With all parts mapped down and the floor finalised, there were just lacking the 16 loudspeakers still waiting to be suspended throughout the ceiling. We thought that it would be too late to introduce our friend - the power drill - in the narrative, but given the scarce time (and the absence of actual neighbours) we advanced with the plan. All that cartography drawn on the floor helped us - through symbols, which effectively became our lingua-franca - managing to identify the zones of greater incidence, as those further, which would as well need sonification. As soon as this process got completed, there came the power drill, then the hooks and, right at the final stage, the sound cables, which luckily had been serialised and organised by size by Rodrigo during the evening.
Whilst Rodrigo was finishing all preparations on the ceiling - between cable swapping, to see which one would reach and serve the highest number of loudspeakers possible, and checking whether those left would indeed reach the closest loudspeakers - Sara created 16 tracks on Logic and was trying to identify and determine to whom every bit belonged, so that everyone would be accordingly sent to the correct places. The wisest thing was that Sara had already singled out each recording with name tags and different colours so to be able to maneuver everything easily. In a separate document, she had as well completed an indexical list of responses and places, with all the succinctly valuable information from everyone's interview. In this way, she assigned every sound to each of the loudspeakers, one by one, until the work got completed, only after the sun was up and high in the sky…
So exhausted and dying for some sleep, Sara woke Rodrigo up, who could close his eyes for a couple of hours and, together, they made the last reparations to the sound and timings of each interview. We concluded that each song would have to necessarily come up alone, one at each time, and that there had to be a limit of maximum interviews heard at any single time. Upon lastly testing the intelligibility of the most fundamental contents, we gladly understood that in between little utterances and total cacophony, it is well possible to clearly listen to any chosen interview more than any other, depending on where one decides to stand in space, bellow any given loudspeaker and adjacent symbols. Accordingly, people can move around the space towards the interview that most calls for their attention!
Yet, not everything was concluded and, after some bread with cheese and an orange juice, Sara still went and wrote every participant's name on the wall, as she did with the 5 questions, helped by Rodrigo who, again, used the coloured lines and glue-tape to obtain the necessary divisions of the wall at east and, at the same time, ultimately make them serve as rulers. In the end, and after a watering can full or cold water down the body, everything was finally ready. Sara thought she could now go and get some sleep, but at this precise moment, the phone rings. It was Lília Mata on the other side, asking if there was some time for a quick interview before the inauguration. In fact, there was strangely some spare time. After all, drowsiness had somehow inhibited itself under an upcoming chemical strength, which seemed to come back for a final testimony. Sara's words were then broadcasted hours later on RDP [Portuguese Public Radio], reminding everyone about the opening, and just right after it, we indeed opened the doors, even slightly before 7 pm for the inauguration of 'The state of things'.
We were very happy to see all interviewees flowing into the space of PIPINOIR, and so there arrived friends, acquaintances and other interested people to come and watch and listen to the project. It was amazing to see the enthusiasm with which several people moved across the mapped floor, from a loudspeaker to another, searching for songs and statements, and as well looking forward to hearing their own voices! Lots of them said that the project was really different from anything they had seen so far and we noticed there was real, honest interest paid to the most distinct particularities of the work; from the visual impact of the cartographic mapping to the more anthropological and social or musical sides of it. The recorded voices of every interviewee many times fused with their real bodies' euphoric commentaries and reactions, and the continuous rumble was often only interrupted by either joyful singing and playing.
Photograph by Sara Rodrigues
Photograph by Rui A. Camacho