In 1973, Hélio Oticica and the Brazilian filmmaker Neville D'Almeida collaborated on a number of cinematic environments called Block-Experiences in Cosmococa Programa-in-Progress. These short films give insight into privacy of Oiticica's New York loft, often capturing the presence of cocaine, meticulously lined along the edges of photographs, making reference to the drug's creative capacity. For Oiticica, the Cosmococas were an extension of Neo-Concrete art, leaving behind the cold geometry of Concrete abstraction and bringing the elements of time and viewer participation into the work, thereby creating a new language of art that was useful to society. The Cosmococas are "participatory environments in which elements of relaxation, distraction, consumption, and contingency were key," evincing their intrinsic ties to relational aesthetics and artists like Rirkrit Tiravanija. (Irene V. Small, "Hélio Oticica and Neville D'Almeida's Block-Experiences in Cosmococa Programa-in-Progress", Walter Art Center, 2014)