Jinha Lee: Reach into the computer and grab a pixel

120,486 views ใƒป 2013-07-03

TED


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

ืžืชืจื’ื: Yubal Masalker ืžื‘ืงืจ: Zeeva Livshitz
00:12
Throughout the history of computers
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ื‘ืžื”ืœืš ื“ื‘ืจื™-ื”ื™ืžื™ื ืฉืœ ื”ืžื—ืฉื‘ื™ื
00:15
we've been striving to shorten the gap between us
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ืื ื• ืžืชืืžืฆื™ื ืœืกื’ื•ืจ ืืช ื”ืžืจื—ืง ื‘ื™ื ื™ื ื•
00:18
and digital information,
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ืœื‘ื™ืŸ ื”ืžื™ื“ืข ื”ื“ื™ื’ื™ื˜ืœื™,
00:20
the gap between our physical world
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ื”ืžืจื—ืง ื‘ื™ืŸ ืขื•ืœืžื ื• ื”ืคื™ื–ื™
00:22
and the world in the screen
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ื•ื”ืขื•ืœื ืฉื‘ืชื•ืš ื”ืžืกืš
00:24
where our imagination can go wild.
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ื‘ื• ื“ืžื™ื•ื ื™ื ื• ื™ื›ื•ืœ ืœื”ืชืคืจืข.
00:26
And this gap has become shorter,
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ืžืจื—ืง ื–ื” ื”ืชืงืฆืจ ืขื•ื“,
00:30
shorter, and even shorter,
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ื•ืขื•ื“, ื•ืขื•ื“,
00:33
and now this gap is shortened down
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ื•ื›ืขืช ื”ืžืจื—ืง ื”ื–ื” ื”ืชืงืฆืจ
00:35
to less than a millimeter,
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ืœื›ื“ื™ ืคื—ื•ืช ืžืž"ืž,
00:36
the thickness of a touch-screen glass,
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ืฉื–ื” ื”ืขื•ื‘ื™ ืฉืœ ื–ื›ื•ื›ื™ืช ืžืกืš-ืžื’ืข,
00:38
and the power of computing
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ื•ืขื•ืฆืžืช ื”ืžื™ื—ืฉื•ื‘
00:39
has become accessible to everyone.
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ื”ืคื›ื” ืœื ื’ื™ืฉื” ืœื›ืœ ืื—ื“.
00:44
But I wondered, what if there could be no boundary at all?
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ืื‘ืœ ื—ืฉื‘ืชื™ ืœืขืฆืžื™, ืžื” ืื ื‘ื›ืœืœ ืœื ื”ื™ื• ื’ื‘ื•ืœื•ืช?
00:49
I started to imagine what this would look like.
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ื”ืชื—ืœืชื™ ืœื“ืžื™ื™ืŸ ื›ื™ืฆื“ ื–ื” ื™ื™ืจืื”.
00:53
First, I created this tool
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ืชื—ื™ืœื” ื™ืฆืจืชื™ ื›ืœื™ ื–ื”
00:56
which penetrates into the digital space,
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ืืฉืจ ื—ื•ื“ืจ ืœืชื•ืš ื”ืžืจื—ื‘ ื”ื“ื™ื’ื™ื˜ืœื™,
00:58
so when you press it hard on the screen,
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ื›ืš ืฉื›ืืฉืจ ืœื•ื—ืฆื™ื ืื™ืชื• ื—ื–ืง ืขืœ ื”ืžืกืš,
01:00
it transfers its physical body into pixels.
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ื”ื•ื ืžืฉื—ื™ืœ ืืช ื”ื’ื•ืฃ ื”ืคื™ื–ื™ ืฉืœื• ืืœ ืชื•ืš ื”ืคื™ืงืกืœื™ื.
01:03
Designers can materialize their ideas
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ืžืชื›ื ื ื™ื ื™ื›ื•ืœื™ื ืœืžืžืฉ ืืช ืจืขื™ื•ื ื•ืชื™ื”ื
01:06
directly in 3D,
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ื™ืฉื™ืจื•ืช ืœืชื•ืš ืชืœืช-ืžื™ืžื“,
01:07
and surgeons can practice on virtual organs
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ื•ืžื ืชื—ื™ื ื™ื›ื•ืœื™ื ืœื”ืชืืžืŸ ืขืœ ืื™ื‘ืจื™ื
01:10
underneath the screen.
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ื•ื™ืจื˜ื•ืืœื™ื™ื ืฉืžืชื—ืช ืœืžืกืš.
01:12
So with this tool, this boundary has been broken.
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ื›ืš ืฉืขื ื›ืœื™ ื–ื”, ื”ื’ื‘ื•ืœ ื”ื–ื” ื ืคืจืฅ.
01:17
But our two hands still remain outside the screen.
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ืื‘ืœ ืขื“ื™ื™ืŸ ืฉืชื™ ื™ื“ื™ื ื• ื ืฉืืจื•ืช ืžื—ื•ืฅ ืœืžืกืš.
01:20
How can you reach inside and interact
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ื›ื™ืฆื“ ื ื™ืชืŸ ืœื”ื™ื›ื ืก ื•ืœื‘ื•ื ื‘ืžื’ืข
01:22
with the digital information
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ืขื ื”ืžื™ื“ืข ื”ื“ื™ื’ื™ื˜ืœื™
01:24
using the full dexterity of our hands?
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ืชื•ืš ื ื™ืฆื•ืœ ื”ืžื™ื•ืžื ื•ืช ื”ืžืœืื” ืฉืœ ื™ื“ื™ื ื•?
01:27
At Microsoft Applied Sciences,
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ื‘ืžืขื‘ื“ื•ืช ืžื™ืงืจื•ืกื•ืคื˜ ืœืžื“ืขื™ื ื™ืฉื•ืžื™ื™ื,
01:29
along with my mentor Cati Boulanger,
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ื‘ื™ื—ื“ ืขื ื”ืžื ื—ื” ืฉืœื™, ืงื˜ื™ ื‘ื•ืœื ื’ืจ,
01:31
I redesigned the computer
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ื‘ื ื™ืชื™ ืžื—ืฉื‘ ืงืฆืช ืื—ืจืช
01:32
and turned a little space above the keyboard
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ื•ื”ืคื›ืชื™ ืืช ื”ื—ืœืœ ื”ืงื˜ืŸ ืฉืžืขืœ ื”ืžืงืœื“ืช
01:35
into a digital workspace.
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ืœื—ืœืœ ืขื‘ื•ื“ื” ื“ื™ื’ื™ื˜ืœื™.
01:38
By combining a transparent display and depth cameras
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ืขืœ-ื™ื“ื™ ืฉื™ืœื•ื‘ ืฆื’ ืฉืงื•ืฃ ืขื ืžืฆืœืžื•ืช ืขื•ืžืง
01:40
for sensing your fingers and face,
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ื›ื“ื™ ืœื—ื•ืฉ ืืช ื”ืืฆื‘ืขื•ืช ื•ื”ืคื ื™ื,
01:42
now you can lift up your hands from the keyboard
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ื ื™ืชืŸ ืขื›ืฉื™ื• ืœื”ืจื™ื ืืช ื”ื™ื“ื™ื™ื ืžื”ืžืงืœื“ืช
01:44
and reach inside this 3D space
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ื•ืœื”ื’ื™ืข ืืœ ืชื•ืš ืžืจื—ื‘ ื”ืชืœืช-ืžื™ืžื“
01:47
and grab pixels with your bare hands.
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ื•ืœืื—ื•ื– ื‘ืคื™ืงืกืœื™ื ื‘ืžื•-ื™ื“ื™ื ื•.
01:49
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
01:52
Because windows and files have a position in the real space,
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ืžืื—ืจ ื•ืœื—ืœื•ื ื•ืช ื•ืงื‘ืฆื™ื ื™ืฉ ืžื™ืงื•ื ืžื•ื’ื“ืจ ื‘ืžืจื—ื‘,
01:57
selecting them is as easy as grabbing a book off your shelf.
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ืœื‘ืจื•ืจ ืื•ืชื ื–ื” ืงืœ ื›ืžื• ืœืื—ื•ื– ื‘ืกืคืจ ืžื”ืžื“ืฃ.
02:00
Then you can flip through this book
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ืื—ืจ-ื›ืš ืืคืฉืจ ืœื“ืคื“ืฃ ื‘ืกืคืจ ืชื•ืš ื›ื“ื™
02:02
while highlighting the lines, words
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ื”ื‘ืœื˜ืช ืฉื•ืจื•ืช ื•ืžื™ืœื™ื
02:04
on the virtual touch pad below each floating window.
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ื‘ืืžืฆืขื•ืช ืžืฉื˜ื—-ืžื’ืข ื•ื™ืจื˜ื•ืืœื™ ื”ื ืžืฆื ืชื—ืช ื›ืœ ื—ืœื•ืŸ ืฆืฃ.
02:06
Architects can stretch or rotate the models
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ืžืขืฆื‘ื™ื ื™ื›ื•ืœื™ื ืœืžืชื•ื— ืื• ืœืกื•ื‘ื‘ ืืช ื”ืžื•ื“ืœื™ื
02:09
with their two hands directly.
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ื‘ืื•ืคืŸ ื™ืฉื™ืจ ื‘ืืžืฆืขื•ืช ื™ื“ื™ื”ื.
02:11
So in these examples,
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ื‘ื“ื•ื’ืžืื•ืช ื”ืœืœื•,
02:13
we are reaching into the digital world.
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ืื ื• ืžื’ื™ืขื™ื ืืœ ืชื•ืš ื”ืขื•ืœื ื”ื“ื™ื’ื™ื˜ืœื™.
02:16
But how about reversing its role
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ืื‘ืœ ืžื” ืœื’ื‘ื™ ื”ื›ื™ื•ื•ืŸ ื”ื”ืคื•ืš
02:18
and having the digital information reach us instead?
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ื‘ื• ื”ืžื™ื“ืข ื”ื“ื™ื’ื™ื˜ืœื™ ื™ื’ื™ืข ืืœื™ื ื•?
02:23
I'm sure many of us have had the experience
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ืื ื™ ื‘ื˜ื•ื— ืฉืจื‘ื™ื ืžืื™ืชื ื• ื”ืชื ืกื•
02:25
of buying and returning items online.
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ื‘ื”ื—ื–ืจืช ืžื•ืฆืจื™ื ืฉื”ื ืงื ื• ื‘ืื™ื ื˜ืจื ื˜.
02:27
But now you don't have to worry about it.
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ืื‘ืœ ืขื›ืฉื™ื• ืื™ืŸ ืฆื•ืจืš ืœื“ืื•ื’ ื‘ืงืฉืจ ืœื–ื”.
02:29
What I got here is an online augmented fitting room.
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ืžื” ืฉื™ืฉ ืœื ื• ื›ืืŸ ื–ื” ื—ื“ืจ ืžื“ื™ื“ื” ื”ื ืžืชื— ืขื“ ืืœื™ื ื•.
02:34
This is a view that you get from
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ื–ื” ื”ืžืจืื” ืฉืžืชื’ืœื” ื‘ืืžืฆืขื•ืช
02:35
head-mounted or see-through display
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ืฆื’ ื”ืžื•ืชืงืŸ ืขืœ ืจืืฉ ืื• ืฆื’ ืฉืงื•ืฃ
02:37
when the system understands the geometry of your body.
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ื›ืืฉืจ ื”ืžืขืจื›ืช ืžื‘ื™ื ื” ืืช ื’ื™ืื•ืžื˜ืจื™ื™ืช ื”ื’ื•ืฃ ืฉืœื ื•.
02:42
Taking this idea further, I started to think,
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ืœืงื—ืชื™ ืืช ื”ืจืขื™ื•ืŸ ื™ื•ืชืจ ืจื—ื•ืง ื•ื”ืชื—ืœืชื™ ืœื—ืฉื•ื‘,
02:46
instead of just seeing these pixels in our space,
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ื‘ืžืงื•ื ืจืง ืœืจืื•ืช ืืช ื”ืคื™ืงืกืœื™ื, ื›ื™ืฆื“ ื ื™ืชืŸ
02:49
how can we make it physical
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ืœื”ืคื•ืš ืื•ืชื ืœืคื™ื–ื™ื™ื
02:51
so that we can touch and feel it?
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ื›ื“ื™ ืฉื ื•ื›ืœ ืœื’ืขืช ื‘ื”ื ื•ืœื—ื•ืฉ ืื•ืชื?
02:55
What would such a future look like?
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ื›ื™ืฆื“ ืื– ื™ื™ืจืื” ื”ืขืชื™ื“?
02:58
At MIT Media Lab, along with my advisor Hiroshi Ishii
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ื‘ืžืขื‘ื“ืช MIT ืœืชืงืฉื•ืจืช, ื‘ื™ื—ื“ ืขื ื™ื•ืขืฆื™, ื”ื™ืจื•ืฉื™ ืื™ืฉื™,
03:02
and my collaborator Rehmi Post,
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ื•ืฉื•ืชืคื™ ืจื”ืžื™ ืคื•ืกื˜,
03:04
we created this one physical pixel.
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ื™ืฆืจื ื• ืืช ื”ืคื™ืงืกืœ ื”ืคื™ื–ื™ ื”ื–ื”.
03:07
Well, in this case, this spherical magnet
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ื‘ืžืงืจื” ื–ื”, ื”ืžื’ื ื˜ ื”ื›ื“ื•ืจื™ ื”ื–ื”
03:10
acts like a 3D pixel in our space,
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ืžืชื ื”ื’ ื›ืคื™ืงืกืœ ืชืœืช-ืžื™ืžื“ื™ ื‘ืžืจื—ื‘ ืฉืœื ื•,
03:12
which means that both computers and people
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ื•ืžืฉืžืขื• ืฉื’ื ื”ืื ืฉื™ื ื›ืžื• ื”ืžื—ืฉื‘ื™ื ื™ื›ื•ืœื™ื
03:15
can move this object to anywhere
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ืœื”ื ื™ืข ืื•ื‘ื™ื™ืงื˜ ื–ื” ืœื›ืœ ืžืงื•ื
03:17
within this little 3D space.
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ื‘ืชื•ืš ื”ืžืจื—ื‘ ื”ืชืœืช-ืžื™ืžื“ื™ ื”ืงื˜ืŸ ื”ื–ื”.
03:19
What we did was essentially canceling gravity
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ืžื” ืฉืขืฉื™ื ื• ื–ื” ืžืžืฉ ืœื‘ื˜ืœ ืืช ื›ื•ื—-ื”ืžืฉื™ื›ื”
03:23
and controlling the movement by combining
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ื•ืœืฉืœื•ื˜ ืขืœ ื”ืชื ื•ืขื” ืขืœ-ื™ื“ื™ ืฉื™ืœื•ื‘
03:25
magnetic levitation and mechanical actuation
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ืฉืœ ืจื™ื—ื•ืฃ ืžื’ื ื˜ื™, ื”ืคืขืœื” ืžื™ื›ื ื™ืช
03:28
and sensing technologies.
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ื•ื˜ื›ื ื•ืœื•ื’ื™ื•ืช ื—ื™ืฉื”.
03:30
And by digitally programming the object,
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ื•ื‘ืืžืฆืขื•ืช ืชื™ื›ื ื•ืช ื“ื™ื’ื™ื˜ืœื™ ืฉืœ ื”ืื•ื‘ื™ื™ืงื˜,
03:33
we are liberating the object from constraints
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ืื ื• ืžืฉื—ืจืจื™ื ืื•ืชื• ืžืžื™ื’ื‘ืœื•ืช
03:35
of time and space, which means that now,
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ืฉืœ ื–ืžืŸ ื•ืžืจื—ื‘, ืฉื–ื” ืื•ืžืจ ืฉืขื›ืฉื™ื•,
03:39
human motions can be recorded and played back
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ื ื™ืชืŸ ื™ื”ื™ื” ืœื”ืงืœื™ื˜ ืชื ื•ืขื•ืช ืื ื•ืฉื™ื•ืช, ืœืžื—ื–ืจืŸ
03:43
and left permanently in the physical world.
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ื•ืœื”ื•ืชื™ืจืŸ ื‘ืื•ืคืŸ ืงื‘ื•ืข ื‘ืขื•ืœื ื”ืคื™ื–ื™.
03:46
So choreography can be taught physically over distance
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ื›ืš ืฉื ื™ืชืŸ ื™ื”ื™ื” ืœืœืžื“ ื›ื•ืจื™ืื•ื’ืจืคื™ื” ืžืžืจื—ืงื™ื
03:49
and Michael Jordan's famous shooting can be replicated
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ื•ื ื™ืชืŸ ื™ื”ื™ื” ืœืฉื—ื–ืจ ืืช ืงืœื™ืขืชื• ื”ืžืคื•ืจืกืžืช
03:52
over and over as a physical reality.
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ืฉืœ ืžื™ื™ืงืœ ื’'ื•ืจื“ืŸ ืฉื•ื‘ ื•ืฉื•ื‘ ื‘ืชื•ืจ ืžืฆื™ืื•ืช ืคื™ื–ื™ืช.
03:55
Students can use this as a tool
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ืกื˜ื•ื“ื ื˜ื™ื ื™ื›ื•ืœื™ื ืœื”ืฉืชืžืฉ ื‘ืžื›ืฉื™ืจ ื–ื”
03:58
to learn about the complex concepts
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ื›ื“ื™ ืœืœืžื•ื“ ืชืคื™ืกื•ืช ืžื•ืจื›ื‘ื•ืช
04:00
such as planetary motion, physics,
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ื›ืžื• ืชื ื•ืขื•ืช ื›ื•ื›ื‘ื™-ืœื›ืช, ืคื™ื–ื™ืงื”,
04:04
and unlike computer screens or textbooks,
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ื•ืฉืœื ื›ืžื• ืžืกื›ื™ ืžื—ืฉื‘ ืื• ืกืคืจื™ ืœื™ืžื•ื“,
04:06
this is a real, tangible experience
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ื›ืืŸ ื–ื• ื”ืชื ืกื•ืช ืžืžืฉื™ืช ื•ืžื•ื—ืฉื™ืช
04:09
that you can touch and feel, and it's very powerful.
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ืฉื ื™ืชืŸ ืœื’ืขืช ื‘ื” ื•ืœื—ื•ืฉ ืื•ืชื”, ื•ื–ื” ืžืื•ื“ ื—ื–ืง.
04:13
And what's more exciting
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ื•ืžื” ืฉืขื•ื“ ื™ื•ืชืจ ืžืจื’ืฉ
04:15
than just turning what's currently in the computer physical
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ืžืืฉืจ ืจืง ืœื”ืคื•ืš ืืช ื”ื•ื™ืจื˜ื•ืืœื™ ืœืคื™ื–ื™
04:18
is to start imagining how programming the world
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ื–ื” ืœื”ืชื—ื™ืœ ืœื“ืžื™ื™ืŸ ื›ื™ืฆื“ ืชื™ื›ื ื•ืช ืฉืœ ื”ืขื•ืœื
04:21
will alter even our daily physical activities.
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ื™ืฉื ื” ืืคื™ืœื• ืืช ื”ืคืขื™ืœื•ื™ื•ืช ื”ืคื™ื–ื™ื•ืช ื”ืจื’ื™ืœื•ืช ืฉืœื ื•.
04:27
(Laughter)
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(ืฆื—ื•ืง)
04:29
As you can see, the digital information
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ื›ืคื™ ืฉืืชื ืจื•ืื™ื, ื”ืžื™ื“ืข ื”ื“ื™ื’ื™ื˜ืœื™
04:32
will not just show us something
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ืœื ืจืง ืฉื™ืจืื” ืœื ื• ื“ื‘ืจ ืžื”,
04:34
but it will start directly acting upon us
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ืืœื ื”ื•ื ื™ื—ืœ ืžืžืฉ ืœืคืขื•ืœ ืขืœื™ื ื•
04:36
as a part of our physical surroundings
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ื›ื—ืœืง ืžื”ืกื‘ื™ื‘ื” ื”ืคื™ื–ื™ืช ืฉืœื ื•
04:38
without disconnecting ourselves from our world.
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ืžื‘ืœื™ ืฉื ืชื ืชืง ื‘ืขืฆืžื ื• ืžื”ืขื•ืœื ืฉืœื ื•.
04:42
Today, we started by talking about the boundary,
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ื”ื™ื•ื, ื”ืชื—ืœื ื• ืžื“ื™ื‘ื•ืจื™ื ืขืœ ื”ื’ื‘ื•ืœ ืฉืœื ื•,
04:47
but if we remove this boundary,
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ืื‘ืœ ืื ืžื‘ื˜ืœื™ื ืืช ื”ื’ื‘ื•ืœ ื”ื–ื”,
04:49
the only boundary left is our imagination.
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ื”ื’ื‘ื•ืœ ื”ื™ื—ื™ื“ื™ ืฉื ืฉืืจ ื”ื•ื ื”ื“ืžื™ื•ืŸ ืฉืœื ื•.
04:53
Thank you.
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ืชื•ื“ื”.
04:54
(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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