Zona de Contato
A live cinema experience
Interview Highlights
"Yeah, another thing I would mention is Márcia's drawing, right?
That’s the sort of final result of the sound, right? The image came, the sound came—or the sound before the image—and then you see the final drawing, which is like the signature, right?
It’s like the final extract of everything we produced, what became the final drawing, right? And it’s the musical notation, right? Because she listened to the sound; she didn’t even see the video.
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So, I think that’s the big finale, right? That’s why we did this collective work, right?
And a lot of what I played there are new, unpublished things that were only played that day, you know?
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Because the drawing only happened that day—it’s not going to happen again, that same drawing.
Even the video, do you get what I mean? You improvised a lot of things there—it was created that day, right?
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So, I think that’s it. The final extract is this result, right?
What’s left—and also the memory of the people. A lot stays there, the questions...
People asked a lot of interesting things, they said a lot.
There were many great testimonies that I remember we had there."
Vagné L. (Luanda, session)
"Yes. The first thing that came to mind was the feeling of being present. Something happening 360 degrees around me, in a collective setting.
I remember... I have visual memories, and... of the sound of the music. And of people. Because, I don’t know, since I was just watching, I remember constantly observing everything around me.
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Like, there was a video in front, and on the sides. I looked a lot at one of the side screens as well. And the music playing. And that feeling of not being alone. Like, there were people, right? When I watch a movie, I get very... not introspective, but it’s just me and the film.
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But there, I felt it was me and other people. There were people, and things happening beyond just the visual stimuli, you know?
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(...)
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In terms of visual memory, I remember it was related to the projection—seeing the people next to me on the screen. That made me look around.
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I found it funny, you know, I thought it was great.
When I saw the people on the screen, others looked to see if those were the same people sitting there next to them. I loved that. I don’t know if I saw myself, but I did see the people next to me on the screen.
Another visual memory I have is related more to the video. It was like an organism, a fluid, living organism.​ And also, kind of like the deep sea, you know? Like the organism and the sea mixing, and things flowing."
Alessandra, M. (Lisbon session)
"I’m going to try to recall that video. First, I was trying to find the logic behind it all.
And generally, I try to find the logic in things. But it wasn’t a matter of logic; it was basically about seeing what you were feeling.
And when that game sound played, it felt like maybe we’re living in a simulation and being controlled by someone. That was interesting.
Then, that eye—I first associated it with a crystal ball. It seemed like someone had gone to consult it and was observing, because there was that temporal shift, and it left me a bit confused—why the temporal shift?
Then there was that geographical shift. I was even trying to understand why the geographical shift.
There were so many "whys" that I got confused.​ Later, when you said it was your way of seeing the world, it was... like, oh, so this is the connection.
We don’t see the world only in the present; we also analyze the past—how the past affected the present—and how the present will affect the future.
So it was quite confusing. And it was a very profound experience because it made me analyze how I see the world: in what ways I find the world interesting, beautiful, or what things displease me when I look at the world.
It was a revelatory experience."
Alexandre, L. (Luanda session)
