
I & # 39; start it off with a controversial statement. I think that the circle of a circle (or a circle, as it is sometimes called), is currently the largest terrestrial scientific mystery - a complete stop.
I admit from the square that I donβt have the most vague idea that they actually represent or represent, but at least I think I know what they donβt.
I am sure that the circles of phrases & # 39; It takes a little presentation. I can not imagine that too many people do not know about the general phenomenon - there are many books, lighting in the media, Internet sites, television special effects, movies, even calendars that have and continue to cover the topic.
In general, with the help of probably unnecessary insertion, circles on the margins are geometric patterns, pictograms that are often usually round, but not always, that seem mysterious in crop fields, usually at night, performed by a person or people or not or are not persons unknown. Although these circles & quot; appeared in many countries, they are usually associated with the public mainly with England. They have been especially prevalent in the last three to four decades, although some earlier reports have been recorded.
It is impossible to condemn their picturesque and often, recently, their geometric complexity.
There is no doubt that crop circles exist - this is undeniable. Crop circles are a constantly occurring phenomenon, pictograms are growing more difficult every year. So, there is an evolutionary picture that needs explanation. And, at least, crop circles have the decency to sit still and not disappear without a trace, like UFOs, yeti and the lonely mysterious interstellar βwowβ signal so suggestive, but so elusive, to prove the existence of extraterrestrial intelligence!
So what the hell are crop circles? Are they a new form of human graffiti? Are these messages from aliens? Is this a cry for help from our own Mother Earth or Mother Nature? Are they sometimes mysterious, but extremely natural, even if the chaotic feature of Mother Nature is, say, weather or biological phenomena? Are they really none of the above?
If you want, start with several data points.
First, it is now clearly overcoming the phenomenon, rather than a one-two-year whim, which college kids revel in (for example, swallowing a goldfish or cutting VW) before something new captures their attention for fun and play and harm. Now I used the circle in the middle. graffiti, and, of course, graffiti is an inning quirk, but there is a huge world of differences between several paints on a brick wall in an alley where there are no people and there are no crop circles that deprive farmers of income - at least IMHO.
Second, let's look at the geographical distribution. Circles of circles have appeared in many countries - this alone excludes only your lonely fraudster, a mystifier or two. However, they tend to be more identified with countries that have English as their first language, and, in particular, relatively mass numbers, the United Kingdom; United Kingdom; England. This may be an artificial artifact, since most of the relevant literature is in English. I mean that in Asia there can be a lot of cycling activity, but Asian languages ββare not represented in the media in proportion to the population. However, I argue that there is a real concentration in certain geographic areas (for example, in England), and this also requires an explanation.
Thirdly, crop circles are usually concentrated in areas with a reasonable population density, although this can also be an artificial artifact. If they had occurred in Antarctica or the Sahara desert, there would be relatively few witnesses and reports and evidence. In addition, any evidence, as a rule, will be erased or undermined quickly enough. However, I will assume that crop circles tend to be concentrated in more densely populated areas.
And now for an explanation!
Connection of natural phenomena: the circles of the environment do not look natural. They certainly look like artificial creations, creations of the intellect. However, before pursuing this chain of thoughts, one, with all justice, must take into account a non-intellectual (natural) explanation.
Mother Nature is little known for creating complex structured geometric patterns in inanimate materials - snowflakes and crystals aside. Nature is usually more chaotic. Templates - symmetry - another valid term - are usually one of the ways and a fairly reliable way to distinguish something natural from something artificial - which is why the Mars channels. or a face on Mars; attracted so much speculation. Now clouds, for example, can use all sorts of strange shapes or patterns if you want. Now and again, and again, you will see a pattern or figure in the cloud that reminds you of something else - this is just an accidental chance. 99.9% of the time when you look at a cloud, all you can determine or think about is a cloud. But it is still 0.1% of the time - well, it's just a freak of nature.
Freaks of nature, very rare natural phenomena, of course, can and have happened, no more than with all meteorological things, such as clouds - a phenomenon of the phenomenon. There are cases of paper straws falling into deciduous trees using the force of a tornado. Ball lighting is another example. Thus, the freak of nature associated with the weather, in all likelihood, can explain some of the more firmly flattened crop circles.
At the beginning of the modern circles in the margins of the pictograms were quite simple circular patterns in different cultures. It was believed that perhaps the swirling stormy winds, eddies, soft tornadoes or other types of wind eddies could be responsible, although several newly created circles were created in those areas of the weather conditions - and why only at night? Tell the whirlwind as the cause of the effect. But I challenge any study of complex geometric (and often fractal) patterns and tell how Mother Nature did it, meteorologically or otherwise! Since crop circles demonstrate patterns or symmetry, this proves that they are natural or natural phenomena. Life forms, of course, demonstrate patterns or symmetry, but regardless of crop circles, they themselves are not alive, so we exclude a natural explanation.
Today, no thinking person in his right mind could look at these very complex geometric patterns (not all circles anymore) and think that Mother Nature could create them. If crop circles are natural, it almost must be related to the weather, and no weather can create complex geometric patterns in cultures. Thus, crop circles really must be a product of intelligence; There is no way that Mother Nature can be held accountable for these complex geometric shapes of pictograms, which are now undeniable. Scratch the nature of the mother.
Human connection. The fact that people are the culprits of cultural (or corn) circular phenomena is perceived almost as it was given by most people. People are the most logical and most acceptable explanation, especially the harsh skeptics of all strange, strange and frankly paranormal phenomena. But there are several problems with such a full explanation that crop circles are ground-based hoaxes performed by people with too much time on their hands.
Question 1. Assuming that the crop circles are hoaxes, what kind of British mind is that which encourages them to make these βworks of artβ? It has never been explained. Almost all crop circles are British circles. Although there are isolated cases from other countries, the formation of crop circles is 99 and 44/100%, located in gay old England - there are no arguments. Perhaps crop circles may be related to what they are doing in the USA, where farmers first shoot and ask questions later, but why not France, Canada, Australia and many other countries with large agricultural (cultural) industries?
The second question, again suggesting mystifications, can summarize the totality of crop circle formations with the help of artistic human intellect, having in mind the limitations of the net number of circles; a period of limited darkness in which to act (summer in England); the fact that it is dark; the possibility of being caught (you do not want to use spotlights or flashlights); not to mention the extra time required for the ever-increasing complexity of these crop circles?
The fact that all crop circles are human hoaxes is ridiculous. Have you ever read that someone was caught in the act, appreciated and persecuted for the violation and destruction of personal property (these cultures are valuable goods for their owners)? [Actually, a few have been done, but so few relative to the thousands of circles created that for all intents and purposes, if all are hoaxes, then the vast, vast majority are getting away with their vandalism.]
Some media and Internet sites show that many people, even organizations, take responsibility for the crop circles, even before giving a demonstration (in daylight) how it is done. Is the matter settled? Barely!
These circles appear on a regular basis for several decades. So, what it means to continue their production in a reasonable time and in difficult moments, your ability or proven their point of view that you can do it. Especially because especially seeing that in the process you are breaking, and also destroy the property of another person. Individuals or organizations that allow the creation of crop circles, publicly acknowledge that they have committed criminal activity.
From what I've seen on YouTube or documentary interviews, farmers are really angry with this question. It costs them money in terms of crop loss, not to mention the need to put up with treasure troves of tourists, the press and investigators. The injured farmers were expensive, better than throwing these pranksters behind bars and throwing out the key! But you have to catch them first - and few of them - so one of the flies in this maze.
So why not all those arrested, accused, convicted, fined, forced to pay restitution or community service, even imprisonment for damages, and then cease to operate? Maybe because, pushing, pushing, winking, winking, these applicants are no more guilty or responsible than a little old woman from Pasadena or a man on the moon.
Sorry to rip this bubble, but if you openly confess to criminal activity, you are dishonored by the hard hand of the law, and then some. The question for all those who seriously believe that crop circles are a version of ground graffiti - does any applicant have serious problems from the relevant legal authorities? Damn, if I can find evidence of this!
He does not wash; it makes no sense, even if on the surface this is the most likely logical explanation, so at Razor I have to accept this explanation, but I do not do that. One of the reasons is that there is a longer history of people practicing crimes that they did not commit and who could not commit. What for? I am not a psychologist, but I rather expect to revive their very boring little lives - this is their moment in the sun; their face on tv; their name is in the newspaper.
And while some people have admitted that they are the culprits of fraudulent crop circles (public seekers?) Perhaps these are people who are silent, who are real criminals! But there is a somewhat similar argument. Again, why these new graffiti (so-called) artists were not made in this act? As far as I know, very few people have ever been caught in the act, much less arrested, convicted, fined and / or sealed. By a few βI mean that the Caught numbers are very few compared to several hundreds and thousands of reported crop circle incidents. Their actions on graffiti are in reliable densely populated areas - we are not talking about the Antarctic, the Sahara desert or national desert parks, here are the people; local residents, especially farmers in growing crops, will be on their guard, perhaps even marking in areas with a high degree of activity in the circulation. However, we have thousands of these circles, which appear on a permanent basis. Few have ever done that. So, I conclude that, although of course there are some hoaxes, perhaps the simpler and smaller of these circular patterns, that these are relative few.
I mean think about the obstacles. They (I assume that the team is here) must create a very geometrically complex pattern, usually extending over a fairly wide area (often hundreds of square meters), in the dark without being caught. Pull another!
Another mysterious feature, if all crop circles are made by human cheaters, is the absence of errors. Straight lines; the corners are perfect; circles are circular and, in general, in the eyes, the images show common images and geometry. And in many cases, these are fairly complex images and geometry, made during short summer British nights, usually by individuals or in small groups, while in a hurry to avoid detection using lights (if it is). Where are the human errors? Once the crop is crumpled by mistake, you cannot crush them again - there are neither circles of circles nor correction fluid. Any mistake, say, at a right angle, which was actually 88 degrees or 92 degrees, would immediately be indicated by skeptics as evidence β ah-ha, it must be people, because there is a human error. Another thing I didnβt read about, but it should be somewhere human traces or tire tracks or any other evidence of human activity on crop fields, for example, a dumped piece of garbage or something accidentally left in a hurry. I mean, this is what you need to look for - evidence and evidence at the crime scene. Where is the evidence of a crime scene that implies people?
Now, to my way of thinking, there are two things here. There is intelligence behind the crop circle phenomenon; equally clear (for me, anyway), for some part of the imagination there is no 100% human intelligence - mystification - criminal activity - mentioned above.
Terrestrial intelligence, but inhuman communication: if the intelligence behind the crop circles is not even close to being 100% human intelligence in general, then it should be inhuman intelligence, although not necessarily extraterrestrial intelligence. So, what about inhuman intelligence? Although we share this planet with other relatively intelligent species - dolphins, parrots, monkeys, octopuses - I find it illegal as a last resort, that crop circles can be blamed or attributed to any of them.
Since I do not know other native intellectuals on Planet Earth, I am now somewhat reluctantly forced to switch to extraterrestrial intelligence, with no evidence other than the elimination process. However, there is some logic to this assumption, otherwise I would not entertain him.
Alien or extraterrestrial compound: for better or worse, crop circles are associated with a UFO with more or less dependence depending on what you consult. However, one immediate objection would be that a solid UFO landing in the field would not be able to produce these types of complex patterns β it would have to be a damn strange UFO. body bottom down!
Assuming now not human, but extraterrestrial intelligence (UFO connection - if there is one), what is the motive? Skeptics did point out that, in a pinch, it is ridiculous to assume that aliens come here, from there (where they are), just to make geometric graffiti using crops as their canvas! It may even be ridiculous to assume that UFOs are foreign tourist buses, aliens on a tourist tour for recreation, and England was created as a place for extra-terrestrial artists on tour to practice their art!
However, these pictograms are an attempt at communication β extraterrestrial intelligence for earthly intelligence.
SETI (Search ExtraTerrestrial Intelligence) has always claimed that we could decipher any alien message sent, optical and / or radio, because we shared at least an understanding of fundamental mathematics and nature (laws, principles and relationships of physics), Now circles Π½Π° ΠΏΠΎΠ»ΡΡ , ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌΡ, Π΅ΡΠ»ΠΈ Ρ ΠΎΡΠΈΡΠ΅, Π±Π΅Π·ΡΡΠ»ΠΎΠ²Π½ΠΎ, ΡΠ²Π»ΡΡΡΡΡ ΠΌΠ°ΡΠ΅ΠΌΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΠΌΠΈ ΠΏΠΎ ΡΠ²ΠΎΠ΅ΠΉ ΡΡΡΡΠΊΡΡΡΠ΅ - Π³Π΅ΠΎΠΌΠ΅ΡΡΠΈΡ, Π΅ΡΠ»ΠΈ Π½ΠΈΡΠ΅Π³ΠΎ Π΄ΡΡΠ³ΠΎΠ³ΠΎ. ΠΠΎ ΡΡΠΎ ΠΎΠ½ΠΈ ΠΌΠΎΠ³ΡΡ ΠΎΠ·Π½Π°ΡΠ°ΡΡ?
Π’ΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΠΉ (ΡΠ°Π΄ΠΈΠΎ / ΠΎΠΏΡΠΈΡΠ΅ΡΠΊΠΈΠΉ) ΡΠΊΠ²ΠΈΠ²Π°Π»Π΅Π½Ρ SETI ΠΌΠ°ΡΠ΅ΠΌΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΡ ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌ ΠΌΠΎΠΆΠ΅Ρ ΠΏΠΎΡΡΠ»Π°ΡΡ ΡΡΠ΄ ΠΈΠ»ΠΈ ΡΠ°Π΄ΠΈΠΎ (ΠΈΠ»ΠΈ ΠΎΠΏΡΠΈΡΠ΅ΡΠΊΠΈΠ΅) ΠΈΠΌΠΏΡΠ»ΡΡΡ, ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΡΡΠΈΠ΅ ΠΏΡΠΎΡΡΡΠ΅ ΡΠΈΡΠ»Π°. ΠΡΡΠ³ΠΎΠΉ ΠΎΡΠΏΡΠ°Π²Π½ΠΎΠΉ ΡΠΎΡΠΊΠΎΠΉ ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ ΡΠ΅ΡΠΈΡ ΠΈΠΌΠΏΡΠ»ΡΡΠΎΠ² - ΡΠΎΡΠΊΠ°, ΡΠΎΡΠΊΠ°, ΡΠΎΡΠΊΠ°, dit, ΡΠΈΡΠ΅, ΡΠΈΡΠ΅, ΡΠΈΡΠ΅, dit, dit, ΠΈΠ»ΠΈ [1 + 1 = 2],
Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, ΠΈΠ½ΠΎΠ³Π΄Π° ΡΡΠΈ ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌΡ ΡΠ²Π»ΡΡΡΡΡ Π²Π²ΠΎΠ΄Π½ΡΠΌΠΈ ΡΠΏΠΎΡΠΎΠ±Π°ΠΌΠΈ ΠΈ ΡΡΠ΅Π΄ΡΡΠ²Π°ΠΌΠΈ ΡΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΠ²Π½ΡΡ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠΉ, Π½Π°ΡΠΈΠ½Π°Ρ Ρ Π½Π΅ΠΊΠΎΡΠΎΡΠΎΠΉ Π³Π΅ΠΎΠΌΠ΅ΡΡΠΈΠΈ. ΠΡΠΎ ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ Π±ΠΎΠ»Π΅Π΅ ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΠΌ ΡΠΏΠΎΡΠΎΠ±ΠΎΠΌ Π΄Π΅Π»Π°ΡΡ ΡΡΠΎ-ΡΠΎ. ΠΡΠ»ΠΈ Π²Ρ ΠΈΠ½ΠΎΡΡΡΠ°Π½Π΅Ρ, ΠΊΠ°ΠΊ Π±Ρ Π²Ρ ΠΏΠΎΠΏΡΡΠ°Π»ΠΈΡΡ ΡΡΡΠ°Π½ΠΎΠ²ΠΈΡΡ ΠΏΠ΅ΡΠ²ΡΠΉ ΠΊΠΎΠ½ΡΠ°ΠΊΡ ΠΈ ΠΎΠ±ΡΠ΅Π½ΠΈΠ΅? Π― ΠΈΠΌΠ΅Ρ Π² Π²ΠΈΠ΄Ρ Π΄Π»Ρ Π½Π°ΡΠ°Π»Π°, Π²Ρ ΠΌΠΎΠΆΠ΅ΡΠ΅ ΠΏΡΠΎΡΡΠΎ ΠΎΡΠΏΡΠ°Π²ΠΈΡΡ ΡΠ°Π΄ΠΈΠΎ ΠΈ / ΠΈΠ»ΠΈ ΠΎΠΏΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠΈΠ³Π½Π°Π»Ρ (ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½Π°Ρ ΡΡΡΠ°ΡΠ΅Π³ΠΈΡ SETI, ΡΠΏΠΎΠΌΡΠ½ΡΡΠ°Ρ Π²ΡΡΠ΅), ΠΈ Π½Π°Π΄Π΅Π΅ΠΌΡΡ, ΡΡΠΎ ΠΌΡ ΡΠΌΠΎΡΡΠΈΠΌ ΡΠΎΡΠ½ΠΎΠ΅ Π²ΡΠ΅ΠΌΡ ΠΈ Π² ΠΏΡΠ°Π²ΠΈΠ»ΡΠ½ΠΎΠΌ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΠΈ ΠΈ (Π΄Π»Ρ ΡΠ°Π΄ΠΈΠΎ) Ρ ΡΠΎΡΠ½ΠΎΠΉ ΠΏΡΠ°Π²ΠΈΠ»ΡΠ½ΠΎΠΉ ΡΠ°ΡΡΠΎΡΠΎΠΉ. Π¨Π°Π½ΡΡ Π½Π° ΡΡΠΏΠ΅ΡΠ½ΡΠΉ ΠΊΠΎΠ½ΡΠ°ΠΊΡ - ΡΡΠΎ Π½Π΅ ΡΠΎ, ΡΡΠΎ ΠΊΡΡΡΠ΅Π½ΠΈΠ΅ Π³ΠΎΡΡΡΠ΅Π΅, ΠΠΠ₯Π.
ΠΡ ΠΌΠΎΠΆΠ΅ΡΠ΅ ΠΎΡΡΠ°Π²ΠΈΡΡ Π°ΡΡΠ΅ΡΠ°ΠΊΡ Π½Π° ΠΡΠ½Π΅ (ΠΊΠ°ΠΊ Π² ΡΠΈΠ»ΡΠΌΠ΅ 2001: ΠΠΎΡΠΌΠΈΡΠ΅ΡΠΊΠ°Ρ ΠΎΠ΄ΠΈΡΡΠ΅Ρ), Π½ΠΎ Ρ ΠΡΠ½Ρ ΠΌΠ½ΠΎΠ³ΠΎ Π½Π΅Π΄Π²ΠΈΠΆΠΈΠΌΠΎΡΡΠΈ, ΠΈ Π½Π΅Ρ Π½ΠΈΠΊΠ°ΠΊΠΈΡ Π³Π°ΡΠ°Π½ΡΠΈΠΉ, ΡΡΠΎ Π°ΡΡΠ΅ΡΠ°ΠΊΡ (Ρ) Π±ΡΠ΄Π΅Ρ Π½Π°ΠΉΠ΄Π΅Π½.
ΠΡ ΠΌΠΎΠΆΠ΅ΡΠ΅ ΠΏΡΠΈΠ·Π΅ΠΌΠ»ΠΈΡΡΡΡ Π½Π° Π»ΡΠΆΠ°ΠΉΠΊΡ ΠΠ΅Π»ΠΎΠ³ΠΎ Π΄ΠΎΠΌΠ°, ΠΎΡΠ²Π΅Π΄ΠΈΡΠ΅ ΠΌΠ΅Π½Ρ ΠΊ ΡΠ²ΠΎΠ΅ΠΌΡ Π»ΠΈΠ΄Π΅ΡΡ. (Π²ΡΠΎΠ΄Π΅ ΠΊΠ°ΠΊ Π² Β«ΠΠ΅Π½Ρ, ΠΊΠΎΠ³Π΄Π° ΠΠ΅ΠΌΠ»Ρ ΠΎΡΡΠ°Π½ΠΎΠ²ΠΈΠ»Π°ΡΡΒ») ΠΈ Π·Π°ΡΡΡΠ΅Π»ΠΈΠ»ΠΈΡΡ Π·Π° Π²Π°ΡΠΈ ΠΏΡΠΎΠ±Π»Π΅ΠΌΡ!
ΠΡ ΠΌΠΎΠΆΠ΅ΡΠ΅ Π³ΡΠ΄Π΅ΡΡ Π²ΡΠ΅ Π² Π²Π°ΡΠ΅ΠΌ ΠΠΠ ΠΈ Π²Π΅ΡΡΠΈ Π½Π°Ρ, Π½ΠΎ ΡΡΠΎ Π½ΠΈ ΠΊ ΡΠ΅ΠΌΡ Π½Π΅ ΠΏΡΠΈΠ²Π΅Π»ΠΎ, ΠΏΠΎ ΠΊΡΠ°ΠΉΠ½Π΅ΠΉ ΠΌΠ΅ΡΠ΅, Π½Π°ΡΠΊΠΎΠ»ΡΠΊΠΎ ΠΌΠ½Π΅ ΠΈΠ·Π²Π΅ΡΡΠ½ΠΎ. Π Π»ΡΠ±ΠΎΠΌ ΡΠ»ΡΡΠ°Π΅ ΡΠ°ΠΊΠΈΠ΅ ΡΠΎΠ±ΡΡΠΈΡ ΠΠΠ ΡΠ»ΠΈΡΠΊΠΎΠΌ ΠΏΡΠ΅Ρ ΠΎΠ΄ΡΡΠΈ. ΠΠ°ΠΌ Π½ΡΠΆΠ½ΠΎ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ Π±Π»ΠΈΠ·ΠΊΠΎ ΠΊ ΠΏΡΠΈΡΡΡΡΡΠ²ΠΈΡ terra firma, Π½ΠΎ ΠΈ Π±ΠΎΠ»Π΅Π΅ ΠΏΡΠΎΠ΄ΠΎΠ»ΠΆΠΈΡΠ΅Π»ΡΠ½Π°Ρ Π·Π°ΠΏΠΈΡΡ (ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ Π³ΠΎΠ²ΠΎΡΡ) Π²Π°ΡΠ΅Π³ΠΎ ΡΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΡ. ΠΡΡΠ³ΠΈ ΠΊΠ°Π΄ΡΠΈΡΠΎΠ²Π°Π½ΠΈΡ Π·Π°ΠΏΠΎΠ»Π½ΡΡΡ ΡΡΠ΅Ρ ΠΊΡΠ°ΡΠΈΠ²ΠΎ. ΠΠ΅Ρ ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ Π±ΡΡΡ Π·Π°Π±ΡΡΡΠΌ; Π½ΠΈΠΊΠ°ΠΊΠΎΠΉ ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ Π΄Π»Ρ ΡΠ΅Π±Ρ. ΠΠΎΠ½Π΅ΡΠ½ΠΎ, Π»ΠΎΠ³ΠΈΠΊ Π²ΠΎ ΠΌΠ½Π΅ Π³ΠΎΠ²ΠΎΡΠΈΡ, ΡΡΠΎ ΡΡΠΎ ΠΎΠ΄ΠΈΠ½ ΠΈΠ· ΡΡΡΠ°Π½Π½ΡΡ ΡΠΏΠΎΡΠΎΠ±ΠΎΠ² ΠΏΠΎΠΏΡΡΠ°ΡΡΡΡ ΡΡΡΠ°Π½ΠΎΠ²ΠΈΡΡ ΡΠ²ΡΠ·Ρ, Π½ΠΎ Ρ Π½Π΅ ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡ ΠΏΠΎ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΠ½ΠΎΠΉ ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ΠΈΠΈ ΠΈΠ»ΠΈ ΡΡΠΆΠΎΠΉ Π»ΠΎΠ³ΠΈΠΊΠ΅, ΠΈ Π½ΠΈΠΊΡΠΎ Π΄ΡΡΠ³ΠΎΠΉ. ΠΡΠΎ Π½Π΅ ΡΠΏΠΎΡΠΎΠ±Ρ ΠΈ ΡΡΠ΅Π΄ΡΡΠ²Π°, ΠΏΡΠ΅Π΄ΡΠΊΠ°Π·Π°Π½Π½ΡΠ΅ ΡΡΠ΅Π½ΡΠΌΠΈ SETI, Π½ΠΎ ΡΡΠΎ ΡΠΏΠΎΡΠΎΠ±Ρ ΠΈ ΡΡΠ΅Π΄ΡΡΠ²Π°.
Π’Π΅ΠΌ Π½Π΅ ΠΌΠ΅Π½Π΅Π΅, Π²ΡΠ΅, ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡ ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΠΊΠ°ΠΊ ΡΡΠ΅Π΄ΡΡΠ²ΠΎ ΡΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ ΡΠ²ΡΠ·Π΅ΠΉ, ΠΏΠΎΡ ΠΎΠΆΠ΅, Π½Π΅ Π²ΡΠ³Π»ΡΠ΄ΠΈΡ Π½Π°ΡΡΠΎΠ»ΡΠΊΠΎ Π»ΠΎΠ³ΠΈΡΠ½ΡΠΌ, ΡΡΠΎ Π½Π΅ ΡΡΠΎΠΈΡ ΠΏΡΠΈΠ·Π΅ΠΌΠ»ΡΡΡΡΡ Π½Π° Π³Π°Π·ΠΎΠ½Π΅ ΠΠ΅Π»ΠΎΠ³ΠΎ Π΄ΠΎΠΌΠ°. ΠΠ½ΠΎΡΡΡΠ°Π½ΡΡ, Ρ ΠΏΠΎΠ»Π°Π³Π°Ρ, Π½Π΅ ΠΏΠΎΡΠ»ΠΈ Π±Ρ Π½Π° Π²ΡΠ΅ ΡΡΠΈΠ»ΠΈΡ, ΡΡΠΎΠ±Ρ ΠΏΡΠΈΠ΅Ρ Π°ΡΡ ΡΡΠ΄Π° ΠΏΡΠΎΡΡΠΎ, ΡΡΠΎΠ±Ρ Π½Π°ΡΠΈΡΠΎΠ²Π°ΡΡ Π½Π°ΠΌ ΠΊΡΠ°ΡΠΈΠ²ΡΠ΅ ΠΊΠ°ΡΡΠΈΠ½Ρ Π² ΠΏΠΎΠ»ΡΡ ΡΡΠΎΠΆΠ°Ρ - Π·Π° ΠΈΡΠΊΠ»ΡΡΠ΅Π½ΠΈΠ΅ΠΌ, ΠΊΠΎΠ½Π΅ΡΠ½ΠΎ, ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ, ΡΡΠΎ ΡΡΠΆΠΈΠ΅ ΡΡΡΠ΄Π΅Π½ΡΡ ΠΊΠΎΠ»Π»Π΅Π΄ΠΆΠ°, Π΄Π΅Π»Π°ΡΡΠΈΠ΅ ΡΠ²ΠΎΠΈ ΠΎΠ·ΠΎΡΠ½ΡΠ΅ ΡΠ°Π»ΠΎΡΡΠΈ.
ΠΡΠ»ΠΈ ΠΏΡΠ΅Π΄ΠΏΠΎΠ»ΠΎΠΆΠΈΡΡ, ΡΡΠΎ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΡΠ½Π΅, Π½ΠΎ Π½Π΅ ΡΡΠΆΠΈΠ΅ ΡΡΡΠ½ΠΈΠΊΠΈ ΠΈΠ»ΠΈ ΡΡΡΠΊΠΈ ΠΈΠ»ΠΈ ΠΎΡΠΈΡΡΠΈΡΠ΅Π»ΠΈ, ΠΏΡΡΠ΅ΡΠ΅ΡΡΠ²ΡΡΡΠΈΠ΅ ΠΏΠΎ Π½Π°ΡΠ΅ΠΌΡ ΡΠΎΠ»Π½Π΅ΡΠ½ΠΎΠΌΡ ΠΊΠ²Π°ΡΡΠ°Π»Ρ, ΡΠΎ ΡΡΠΎ - ΠΈΠ»ΠΈ ΡΡΠΎ ΡΠ΅ΠΏΠ΅ΡΡ?
ΠΠΎΠ²ΠΎΡΡ ΠΎΠ± ΡΡΠΈΡ ΠΏΡΠΎΠΊΠ»ΡΡΡΡ ΠΠΠ, ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΠΈ ΠΠΠ ΡΠ°Π·Π΄Π΅Π»ΡΡΡ Π»ΡΠ±ΡΠ΅ Ρ ΠΈΡΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΌΠΎΠ³ΡΡ ΡΡΠΈΠ»ΠΈΡΡ ΠΏΡΠΈΡΡΡΡΡΠ²ΠΈΠ΅ ΡΡΠΆΠΎΠΉ ΡΠ°Π·Π²Π΅Π΄ΠΊΠΈ? ΠΠ°, Π² ΡΠ°ΠΌΠΎΠΌ Π΄Π΅Π»Π΅.
ΠΠ±Π° ΡΡΠ°Π»ΠΈ Ρ ΠΎΡΠΎΡΠΎ ΠΈΠ·Π²Π΅ΡΡΠ½ΡΠΌ ΠΎΠ±ΡΠΈΠΌ ΡΠ²Π»Π΅Π½ΠΈΠ΅ΠΌ Π² ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΠ·ΠΊΠΎΠΌ ΠΎΠΊΠ½Π΅ Π²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΡΠ°ΠΌΠΎΠΊ ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ Π½Π°ΡΠ΅ΠΉ ΠΎΠ±ΡΠ΅ΠΉ ΠΈΡΡΠΎΡΠΈΠΈ - ΡΡΠΎ ΠΎΠΊΠ½ΠΎ ΡΠ²Π»ΡΠ΅ΡΡΡ Π²ΡΠΎΡΠΎΠΉ ΠΏΠΎΠ»ΠΎΠ²ΠΈΠ½ΠΎΠΉ 20-Π³ΠΎ Π²Π΅ΠΊΠ°. Π ΡΠΎ Π²ΡΠ΅ΠΌΡ ΠΊΠ°ΠΊ Ρ Π½Π°Ρ Π΅ΡΡΡ ΠΈΠ·ΠΎΠ»ΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΠΏΡΠΈΠΌΠ΅ΡΡ ΠΊΠ°ΠΊ Π΄ΠΎ ΡΡΠΎΠΉ ΡΡΡ, ΡΡΠΎ Π±ΡΠ»ΠΎ ΠΏΡΠΈΠΌΠ΅ΡΠ½ΠΎ Π² 1950 Π³ΠΎΠ΄Ρ, ΠΊΠΎΠ³Π΄Π° Π½Π°Π±Π»ΡΠ΄Π°Π»ΠΎΡΡ ΡΠ°ΡΡΠ²Π΅Ρ Π΄Π²ΡΡ ΡΠ²Π»Π΅Π½ΠΈΠΉ, ΠΠΠ, Π·Π°ΡΠ΅ΠΌ ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ , ΡΡΠΎ ΠΈΠΌΠ΅Π΅Ρ ΡΠΌΡΡΠ».
ΠΠ±Π° ΡΠ²Π»ΡΡΡΡΡ ΠΏΠΎΡΡΠΎΡΠ½Π½ΡΠΌΠΈ ΡΠ²Π»Π΅Π½ΠΈΡΠΌΠΈ.
Π‘ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½Π΅ΠΌ ΠΎΠ½ΠΈ ΡΡΠ°Π»ΠΈ ΡΠ»ΠΎΠΆΠ½Π΅Π΅. ΠΠ΅ΠΎΠΌΠ΅ΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΏΠ°ΡΡΠ΅ΡΠ½Ρ ΠΊΡΡΠ³ΠΎΠ² Π½Π° ΠΏΠΎΠ»ΡΡ ΡΡΠ°Π»ΠΈ Π²ΡΠ΅ Π±ΠΎΠ»Π΅Π΅ ΡΠ»ΠΎΠΆΠ½ΡΠΌΠΈ; Π½Π° ΡΠ°ΠΌΠΎΠΌ Π΄Π΅Π»Π΅, ΡΡΠΎ-ΡΠΎ ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ Π½ΠΎΠ²ΠΎΠ΅ Π² ΡΠ΅ΠΊΡΡΠ΅ΠΉ ΡΠ²ΠΎΠ»ΡΡΠΈΠΈ ΡΠ»ΠΎΠΆΠ½ΠΎΡΡΠΈ ΠΊΡΡΠ³ΠΎΠ² ΠΏΠΎΡΠ΅Π²Π°. ΡΠ²Π»ΡΠ΅ΡΡΡ ΡΠ°Π·ΡΠ°Π±ΠΎΡΠΊΠ° ΡΠ΅Π°Π»ΡΠ½ΡΡ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠΉ, Π²Π΄Π°Π²Π»Π΅Π½Π½ΡΡ Π² Π·Π΅ΡΠ½ΠΎ, Π²ΠΌΠ΅ΡΡΠΎ ΡΠΈΡΡΠΎ Π³Π΅ΠΎΠΌΠ΅ΡΡΠΈΡΠ΅ΡΠΊΠΈΡ ΡΠΈΠΌΠ²ΠΎΠ»ΠΎΠ² - ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠΉ, ΡΠ°ΠΊΠΈΡ ΠΊΠ°ΠΊ Π»ΠΈΡΠ° ΠΈ Ρ. Π΄. ΠΠΎ Π΄Π΅ΠΉΡΡΠ²ΠΈΡΠ΅Π»ΡΠ½ΠΎ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΠΎ ΡΠΎ, ΡΡΠΎ Π½Π΅ΠΊΠΎΡΠΎΡΡΠ΅ ΠΈΠ· ΡΡΠΈΡ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠΉ Π΄Π΅ΠΉΡΡΠ²ΠΈΡΠ΅Π»ΡΠ½ΠΎ Π²ΡΠ΄Π΅Π»ΡΡΡΡΡ ΠΏΡΠΈ Π½ΠΈΠ·ΠΊΠΈΡ ΡΠ³Π»Π°Ρ ΡΠ²Π΅ΡΠ°, ΠΊΠ°ΠΊ ΡΡΠΎ ΠΏΡΠΎΠΈΡΡ ΠΎΠ΄ΠΈΡ ΡΠ°Π½Π½ΠΈΠΌ ΡΡΡΠΎΠΌ ΠΈΠ»ΠΈ ΠΏΠΎΠ·Π΄Π½ΠΎ Π²Π΅ΡΠ΅ΡΠΎΠΌ. ΠΡΠΎ ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ Π±ΠΎΠ»ΡΡΠ΅, ΡΠ΅ΠΌ ΠΏΡΠΎΡΡΠΎ ΡΠ»ΠΎΠΆΠ½ΡΠΌ. Π‘Π»ΠΎΠΆΠ½ΠΎΡΡΡ ΡΠ²ΠΎΠ»ΡΡΠΈΠΈ Π² ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠΈ ΠΠΠ Π½Π°ΡΠΈΠ½Π°Π»Π°ΡΡ Ρ Π½ΠΈΡ , ΠΊΠ°ΠΊ Π³Π»Π°Π²Π½ΡΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π½Π° Π½Π΅Π±Π΅, ΠΏΠΎΡΡΠΎΠΌΡ Π±Π»ΠΈΠ·ΠΊΠΈΠ΅ Π²ΡΡΡΠ΅ΡΠΈ (ΠΏΠ΅ΡΠ²ΠΎΠ³ΠΎ, Π²ΡΠΎΡΠΎΠ³ΠΎ ΠΈ ΡΡΠ΅ΡΡΠ΅Π³ΠΎ ΡΠΎΠ΄Π°); Π½Π°ΠΊΠΎΠ½Π΅Ρ, ΡΠΎΠΊΡΠ°ΡΠ΅Π½ΠΈΡ.
Π ΠΎΠ±Π° ΠΏΡΠΎΡΠ²Π»ΡΡΡ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡ ΠΏΠΎΠ·Π°Π΄ΠΈ Π½ΠΈΡ - ΠΏΠΎ ΠΊΡΠ°ΠΉΠ½Π΅ΠΉ ΠΌΠ΅ΡΠ΅ ΡΠ°ΡΡΠΈΡΠ½ΠΎ. ΠΡΡΠΆΠΊΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΡΠΊΠΎΡΠΎ Π²ΡΠ΅Π³Π΄Π° ΠΏΡΠΎΡΠ²Π»ΡΡΡ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡ Π·Π° ΠΈΡ ΠΈΠ·Π³ΠΎΡΠΎΠ²Π»Π΅Π½ΠΈΠ΅ΠΌ; ΠΠΠ Π² ΠΌΠ΅Π½ΡΡΠ΅ΠΉ ΡΡΠ΅ΠΏΠ΅Π½ΠΈ, Π·Π° ΠΈΡΠΊΠ»ΡΡΠ΅Π½ΠΈΠ΅ΠΌ, ΠΊΠΎΠ½Π΅ΡΠ½ΠΎ, Π½Π΅ΡΠ΅ΡΠ΅Π½Π½ΡΡ ΡΠ»ΡΡΠ°Π΅Π², ΠΊΠΎΡΠΎΡΡΠ΅ ΡΠ²Π»ΡΡΡΡΡ ΠΊΡΡΡΡΠΈΠΌΠΈ ΠΏΡΡΠΊΠ°ΠΌΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ Π½Π°ΠΌ Π΄Π΅ΠΉΡΡΠ²ΠΈΡΠ΅Π»ΡΠ½ΠΎ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½Ρ.
ΠΠ±Π° ΡΠ²Π»ΡΡΡΡΡ Π³Π»ΠΎΠ±Π°Π»ΡΠ½ΡΠΌΠΈ ΠΏΠΎ ΡΠ²ΠΎΠ΅ΠΌΡ ΠΎΡ Π²Π°ΡΡ, Π½ΠΎ ΠΎΠ±Π° ΠΈΠΌΠ΅ΡΡ Π³Π΅ΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΎΠ±Π»Π°ΡΡΠΈ, Π³Π΄Π΅, ΠΊΠ°ΠΊ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΠ΅ΡΡΡ, ΠΈΠΌΠ΅ΡΡΡΡ Π·Π°ΡΠ»ΠΎΠ½ΠΊΠΈ ΠΈΠ»ΠΈ ΠΊΠΎΠ½ΡΠ΅Π½ΡΡΠ°ΡΠΈΠΈ - Π±ΠΎΠ»Π΅Π΅ ΠΏΡΠΎΠ΄ΠΎΠ»ΠΆΠΈΡΠ΅Π»ΡΠ½Π°Ρ ΠΏΡΠΎΠ΄ΠΎΠ»ΠΆΠΈΡΠ΅Π»ΡΠ½ΠΎΡΡΡ ΠΊΡΡΠ³ΠΎΠ² Π½Π° ΠΏΠΎΠ»ΡΡ ; ΠΊΠΎΡΠΎΡΠ΅ Π΄Π»Ρ ΠΠΠ. ΠΡΠΈ ΠΊΠ»Π°ΠΏΠ°Π½Ρ ΠΈΠ»ΠΈ ΠΊΠΎΠ½ΡΠ΅Π½ΡΡΠ°ΡΠΈΠΈ ΠΏΡΠΎΠΈΡΡ ΠΎΠ΄ΡΡ Π²ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΡΠ°ΠΌΠΊΠ°Ρ , Π° ΡΠ°ΠΊΠΆΠ΅ Π² ΠΌΠ΅ΡΡΠ°Ρ .
ΠΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, ΡΡΡΠ΅ΡΡΠ²ΡΠ΅Ρ Π΅ΡΠ΅ ΠΎΠ΄Π½Π° Π°ΡΡΠΎΡΠΈΠ°ΡΠΈΡ Ρ ΠΠΠ, Ρ ΠΎΡΡ Π½Π΅ ΡΠ°ΠΊΠΈΠ΅ ΠΠΠ, ΠΊΠΎΡΠΎΡΡΠ΅, ΠΊΠ°ΠΊ ΠΏΡΠ°Π²ΠΈΠ»ΠΎ, ΡΠ²ΡΠ·Π°Π½Ρ Ρ Π²Π½Π΅Π·Π΅ΠΌΠ½ΡΠΌ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΠΎΠΌ. Π ΡΡΠΎΠΌ ΡΠ»ΡΡΠ°Π΅ ΠΠΠ Π±ΠΎΠ»Π΅Π΅ ΡΡ ΠΎΠΆΠΈ Ρ ΠΎΡΠ²Π΅ΡΠ΅Π½ΠΈΠ΅ΠΌ ΡΠ°ΡΠ° ΠΈΠ»ΠΈ Π±ΠΎΠΉΡΠ°ΠΌΠΈ ΠΡΠΎΡΠΎΠΉ ΠΌΠΈΡΠΎΠ²ΠΎΠΉ Π²ΠΎΠΉΠ½Ρ. Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, ΠΏΠΎ-Π²ΠΈΠ΄ΠΈΠΌΠΎΠΌΡ, Π°ΡΡΠΎΡΠΈΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅, Π΅ΡΠ»ΠΈ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ Π±ΠΎΠ»Π΅Π΅ ΡΠ΅Π΄ΠΊΠΈΠ΅ ΡΠ²Π»Π΅Π½ΠΈΡ - ΡΡΠΎ Π΄Π²ΠΈΠΆΡΡΠΈΠ΅ΡΡ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°ΡΡ Π½Π΅Π±ΠΎΠ»ΡΡΠΎΠΉ ΡΠ°Ρ ΠΈΠ»ΠΈ ΡΠ°ΡΡ ΡΠ²Π΅ΡΠ°, Π²ΡΠΏΠΎΠ»Π½ΡΡΡΠΈΠ΅ Π³Π»Π°Π΄ΠΊΡΡ ΡΡΠ°Π΅ΠΊΡΠΎΡΠΈΡ Π½Π°Π΄ ΠΊΡΡΠ³Π°ΠΌΠΈ ΠΈΠ»ΠΈ ΡΡΠ΄ΠΎΠΌ Ρ Π½ΠΈΠΌΠΈ. ΠΠ· ΡΠΎΠ³ΠΎ, ΡΡΠΎ Ρ Π²ΠΈΠ΄Π΅Π», ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ, Π΅Π³ΠΎ ΠΏΡΠΈΡ, Π½ΠΎ Ρ Π½Π΅ Π²ΠΈΠ΄Π΅Π» Π½ΠΈΠΊΠ°ΠΊΠΈΡ Ρ Π»ΠΎΠΏΠ°ΡΡΠΈΡ Π΄Π΅ΠΉΡΡΠ²ΠΈΠΉ ΠΈΠ»ΠΈ, Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, ΠΏΡΠ·ΡΡΡΠΊΠΎΠ² Π±ΡΠΌΠ°Π³ΠΈ ΠΈΠ»ΠΈ ΠΈΠ³ΡΡΡΠ΅ΠΊ, Π΄ΡΡΡΠΈΡ Π½Π° Π²Π΅ΡΡΡ, - Ρ ΠΎΡΡ ΠΏΡΡΠΈ ΠΊΠ°Π·Π°Π»ΠΈΡΡ ΡΠ»ΠΈΡΠΊΠΎΠΌ Π³Π»Π°Π΄ΠΊΠΈΠΌΠΈ, ΡΡΠΎΠ±Ρ ΠΎΠ±ΡΠ»ΡΠΆΠΈΠ²Π°ΡΡ ΡΠ»ΡΡΠ°ΠΉΠ½ΠΎΠ΅ Π΄Π²ΠΈΠΆΠ΅Π½ΠΈΠ΅ Π²Π΅ΡΡΠ° ΠΈΠ»ΠΈ Π²Π΅ΡΡΠΎΠ²ΡΡ ΠΏΡΠ»Ρ, ΠΈ Π΄Π°ΠΆΠ΅ ΠΏΡΠΈΡΠΈΠΉ ΠΏΠΎΠ»Π΅Ρ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ Π½Π΅ΡΡΡΠΎΠΉΡΠΈΠ²ΡΠΉ. Π§ΡΠΎ ΠΌΠΎΠ³Π»ΠΎ Π±Ρ Π΄Π°ΡΡ ΠΈΠ»Π»ΡΠ·ΠΈΡ ΠΌΠ°Π»Π΅Π½ΡΠΊΠΈΡ ΡΠ°ΡΠΎΠ² ΡΠ²Π΅ΡΠ°, Π½Π°Π΄Π΅ΠΆΠ½ΠΎ ΠΏΡΠΈΠ±Π»ΠΈΠΆΠ΅Π½Π½ΡΡ ΠΊ ΡΡΠΎΠ²Π½Ρ Π·Π΅ΠΌΠ»ΠΈ? Π’ΠΎ Π΅ΡΡΡ, ΠΌΡ Π½Π΅ Π³ΠΎΠ²ΠΎΡΠΈΠΌ ΠΎ Π²ΠΎΠ·Π΄ΡΡΠ½ΡΡ ΡΠ°ΡΠ°Ρ ΠΠ΅Π½Π΅ΡΡ ΠΈΠ»ΠΈ Π²ΡΡΠΎΠΊΠΎΠΉ Π²ΡΡΠΎΡΡ, ΠΎΠ±Π»Π°ΠΊΠ°Ρ ΠΈΠ»ΠΈ Π²ΡΠΏΡΡΠΊΠ°Ρ ΠΈΠ»ΠΈ ΠΏΡΠΎΠΆΠ΅ΠΊΡΠΎΡΠ°Ρ ΠΈΠ»ΠΈ ΠΎΠ³Π½ΡΡ ΡΠ°ΠΌΠΎΠ»Π΅ΡΠΎΠ² ΠΈ Ρ. Π.
Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π² ΡΠ΅Π»ΠΎΠΌ Ρ Π½Π΅ΠΎΡ ΠΎΡΠ½ΠΎ Π²ΠΏΠ°Π» Π² ΠΎΠ±ΡΡΡΠ½Π΅Π½ΠΈΠ΅ Π²Π½Π΅Π·Π΅ΠΌΠ½ΠΎΠ³ΠΎ ΡΠ°Π·ΡΠΌΠ°. ΠΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΠΏΡΠΎΡΡΠΎ ΠΌΠΎΠ³ΡΡ Π±ΡΡΡ ΡΡΠΆΠΎΠΉ ΡΠΏΠΎΡΠΎΠ± ΠΏΠΎΠΊΠ°Π·Π°ΡΡ ΡΠ²ΠΎΠΉ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡ ΠΈ ΠΆΠ΅Π»Π°Π½ΠΈΠ΅ ΠΎΠ±ΡΠ°ΡΡΡΡ Π΄ΡΡΠΆΠ΅Π»ΡΠ±Π½ΡΠΌ, Π½Π΅ ΡΠ³ΡΠΎΠΆΠ°ΡΡΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ. Π Π½Π΅ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΠΌΡΡΠ»Π΅, ΠΌΡ ΡΠ΄Π΅Π»Π°Π»ΠΈ ΡΠΎ ΠΆΠ΅ ΡΠ°ΠΌΠΎΠ΅ - Π²ΡΠΏΠΎΠΌΠ½ΠΈΠΌ ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΌΡ ΠΏΡΠΈΠΊΡΠ΅ΠΏΠ»ΡΠ»ΠΈ ΠΊ ΠΊΠΎΡΠΌΠΈΡΠ΅ΡΠΊΠΈΠΌ Π°ΠΏΠΏΠ°ΡΠ°ΡΠ°ΠΌ Pioneer 10 ΠΈ 11, ΠΈ Π·ΠΎΠ½Π΄Ρ Voyager 1 ΠΈ 2, Π²ΡΠ΅ ΠΈΠ· ΠΊΠΎΡΠΎΡΡΡ Π½Π°ΠΏΡΠ°Π²Π»ΡΡΡΡΡ ΡΡΠ΄Π° Π² Π³Π»ΡΠ±ΠΈΠ½Ρ ΠΌΠ΅ΠΆΠ·Π²Π΅Π·Π΄Π½ΠΎΠ³ΠΎ ΠΏΡΠΎΡΡΡΠ°Π½ΡΡΠ²Π° Π½Π° ΠΎΠ΄ΠΈΠ½ Π΄Π΅Π½Ρ , ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ, ΠΎΠ±Π½Π°ΡΡΠΆΠ΅Π½Ρ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΡΠ½Π°ΠΌΠΈ.
ΠΡΠ»ΠΈ ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΡΡ ΡΠΎΠ±ΠΎΠΉ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΠ½ΡΠ΅ ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌΡ, Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, ΡΡΠΎ Π³ΠΎΠ²ΠΎΡΠΈΡ ΠΎ ΡΠΎΠΌ, ΡΡΠΎ Π²Π½Π΅Π·Π΅ΠΌΠ½ΡΠΉ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡ ΡΡΠΈΡΠ°Π΅Ρ Π½Π°Ρ Π΄ΠΎΠ²ΠΎΠ»ΡΠ½ΠΎ ΡΠΎΠ»ΡΡΡΠΌΠΈ, ΡΠ°ΠΊ ΠΊΠ°ΠΊ Π½Π΅ Π²ΡΡΡΠ½ΠΈΠ» ΠΈΡ ΡΠΎΠΎΠ±ΡΠ΅Π½ΠΈΡ (Π°), Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ ΠΈΡ , ΠΌΡ ΡΠΎΠ»ΡΡΡΠ΅, ΠΊΠ°ΠΊ ΠΊΠΈΡΠΏΠΈΡ. ΠΠ΄Π½Π°ΠΊΠΎ, Π΅ΡΠ»ΠΈ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΡΠ½Π΅ ΡΡΠΎΡΡ Π·Π° ΡΡΠΈΠΌΠΈ ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌΠ°ΠΌΠΈ, ΡΠΎ Π² ΠΎΠ΄Π½ΠΎΠΌ ΡΠΌΡΡΠ»Π΅ Ρ Π΄ΡΠΌΠ°Ρ, ΡΡΠΎ ΠΎΠ½ΠΈ ΡΠΎΠ»ΡΡΡΠ΅, ΠΊΠ°ΠΊ ΠΊΠΈΡΠΏΠΈΡ! Π― Π½Π΅ ΠΏΠΎΠ½ΠΈΠΌΠ°Ρ, Π΅ΡΠ»ΠΈ ΡΡΠΎ ΠΏΠΎΠΏΡΡΠΊΠ° ΠΌΠ°ΡΠ΅ΠΌΠ°ΡΠΈΡΠ΅ΡΠΊΠΈ ΠΎΡΠΈΠ΅Π½ΡΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠ³ΠΎ ΠΎΠ±ΡΠ΅Π½ΠΈΡ, ΠΏΠΎΡΠ΅ΠΌΡ Π±Ρ ΠΏΡΠΎΡΡΠΎ Π½Π΅ ΠΏΠΎΠΌΠ΅ΡΡΠΈΡΡ Β«ΡΠ°ΡΡΠ΅Π½ΠΈΠ΅Β»? ΠΊΡΡΠ³, Ρ ΡΡΠ°ΠΊΡΠ°Π»ΡΠ½ΠΎΠΉ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΈΠ΅ΠΉ, Π½Π° ΠΡΠ½Π΅, Π²ΠΈΠ΄ΠΈΠΌΡΠΉ ΡΠ΅ΡΠ΅Π· Π»ΡΠ±ΠΎΠΉ ΡΠ°Π·ΡΠΌΠ½ΡΠΉ ΡΠ΅Π»Π΅ΡΠΊΠΎΠΏ? ΠΡΠΎ ΡΠ°ΠΌΠΎ ΠΏΠΎ ΡΠ΅Π±Π΅ ΡΠ°Π·ΡΠ΅ΡΠΈΠ»ΠΎ Π±Ρ Π΄ΠΈΡΠΊΡΡΡΠΈΡ ΠΎ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ΅ ΠΈ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΡΠ½Π°Ρ !
ΠΠΎΠ³Π΄Π° Π²ΡΠ΅ ΡΠΊΠ°Π·Π°Π½ΠΎ ΠΈ ΡΠ΄Π΅Π»Π°Π½ΠΎ, Ρ Π΄ΠΎΠ»ΠΆΠ΅Π½ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΡ Π¨Π΅ΡΠ»ΠΎΠΊ Π₯ΠΎΠ»ΠΌΡ ΠΈΠ· ΡΠΈΡΠ°ΡΡ, Π³ΠΎΠ²ΠΎΡΡΡΠΈΠΉ, ΡΡΠΎ Β«ΠΊΠΎΠ³Π΄Π° Π²Ρ ΡΡΡΡΠ°Π½ΡΠ΅ΡΠ΅ Π½Π΅Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΠ΅, ΡΠΎ, ΡΡΠΎ ΠΎΡΡΠ°Π΅ΡΡΡ, Π΄Π°ΠΆΠ΅ Π½Π΅Π²Π΅ΡΠΎΡΡΠ½ΠΎ, Π΄ΠΎΠ»ΠΆΠ½ΠΎ Π±ΡΡΡ ΠΏΡΠ°Π²Π΄ΠΎΠΉΒ». Π’Π΅ΠΌ Π½Π΅ ΠΌΠ΅Π½Π΅Π΅, Ρ Π½Π°Ρ ΠΎΠΆΡ ΠΏΠΎΡΠ΅Π½ΡΠΈΠ°Π» Π²Π½Π΅Π·Π΅ΠΌΠ½ΠΎΠ³ΠΎ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΠ° Π½Π΅ΡΠ΄ΠΎΠ²Π»Π΅ΡΠ²ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΡΠΌ, Π½ΠΎ, Π²Π΅ΡΠΎΡΡΠ½ΠΎ, Π½Π°ΠΈΠΌΠ΅Π½Π΅Π΅ Π½Π΅Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΡΠΌ ΠΈΠ· Π²ΡΠ΅Ρ Π½Π΅Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ.
ΠΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, ΡΡΠΎ Π½Π΅ΠΌΠ½ΠΎΠ³ΠΎ Π΄ΡΡΠ³ΠΎΠ΅ ΠΎΠ±ΡΡΡΠ½Π΅Π½ΠΈΠ΅ & # 39; ΠΠΎΠ΄ΠΊΠ»ΡΡΠ΅Π½ΠΈΠ΅:
ΠΡΡΡ ΠΠΎΠ²ΠΎΠΉ ΠΡΡ ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°ΡΡ, ΡΡΠΎ ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΡΠ²Π»ΡΡΡΡΡ ΡΠΏΠΎΡΠΎΠ±ΠΎΠΌ ΠΠ°ΡΠ΅ΡΠΈ-ΠΏΡΠΈΡΠΎΠ΄Ρ, ΠΊΠΎΡΠΎΡΡΠΉ Π³ΠΎΠ²ΠΎΡΠΈΡ Π½Π°ΠΌ, ΡΡΠΎ ΠΌΡ ΠΎΡΠ²Π΅ΡΡΡΠ²Π΅Π½Π½Ρ Π·Π° Π½Π΅ΠΏΡΠΈΡΡΠ½ΡΠ΅ Π²Π΅ΡΠΈ Π΄Π»Ρ Π½Π΅Π΅. ΠΠ»ΠΈ, ΠΌΠΎΠΆΠ΅Ρ Π±ΡΡΡ, Π½Π° ΠΏΠ»Π°Π½Π΅ΡΠ΅ ΠΠ΅ΠΌΠ»Ρ Π΅ΡΡΡ ΡΠ°ΠΈΠ½ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΡΠ½Π΅ΡΠ³Π΅ΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠΈΠ»Ρ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΊΠ°ΠΊΠΈΠΌ-ΡΠΎ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ ΠΏΡΠΎΡΠ²Π»ΡΡΡΡΡ Π² ΠΏΠΈΠΊΡΠΎΠ³ΡΠ°ΠΌΠΌΠ°Ρ Π² Π°Π½Π³Π»ΠΈΠΉΡΠΊΠΎΠΉ ΡΠ΅Π»ΡΡΠΊΠΎΠΉ ΠΌΠ΅ΡΡΠ½ΠΎΡΡΠΈ. Π’Π΅ΠΏΠ΅ΡΡ Ρ Π΅ΡΠ΅ Π½Π΅ ΠΏΡΠ΅Π²ΡΠ°ΡΠΈΠ»ΡΡ Π² ΡΡΠΌΠ°Π½Π½ΡΠ΅ ΠΏΡΠΈΡΠΎΠ΄Π½ΡΠ΅ ΡΠ½Π΅ΡΠ³Π΅ΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ΅ΡΠΊΠΈ ΠΈ Π»ΠΈΠ½ΠΈΠΈ Π»Π΅ΠΉ ΠΈ ΠΌΠΈΡΡΠΈΠΊΡ, Π° ΡΠ°ΠΊΠΆΠ΅ ΠΊΠΎΡΠΌΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠΈΠ»Ρ ΠΠΎΠ²ΠΎΠΉ ΠΡΡ ΠΈ ΡΠΊΡΡΡΠ΅ΠΌΠ°Π»ΡΠ½ΡΠ΅ ΡΠΎΡΠΌΡ Π’Π΅ΠΎΡΠΈΠΈ ΠΠ°ΠΉΠΈ ΠΊΠ°ΠΊ ΠΎΠ±ΡΡΡΠ½Π΅Π½ΠΈΡ ΠΊΡΡΠ³ΠΎΠ² Π½Π° ΠΏΠΎΠ»ΡΡ . ΠΠΎ, Π²ΠΈΠ΄Ρ, ΠΊΠ°ΠΊ Β«ΡΠ΅ΠΌΠ½Π°Ρ ΡΠ½Π΅ΡΠ³ΠΈΡΒ» Π½Π΅ΠΎΠΆΠΈΠ΄Π°Π½Π½ΠΎ Π²ΡΡΠΊΠΎΡΠΈΠ» ΠΈΠ· Π°ΡΡΡΠΎΠ½ΠΎΠΌΠΈΡΠ΅ΡΠΊΠΈΡ ΡΡΠΎΠ»ΡΡΠ½ΡΡ ΠΈΠ·Π΄Π΅Π»ΠΈΠΉ! Π’Π΅ΠΌ Π½Π΅ ΠΌΠ΅Π½Π΅Π΅ Ρ Π΅ΡΠ΅ Π½Π΅ Π³ΠΎΡΠΎΠ² ΠΈΠ³ΡΠ°ΡΡ Π½Π° ΡΡΠΈΡ ΠΌΠ΅ΡΠ°ΡΠΈΠ·ΠΈΡΠ΅ΡΠΊΠΈΡ ΠΈΠ΄Π΅ΡΡ , Π΅ΡΠ»ΠΈ Π½Π΅ ΠΏΠΎ ΠΊΠ°ΠΊΠΎΠΉ-Π»ΠΈΠ±ΠΎ Π΄ΡΡΠ³ΠΎΠΉ ΠΏΡΠΈΡΠΈΠ½Π΅, ΠΊΡΠΎΠΌΠ΅ ΠΏΠΎΠ½ΡΡΠΈΠΉ ΡΠΈΠΏΠ° Β«Π»Π΅ΠΉΒ» ΠΈ Π½Π΅ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½Π½ΡΡ ΠΊΠΎΡΠΌΠΈΡΠ΅ΡΠΊΠΈΡ ΡΠΈΠ». ΠΈ ΡΠΎΠ΄ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΡΠ»ΠΎΠ²Π° - ΡΡΠΎ ΡΡΡΠΎΠ³ΠΎ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡ ΠΈΠ»ΠΈ ΠΆΠΈΠ·Π½Π΅Π½Π½Π°Ρ ΡΠΈΠ»Π°, Π° Π·Π°ΡΠ΅ΠΌ ΠΈΡΠΊΠ»ΡΡΠ΅Π½Ρ. ΠΠ΄Π΅ΡΡ Π½ΡΠΆΠ½ΠΎ ΡΠΏΡΠ°Π²Π»ΡΡΡ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΠΎΠΌ.
Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ - ΡΡΠΎ ΠΊΡΡΡΡΠ΅Π΅ ΠΎΡΡΠΆΠΈΠ΅, ΠΊΠΎΡΠΎΡΠΎΠ΅ ΠΌΡ ΠΆΠΈΠ²Π΅ΠΌ Π² ΠΌΠΎΠ΄Π΅Π»ΠΈΡΡΠ΅ΠΌΠΎΠΉ ΠΡΠ΅Π»Π΅Π½Π½ΠΎΠΉ ΠΈ Π½Π° ΠΌΠΎΠ΄Π΅Π»ΠΈΡΡΠ΅ΠΌΠΎΠΉ ΠΏΠ»Π°Π½Π΅ΡΠ΅. ΠΡΠ΅ ΠΎΡΡΠ°Π»ΡΠ½ΡΠ΅ Β«ΡΠ°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠ΅Β» ΠΎΠ±ΡΡΡΠ½Π΅Π½ΠΈΡ Π² ΡΠ°Π²Π½ΠΎΠΉ ΡΡΠ΅ΠΏΠ΅Π½ΠΈ, Π΅ΡΠ»ΠΈ Π½Π΅ Π±ΠΎΠ»Π΅Π΅ ΡΠΎΠ³ΠΎ, ΡΠΌΠ΅ΡΠ½ΡΠ΅. ΠΡΠ»ΠΈ ΠΈΠ½ΠΎΠΏΠ»Π°Π½Π΅ΡΡΠ½Π΅, ΠΈΡ ΠΌΠΎΡΠΈΠ² Π²ΠΎΠ²ΡΠ΅ Π½Π΅ ΠΎΡΠ΅Π²ΠΈΠ΄Π΅Π½. ΠΡΠ»ΠΈ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊ ΠΏΠΎ ΠΏΡΠΎΠΈΡΡ ΠΎΠΆΠ΄Π΅Π½ΠΈΡ, Π³ΡΠ°ΡΡΠΈΡΠΈ Ρ ΠΊΡΡΠ³ΠΎΠΌ Π½Π° ΠΏΠΎΠ»ΡΡ Π΄ΠΎΠ»ΠΆΠ½Ρ Π±ΡΡΡ Π±ΠΎΠ»Π΅Π΅ ΡΠΈΡΠΎΠΊΠΎ ΡΠ°ΡΠΏΡΠΎΡΡΡΠ°Π½Π΅Π½Ρ, ΠΊΠ°ΠΊ ΠΎΠ±ΡΡΠ½ΡΠ΅ Π³ΡΠ°ΡΡΠΈΡΠΈ ΠΈΠ· ΠΊΠΈΡΠΏΠΈΡΠ½ΠΎΠΉ ΡΡΠ΅Π½Ρ ΠΈΠ· ΠΏΠ΅ΡΠ΅ΠΊΠ»Π°Π΄ΠΈΠ½Ρ, Π½Π΅ Π³ΠΎΠ²ΠΎΡΡ ΡΠΆΠ΅ ΠΎ ΡΠΎΠΌ, ΡΡΠΎ Π½Π°ΠΌΠ½ΠΎΠ³ΠΎ Π±ΠΎΠ»Π΅Π΅ Π²ΡΡΠΎΠΊΠΈΠΉ ΠΏΡΠΎΡΠ΅Π½Ρ Π»ΠΈΡ, Π·Π°Π½ΠΈΠΌΠ°ΡΡΠΈΡ ΡΡ ΠΊΡΠ»ΡΡΡΡΠ½ΡΠΌΠΈ ΠΊΡΡΠ³Π°ΠΌΠΈ, ΠΈΠ»ΠΈ Π°ΡΡΠΈΡΡΠΎΠ²? Π΄ΠΎΠ»ΠΆΠ½Ρ Π±ΡΠ»ΠΈ Π±ΡΡΡ ΠΏΠΎΠΉΠΌΠ°Π½Ρ, ΡΡΠ΄ΠΈΠΌΡ, ΠΎΡΡΠΆΠ΄Π΅Π½Ρ ΠΈ ΠΎΡΡΡΠ°ΡΠΎΠ²Π°Π½Ρ Π·Π° Π²Π°Π½Π΄Π°Π»ΠΈΠ·ΠΌ, ΡΠ½ΠΈΡΡΠΎΠΆΠ΅Π½ΠΈΠ΅ ΡΠ°ΡΡΠ½ΠΎΠΉ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΠΎΡΡΠΈ ΠΈ ΠΏΡΠΎΡΡΠΎ Π½Π΅Π·Π°ΠΊΠΎΠ½Π½ΠΎΠ΅ ΠΏΡΠΎΠ½ΠΈΠΊΠ½ΠΎΠ²Π΅Π½ΠΈΠ΅.
Π‘ Π΄ΡΡΠ³ΠΎΠΉ ΡΡΠΎΡΠΎΠ½Ρ, ΠΎΠ½ΠΈ, ΠΊΠΎΠ½Π΅ΡΠ½ΠΎ ΠΆΠ΅, Π½Π΅ ΡΠ²Π»ΡΡΡΡΡ Π΄Π΅ΡΠ°Π½ΡΠ½ΡΠΌΠΈ Π·Π½Π°ΠΊΠ°ΠΌΠΈ ΠΠΠ. Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π²ΠΈΡ ΡΠΈ - ΡΡΠΎ Π²ΡΠ΅-ΠΈ-Π²ΡΠ΅-Π²ΡΠ΅ ΠΎΠ±ΡΡΡΠ½Π΅Π½ΠΈΡ. Π ΡΠ½ΠΎΠ²Π° Ρ Π΄Π΅ΠΉΡΡΠ²ΠΈΡΠ΅Π»ΡΠ½ΠΎ Π½Π΅ Ρ ΠΎΡΡ ΠΏΡΡΠ°ΡΡΡΡ ΠΏΡΠΈΠΌΠΈΡΠΈΡΡΡΡ Ρ Π»ΡΠ±ΡΠΌΠΈ ΠΌΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΠΌΠΈ ΡΠ΅ΡΠ΅Π½ΠΈΡΠΌΠΈ - Π·Π΅ΠΌΠ½ΡΠΌΠΈ ΡΠ½Π΅ΡΠ³ΠΈΡΠΌΠΈ, ΠΠ°ΠΉΠ΅ΠΉ, ΡΡΠΎ ΡΠ³ΠΎΠ΄Π½ΠΎ. ΠΠ΄Π΅ΡΡ ΡΠ²Π½ΠΎ ΡΠ°Π±ΠΎΡΠ°Π΅Ρ ΡΠ°Π·Π²Π΅Π΄ΠΊΠ°, ΠΈ Ρ ΠΏΡΠΎΠΊΠ»ΡΡ, Π΅ΡΠ»ΠΈ Π·Π½Π°Ρ, ΡΡΠΎ ΡΡΠΎ ΡΠ°ΠΊΠΎΠ΅. ΠΡΠ»ΠΈ Π±Ρ ΠΌΠ½Π΅ ΠΏΡΠΈΡΠ»ΠΎΡΡ Π³ΠΎΠ»ΠΎΡΠΎΠ²Π°ΡΡ Π·Π° ΡΠ°ΠΌΡΡ Π·Π°Π³Π°Π΄ΠΎΡΠ½ΡΡ Π½Π°ΡΡΠ½ΡΡ ΡΠ°ΠΉΠ½Ρ Π½Π°ΡΠ΅Π³ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ, ΡΡΠΎ Π±ΡΠ»ΠΎ Π±Ρ ΡΠ°ΠΊ. Π’Π΅ΠΌ Π½Π΅ ΠΌΠ΅Π½Π΅Π΅, Ρ ΡΠ°Π·ΡΠΌΠ½ΠΎ ΡΠ±Π΅ΠΆΠ΄Π΅Π½, ΡΡΠΎ ΠΎΠ½, Π²Π΅ΡΠΎΡΡΠ½ΠΎ, Π½Π΅ ΠΈΠΌΠ΅Π΅Ρ Π½ΠΈΡΠ΅Π³ΠΎ ΠΎΠ±ΡΠ΅Π³ΠΎ Ρ ΠΠΠ ΠΈΠ»ΠΈ ETI ΠΈ ΠΏΠΎΡΡΠΎΠΌΡ ΠΈΠΌΠ΅Π΅Ρ ΠΌΠ°Π»ΠΎ Π·Π½Π°ΡΠ΅Π½ΠΈΡ Π·Π΄Π΅ΡΡ, Π½ΠΎ ΡΡΠΎ Π²ΡΠ΅ ΠΆΠ΅ Π½Π°ΠΈΠΌΠ΅Π½Π΅Π΅ ΠΏΡΠ°Π²Π΄ΠΎΠΏΠΎΠ΄ΠΎΠ±Π½ΠΎ ΠΈΠ· Π²ΡΠ΅Ρ Π΄ΡΡΠ³ΠΈΡ Π½Π΅Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΡΡ ΠΎΠ±ΡΡΡΠ½Π΅Π½ΠΈΠΉ. Π― ΡΠ²Π΅ΡΠ΅Π½, ΡΡΠΎ Ρ Π·Π½Π°Π», ΡΡΠΎ ΠΏΡΠΎΠΈΡΡ ΠΎΠ΄ΠΈΡ!
Π ΠΊΠΎΠ½Π΅ΡΠ½ΠΎΠΌ ΡΡΠ΅ΡΠ΅, ΠΊΠ°ΡΡΠΈΠ½Ρ ΡΠ°ΡΡΠΊΠ°Π·ΡΠ²Π°ΡΡ ΠΈΡΡΠΎΡΠΈΡ, ΠΈ ΡΡΠ° ΠΈΡΡΠΎΡΠΈΡ Π³ΠΎΠ²ΠΎΡΠΈΡ Π²Π°ΠΌ, ΡΡΠΎ ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΠΏΡΠΎΡΡΠΎ Π½Π΅ ΠΌΠΎΠ³ΡΡ ΡΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°ΡΡ, Π½ΠΎ ΠΎΠ½ΠΈ ΡΡΠΎ Π΄Π΅Π»Π°ΡΡ. ΠΠ°ΠΊ Π²Ρ ΡΠ°Π·ΡΠ΅ΡΠ°Π΅ΡΠ΅ ΡΡΠΎΡ ΠΏΠ°ΡΠ°Π΄ΠΎΠΊΡ, Π½Ρ, Π²Π°ΡΠ° ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ°. ΠΠ΄Π½ΠΎ ΠΏΠΎΠ΄ΡΠ°Π·Π΄Π΅Π»Π΅Π½ΠΈΠ΅ Π΄ΠΎΠ»ΠΆΠ½ΠΎ ΡΠ΅ΡΠΈΡΡ, ΡΠ²Π»ΡΡΡΡΡ Π»ΠΈ ΠΊΡΡΠ³ΠΈ Π½Π° ΠΏΠΎΠ»ΡΡ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠ΅ΠΉ ΠΈΠ»ΠΈ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠ΅ΠΉ. ΠΠ½ΠΈ, Π±Π΅Π·ΡΡΠ»ΠΎΠ²Π½ΠΎ, ΡΠ²Π»ΡΡΡΡΡ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠ΅ΠΉ, Π² ΡΠΎΠΌ, ΠΊΠ°ΠΊ ΠΊΠ°ΡΡΠΈΠ½Π° - ΡΡΠΎ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΡ, Π½ΠΎ ΡΠ²Π»ΡΡΡΡΡ Π»ΠΈ ΠΎΠ½ΠΈ ΠΎΠ±ΡΠ΅Π½ΠΈΠ΅ΠΌ? ΠΡΠ»ΠΈ ΡΡΠΎ ΡΠ°ΠΊ, ΠΈ Π΅ΡΠ»ΠΈ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊ, ΡΠΎ ΡΠΎΠΎΠ±ΡΠ΅Π½ΠΈΠ΅ - ΡΡΠΎ Ρ Π°-Ρ Π°, ΠΎΠ΄ΡΡΠ°ΡΠΈΠ» ΡΠ΅Π±Ρ! ΠΡΠ»ΠΈ Π½Π΅ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊ - Π°Ρ , ΡΠΎ Π² Π½Π΅ΠΌ Π΅ΡΡΡ ΡΡΠ±.
Π Π»ΡΠ±ΠΎΠΌ ΡΠ»ΡΡΠ°Π΅, ΠΌΡ ΠΌΠΎΠΆΠ΅ΠΌ Π΄ΠΎΠ³Π°Π΄ΡΠ²Π°ΡΡΡΡ, ΠΏΠΎΠΊΠ° ΡΡΠΎΠΆΠ°ΠΉ Π½Π΅ Π±ΡΠ΄Π΅Ρ ΡΠΎΠ±ΡΠ°Π½ Π΄ΠΎ ΠΊΠΎΠ½ΡΠ°. ΠΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ, Π±ΡΠ»ΠΎ Π±Ρ Π»ΡΡΡΠ΅ ΡΠ΄Π΅Π»Π°ΡΡ Π²ΡΠ²ΠΎΠ΄, ΡΡΠΎ ΠΏΡΠΈΡΡΠΆΠ½ΡΠ΅ Π²ΡΠ΅ Π΅ΡΠ΅ Ρ ΠΎΡΠΎΡΠΎ ΠΈ ΠΏΠΎ-Π½Π°ΡΡΠΎΡΡΠ΅ΠΌΡ ΠΈΠ·-Π·Π° Π²ΡΡΠ΅ΡΠΏΠΎΠΌΡΠ½ΡΡΠΎΠ³ΠΎ Π·Π°ΠΌΠ΅ΡΠ°Π½ΠΈΡ Π¨Π΅ΡΠ»ΠΎΠΊΠ° Π₯ΠΎΠ»ΠΌΡΠ° ΠΎ ΡΠΎΠΌ, ΡΡΠΎ Β«ΠΊΠΎΠ³Π΄Π° Π²Ρ ΡΡΡΡΠ°Π½ΠΈΠ»ΠΈ Π½Π΅Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΠ΅, ΡΠΎ, ΡΡΠΎ ΠΎΡΡΠ°Π΅ΡΡΡ, Π΄Π°ΠΆΠ΅ Π½Π΅Π²Π΅ΡΠΎΡΡΠ½ΠΎ, Π΄ΠΎΠ»ΠΆΠ½ΠΎ Π±ΡΡΡ ΠΏΡΠ°Π²Π΄ΠΎΠΉΒ».
Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Ρ ΡΠ±Π΅ΠΆΠ΄Π΅Π½ Π² ΡΠΎΠΌ, ΡΡΠΎ Π½Π΅ΠΊΠΎΡΠΎΡΡΠ΅, ΠΌΠ½ΠΎΠ³ΠΈΠ΅, Π΄Π°ΠΆΠ΅ Π±ΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²ΠΎ ΡΠ»ΡΡΠ°Π΅Π² ΠΊΡΡΠ³ΠΎΠ² Π½Π° ΠΏΠΎΠ»ΡΡ ΡΠ²Π»ΡΡΡΡΡ ΠΏΠΎΠ΄Π»ΠΈΠ½Π½ΡΠΌΠΈ - ΡΠΎ, ΡΡΠΎ Ρ Π½Π΅ ΠΌΠΎΠ³Ρ ΡΡΠ΄ΠΈΡΡ, Π° ΡΠΊΠΎΡΠ΅Π΅ ΡΠ°Π·ΠΌΡΡΠ»ΡΡΡ ΠΎ ΡΠΎΠΌ, ΠΊΡΠΎ (ΠΈΠ»ΠΈ ΠΊΠ°ΠΊΠΎΠΉ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡ), ΠΏΠΎΡΠ΅ΠΌΡ ΠΈ ΠΊΠ°ΠΊ.

