ื”ื ืื•ืžืจื™ื ื“ื‘ืจื™ื ื›ืžื•:
07:55
and they say things like, "I want one of those,"
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"ื’ื ืื ื™ ืจื•ืฆื” ื›ื–ื”,"
07:59
or, "If you can do that, I can do anything."
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ืื•, "ืื ืืช ื™ื›ื•ืœื” ืœืขืฉื•ืช ืืช ื–ื”, ืื ื™ ื™ื›ื•ืœ ืœืขืฉื•ืช ื”ื›ืœ."
08:02
And I'm thinking, it's because in that moment
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ื•ื ืจืื” ืœื™ ืฉื–ื” ื‘ื’ืœืœ ืฉื‘ืื•ืชื• ืจื’ืข
08:06
of them seeing an object
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ืฉื”ื ืจื•ืื™ื ืขืฆื ืžืกื•ื™ื ืœืœื ืžืกื’ืจืช ื”ื”ืชื™ื™ื—ืกื•ืช ืฉืœื•,
08:08
they have no frame of reference for,
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08:10
or so transcends the frames of reference
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ืื• ืฉื–ื” ื—ื•ืจื’ ืžืžืกื’ืจื•ืช ื”ื”ืชื™ื™ื—ืกื•ืช ืฉื™ืฉ ืœื”ื ืขื‘ื•ืจ ื›ื™ืกื ื”ื’ืœื’ืœื™ื,
08:13
they have with the wheelchair,
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08:15
they have to think in a completely new way.
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ื–ื” ืžืืœืฅ ืื•ืชื ืœื—ืฉื•ื‘ ื‘ื“ืจืš ื—ื“ืฉื” ืœื’ืžืจื™.
08:18
And I think that moment of completely new thought
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ืœื“ืขืชื™, ืื•ืชื• ืจื’ืข ืฉืœ ืžื—ืฉื‘ื” ื—ื“ืฉื” ืœื’ืžืจื™
08:22
perhaps creates a freedom
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ื™ื•ืฆืจ ืื•ืœื™ ื—ื•ืคืฉ
08:25
that spreads to the rest of other people's lives.
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ืฉืžืชืคืฉื˜ ื•ืžื’ื™ืข ืขื“ ื—ื™ื™ื”ื ืฉืœ ืื ืฉื™ื ืื—ืจื™ื.
08:29
For me, this means that they're seeing
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ืžื‘ื—ื™ื ืชื™ ื–ื” ืื•ืžืจ ืฉื”ื ืจื•ืื™ื ืืช ืขืจื›ื• ืฉืœ ื”ืฉื•ื ื™,
08:32
the value of difference,
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08:34
the joy it brings
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ืืช ื”ืฉืžื—ื” ืฉื–ื” ืžื‘ื™ื,
08:36
when instead of focusing on loss or limitation,
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ื‘ืžืงื•ื ืœื”ื™ืฉืืจ ืžืžื•ืงื“ื™ื ื‘ืื•ื‘ื“ืŸ ืื• ื‘ืžื’ื‘ืœื”,
08:40
we see and discover the power and joy
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ืื ื• ืจื•ืื™ื ื•ืžื’ืœื™ื ืืช ื”ืขื•ืฆืžื” ื•ื”ืฉืžื—ื”
08:44
of seeing the world from exciting new perspectives.
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ืฉื˜ืžื•ื ื™ื ื‘ืจืื™ื™ืช ื”ืขื•ืœื ืžื ืงื•ื“ื•ืช-ืžื‘ื˜ ื—ื“ืฉื•ืช ื•ืžืœื”ื™ื‘ื•ืช.
08:49
For me, the wheelchair becomes
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ืขื‘ื•ืจื™, ื›ื™ืกื ื”ื’ืœื’ืœื™ื ื”ื•ืคืš ืœืืžืฆืขื™ ืฉืœ ืฉื™ื ื•ื™.
08:51
a vehicle for transformation.
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08:53
In fact, I now call the underwater wheelchair "Portal,"
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ืœืžืขืฉื”, ืื ื™ ืžื›ื ื” ื›ืขืช ืืช ื›ื™ืกื ื”ื’ืœื’ืœื™ื ื”ืชืช-ืžื™ืžื™: "ืฉืขืจ",
08:57
because it's literally pushed me through
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ื›ื™ ื”ื•ื ืžืžืฉ ื”ื“ืฃ ื•ื”ืขื‘ื™ืจ ืื•ืชื™
08:59
into a new way of being,
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ืœืžืฆื‘ ื”ื•ื•ื™ื” ื—ื“ืฉ,
09:01
into new dimensions and into a new level of consciousness.
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ืœืžื™ืžื“ื™ื ื—ื“ืฉื™ื ื•ืœืจืžื” ื—ื“ืฉื” ืฉืœ ืžื•ื“ืขื•ืช.
09:04
And the other thing is,
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ื•ื“ื‘ืจ ื ื•ืกืฃ:
09:06
that because nobody's seen or heard
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ืžื›ื™ื•ื•ืŸ ืฉืื™ืฉ ืœื ืจืื” ืื• ืฉืžืข
09:09
of an underwater wheelchair before,
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ืขืœ ื›ื™ืกื-ื’ืœื’ืœื™ื ืชืช-ืžื™ืžื™ ืขื“ ืขืชื”,
09:11
and creating this spectacle is about creating
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ื•ื™ืฆื™ืจืช ื”ื—ื–ื™ื•ืŸ ื”ื–ื” ื”ื™ื ื™ืฆื™ืจื”
09:14
new ways of seeing, being and knowing,
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ืฉืœ ืฆื•ืจื•ืช ืจืื™ื”, ื”ื•ื•ื™ื” ื•ื™ื“ื™ืขื” ื—ื“ืฉื•ืช,
09:17
now you have this concept in your mind.
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ื™ืฉ ืœื›ื ื›ืขืช ื”ืžื•ืฉื’ ื”ื–ื” ื‘ืจืืฉ.
09:20
You're all part of the artwork too.
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ื•ื›ืขืช ื’ื ืืชื ืžื”ื•ื•ื™ื ื—ืœืง ืžื™ืฆื™ืจืช ื”ืืžื ื•ืช ื”ื–ื•.
09:23
(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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