An old post from an old blog, 2014
Ambient music has had a resurgence of late. In many ways, it’s never really gone away.
The history of ambient music is fascinating and complex. Explorations of it — from Brian Eno’s discography and David Toop’s Ocean of Sound — often avoid making points about style and form, instead discussing philosophies towards sound and ways of listening.
With this resurgence in my mind, I came across two essays on photography that used Muzak — the very music that catalysed Brian Eno’s own ambient music — to negatively describe a certain kind of photography.
The first was a blogpost by Colin Pantall in which he railed against the majority of photography that we see all around us — “visual Musak, that inadvertently lulls us into a state of thoughtless consumption”. For Pantall, the pervasiveness of a photography so bland must surely be (negatively) affecting how we visually experience our society.
The second was a description of a similar phenomenon by David Campany in his take on the increasingly obligatory State of the Union address written to accompany the 2014 Deutsche Bank exhibition, Time Present:
The further photography moves from known objects, the less reliable its description of the world. If, as we are often told, the photograph is a universal form of communication, it is only at the level of the obvious and the already understood. It is clichés and only clichés that bind us in this increasingly fragmentary world, argued Gilles Deleuze. Indeed, what there is of a “global language of photography” is made up of images of commodities, celebrities, sunsets, and other clichés of locality. “Viewzak.”
Both use ‘Muzak’ in a context fitting with our cultural lexicon and they are certainly not the first to make such a comparison. The word ‘Muzak’ lives on (albeit only just) as a synonym for the worst examples of derivative and reductive corporate cultures that dilute the truly artful.