In his 1967 poem “All Watched Over by Machines of Loving Grace,” the late author Richard Brautigan, a mascot of ’60s counterculture, longed for “a cybernetic meadow / where mammals and computers / live together in mutually / programming harmony.” His words reflected a popular sentiment of his generation, who pollinated a field of musical experimentation with technology of the late 20th century, such as modular synthesizers and tape loops, and drew inspiration from the natural world. Many artists saw nature and the electronic as coexistent—even as having a symbiotic relationship.