The performance was named after Bach’s piece “Quodlibet” BWV 524, this title relates to a mixture of texts of various provenances. “Quodlibets” as a musical genre were practiced in the 16th 17th century, they combine a succession of pieces spontaneously strung together. Hopson, Peyrafitte & Joris revisit this genre by juxtaposing and blending electronic technology, music, painting, voice, and poetry.

They will use the words of Henri Michaux, Pierre Joris, and Marcel Duchamps, Bach Cantatas text, hipbones related medical jargon, 19th century Sacred Harp Songbook and French popular songs and web it together in a 15 minutes piece. 
Peyrafitte, Hopson & Joris perform the metonymic process of the juxtaposition of these media live on stage: Hopson plays a soprano saxophone combined with a computerized interactive performance system, and various outboard electronic music devices. He has designed software, which allows him to make music with the system in real time while Peyrafitte sings, reads, vocalizes and also interacts with her visuals projected on a large screen via a lcd projector, Pierre Joris reads complexified texts from Giorgio Agamben's The Coming Community, tweaked via bone-grafts. The finale is Bach's own Quodlibet-poem for the Hochzeit-cantata, in the original German by NP and in a homophonic translation by PJ and am original Quodlibet by HH.

"Quodlibet" was the keynote performance at DAC2000 in Bergen, Norway.