George Maciunas started to use the term Fluxus in 1961 for a series of lecture-demonstrations and performance in New York, since then a continuous on-going series of exhibitions, performances, concerts and publications have traversed all the world, and much has been written and theorised, more or less accurately, about this art movement. Therefore I believe that the best introduction to this first anthology of Fluxus music an sound events should be to publish a selection of texts written by some flux-people, each one dealing with his own individual view point.
Around 1962, La Monte formulated the concept of Dream House as a piece that would be played continuously, experienced as a living organism with a life of its own, and exist in time as a tradition to itself. […] Time is so important for experiencing and understanding this piece that the exhibition was specially designed to give visitors the chance to offer themselves for longer stretches of time to the environment, and, perhaps, during the time span to frequently return to their own existence. It follows the principle that musical atmosphere is a function of time. […], and can be essential to experiencing frequencies over longer time periods, in order to adjust one’s nervous system and vibrate with the frequencies of the environment.