You are but not of the flesh

“You are but not of the flesh” departs from the motet “Jesu, meine Freude”, a five-part choir piece by J. S. Bach from 1723, marking the apex of Lutheran church music. Written as in a delirium during times of enlightenment’s early scientific frenzy, the text and music expresses an ecstatic longing for the spirit and its final disciplining of the flesh. The longing rejects what, in relation to Lutheran norms, is disorderly disobedient, some spiritual passion beyond control (as described by Silvia Federici, deemed sinful icollege research papers for sale order assignment services onlinen the eyes of early Lutheran capitalist societies organized along lines of control and capture through financialization and adjacent patriarchal regime). Rather, its desires are directed towards a chain of dramatized, yet incomputable, unfoldings, until a point of maximized elegance and formal sophistication, that is, the final fugue.

By these methods, Bach explores the tension of an aesthetico-political paradox of musical perceptions, how the affinity for the immaterial expressions inherent to the principle of the fugue, such as self-generating symmetries, algorithmic structuring and formalization is being misused to oppress its condition for realization; the embodied voice, the technological materiality of the instruments played, the paranoid physical and ideological violence directed towards the flesh. This paradox remains today and need, considering the simultaneous capture and liberation of the conditions for spirituality by machinic/algorithmic capitalist/anti-capitalist influence, a dramatic revisit.

“You are but not of the flesh” is a Swedish-Danish endeavor with its final output being a live performance of “Jesu, meine Freude” by a five-piece vocal group joining efforts with a sound designer and a scencollege research papers for sale order assignment services onlinegrapher. The performance will utilize contemporary sound design tools to mutate and recompose the baroque harmonic and rhythmic content. Also, the performance will be drawing upon post-human drama as a way to frame non-human subjects as performer, exploring a multitude of synthetic smears, techno-spiritual joy/angst and modes of crying.


Moa Sjöstrand, Concept/Scenograpy

Mandus Ridefelt, Concept/Tenor

Arthur Carlander, Sound design

Nina Bengstsson, Soprano 1

Hanna Fruberg, Soprano 2

Andrea Myhr, Alto

Joachim Petterson, Bass