An underwater art museum, teeming with life | Jason deCaires Taylor

255,072 views ใƒป 2016-01-22

TED


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Sigal Tifferet
00:13
Ten years ago,
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ืœืคื ื™ ืขืฉืจ ืฉื ื™ื,
00:14
I had my first exhibition here.
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ื”ืฆื’ืชื™ ื›ืืŸ ืœืจืืฉื•ื ื”.
00:16
I had no idea if it would work or was at all possible,
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ืœื ื”ื™ื” ืœื™ ืžื•ืฉื’ ืื ื–ื” ื™ืขื‘ื•ื“ ืื• ืื ื–ื” ื‘ื›ืœืœ ืืคืฉืจื™,
00:20
but with a few small steps and a very steep learning curve,
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ืื‘ืœ ื‘ื›ืžื” ืฆืขื“ื™ื ืงื˜ื ื™ื ื•ืขืงื•ืžืช ืœืžื™ื“ื” ืชืœื•ืœื” ืžืื•ื“,
00:24
I made my first sculpture, called "The Lost Correspondent."
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ื™ืฆืจืชื™ ืืช ื”ืคืกืœ ื”ืจืืฉื•ืŸ ืฉืœื™, ืฉื ืงืจื "ื”ื›ืชื‘ ื”ืื‘ื•ื“."
00:28
Teaming up with a marine biologist and a local dive center,
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ืฉื™ืชืคืชื™ ืคืขื•ืœื” ืขื ื‘ื™ื•ืœื•ื’ ื™ืžื™ ื•ืžืจื›ื– ืฆืœื™ืœื” ืžืงื•ืžื™,
00:31
I submerged the work off the coast of Grenada,
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ื”ืฉืงืขืชื™ ืืช ื”ืขื‘ื•ื“ื” ืœื—ื•ืคื™ ื’ืจื ื“ื”,
00:34
in an area decimated by Hurricane Ivan.
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ื‘ืื–ื•ืจ ืฉื”ื•ื—ืจื‘ ืขืœ ื™ื“ื™ ื”ื•ืจื™ืงืŸ ืื™ื™ื‘ืŸ.
00:37
And then this incredible thing happened.
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ื•ืื– ื”ื“ื‘ืจ ื”ืžื“ื”ื™ื ื”ื–ื” ืงืจื”.
00:40
It transformed.
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ื”ื•ื ื”ืฉืชื ื”.
00:43
One sculpture became two.
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ืคืกืœ ืื—ื“ ื”ืคืš ืœืฉื ื™ื™ื.
00:46
Two quickly became 26.
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ืฉื ื™ื™ื ื”ืคื›ื• ื‘ืžื”ืจื” ืœ 26.
00:50
And before I knew it,
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ื•ืœืคื ื™ ืฉื™ื“ืขืชื™,
00:51
we had the world's first underwater sculpture park.
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ื™ืฆืจื ื• ืืช ืคืืจืง ื”ืคืกืœื™ื ื”ืชืช ื™ืžื™ ื”ืจืืฉื•ืŸ ื‘ืขื•ืœื.
00:56
In 2009, I moved to Mexico and started by casting local fisherman.
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ื‘ 2009, ืขื‘ืจืชื™ ืœืžืงืกื™ืงื• ื•ื”ืชื—ืœืชื™ ื‘ื™ืฆื™ืงืช ื“ื™ื™ื’ื™ื ืžืงื•ืžื™ื™ื.
01:02
This grew to a small community,
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ื–ื” ื’ื“ืœ ืœืงื”ื™ืœื” ืงื˜ื ื”,
01:06
to almost an entire movement of people in defense of the sea.
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ืœื›ืžืขื˜ ืชื ื•ืขื” ืฉืœืžื” ืฉืœ ืื ืฉื™ื ื”ืžื’ื ื™ื ืขืœ ื”ื™ื.
01:11
And then finally, to an underwater museum,
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ื•ืื– ืœื‘ืกื•ืฃ, ืœืžื•ื–ื™ืื•ืŸ ืชืช ื™ืžื™,
01:13
with over 500 living sculptures.
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ืขื ืžืขืœ 500 ืคืกืœื™ื ื—ื™ื™ื.
01:18
Gardening, it seems, is not just for greenhouses.
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ื’ื™ื ื•ืŸ, ื›ืš ื ืจืื”, ื–ื” ืœื ืจืง ืœื—ืžืžื•ืช.
01:23
We've since scaled up the designs:
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ืžืื– ื”ื’ื“ืœื ื• ืืช ื”ืขื™ืฆื•ื‘ื™ื:
01:26
"Ocean Atlas," in the Bahamas, rising 16 feet up to the surface
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"ืื˜ืœืก ืื•ืงื™ื™ื ื•ืก," ื‘ื‘ื”ืืžืก, ืขื•ืœื” ืขื“ 6 ืžื˜ืจ ืžืขืœ ืคื ื™ ื”ืžื™ื
01:30
and weighing over 40 tons,
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ื•ืฉื•ืงืœ ืžืขืœ 40 ื˜ื•ื ื•ืช,
01:33
to now currently in Lanzarote,
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ื•ื›ื™ื•ื ื‘ืœื ื–ืจื•ืชื™,
01:35
where I'm making an underwater botanical garden,
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ืฉื ืื ื™ ื™ื•ืฆืจ ื’ืŸ ื‘ื•ื˜ื ื™ ืชืช ื™ืžื™,
01:38
the first of its kind in the Atlantic Ocean.
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ื”ืจืืฉื•ืŸ ืžืกื•ื’ื• ื‘ืื•ืงื™ื™ื ื•ืก ื”ืื˜ืœื ื˜ื™.
01:42
Each project, we use materials and designs that help encourage life;
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ื‘ื›ืœ ืคืจื•ื™ื™ืงื˜, ื”ืฉืชืžืฉื ื• ื‘ื—ื•ืžืจื™ื ื•ืขื™ืฆื•ื‘ื™ื ื”ืžืขื•ื“ื“ื™ื ื—ื™ื™ื;
01:47
a long-lasting pH-neutral cement provides a stable and permanent platform.
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ื‘ื˜ื•ืŸ ืขืžื™ื“ ื‘ืขืœ ื—ื•ืžืฆื™ื•ืช ื ื™ื˜ืจืœื™ืช, ืฉืžืกืคืง ืคืœื˜ืคื•ืจืžื” ื™ืฆื™ื‘ื” ื•ืงื‘ื•ืขื”.
01:53
It is textured to allow coral polyps to attach.
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ื”ืžืจืงื ืฉืœื• ืžืืคืฉืจ ืœืคื•ืœื™ืคื™ื ืฉืœ ืืœืžื•ื’ื™ื ืœื”ืชื—ื‘ืจ ืืœื™ื•.
01:57
We position them down current from natural reefs
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ืื ื—ื ื• ืžืžืงืžื™ื ืื•ืชื ื‘ืžื•ืจื“ ื”ื–ืจื ืžืฉื•ื ื™ื•ืช ื˜ื‘ืขื™ื•ืช
02:00
so that after spawning, there's areas for them to settle.
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ื›ืš ืฉืื—ืจื™ ื”ื”ืฉืจืฆื”, ื™ืฉ ืœื”ื ืืชืจื™ ื”ืชื™ื™ืฉื‘ื•ืช.
02:05
The formations are all configured so that they aggregate fish
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ื”ืฆื•ืจื•ืช ื›ื•ืœืŸ ืžืื•ืจื’ื ื•ืช ื›ืš ืฉื”ืŸ ื™ืžืฉื›ื• ื“ื’ื™ื
02:08
on a really large scale.
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ื‘ืงื ื” ืžื™ื“ื” ืžืžืฉ ื’ื“ื•ืœ.
02:12
Even this VW Beetle has an internal living habitat
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ืืคื™ืœื• ืœื—ื™ืคื•ืฉื™ืช ื”ื–ื• ื™ืฉ ืื–ื•ืจ ืžื—ื™ื” ืคื ื™ืžื™
02:16
to encourage crustaceans such as lobsters and sea urchins.
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ื›ื“ื™ ืœืขื•ื“ื“ ืกืจื˜ื ื™ื ื›ืžื• ืœื•ื‘ืกื˜ืจื™ื ื•ื›ื•ื›ื‘ื™ ื™ื.
02:22
So why exhibit my work in the ocean?
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ืื– ืœืžื” ืœื”ืฆื™ื’ ืืช ื”ืขื‘ื•ื“ื” ืฉืœื™ ื‘ืื•ืงื™ื™ื ื•ืก?
02:25
Because honestly, it's really not easy.
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ืžืคื ื™ ืฉื‘ืืžืช, ื–ื” ืœื ืžืžืฉ ืงืœ.
02:28
When you're in the middle of the sea under a hundred-foot crane,
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ื›ืฉืืชื” ื‘ืืžืฆืข ื”ื™ื ืชื—ืช ืžื ื•ืฃ ืฉืœ ืฉืœื•ืฉื™ื ืžื˜ืจ,
02:31
trying to lower eight tons down to the sea floor,
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ืžื ืกื” ืœื”ื•ืจื™ื“ ืฉืžื•ื ื” ื˜ื•ื ื•ืช ืœืงืจืงืขื™ืช ื”ื™ื,
02:34
you start to wonder whether I shouldn't have taken up watercolor painting instead.
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ืืชื” ืžืชื—ื™ืœ ืœืชื”ื•ืช ืื ืœื ื”ื™ื™ืช ืฆืจื™ืš ืœื‘ื—ื•ืจ ื‘ืฆื™ื•ืจ ื‘ืฆื‘ืขื™ ืžื™ื ื‘ืžืงื•ื ื–ืืช.
02:38
(Laughter)
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(ืฆื—ื•ืง)
02:39
But in the end, the results always blow my mind.
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ืื‘ืœ ื‘ืกื•ืฃ, ื”ืชื•ืฆืื•ืช ืชืžื™ื“ ืžื“ื”ื™ืžื•ืช ืื•ืชื™.
02:42
(Music)
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(ืžื•ื–ื™ืงื”)
03:04
The ocean is the most incredible exhibition space
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ื”ืื•ืงื™ื™ื ื•ืก ื”ื•ื ื—ืœืœ ื”ืชืฆื•ื’ื” ื”ืžื“ื”ื™ื ื‘ืขื•ืœื
03:07
an artist could ever wish for.
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ืฉืืžืŸ ืื™ ืคืขื ื™ื•ื›ืœ ืœืงื•ื•ืช ืœื•.
03:09
You have amazing lighting effects changing by the hour,
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ื™ืฉ ืœื›ื ืืคืงื˜ื™ื ืžื“ื”ื™ืžื™ื ืฉืœ ืชืื•ืจื” ืฉืžืฉืชื ื™ื ื›ืœ ืฉืขื”,
03:12
explosions of sand covering the sculptures in a cloud of mystery,
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ืคื™ืฆื•ืฆื™ื ืฉืœ ื—ื•ืœ ืฉืžื›ืกื™ื ืืช ื”ืคืกืœื™ื ื‘ืขื ืŸ ืฉืœ ืžืกืชื•ืจื™ืŸ,
03:17
a unique timeless quality
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ืื™ื›ื•ืช ื™ื—ื•ื“ื™ืช ื—ืกืจืช ื–ืžืŸ
03:19
and the procession of inquisitive visitors,
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ื•ืชื”ืœื•ื›ื” ืฉืœ ืžื‘ืงืจื™ื ื—ืงืจื ื™ื,
03:21
each lending their own special touch to the site.
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ื›ืœ ืื—ื“ ื ื•ืชืŸ ืืช ื”ืžื’ืข ื”ืžื™ื•ื—ื“ ืฉืœื• ืœืืชืจ.
03:23
(Music)
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(ืžื•ื–ื™ืงื”)
03:51
But over the years,
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ืื‘ืœ ื‘ืžื”ืœืš ื”ืฉื ื™ื,
03:52
I've realized that the greatest thing about what we do,
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ื”ื‘ื ืชื™ ืฉื”ื“ื‘ืจ ื”ื›ื™ ื’ื“ื•ืœ ื‘ื ื•ื’ืข ืœืžื” ืฉืื ื—ื ื• ืขื•ืฉื™ื,
03:55
the really humbling thing about the work,
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ื”ื“ื‘ืจ ื”ื‘ืืžืช ืฆื ื•ืข ื‘ื ื•ื’ืข ืœืขื‘ื•ื“ื”,
03:58
is that as soon as we submerge the sculptures,
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ื–ื” ืฉื‘ืจื’ืข ืฉืื ื—ื ื• ืžืฉืงื™ืขื™ื ืืช ื”ืคืกืœื™ื,
04:00
they're not ours anymore,
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ื”ื ืœื ืฉืœื ื• ื™ื•ืชืจ,
04:02
because as soon as we sink them,
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ืžืคื ื™ ืฉื‘ืจื’ืข ืฉืื ื—ื ื• ืžืฉืงื™ืขื™ื ืื•ืชื,
04:03
the sculptures, they belong to the sea.
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ื”ืคืกืœื™ื ืฉื™ื™ื›ื™ื ืœื™ื.
04:06
As new reefs form, a new world literally starts to evolve,
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ื›ืฉืฉื•ื ื™ื•ืช ื—ื“ืฉื•ืช ื ื•ืฆืจื•ืช, ืขื•ืœื ื—ื“ืฉ ืžืชื—ื™ืœ ืœื”ืชืคืชื—,
04:10
a world that continuously amazes me.
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ืขื•ืœื ืฉืžืคืชื™ืข ืื•ืชื™ ืœืœื ื”ืคืกืง.
04:12
It's a bit of a clichรฉ, but nothing man-made
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ื–ื• ืงืฆืช ืงืœื™ืฉืื”, ืื‘ืœ ืืฃ ืžืขืฉื” ื™ื“ื™ ืื“ื
04:15
can ever match the imagination of nature.
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ืื™ื ื• ื™ื›ื•ืœ ืœื”ืฉืชื•ื•ืช ืœื“ืžื™ื•ืŸ ืฉืœ ื”ื˜ื‘ืข.
04:18
Sponges look like veins across the faces.
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ืกืคื•ื’ื™ื ื ืจืื™ื ื›ืžื• ืขื•ืจืงื™ื ืขืœ ืคื ื™ ื”ืคื ื™ื,
04:22
Staghorn coral morphs the form.
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ืืœืžื•ื’ื™ ืกื˜ื’ื”ื•ืจืŸ ืžืฉื ื™ื ืืช ืฆื•ืจืชื.
04:26
Fireworms scrawl white lines as they feed.
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ืชื•ืœืขื™ ืืฉ ืžืฆื™ื™ืจื•ืช ืงื•ื™ื ืœื‘ื ื™ื ื›ืฉื”ืŸ ื ื™ื–ื•ื ื•ืช.
04:31
Tunicates explode from the faces.
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ืžื™ื™ืชืจื ื™ ื–ื ื‘ ืžืชืคื•ืฆืฆื™ื ืžืคื ื™ื”ื.
04:36
Sea urchins crawl across the bodies feeding at night.
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ืงื™ืคื•ื“ื™ ื™ื ื–ื•ื—ืœื™ื ืขืœ ืคื ื™ ื”ื’ื•ืฃ ื•ื ื™ื–ื•ื ื™ื ื‘ืœื™ืœื”.
04:42
Coralline algae applies a kind of purple paint.
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ืืฆื•ืช ืงื•ืจืœื™ืŸ ืžื•ืจื—ื•ืช ืžืขื™ืŸ ืฆื‘ืข ืกื’ื•ืœ.
04:47
The deepest red I've ever seen in my life lives underwater.
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ื”ืื“ื•ื ื”ื›ื™ ืขืžื•ืง ืฉืื™ ืคืขื ืจืื™ืชื™ ื‘ื—ื™ื™ื ื—ื™ ืžืชื—ืช ืœืžื™ื.
04:54
Gorgonian fans oscillate with the waves.
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ืžื ื™ืคื•ืช ื’ื•ืจื’ื•ื ื” ืžืจืขื™ื“ื•ืช ืืช ื”ืžื™ื ืขื ื”ื’ืœื™ื.
04:59
Purple sponges breathe water like air.
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ืกืคื•ื’ื™ื ืกื’ื•ืœื™ื ื ื•ืฉืžื™ื ืžื™ื ื›ืžื• ืื•ื•ื™ืจ.
05:03
And grey angelfish glide silently overhead.
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ื•ื“ื’ื™ ืžืœืืš ืืคื•ืจื™ื ื’ื•ืœืฉื™ื ื‘ืฉืงื˜ ืžืขืœ.
05:08
And the amazing response we've had to these works
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ื•ื”ืชื’ื•ื‘ื” ื”ืžื“ื”ื™ืžื” ืฉืงื™ื‘ืœื ื• ืœืขื‘ื•ื“ื•ืช ื”ืืœื•
05:11
tells me that we've managed to plug into something really primal,
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ืžืœืžื“ืช ืื•ืชื™ ืฉื”ืฆืœื—ื ื• ืœื”ืชื—ื‘ืจ ืœืžืฉื”ื• ื‘ืืžืช ืจืืฉื•ื ื™,
05:15
because it seems that these images translate across the world,
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ืžืคื ื™ ืฉื ืจืื” ืฉื”ื“ื™ืžื•ื™ื™ื ื”ืืœื• ืžื•ื‘ื ื™ื ื‘ืจื—ื‘ื™ ื”ืขื•ืœื,
05:19
and that's made me focus on my responsibility as an artist
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ื•ื–ื” ื’ืจื ืœื™ ืœื”ืชืžืงื“ ื‘ืื—ืจื™ื•ืช ืฉืœื™ ื›ืืžืŸ
05:23
and about what I'm trying to achieve.
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ื•ื‘ืžื” ืฉืื ื™ ืžื ืกื” ืœื”ืฉื™ื’.
05:25
I'm standing here today on this boat in the middle of the ocean,
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ืื ื™ ืขื•ืžื“ ืคื” ื”ื™ื•ื ืขืœ ื”ืกื™ืจื” ื”ื–ื• ื‘ืืžืฆืข ื”ืื•ืงื™ื™ื ื•ืก,
05:29
and this couldn't be a better place
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ื•ืื™ืŸ ืžืงื•ื ื˜ื•ื‘ ืžื–ื”
05:31
to talk about the really, really important effect of my work.
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ื›ื“ื™ ืœื“ื‘ืจ ืขืœ ื”ืืคืงื˜ ื”ืžืžืฉ ืžืžืฉ ื—ืฉื•ื‘ ืฉืœ ื”ืขื‘ื•ื“ื” ืฉืœื™.
05:35
Because as we all know,
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ืžืคื ื™ ืฉื›ืคื™ ืฉื›ื•ืœื ื• ื™ื•ื“ืขื™ื,
05:37
our reefs are dying, and our oceans are in trouble.
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ื”ืฉื•ื ื™ื•ืช ืฉืœื ื• ืžืชื•ืช, ื•ื”ืื•ืงื™ื™ื ื•ืกื™ื ืฉืœื ื• ื‘ืฆืจื”.
05:41
So here's the thing:
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ืื– ื”ื ื” ื”ืขื ื™ื™ืŸ:
05:42
the most used, searched and shared image
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ื”ืชืžื•ื ื” ื”ื›ื™ ื‘ืฉื™ืžื•ืฉ ื•ืžืฉื•ืชืคืช ื•ืžื—ื•ืคืฉืช
05:45
of all my work thus far is this.
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ืฉืœ ื›ืœ ื”ืขื‘ื•ื“ื•ืช ืฉืœื™ ืขื“ ืขื›ืฉื™ื• ื”ื™ื ื–ื•.
05:49
And I think this is for a reason,
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ื•ืื ื™ ื—ื•ืฉื‘ ืฉื™ืฉ ืœื›ืš ืกื™ื‘ื”,
05:51
or at least I hope it is.
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ืื• ืœืคื—ื•ืช ืื ื™ ืžืงื•ื•ื” ืฉื–ื” ื›ืš.
05:53
What I really hope is that people are beginning to understand
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ืžื” ืฉืื ื™ ื‘ืืžืช ืžืงื•ื•ื” ื–ื” ืฉืื ืฉื™ื ืžืชื—ื™ืœื™ื ืœื”ื‘ื™ืŸ
05:56
that when we think of the environment and the destruction of nature,
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ืฉื›ืฉืื ื—ื ื• ื—ื•ืฉื‘ื™ื ืขืœ ื”ืกื‘ื™ื‘ื” ื•ื”ืจืก ื”ื˜ื‘ืข,
06:00
that we need to start thinking about our oceans, too.
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ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื”ืชื—ื™ืœ ืœื—ืฉื•ื‘ ื’ื ืขืœ ื”ืื•ืงื™ื™ื ื•ืกื™ื ืฉืœื ื•.
06:03
Since building these sites, we've seen some phenomenal
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ืžืื– ื‘ื ื™ื™ืช ื”ืืชืจื™ื ื”ืืœื•, ื™ืฉ ืœื ื• ื›ืžื” ืชื•ืฆืื•ืช
06:06
and unexpected results.
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ื™ื•ืฆืื•ืช ื“ื•ืคืŸ ื•ืœื ืฆืคื•ื™ื•ืช.
06:08
Besides creating over 800 square meters of new habitats and living reef,
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ื—ื•ืฅ ืžืœื™ืฆื•ืจ ื™ื•ืชืจ ืž 800 ืžื˜ืจ ืจื‘ื•ืขื™ื ืฉืœ ืื–ื•ืจื™ ืžื—ื™ื” ื—ื“ืฉื™ื ื•ืฉื•ื ื™ื•ืช ื—ื™ื•ืช,
06:13
visitors to the marine park in Cancun now divide half their time
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ืžื‘ืงืจื™ื ืœืคืืจืง ื”ื™ืžื™ ื‘ืงื ืงื•ืŸ ืขื›ืฉื™ื• ืžื—ืœืงื™ื ื—ืฆื™ ืžื–ืžื ื
06:17
between the museum and the natural reefs,
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ื‘ื™ืŸ ื”ืžื•ื–ื™ืื•ืŸ ื•ื”ืฉื•ื ื™ื•ืช ื”ื˜ื‘ืขื™ื•ืช,
06:20
providing significant rest for natural, overstressed areas.
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ืžืกืคืงื™ื ืžื ื•ื—ื” ืžืฉืžืขื•ืชื™ืช ืœืื–ื•ืจื™ื ื˜ื‘ืขื™ื™ื ืขืžื•ืกื™ื ืžื“ื™.
06:24
Visitors to "Ocean Atlas" in the Bahamas highlighted a leak
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ืžื‘ืงืจื™ื ืœ"ืื•ืงื™ื™ื ื•ืก ืื˜ืœืก" ื‘ื‘ื”ืืžืืก ื”ืจืื• ื“ืœื™ืคื”
06:28
from a nearby oil refinery.
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ืžืžื–ืงืงืช ื ืคื˜ ืงืจื•ื‘ื”.
06:31
The subsequent international media forced the local government
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ืคืขื™ืœื•ืช ื”ืžื“ื™ื” ื”ื‘ื™ืŸ ืœืื•ืžื™ืช ืœืื—ืจ ืžื›ืŸ ื”ื›ืจื™ื—ื” ืืช ื”ืžืžืฉืœ ื”ืžืงื•ืžื™
06:34
to pledge 10 million dollars in coastal cleanups.
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ืœื”ื•ืฆื™ื 10 ืžื™ืœื™ื•ืŸ ื“ื•ืœืจ ืœื ื™ืงื•ื™ ื—ื•ืคื™.
06:38
The sculpture park in Grenada was instrumental
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ืคืืจืง ื”ืคืกืœื™ื ื‘ื’ืจื ื“ื” ื”ื›ืจื™ื— ืืช ื”ืžืžืฉืœ
06:40
in the government designating a spot -- a marine-protected area.
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ืœื”ื›ืจื™ื– ืขืœ ืงื˜ืข ื›ืื–ื•ืจ ื™ืžื™ ืžื•ื’ืŸ.
06:44
Entrance fees to the park now help fund park rangers
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ืขืœื•ื™ื•ืช ื›ื ื™ืกื” ืœืคืืจืง ืขื•ื–ืจื•ืช ืœืžืžืŸ ืฉื•ืžืจื™ ืคืืจืง
06:48
to manage tourism and fishing quotas.
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ื›ื“ื™ ืœื”ืชืžื•ื“ื“ ืขื ื”ืชื™ื™ืจื•ืช ื•ืžื›ืกื•ืช ื”ื“ื™ื™ื’.
06:51
The site was actually listed as a "Wonder of the World"
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ื”ืืชืจ ื”ื•ื›ื ืก ืœืจืฉื™ืžืช "ืคืœืื™ ื”ืขื•ืœื"
06:53
by National Geographic.
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ืขืœ ื™ื“ื™ ื ืฉื™ื•ื ืœ ื’ืื•ื’ืจืคื™ืง.
06:56
So why are we all here today in this room?
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ืื– ืœืžื” ื›ื•ืœื ื• ืคื” ื”ื™ื•ื ื‘ื—ื“ืจ ื”ื–ื”?
06:58
What do we all have in common?
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ืžื” ื™ืฉ ืœื›ื•ืœื ื• ื‘ืžืฉื•ืชืฃ?
07:01
I think we all share a fear
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ืื ื™ ื—ื•ืฉื‘ ืฉื›ื•ืœื ื• ืฉื•ืชืคื™ื ืœืคื—ื“
07:03
that we don't protect our oceans enough.
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ืฉืื ื—ื ื• ืœื ืžื’ื™ื ื™ื ืขืœ ื”ืื•ืงื™ื™ื ื•ืกื™ื ืฉืœื ื• ืžืกืคื™ืง.
07:05
And one way of thinking about this
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ื•ื“ืจืš ืื—ืช ืœื—ืฉื•ื‘ ืขืœ ื–ื”
07:07
is that we don't regard our oceans as sacred,
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ื–ื” ืฉืื ื—ื ื• ืœื ืžืชื™ื™ื—ืกื™ื ืœืื•ืงื™ื™ื ื•ืกื™ื ืฉืœื ื• ื›ืžืงื•ื“ืฉื™ื,
07:10
and we should.
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ื•ืื ื—ื ื• ืฆืจื™ื›ื™ื.
07:12
When we see incredible places --
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ื›ืฉืื ื—ื ื• ืจื•ืื™ื ืžืงื•ืžื•ืช ืžื“ื”ื™ืžื™ื --
07:14
like the Himalayas or the La Sagrada Famรญlia,
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ื›ืžื• ื”ื”ื™ืžืœืื™ื” ืื• ืœื” ืกื’ืจื“ื” ืคืžื™ืœื™ื”,
07:18
or the Mona Lisa, even --
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ืื• ื”ืžื•ื ื” ืœื™ื–ื”, ืืคื™ืœื• --
07:19
when we see these incredible places and things,
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ื›ืฉืื ื—ื ื• ืจื•ืื™ื ืืช ื”ืžืงื•ืžื•ืช ื•ื”ื“ื‘ืจื™ื ื”ืžื“ื”ื™ืžื™ื ื”ืืœื•,
07:22
we understand their importance.
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ืื ื—ื ื• ืžื‘ื™ื ื™ื ืืช ื”ื—ืฉื™ื‘ื•ืช ืฉืœื”ื.
07:24
We call them sacred,
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ืื ื—ื ื• ืงื•ืจืื™ื ืœื”ื ืงื“ื•ืฉื™ื,
07:26
and we do our best to cherish them, to protect them
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ื•ืื ื—ื ื• ืขื•ืฉื™ื ื›ื›ืœ ื™ื›ื•ืœืชื™ื ื• ืœื”ื•ืงื™ืจ ืื•ืชื, ืœื”ื’ืŸ ืขืœื™ื”ื
07:29
and to keep them safe.
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ื•ืœืฉืžื•ืจ ืขืœื™ื”ื.
07:31
But in order to do that,
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ืื‘ืœ ื›ื“ื™ ืœืขืฉื•ืช ืืช ื–ื”,
07:33
we are the ones that have to assign that value;
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ืื ื—ื ื• ืืœื” ืฉืฆืจื™ื›ื™ื ืœืชืช ืืช ื”ืขืจืš ื”ื–ื”;
07:36
otherwise, it will be desecrated
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ืื—ืจืช, ื”ื•ื ื™ื—ื•ืœืœ
07:38
by someone who doesn't understand that value.
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ืขืœ ื™ื“ื™ ืžื™ืฉื”ื• ืฉืœื ืžื‘ื™ืŸ ืืช ื”ืขืจืš.
07:41
So I want to finish up tonight by talking about sacred things.
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ืื– ืื ื™ ืจื•ืฆื” ืœืกื™ื™ื ื‘ื“ื™ื‘ื•ืจ ืขืœ ื“ื‘ืจื™ื ืงื“ื•ืฉื™ื.
07:45
When we were naming the site in Cancun,
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ื›ืฉื‘ื—ืจื ื• ืฉื ืœืืชืจ ื‘ืงื ืงื•ืŸ,
07:47
we named it a museum for a very important and simple reason:
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ืงืจืื ื• ืœื• ืžื•ื–ื™ืื•ืŸ ืžืกื™ื‘ื” ืžืื•ื“ ื—ืฉื•ื‘ื” ื•ืคืฉื•ื˜ื”:
07:51
museums are places of preservation,
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ืžื•ื–ื™ืื•ื ื™ื ื”ื ืžืงื•ื ืœืฉื™ืžื•ืจ,
07:54
of conservation and of education.
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ืฉืœ ืฉื™ื— ื•ืฉืœ ื—ื™ื ื•ืš.
07:57
They're places where we keep objects of great value to us,
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ื”ื ืžืงื•ืžื•ืช ื‘ื”ื ืื ื—ื ื• ืฉื•ืžืจื™ื ืขืฆืžื™ื ื‘ืขืœื™ ืขืจืš ืจื‘ ืขื‘ื•ืจื ื•,
08:00
where we simply treasure them for them being themselves.
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ืฉื ืื ื—ื ื• ืื•ืฆืจื™ื ืื•ืชื ื‘ืฉืœ ื”ื™ื•ืชื ืขืฆืžื.
08:04
If someone was to throw an egg at the Sistine Chapel,
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ืื ืžื™ืฉื”ื• ื”ื™ื” ื–ื•ืจืง ื‘ื™ืฆื” ื‘ืงืคืœื” ื”ืกื™ืกื˜ื™ื ื™ืช,
08:07
we'd all go crazy.
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ื”ื™ื™ื ื• ืžืฉืชื’ืขื™ื.
08:09
If someone wanted to build a seven-star hotel
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ืื ืžื™ืฉื”ื• ื”ื™ื” ืจื•ืฆื” ืœื‘ื ื•ืช ืžืœื•ืŸ ืฉื‘ืขื” ื›ื•ื›ื‘ื™ื
08:12
at the bottom of the Grand Canyon,
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ื‘ืชื—ืชื™ืช ื”ื’ืจืื ื“ ืงื ื™ื•ืŸ,
08:14
then we would laugh them out of Arizona.
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ื”ื™ื™ื ื• ืฆื•ื—ืงื™ื ืขืœื™ื• ื•ืžื’ืจืฉื™ื ืื•ืชื• ืžืืจื™ื–ื•ื ื”.
08:16
Yet every day we dredge, pollute and overfish our oceans.
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ื•ืขื“ื™ื™ืŸ ื›ืœ ื™ื•ื ืื ื—ื ื• ื”ื•ืจืกื™ื, ืžื–ื”ืžื™ื, ื•ื“ื’ื™ื ื™ื•ืชืจ ืžื“ื™ ื‘ืื•ืงื™ื™ื ื•ืกื™ื.
08:20
And I think it's easier for us to do that,
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ื•ืื ื™ ื—ื•ืฉื‘ ืฉืงืœ ืœื ื• ื™ื•ืชืจ ืœืขืฉื•ืช ืืช ื–ื”,
08:23
because when we see the ocean,
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ืžืคื ื™ ืฉื›ืฉืื ื—ื ื• ืจื•ืื™ื ืืช ื”ืื•ืงื™ื™ื ื•ืก,
08:25
we don't see the havoc we're wreaking.
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ืื ื—ื ื• ืœื ืจื•ืื™ื ืืช ื”ื”ืจืก ืฉืื ื—ื ื• ื’ื•ืจืžื™ื.
08:27
Because for most people,
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ืžืคื ื™ ืฉืขื‘ื•ืจ ืจื•ื‘ ื”ืื ืฉื™ื,
08:29
the ocean is like this.
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ื”ืื•ืงื™ื™ื ื•ืก ื”ื•ื ื›ื–ื”.
08:30
And it's really hard
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ื•ื–ื” ื‘ืืžืช ืงืฉื”
08:32
to think of something that's just so plain and so enormous, as fragile.
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ืœื—ืฉื•ื‘ ืขืœ ืžืฉื”ื• ืฉื”ื•ื ื›ืœ ื›ืš ืคืฉื•ื˜ ื•ืขืฆื•ื, ื›ืฉื‘ื™ืจ.
08:37
It's simply too massive, too vast, too endless.
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ื”ื•ื ืคืฉื•ื˜ ืžืกื™ื‘ื™ ืžื“ื™, ื’ื“ื•ืœ ืžื“ื™, ืื™ื ืกื•ืคื™ ืžื“ื™.
08:41
And what do you see here?
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ื•ืžื” ืืชื ืจื•ืื™ื ืคื”?
08:42
I think most people actually look past to the horizon.
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ืื ื™ ื—ื•ืฉื‘ ืฉืจื•ื‘ ื”ืื ืฉื™ื ืœืžืขืฉื” ืžื‘ื™ื˜ื™ื ืžืขื‘ืจ ืœืื•ืคืง.
08:45
So I think there's a real danger
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ืื– ืื ื™ ื—ื•ืฉื‘ ืฉื™ืฉ ืกื›ื ื” ืืžื™ืชื™ืช
08:47
that we never really see the sea,
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ืฉืื ื—ื ื• ืœืขื•ืœื ืœื ืจื•ืื™ื ืืช ื”ื™ื,
08:50
and if we don't really see it,
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ื•ืื ืื ื—ื ื• ืœื ืจื•ืื™ื ืื•ืชื• ื‘ืืžืช,
08:51
if it doesn't have its own iconography,
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ืื ืื™ืŸ ืœื• ืื™ืงื•ื ื•ื’ืจืคื™ื” ืžืฉืœื•,
08:54
if we miss its majesty,
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ืื ืื ื—ื ื• ืžืคืกืคืกื™ื ืืช ื”ืžืœื›ื•ืชื™ื•ืช ืฉืœื•,
08:56
then there's a big danger that we take it for granted.
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ืื– ื™ืฉ ืกื›ื ื” ื’ื“ื•ืœื” ืฉืื ื—ื ื• ืœื•ืงื—ื™ื ืื•ืชื• ื›ืžื•ื‘ืŸ ืžืืœื™ื•.
09:00
Cancun is famous for spring break,
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ืงื ืงื•ืŸ ื™ื“ื•ืขื” ื‘ื—ื•ืคืฉื•ืช ื”ืื‘ื™ื‘,
09:04
tequila and foam parties.
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ื˜ืงื™ืœื” ื•ืžืกื™ื‘ื•ืช ืงืฆืฃ.
09:06
And its waters are where frat boys can ride around on Jet Skis
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ื•ื”ืžื™ื ืฉืœื” ื”ื ื”ืžืงื•ื ื‘ื• ืกื˜ื•ื“ื ื˜ื™ื ื™ื›ื•ืœื™ื ืœืจื›ื•ื‘ ืขืœ ืื•ืคื ื•ืขื™ ืžื™ื
09:09
and banana boats.
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ื•ืกื™ืจื•ืช ื‘ื ื ื”.
09:11
But because of our work there, there's now a little corner of Cancun
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ืื‘ืœ ื‘ื’ืœืœ ื”ืขื‘ื•ื“ื” ืฉืœื ื• ืฉื, ื™ืฉ ืขื›ืฉื™ื• ืคื™ื ื” ืงื˜ื ื” ื‘ืงื ืงื•ืŸ
09:15
that is simply precious for being itself.
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ืฉื”ื™ื ืคืฉื•ื˜ ื™ืงืจื” ื‘ืคื ื™ ืขืฆืžื”.
09:19
And we don't want to stop in Grenada,
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ื•ืื ื—ื ื• ืœื ืจื•ืฆื™ื ืœืขืฆื•ืจ ื‘ื’ืจื ื“ื”,
09:21
in Cancun or the Bahamas.
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ื‘ืงื ืงื•ืŸ ื•ื‘ืื™ื™ ื”ื‘ื”ืืžื”.
09:24
Just last month, I installed these Four Horsemen of the Apocalypse
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ืจืง ื‘ื—ื•ื“ืฉ ืฉืขื‘ืจ, ื”ืชืงื ืชื™ ืืช ืืจื‘ืขืช ื”ืคืจืฉื™ื ืฉืœ ื”ืืคื•ืงืœื™ืคืกื” ื”ืืœื”
09:28
in the Thames River,
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ื‘ื ื”ืจ ื”ืชืžื–ื”,
09:31
in central London, right in front of the Houses of Parliament,
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ื‘ืžืจื›ื– ืœื•ื ื“ื•ืŸ, ืžืžืฉ ืžื•ืœ ื‘ื™ืช ื”ืคืจืœืžื ื˜,
09:34
putting a stark message about climate change
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ื•ื”ืขืžื“ืชื™ ืžืกืจ ื‘ื•ื˜ื” ื‘ื ื•ื’ืข ืœืฉื™ื ื•ื™ ื”ืืงืœื™ื
09:37
in front of the people that have the power to help change things.
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ืžื•ืœ ื”ืื ืฉื™ื ืฉื™ืฉ ืœื”ื ืืช ื”ื›ื•ื— ืœืฉื ื•ืช ืืช ื”ื“ื‘ืจื™ื.
09:43
Because for me, this is just the beginning of the mission.
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ื›ื™ ื‘ืฉื‘ื™ืœื™, ื–ื• ืจืง ืชื—ื™ืœืช ื”ืžืฉื™ืžื”.
09:46
We want to team up with other inventors,
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ืื ื—ื ื• ืจื•ืฆื™ื ืœืฉืชืฃ ืคืขื•ืœื” ืขื ืžืžืฆื™ืื™ื ืื—ืจื™ื,
09:48
creators, philanthropists, educators, biologists,
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ื™ื•ืฆืจื™ื, ืคื™ืœื ื˜ืจื•ืคื™ื, ืžื—ื ื›ื™ื, ื‘ื™ื•ืœื•ื’ื™ื,
09:52
to see better futures for our oceans.
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ื›ื“ื™ ืœืจืื•ืช ืขืชื™ื“ ื˜ื•ื‘ ื™ื•ืชืจ ืœืื•ืงื™ื™ื ื•ืกื™ื ืฉืœื ื•.
09:54
And we want to see beyond sculpture,
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ื•ืื ื—ื ื• ืจื•ืฆื™ื ืœืจืื•ืช ืžืขื‘ืจ ืœืคืกืœื™ื,
09:57
beyond art, even.
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ืžืขื‘ืจ ืœืืžื ื•ืช, ืืคื™ืœื•.
09:59
Say you're a 14-year-old kid from the city,
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ื ื’ื™ื“ ืฉืืชื ื™ืœื“ื™ื ื‘ื ื™ 14 ืžื”ืขื™ืจ,
10:02
and you've never seen the ocean.
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ื•ืžืขื•ืœื ืœื ืจืื™ืชื ืืช ื”ืื•ืงื™ื™ื ื•ืก.
10:04
And instead of getting taken to the natural history museum
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ื•ื‘ืžืงื•ื ืœืœื›ืช ืœืžื•ื–ื™ืื•ืŸ ืœื”ื™ืกื˜ื•ืจื™ื” ืฉืœ ื”ื˜ื‘ืข
10:08
or an aquarium,
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ืื• ืœืืงื•ื•ืจื™ื•ื,
10:09
you get taken out to the ocean,
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ืืชื ื”ื•ืœื›ื™ื ืœืื•ืงื™ื™ื ื•ืก,
10:12
to an underwater Noah's Ark,
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ืœืชื™ื‘ืช ื ื•ื— ืชืช ื™ืžื™ืช,
10:15
which you can access through a dry-glass viewing tunnel,
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ืืœื™ื” ืืชื ื™ื›ื•ืœื™ื ืœื’ืฉืช ื“ืจืš ืžื ื”ืจืช ื–ื›ื•ื›ื™ืช ืชืช ื™ืžื™ืช ื™ื‘ืฉื”,
10:19
where you can see all the wildlife of the land
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ืฉื ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืืช ื›ืœ ื”ื—ื™ื™ื ืขืœ ื”ืื“ืžื”
10:21
be colonized by the wildlife of the ocean.
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ืžืื•ื›ืœืกื™ื ืขืœ ื™ื“ื™ ื”ื—ื™ื™ื ื‘ืื•ืงื™ื™ื ื•ืก.
10:24
Clearly, it would blow your mind.
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ื–ื” ื‘ื˜ื•ื— ื™ื“ื”ื™ื ืืชื›ื.
10:27
So let's think big and let's think deep.
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ืื– ื‘ื•ืื• ื ื—ืฉื•ื‘ ื‘ื’ื“ื•ืœ ื•ื‘ื•ืื• ื ื—ืฉื•ื‘ ืœืขื•ืžืง.
10:30
Who knows where our imagination and willpower can lead us?
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ืžื™ ื™ื•ื“ืข ืœืืŸ ื”ื“ืžื™ื•ืŸ ื•ื›ื•ื— ื”ืจืฆื•ืŸ ืฉืœื ื• ื™ื›ื•ืœื™ื ืœื”ื•ื‘ื™ืœ ืื•ืชื ื•.
10:34
I hope that by bringing our art into the ocean,
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ืื ื™ ืžืงื•ื•ื” ืฉื‘ื”ืฆื’ืช ื”ืืžื ื•ืช ืฉืœื ื• ื‘ืื•ืงื™ื™ื ื•ืก,
10:37
that not only do we take advantage of amazing creativity
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ืื ื—ื ื• ืœื ืจืง ืžื ืฆืœื™ื ื™ืฆื™ืจืชื™ื•ืช ืžื“ื”ื™ืžื”
10:40
and visual impact of the setting,
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ื•ื”ืฉืคืขื” ื•ื™ื–ื•ืืœื™ืช ืฉืœ ื”ืžื™ืงื•ื,
10:42
but that we are also giving something back,
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ืืœื ื’ื ืžื—ื–ื™ืจื™ื ืžืฉื”ื•,
10:45
and by encouraging new environments to thrive,
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ื•ืžืขื•ื“ื“ื™ื ืกื‘ื™ื‘ื•ืช ื—ื“ืฉื•ืช ืœืฉื’ืฉื’,
10:48
and in some way opening up a new -- or maybe it's a really old way
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ื•ืžืจืื™ื ื‘ื“ืจืš ืžืกื•ื™ื™ืžืช -- ื•ืื•ืœื™ ื–ื• ื“ืจืš ืžืžืฉ ื™ืฉื ื” --
10:53
of seeing the seas:
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ืืช ื”ื™ืžื™ื:
10:55
as delicate, precious places,
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ื›ืžืงื•ืžื•ืช ืขื“ื™ื ื™ื ื•ื™ืงืจื™ ืขืจืš,
10:59
worthy of our protection.
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ืฉืจืื•ื™ ืฉื ื’ืŸ ืขืœื™ื”ื.
11:01
Our oceans are sacred.
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ื”ืื•ืงื™ื™ื ื•ืกื™ื ืฉืœื ื• ืžืงื•ื“ืฉื™ื.
11:03
Thank you.
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ืชื•ื“ื” ืœื›ื.
11:05
(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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