The third, 'means of transport', allowed family games through hypothetical changes of place and the interest of the other residents by watching and sharing moments of their own childhood memories. Representing objects as boat, helicopter, aircraft, car, caravan, subway, excavator, trailer, truck and motorbike, stimulated memories and fed expectations. The objects created acted as stimulation tools, even if at a distance, because they used common objects and community knowledge. The spectators started to give their opinion, to guess the shape and not always agreed with what was proposed. They could be conceived as active interpreters that Jacques Rancière mentions in “The Emancipated Spectator” (2010) in the sense that they were not limited to watch, they appropriated objects, interpreted shapes, shared memories and promoted dialogues.
The interaction established with the neighbours by the time this work was conceived, highlights the communicating side of the objects, their ability to create atmospheres of communion, contact and sharing.
The three moments of interaction ended up working in a complementary way. The first, ‘dia bom’, marked the field of action and allowed the kickstart of a dialogue with the other residents. The second, the 'noughts and crosses', due to the failure of creating proximity, ended up showing the importance of exploring the visual dialogue and the idea of travelling. The third, 'means of transport', started to explore other possibilities of travel, using imagination and memory.
The suggested proximity and the allusion to childhood of the objects created in ‘matéria disponível' transformed the isolated atmosphere of the place particularly enforced by the context. This framework takes us to ‘Surround Me’ (2010) by Susan Philipsz. In it, Philipsz filled different spaces within the Square Line in London with a sonic constellation, during several weekends. This area of the city, defined by a daily frenzy of commerce and traffic during weekdays, on weekends was marked by silence, only broken by the occasional noise of cars and church bells. In these moments of silence, Philipsz's voice resounded, with arrangements taken from popular English songs from the late 16th and early 17th centuries, through the streets, bringing the place closer to collective memory and inviting the pedestrian to inhabit/enjoy this part of the city.
Also in ‘matéria disponível’, the atmosphere of the place is changed by the ability, not of the sound but, of the objects to establish memory relationships with the spectator. The suggested proximity and the allusion to childhood altered the isolated atmosphere of the place as it was lived in that context.
However, at that time, as a physical project, this work was limited to the timely record of the objects produced and the sole materials which they were composed from. In these recordings the general isolation that was experienced in that period did not show up. As being the result of these positive moments of connection, these recordings miss visual context to the isolation that motivated the work.
During this period, in Portugal, the communication by the media was the closest link to external life. Information transmitted by television, audio or digital channels gained importance in people's lives and focused on the response of healthcare systems to the high number of people in intensive care and the worldwide spread of the CoVID-19 virus. With the intention of later being able to exhibit the images produced and to continue to establish dialogues and relations, the option was to link this recording to the media images, published on 'Euronews'. The confrontation of these two realities resulted in the overlapping of photographs with the same date. The colour photographs, produced in the building's courtyard with the remains of the facade, were overlapped on black and white negative images of media photographs taken from ‘Euronews’ on that same day.
The presence of media images gave the work the dimension of time and common memory. The final compositions confront everyone's reaction to solitude, such as our sharing at the courtyard, with the worldwide cause behind it and, therefore, suggest acrossing and transversality of experiences. It is this “collective memory” that allows these images to be understood, in the sense that it motivates the individual's association with their own lived moment.