Motivazione del premio firmata al presidente ANTC Giulio Baffi:

𝘜𝘯 𝘱𝘦𝘳𝘤𝘰𝘳𝘴𝘰 𝘥𝘪 𝘢𝘵𝘵𝘰𝘳𝘦 𝘢𝘳𝘵𝘪𝘴𝘵𝘢 𝘴𝘵𝘳𝘢𝘰𝘳𝘥𝘪𝘯𝘢𝘳𝘪𝘰, 𝘢𝘴𝘴𝘰𝘭𝘶𝘵𝘢𝘮𝘦𝘯𝘵𝘦 𝘶𝘯𝘪𝘤𝘰 𝘯𝘦𝘭𝘭𝘢 𝘥𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘢̀ 𝘥𝘦𝘭𝘭𝘦 𝘦𝘴𝘱𝘦𝘳𝘪𝘦𝘯𝘻𝘦 𝘴𝘵𝘪𝘭𝘪𝘴𝘵𝘪𝘤𝘩𝘦 𝘢𝘵𝘵𝘳𝘢𝘷𝘦𝘳𝘴𝘢𝘵𝘦, 𝘴𝘦𝘮𝘱𝘳𝘦 𝘯𝘦𝘭 𝘴𝘦𝘨𝘯𝘰 𝘱𝘦𝘳𝘰̀ 𝘥𝘪 𝘶𝘯𝘢 𝘪𝘯𝘥𝘪𝘴𝘤𝘶𝘵𝘪𝘣𝘪𝘭𝘦 𝘤𝘰𝘦𝘳𝘦𝘯𝘻𝘢 𝘦 𝘥’𝘶𝘯 𝘢𝘱𝘱𝘢𝘴𝘴𝘪𝘰𝘯𝘢𝘵𝘰 𝘳𝘪𝘨𝘰𝘳𝘦. 𝘋𝘢𝘨𝘭𝘪 𝘪𝘯𝘪𝘻𝘪 – 𝘨𝘪𝘢̀ 𝘢𝘭𝘭𝘰𝘳𝘢 𝘪𝘯𝘴𝘪𝘦𝘮𝘦 𝘢 𝘍𝘦𝘥𝘦𝘳𝘪𝘤𝘰 𝘛𝘪𝘦𝘻𝘻𝘪 – 𝘤𝘰𝘯 “𝘐𝘭 𝘊𝘢𝘳𝘳𝘰𝘻𝘻𝘰𝘯𝘦” 𝘱𝘰𝘪 “𝘔𝘢𝘨𝘢𝘻𝘻𝘪𝘯𝘪 𝘊𝘳𝘪𝘮𝘪𝘯𝘢𝘭𝘪”, 𝘱𝘳𝘰𝘵𝘢𝘨𝘰𝘯𝘪𝘴𝘵𝘪 𝘥𝘪 𝘲𝘶𝘦𝘭𝘭𝘢 𝘤𝘩𝘦 𝘢𝘭𝘭𝘰𝘳𝘢 𝘴𝘪 𝘥𝘦𝘧𝘪𝘯𝘪𝘷𝘢 “𝘢𝘷𝘢𝘯𝘨𝘶𝘢𝘳𝘥𝘪𝘢”, 𝘪 𝘲𝘶𝘢𝘭𝘪 𝘥𝘪𝘴𝘦𝘨𝘯𝘢𝘷𝘢𝘯𝘰 𝘤𝘰𝘯 𝘪𝘮𝘮𝘢𝘨𝘪𝘯𝘰𝘴𝘢, 𝘢𝘯𝘤𝘩𝘦 𝘦𝘷𝘦𝘳𝘴𝘪𝘷𝘢, 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭𝘪𝘵𝘢̀ 𝘪𝘭 𝘱𝘳𝘰𝘧𝘪𝘭𝘰 𝘥𝘪 𝘶𝘯 𝘵𝘦𝘢𝘵𝘳𝘰 𝘤𝘩𝘦 𝘱𝘶𝘯𝘵𝘢𝘷𝘢 𝘴𝘶𝘭 𝘨𝘦𝘴𝘵𝘰, 𝘴𝘶𝘭 𝘮𝘰𝘷𝘪𝘮𝘦𝘯𝘵𝘰, 𝘴𝘶𝘭𝘭𝘢 𝘷𝘪𝘴𝘪𝘰𝘯𝘦, 𝘢𝘱𝘳𝘦𝘯𝘥𝘰 𝘰𝘳𝘪𝘻𝘻𝘰𝘯𝘵𝘪 𝘴𝘰𝘳𝘱𝘳𝘦𝘯𝘥𝘦𝘯𝘵𝘪, 𝘢𝘭𝘭𝘦 𝘮𝘰𝘭𝘵𝘦 𝘵𝘢𝘱𝘱𝘦 𝘥𝘪 𝘶𝘯 𝘱𝘦𝘳𝘤𝘰𝘳𝘴𝘰 𝘢𝘳𝘵𝘪𝘤𝘰𝘭𝘢𝘵𝘪𝘴𝘴𝘪𝘮𝘰 (𝘢𝘱𝘦𝘳𝘵𝘰 𝘢 𝘴𝘶𝘨𝘨𝘦𝘴𝘵𝘪𝘰𝘯𝘪 𝘮𝘰𝘭𝘵𝘦𝘱𝘭𝘪𝘤𝘪, 𝘥𝘪 𝘭𝘪𝘯𝘨𝘶𝘢𝘨𝘨𝘪 𝘴𝘤𝘦𝘯𝘪𝘤𝘪 𝘦 𝘯𝘰𝘯 𝘴𝘰𝘭𝘰) – 𝘤𝘩𝘦 𝘩𝘢 𝘤𝘰𝘯𝘥𝘰𝘵𝘵𝘰 𝘱𝘳𝘦𝘴𝘵𝘰 𝘓𝘰𝘮𝘣𝘢𝘳𝘥𝘪 𝘢 𝘦𝘴𝘴𝘦𝘳𝘦 𝘶𝘯𝘰 𝘥𝘦𝘪 𝘱𝘪𝘶̀ 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵𝘪 𝘦 𝘢𝘱𝘱𝘳𝘦𝘻𝘻𝘢𝘵𝘪 𝘢𝘵𝘵𝘰𝘳𝘪 𝘢𝘯𝘤𝘩𝘦 “𝘥𝘪 𝘱𝘢𝘳𝘰𝘭𝘢” 𝘥𝘦𝘭 𝘵𝘦𝘢𝘵𝘳𝘰 𝘪𝘵𝘢𝘭𝘪𝘢𝘯𝘰, 𝘴𝘦𝘮𝘱𝘳𝘦 𝘴𝘶𝘭𝘭𝘢 𝘴𝘱𝘪𝘯𝘵𝘢 𝘥𝘦𝘭𝘭𝘢 𝘳𝘪𝘤𝘦𝘳𝘤𝘢 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭𝘦 𝘥𝘪 𝘶𝘯 “𝘵𝘦𝘢𝘵𝘳𝘰 𝘥𝘪 𝘱𝘰𝘦𝘴𝘪𝘢” (𝘢𝘯𝘤𝘰𝘳𝘢 𝘢𝘭 𝘧𝘪𝘢𝘯𝘤𝘰 𝘥𝘪 𝘛𝘪𝘦𝘻𝘻𝘪). 𝘛𝘦𝘢𝘵𝘳𝘰 𝘥𝘪 𝘱𝘰𝘦𝘴𝘪𝘢 𝘪𝘯 𝘤𝘶𝘪 𝘱𝘰𝘴𝘴𝘰𝘯𝘰 𝘳𝘪𝘴𝘪𝘦𝘥𝘦𝘳𝘦 𝘭’𝘦𝘴𝘴𝘦𝘯𝘻𝘢 𝘦 𝘭𝘢 𝘯𝘦𝘤𝘦𝘴𝘴𝘪𝘵𝘢̀ 𝘥𝘪 𝘶𝘯𝘢 𝘭𝘪𝘯𝘨𝘶𝘢 𝘦 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘪𝘵𝘢̀ 𝘴𝘤𝘦𝘯𝘪𝘤𝘩𝘦 𝘤𝘰𝘯𝘷𝘪𝘯𝘤𝘦𝘯𝘵𝘪 𝘧𝘳𝘢 𝘧𝘪𝘯𝘦 𝘕𝘰𝘷𝘦𝘤𝘦𝘯𝘵𝘰 𝘦 𝘱𝘳𝘪𝘮𝘢 𝘱𝘢𝘳𝘵𝘦 𝘥𝘦𝘭 𝘯𝘶𝘰𝘷𝘰 𝘴𝘦𝘤𝘰𝘭𝘰: 𝘴𝘶𝘱𝘦𝘳𝘢𝘯𝘥𝘰 (𝘦 𝘲𝘶𝘦𝘴𝘵𝘰 𝘷𝘢𝘭𝘦 𝘢𝘯𝘤𝘩𝘦 𝘱𝘦𝘳 𝘓𝘰𝘮𝘣𝘢𝘳𝘥𝘪 𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘦) 𝘰𝘨𝘯𝘪 𝘢𝘳𝘵𝘪𝘧𝘪𝘤𝘪𝘢𝘭𝘦 𝘥𝘪𝘷𝘪𝘴𝘪𝘰𝘯𝘦 𝘪𝘥𝘦𝘰𝘭𝘰𝘨𝘪𝘤𝘢 𝘵𝘳𝘢 “𝘴𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘻𝘪𝘰𝘯𝘦” 𝘦 “𝘤𝘭𝘢𝘴𝘴𝘪𝘤𝘪𝘵𝘢̀”. 𝘌 𝘤𝘰𝘴𝘪̀ 𝘦𝘤𝘤𝘰 “𝘊𝘰𝘮𝘦 𝘦̀” 𝘰 “𝘏𝘢𝘮𝘭𝘦𝘵𝘮𝘢𝘴𝘤𝘩𝘪𝘯𝘦”, 𝘭𝘢 𝘵𝘳𝘪𝘭𝘰𝘨𝘪𝘢 𝘥𝘢𝘭𝘭𝘢 “𝘋𝘪𝘷𝘪𝘯𝘢 𝘊𝘰𝘮𝘮𝘦𝘥𝘪𝘢”, “𝘈𝘯𝘵𝘪𝘨𝘰𝘯𝘦” 𝘥𝘪 𝘚𝘰𝘧𝘰𝘤𝘭𝘦, “𝘗𝘰𝘳𝘤𝘪𝘭𝘦” 𝘥𝘪 𝘗𝘢𝘴𝘰𝘭𝘪𝘯𝘪, “𝘡𝘪𝘰 𝘝𝘢𝘯𝘫𝘢” 𝘥𝘪 𝘊𝘦𝘤𝘩𝘰𝘷, 𝘪 𝘵𝘦𝘴𝘵𝘪 𝘭𝘪𝘳𝘪𝘤𝘰-𝘵𝘦𝘢𝘵𝘳𝘢𝘭𝘪 𝘥𝘪 𝘔𝘢𝘳𝘪𝘰 𝘓𝘶𝘻𝘪. 𝘐𝘭 𝘭𝘢𝘷𝘰𝘳𝘰 𝘴𝘤𝘳𝘶𝘱𝘰𝘭𝘰𝘴𝘰, 𝘪𝘯𝘧𝘢𝘵𝘪𝘤𝘢𝘣𝘪𝘭𝘦 𝘯𝘦𝘨𝘭𝘪 𝘢𝘯𝘯𝘪 𝘴𝘶𝘭 𝘴𝘶𝘰 𝘰𝘱𝘦𝘳𝘢𝘳𝘦 (𝘱𝘦𝘳 𝘯𝘰𝘯 𝘥𝘪𝘳𝘦 𝘴𝘶𝘭𝘭𝘢 𝘴𝘶𝘢 𝘮𝘪𝘴𝘴𝘪𝘰𝘯𝘦) 𝘥𝘪 𝘢𝘵𝘵𝘰𝘳𝘦-𝘢𝘳𝘵𝘪𝘴𝘵𝘢 𝘩𝘢 𝘱𝘰𝘳𝘵𝘢𝘵𝘰 𝘓𝘰𝘮𝘣𝘢𝘳𝘥𝘪 𝘪𝘯 𝘶𝘯 𝘱𝘳𝘰𝘤𝘦𝘴𝘴𝘰 𝘥𝘪 𝘱𝘦𝘳𝘧𝘦𝘻𝘪𝘰𝘯𝘢𝘮𝘦𝘯𝘵𝘰, 𝘮𝘢𝘵𝘶𝘳𝘢𝘻𝘪𝘰𝘯𝘦, 𝘢𝘱𝘱𝘳𝘰𝘧𝘰𝘯𝘥𝘪𝘮𝘦𝘯𝘵𝘰 𝘪𝘯𝘵𝘦𝘭𝘭𝘦𝘵𝘵𝘶𝘢𝘭𝘦 𝘦 𝘪𝘯𝘵𝘦𝘳𝘪𝘰𝘳𝘦 𝘤𝘰𝘴𝘵𝘢𝘯𝘵𝘦, 𝘢𝘥 𝘦𝘴𝘴𝘦𝘳𝘦 𝘰𝘳𝘮𝘢𝘪 𝘥𝘢 𝘮𝘰𝘭𝘵𝘰 𝘵𝘦𝘮𝘱𝘰 𝘶𝘯 𝘮𝘢𝘦𝘴𝘵𝘳𝘰 𝘥𝘦𝘭𝘭𝘢 𝘤𝘳𝘦𝘢𝘻𝘪𝘰𝘯𝘦 𝘵𝘦𝘢𝘵𝘳𝘢𝘭𝘦 𝘥’𝘢𝘵𝘵𝘰𝘳𝘦, 𝘯𝘰𝘯 𝘴𝘰𝘭𝘰 𝘥𝘪 𝘶𝘯𝘢 𝘴𝘦𝘮𝘱𝘭𝘪𝘤𝘦 “𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘢𝘻𝘪𝘰𝘯𝘦”: 𝘴𝘪𝘯𝘰 𝘢 𝘳𝘪𝘴𝘶𝘭𝘵𝘢𝘵𝘪 𝘥𝘪 𝘪𝘯𝘵𝘦𝘯𝘴𝘪𝘵𝘢̀ 𝘦 𝘥𝘪 𝘳𝘪𝘤𝘤𝘩𝘦𝘻𝘻𝘢 𝘥𝘢𝘭 𝘱𝘶𝘯𝘵𝘰 𝘥𝘪 𝘷𝘪𝘴𝘵𝘢 𝘱𝘰𝘦𝘵𝘪𝘤𝘰, 𝘶𝘮𝘢𝘯𝘰, 𝘦𝘴𝘱𝘳𝘦𝘴𝘴𝘪𝘷𝘰 𝘢𝘴𝘴𝘰𝘭𝘶𝘵𝘢𝘮𝘦𝘯𝘵𝘦 𝘦𝘮𝘰𝘻𝘪𝘰𝘯𝘢𝘯𝘵𝘪 𝘯𝘦𝘭𝘭𝘢 𝘭𝘰𝘳𝘰 𝘱𝘪𝘦𝘯𝘦𝘻𝘻𝘢 𝘦 𝘢𝘶𝘵𝘦𝘯𝘵𝘪𝘤𝘪𝘵𝘢̀. 𝘈𝘳𝘳𝘪𝘷𝘢𝘯𝘥𝘰 𝘢𝘪 𝘤𝘰𝘯𝘧𝘪𝘯𝘪 𝘦𝘴𝘵𝘳𝘦𝘮𝘪 𝘤𝘶𝘪 𝘭’𝘢𝘵𝘵𝘰𝘳𝘦 – 𝘢𝘯𝘤𝘩𝘦 𝘪𝘭 𝘱𝘪𝘶̀ 𝘨𝘳𝘢𝘯𝘥𝘦 – 𝘦 𝘭’𝘢𝘭𝘵𝘦𝘻𝘻𝘢 𝘥𝘦𝘭𝘭𝘢 𝘴𝘶𝘢 𝘴𝘵𝘦𝘴𝘴𝘢 𝘢𝘳𝘵𝘦 𝘱𝘰𝘴𝘴𝘢𝘯𝘰 𝘢𝘳𝘳𝘪𝘷𝘢𝘳𝘦. 𝘗𝘦𝘯𝘴𝘪𝘢𝘮𝘰 𝘢𝘭 𝘴𝘶𝘰 𝘶𝘭𝘵𝘪𝘮𝘰 “𝘋𝘢𝘯𝘵𝘦”, 𝘵𝘰𝘤𝘤𝘢𝘯𝘵𝘦, 𝘯𝘦 “𝘐𝘭 𝘗𝘶𝘳𝘨𝘢𝘵𝘰𝘳𝘪𝘰”, 𝘢 “𝘚𝘤𝘦𝘯𝘦 𝘥𝘪 𝘍𝘢𝘶𝘴𝘵”, 𝘢𝘭𝘭𝘢 “𝘗𝘢𝘴𝘴𝘪𝘰𝘯𝘦” 𝘥𝘪 𝘓𝘶𝘻𝘪 𝘳𝘪𝘱𝘳𝘦𝘴𝘢 𝘴𝘦𝘯𝘻𝘢 𝘶𝘯 𝘱𝘶𝘣𝘣𝘭𝘪𝘤𝘰 𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘦 𝘥𝘶𝘳𝘢𝘯𝘵𝘦 𝘭𝘢 𝘱𝘢𝘯𝘥𝘦𝘮𝘪𝘢 𝘊𝘰𝘷𝘪𝘥; 𝘮𝘢 𝘥𝘪𝘧𝘧𝘪𝘤𝘪𝘭𝘦 𝘥𝘪𝘮𝘦𝘯𝘵𝘪𝘤𝘢𝘳𝘦 𝘪 𝘴𝘶𝘰𝘪 “𝘊𝘢𝘴𝘢𝘯𝘰𝘷𝘢”, 𝘪 𝘴𝘶𝘰𝘪 𝘛𝘩𝘰𝘮𝘢𝘴 𝘉𝘦𝘳𝘯𝘩𝘢𝘳𝘥 (“𝘓’𝘢𝘱𝘱𝘢𝘳𝘦𝘯𝘻𝘢 𝘪𝘯𝘨𝘢𝘯𝘯𝘢”, “𝘐𝘭 𝘳𝘪𝘧𝘰𝘳𝘮𝘢𝘵𝘰𝘳𝘦 𝘥𝘦𝘭 𝘮𝘰𝘯𝘥𝘰”, “𝘈𝘯𝘵𝘪𝘤𝘩𝘪 𝘔𝘢𝘦𝘴𝘵𝘳𝘪”, “𝘐𝘭 𝘴𝘰𝘤𝘤𝘰𝘮𝘣𝘦𝘯𝘵𝘦”), 𝘭’𝘦𝘴𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘰 𝘱𝘳𝘰𝘶𝘴𝘵𝘪𝘢𝘯𝘰 𝘥𝘪 “𝘜𝘯 𝘢𝘮𝘰𝘳𝘦 𝘥𝘪 𝘚𝘸𝘢𝘯𝘯”, 𝘪 𝘯𝘶𝘮𝘦𝘳𝘰𝘴𝘪 𝘛𝘦𝘴𝘵𝘰𝘳𝘪, 𝘥𝘢 “𝘊𝘭𝘦𝘰𝘱𝘢𝘵𝘳𝘢̀𝘴 𝘢 “𝘌𝘥𝘪𝘱𝘶𝘴”, 𝘥𝘢 “𝘐 𝘱𝘳𝘰𝘮𝘦𝘴𝘴𝘪 𝘴𝘱𝘰𝘴𝘪 𝘢𝘭𝘭𝘢 𝘱𝘳𝘰𝘷𝘢” 𝘢 “𝘓’𝘈𝘮𝘣𝘭𝘦𝘵𝘰”. 𝘜𝘯 𝘮𝘢𝘦𝘴𝘵𝘳𝘰, 𝘓𝘰𝘮𝘣𝘢𝘳𝘥𝘪 (𝘥𝘪 𝘤𝘶𝘪 𝘷𝘢 𝘳𝘪𝘤𝘰𝘳𝘥𝘢𝘵𝘰, 𝘱𝘦𝘳 𝘪𝘯𝘤𝘪𝘴𝘰, 𝘭’𝘪𝘮𝘱𝘦𝘨𝘯𝘰 𝘢𝘴𝘴𝘪𝘥𝘶𝘰 𝘯𝘦𝘭 𝘳𝘦𝘴𝘵𝘪𝘵𝘶𝘪𝘳𝘦, 𝘥𝘢 𝘴𝘰𝘭𝘰 𝘰 𝘤𝘰𝘯 𝘢𝘭𝘵𝘳𝘪, 𝘥𝘢𝘭 𝘷𝘪𝘷𝘰 𝘰 𝘪𝘯 𝘳𝘢𝘥𝘪𝘰, 𝘪 𝘤𝘢𝘱𝘰𝘭𝘢𝘷𝘰𝘳𝘪 𝘥𝘦𝘭𝘭𝘢 𝘭𝘦𝘵𝘵𝘦𝘳𝘢𝘵𝘶𝘳𝘢): 𝘶𝘯 𝘮𝘢𝘦𝘴𝘵𝘳𝘰 𝘤𝘩𝘦 𝘥𝘪 𝘳𝘦𝘤𝘦𝘯𝘵𝘦 – 𝘮𝘦𝘯𝘵𝘳𝘦 𝘭𝘢 𝘴𝘶𝘢 𝘤𝘢𝘳𝘳𝘪𝘦𝘳𝘢 𝘰𝘷𝘷𝘪𝘢𝘮𝘦𝘯𝘵𝘦 𝘱𝘳𝘰𝘴𝘦𝘨𝘶𝘦, 𝘢𝘭 𝘳𝘪𝘵𝘮𝘰 𝘥𝘪 𝘴𝘦𝘮𝘱𝘳𝘦 – 𝘩𝘢 𝘷𝘰𝘭𝘶𝘵𝘰 “𝘧𝘢𝘳 𝘥𝘰𝘯𝘰” 𝘢 𝘶𝘯’𝘢𝘵𝘵𝘳𝘪𝘤𝘦 𝘱𝘪𝘶̀ 𝘨𝘪𝘰𝘷𝘢𝘯𝘦, 𝘈𝘯𝘯𝘢 𝘋𝘦𝘭𝘭𝘢 𝘙𝘰𝘴𝘢, 𝘥𝘪 𝘶𝘯𝘢 𝘥𝘦𝘭𝘭𝘦 𝘴𝘶𝘦 𝘱𝘪𝘶̀ 𝘨𝘳𝘢𝘯𝘥𝘪 𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘢𝘻𝘪𝘰𝘯𝘪, 𝘥𝘦𝘭 𝘤𝘰𝘳𝘱𝘰 𝘢𝘯𝘤𝘰𝘳𝘢 𝘷𝘪𝘷𝘦𝘯𝘵𝘦 𝘥𝘪 𝘲𝘶𝘦𝘭𝘭𝘰 𝘤𝘩𝘦 𝘧𝘶 𝘶𝘯𝘰 𝘴𝘱𝘦𝘵𝘵𝘢𝘤𝘰𝘭𝘰 𝘮𝘦𝘮𝘰𝘳𝘢𝘣𝘪𝘭𝘦, 𝘪 𝘥𝘶𝘦 𝘓𝘢𝘪 𝘵𝘦𝘴𝘵𝘰𝘳𝘪𝘢𝘯𝘪 (“𝘌𝘳𝘰𝘥𝘪𝘢̀𝘴” 𝘦 “𝘔𝘢𝘵𝘦𝘳 𝘴𝘵𝘳𝘢𝘯𝘨𝘰𝘴𝘤𝘪𝘢̀𝘴”). 𝘌̀ 𝘣𝘦𝘭𝘭𝘰 𝘦 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘵𝘪𝘷𝘰 𝘤𝘩𝘦 𝘲𝘶𝘦𝘴𝘵𝘰 𝘱𝘳𝘦𝘮𝘪𝘰 𝘥𝘦𝘭𝘭’𝘈𝘕𝘛𝘊 𝘴𝘪𝘢 𝘯𝘦𝘭 𝘯𝘰𝘮𝘦 𝘥𝘪 𝘗𝘢𝘰𝘭𝘰 𝘌𝘮𝘪𝘭𝘪𝘰 𝘗𝘰𝘦𝘴𝘪𝘰: 𝘤𝘳𝘪𝘵𝘪𝘤𝘰, 𝘤𝘰𝘴𝘪̀ 𝘱𝘰𝘵𝘦𝘷𝘢 𝘲𝘶𝘢𝘭𝘤𝘶𝘯𝘰 𝘥𝘦𝘧𝘪𝘯𝘪𝘳𝘭𝘰, 𝘥𝘪 𝘴𝘤𝘶𝘰𝘭𝘢 𝘵𝘳𝘢𝘥𝘪𝘻𝘪𝘰𝘯𝘢𝘭𝘦, 𝘤𝘩𝘦 𝘱𝘦𝘳𝘰̀ 𝘨𝘪𝘢̀ 𝘥𝘢𝘨𝘭𝘪 𝘢𝘯𝘯𝘪 𝘚𝘦𝘵𝘵𝘢𝘯𝘵𝘢 𝘴𝘦𝘨𝘶𝘪̀ 𝘤𝘰𝘯 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘴𝘦 𝘦 𝘤𝘶𝘳𝘢 𝘪𝘭 𝘭𝘢𝘷𝘰𝘳𝘰 𝘥𝘦𝘪 𝘨𝘪𝘰𝘷𝘢𝘯𝘪𝘴𝘴𝘪𝘮𝘪 𝘥𝘦𝘭 𝘊𝘢𝘳𝘳𝘰𝘻𝘻𝘰𝘯𝘦/𝘔𝘢𝘨𝘢𝘻𝘻𝘪𝘯𝘪, 𝘥𝘦𝘭𝘭𝘢 𝘤𝘶𝘪 𝘴𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘻𝘪𝘰𝘯𝘦 𝘦 𝘢𝘷𝘷𝘦𝘯𝘵𝘶𝘳𝘢 𝘢𝘳𝘵𝘪𝘴𝘵𝘪𝘤𝘢 𝘧𝘶 𝘤𝘰𝘳𝘢𝘨𝘨𝘪𝘰𝘴𝘢𝘮𝘦𝘯𝘵𝘦 𝘴𝘰𝘴𝘵𝘦𝘯𝘪𝘵𝘰𝘳𝘦 𝘦 𝘴𝘤𝘰𝘱𝘳𝘪𝘵𝘰𝘳𝘦 (𝘦𝘳𝘢𝘯𝘰 𝘪 𝘵𝘦𝘮𝘱𝘪 𝘥𝘪 “𝘝𝘦𝘥𝘶𝘵𝘦 𝘥𝘪 𝘗𝘰𝘳𝘵𝘰 𝘚𝘢𝘪𝘥”, “𝘗𝘶𝘯𝘵𝘰 𝘥𝘪 𝘳𝘰𝘵𝘵𝘶𝘳𝘢”, “𝘌𝘣𝘥𝘰𝘮𝘦𝘳𝘰…”).