L-fields / Michael Prime

By:

Prime, Michael [artista sonoro]

Material type: Music

Música interpretada

Media type:

audio

Carrier type:

disco sonoro

Subject(s):

Genre/Form:

Contents:

1. God's Own Dibber (Cannabis sativa and environment recorded in Brussels, August 1998) ; 2. Contour Of A Forgotten Landscape (Amanita muscaria and environment recorded in Honor Oak, November 1997) ; 3. Listen To Peyote (Lophophora williamsii and environment recorded in Orpington, February 1999)

Bibliography: Incluye fotografías de plantas y hongos, junto al proceso de amplificación bioeléctricaSummary: "The sound materials used on this CD are derived from bioelectrical recordings of living plants and fungi. All living things possess electrical fields which fluctuate according to the physical or mental state of the organism, as well as to solar, lunar and other cycles. The tiny voltages produced by the plants were amplified and used as control signals for battery-powered oscillators, recorded in situ. Environmental sounds from the locations where the plants were growing were also used in the compositions. I chose to use hallucinogenic plants as subjects because of their long history of interaction with humans, and because of the large amount of music that has apparently been influenced by their usage. I thought it was time to let the natural rhythms of the plants themselves be heard."

Holdings
Cover image	Item type	Current library	Collection	Call number	Status	Date due	Barcode
	Grabaciones sonoras	Biblioteca FJM Sala Nuevas músicas	Grabaciones de música	7.9 PRI 2000 (Browse shelf(Opens below))	Available		1279040

"The sound materials used on this CD are derived from bioelectrical recordings of living plants and fungi. All living things possess electrical fields which fluctuate according to the physical or mental state of the organism, as well as to solar, lunar and other cycles. The tiny voltages produced by the plants were amplified and used as control signals for battery-powered oscillators, recorded in situ. Environmental sounds from the locations where the plants were growing were also used in the compositions. I chose to use hallucinogenic plants as subjects because of their long history of interaction with humans, and because of the large amount of music that has apparently been influenced by their usage. I thought it was time to let the natural rhythms of the plants themselves be heard."

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