“a nature-focused aesthetic became appealing precisely because it promised a break from cultural pressure, from the pressure to constantly navigate complex human-built environments. It wasn’t so much that the natural world was actually simple, but that it offered an experiential simplicity for human observers. Nature wasn’t saying anything in particular and didn’t demand anything in return. By offering compelling forms in isolation from human contexts, natural imagery tended to support the kind of attention Brian Eno had earlier highlighted as central to ambient music, the experience of perceiving something “as ignorable as it is interesting”