I have seen a few singer/songwriters use this and Incubus, though I can't think of which songs in particular. I've seen it done with a Dmaj most frequently. The 4 appears a half-step above the 3, creating a minor second dissonance that sounds pretty cool. They use the F# on the D-string and play the open G-string. I have seen people add the open B and E as well or an A on the low E-string but I can call those extensions such as 9 and 13 if D is the root of this chord. If I refer to the G as 11, Jazz theory (and my ear) tells me that it shouldn't be there or that it isn't a normal major chord and that voicing wouldn't be played if someone wrote Dmaj on a chart. However, it does still functionally sound like a major chord to me.
If I just look at the notes I could try to call it Gmaj7/D and the B is implied, but it doesn't sound that way and a simple II-V-I in G, landing on this chord, doesn't sound resolved, where a II-V-I in D does.
Similarly, is there a way to express in a chord symbol that two notes should be played directly next to each other, creating the same minor second dissonance? Such as, the 9 and b3 of a minor chord or the b7 and 13 in a dominant chord. That is a specific dissonance that is not expressed by the normal chord symbol and I have wondered how to write it for a while.