Art made of the air we breathe | Emily Parsons-Lord

78,079 views ・ 2017-02-08

TED


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Translator: Joseph Geni Reviewer: Camille Martínez
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If I asked you to picture the air,
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what do you imagine?
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Most people think about either empty space
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or clear blue sky
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or sometimes trees dancing in the wind.
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And then I remember my high school chemistry teacher with really long socks
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at the blackboard,
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drawing diagrams of bubbles connected to other bubbles,
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and describing how they vibrate and collide in a kind of frantic soup.
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But really, we tend not to think about the air that much at all.
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We notice it mostly
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when there's some kind of unpleasant sensory intrusion upon it,
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like a terrible smell or something visible like smoke or mist.
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But it's always there.
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It's touching all of us right now.
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It's even inside us.
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Our air is immediate, vital and intimate.
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And yet, it's so easily forgotten.
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So what is the air?
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It's the combination of the invisible gases that envelop the Earth,
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attracted by the Earth's gravitational pull.
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And even though I'm a visual artist,
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I'm interested in the invisibility of the air.
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I'm interested in how we imagine it,
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how we experience it
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and how we all have an innate understanding of its materiality
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through breathing.
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All life on Earth changes the air through gas exchange,
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and we're all doing it right now.
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Actually, why don't we all right now together take
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one big, collective, deep breath in.
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Ready? In. (Inhales)
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And out. (Exhales)
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That air that you just exhaled,
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you enriched a hundred times in carbon dioxide.
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So roughly five liters of air per breath, 17 breaths per minute
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of the 525,600 minutes per year,
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comes to approximately 45 million liters of air,
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enriched 100 times in carbon dioxide,
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just for you.
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Now, that's equivalent to about 18 Olympic-sized swimming pools.
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For me, air is plural.
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It's simultaneously as small as our breathing
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and as big as the planet.
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And it's kind of hard to picture.
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Maybe it's impossible, and maybe it doesn't matter.
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Through my visual arts practice,
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I try to make air, not so much picture it,
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but to make it visceral and tactile and haptic.
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I try to expand this notion of the aesthetic, how things look,
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so that it can include things like how it feels on your skin
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and in your lungs,
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and how your voice sounds as it passes through it.
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I explore the weight, density and smell, but most importantly,
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I think a lot about the stories we attach to different kinds of air.
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This is a work I made in 2014.
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It's called "Different Kinds of Air: A Plant's Diary,"
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where I was recreating the air from different eras in Earth's evolution,
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and inviting the audience to come in and breathe them with me.
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And it's really surprising, so drastically different.
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Now, I'm not a scientist,
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but atmospheric scientists will look for traces
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in the air chemistry in geology,
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a bit like how rocks can oxidize,
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and they'll extrapolate that information and aggregate it,
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such that they can pretty much form a recipe
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for the air at different times.
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Then I come in as the artist and take that recipe
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and recreate it using the component gases.
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I was particularly interested in moments of time
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that are examples of life changing the air,
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but also the air that can influence how life will evolve,
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like Carboniferous air.
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It's from about 300 to 350 million years ago.
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It's an era known as the time of the giants.
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So for the first time in the history of life,
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lignin evolves.
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That's the hard stuff that trees are made of.
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So trees effectively invent their own trunks at this time,
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and they get really big, bigger and bigger,
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and pepper the Earth,
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releasing oxygen, releasing oxygen, releasing oxygen,
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such that the oxygen levels are about twice as high
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as what they are today.
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And this rich air supports massive insects --
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huge spiders and dragonflies with a wingspan of about 65 centimeters.
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To breathe, this air is really clean and really fresh.
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It doesn't so much have a flavor,
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but it does give your body a really subtle kind of boost of energy.
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It's really good for hangovers.
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(Laughter)
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Or there's the air of the Great Dying --
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that's about 252.5 million years ago,
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just before the dinosaurs evolve.
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It's a really short time period, geologically speaking,
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from about 20- to 200,000 years.
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Really quick.
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This is the greatest extinction event in Earth's history,
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even bigger than when the dinosaurs died out.
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Eighty-five to 95 percent of species at this time die out,
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and simultaneous to that is a huge, dramatic spike in carbon dioxide,
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that a lot of scientists agree
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comes from a simultaneous eruption of volcanoes
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and a runaway greenhouse effect.
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Oxygen levels at this time go to below half of what they are today,
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so about 10 percent.
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So this air would definitely not support human life,
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but it's OK to just have a breath.
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And to breathe, it's oddly comforting.
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It's really calming, it's quite warm
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and it has a flavor a little bit like soda water.
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It has that kind of spritz, quite pleasant.
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So with all this thinking about air of the past,
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it's quite natural to start thinking about the air of the future.
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And instead of being speculative with air
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and just making up what I think might be the future air,
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I discovered this human-synthesized air.
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That means that it doesn't occur anywhere in nature,
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but it's made by humans in a laboratory
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for application in different industrial settings.
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Why is it future air?
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Well, this air is a really stable molecule
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that will literally be part of the air once it's released,
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for the next 300 to 400 years, before it's broken down.
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So that's about 12 to 16 generations.
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And this future air has some very sensual qualities.
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It's very heavy.
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It's about eight times heavier than the air we're used to breathing.
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It's so heavy, in fact, that when you breathe it in,
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whatever words you speak are kind of literally heavy as well,
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so they dribble down your chin and drop to the floor
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and soak into the cracks.
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It's an air that operates quite a lot like a liquid.
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Now, this air comes with an ethical dimension as well.
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Humans made this air,
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but it's also the most potent greenhouse gas
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that has ever been tested.
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Its warming potential is 24,000 times that of carbon dioxide,
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and it has that longevity of 12 to 16 generations.
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So this ethical confrontation is really central to my work.
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(In a lowered voice) It has another quite surprising quality.
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It changes the sound of your voice quite dramatically.
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(Laughter)
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So when we start to think -- ooh! It's still there a bit.
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(Laughter)
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When we think about climate change,
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we probably don't think about giant insects and erupting volcanoes
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or funny voices.
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The images that more readily come to mind
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are things like retreating glaciers and polar bears adrift on icebergs.
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We think about pie charts and column graphs
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and endless politicians talking to scientists wearing cardigans.
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But perhaps it's time we start thinking about climate change
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on the same visceral level that we experience the air.
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Like air, climate change is simultaneously at the scale of the molecule,
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the breath and the planet.
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It's immediate, vital and intimate,
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as well as being amorphous and cumbersome.
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And yet, it's so easily forgotten.
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Climate change is the collective self-portrait of humanity.
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It reflects our decisions as individuals,
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as governments and as industries.
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And if there's anything I've learned from looking at air,
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it's that even though it's changing, it persists.
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It may not support the kind of life that we'd recognize,
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but it will support something.
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And if we humans are such a vital part of that change,
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I think it's important that we can feel the discussion.
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Because even though it's invisible,
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humans are leaving a very vibrant trace in the air.
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Thank you.
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(Applause)
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