[rk conversation transcript 18-jan-2018]
The directionality of ultrasound plus the fact of its being up at a high frequency within the high spectrum, above human hearing but still within audible sound in the air where the air has impact, was interesting to me as a kind of site for working. Moreover, part of what I was interested in was the possibility of, instead of having patching happening electronically or internally or in an informatic way, the patching would be directional streams of sound. The piece works as a set of episodes, then within an episode all performance is just with physical objects. So everything is revealed in this sense. SuperCollider’s role is as a kind of functional program, it’s setting up this basic patch. And then all the instrumentality is physical. So it’s another factoring of it. Then that kind of gets into this new materialism, you know, the materiality of this, of the ultrasound.