- Creativity
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Monday, 24 February 2014
Thursday, 13 February 2014
Wednesday, 12 February 2014
"Drive" Intro in Grand Theft Auto: Vice City
(Music by Kavinsky - Nightcall (feat. Lovefoxxx))
"Cool Short Film Puts Ryan Gosling Inside Two Grand Theft Auto Games"
Cited by Evan Narcisse
Ryan Gosling’s "Drive" Jacket Is In GTA V?
"It was the film that inspired a million man-crushes, countless Halloween costumes and now, the biggest game of the year. Yes, Ryan Gosling's iconic jacket from the film Drive makes a guest appearance in Grand Theft Auto V. Dubbed the "champagne Driver blouson", the silver-and-brown bomber is emblazoned with a yellow crab - a nod to the film's scorpion - and can be purchased by Trevor in the discount stores of Blaine County. (Although we'd have thought, as the team's driver, it would be more suited for Franklin). Hijack a Mustang-esque Dominator and equip yourself the hammer (it's available as a weapon in the Special Edition version) for full Gosling effect. Our only complaint? That Kavinsky's "Nightcall" is missing from the soundtrack, so you'll have to make do with Kendrick Lamar."
By Oliver Franklin
Drive: "The Greatest Grand Theft Auto Film There Will Never Be"
"Every couple of months, rumours of an impending video game-to-movie adaptation of the Grand Theft Auto series rears its head. And with good reason; taking their cues from iconic gangster flicks from the silver screen, RockStar Game's infamous crime sims have become very cinematic (particularly Grand Theft Auto 4), and as much about weaving a deep and considered morality-challenging story as they are indulging our desires to drive fast and blast guns.
I for one had eagerly been awaiting news of an almost inevitable GTA film.
But I won't be any more. Last night I saw Drive, the latest movie from Nicolas Winding Refn. Full of car chases, heists, gangsters, neon lights and nail-biting tension, it's everything a great Grand Theft Auto film could be and should be. It's so good as to warrant any GTA movie-pipe-dreams wholly irrelevant. It ticks all the boxes. Here's why:
1) Ryan Gosling's nameless driver is every bit the brooding GTA anti-hero
Drive centres around Ryan Gosling as a nameless, Hollywood stunt driver. He's the best in the business, and makes a fair bit of cash on the side moonlighting as a wheelman for robberies. Just like GTA IV's Niko Belic, he's as cool as ice and doesn't flinch when forced into a dangerous, potentially violent situation. However, just like Niko, Gosling's driver is also a complex man whose slow-burning romance with his vulnerable neighbour Irene (played by Carey Mulligan) force him into an abyss of underworld trouble. Despite both characters' dubious actions, we cant help but sympathise with Niko and the driver.
2) Both are effortlessly stylish and cool
We all know that a life of crime doesn't pay, and both GTA and Drive go a long way towards cementing how destructive a lifestyle it can be. That doesn't stop it from being alluring though, and both GTA and Drive know this too. From Gosling's monosyllabic phrasing to his trend-setting wardrobe, the tooth-pick chewing driver cuts a very James Dean-style figure. Likewise the LA setting, sports cars, neon lights and 80's synth-inspired soundtrack hand picks all the greatest excesses of cult gangster flicks. GTA over the years has likewise styled itself as the premier "cool" game, always highlighting the hippest artists on its soundtrack, tipping its cap to the best gangster cinema has to offer and always oozing a "don't give a f*ck" attitude.
3) Both have smoking-hot cars
I'm not much of a car man, truth be told. But even I can appreciate the sleek lines of a Chevy or a Mustang, as seen in Drive. Though it doesn't have real world cars, Grand Theft Auto is, as its title suggests, all about storming down the highway in a stolen sports car. If you like the sound of a revving super car engine, both Drive and GTA will be right up your street.
4)The soundtracks for GTA and Drive are so, so good
The quality of the Grand Theft Auto series soundtracks are well documented. From Blondie to Michael Jackson in Vice City, to Les Savy Fav and Justice in GTA IV, RockStar have their finger on the pulse not only in terms of songs that get the blood pumping when speeding down the highway, but also those that perfectly evoke the feelings of the setting and era that the games are trying to recreate. Drive, though set in the present day, is clearly inspired by 1980s aesthetics, and the soundtrack likewise reflects this to stunning effect. Tracks by College, Desire and Kavinsky add a hauntingly icy accompaniment to the shocking events on screen, every bit as memorable as the footage they support.
5) Both are shockingly, but fittingly, violent
Whether you sit on the side of the fence that brands GTA excessively violent, or the side that sees it as a fitting representation not only of the dangers of the underworld lifestyle but also clearly inspired by the gritty Goodfellas and Godfather flicks, there's no denying the series has spilled a fair bit of blood. Likewise, Drive is punctuated by a few scenes of intense violence. Like, REALLY intense. However, in both GTAs story missions and the plot and characterisation of Drive, it never feels out of place considering the unique pressures the characters are put under.
This list could go on and on, but at the end of the day, I just wanted to highlight how great a film Drive is, and how much fans of the Grand Theft Auto series will enjoy it. The fact that GTA has become so massively popular means that any potential movie probably couldn't indulge the same art-house tendencies that Nicolas Winding Refn's film does, which is a crying shame as the genuinely beautiful moments in Drive make its bloodier scenes all the more harrowing. Any GTA film would now undoubtedly become a dumb exercise in "The Fast and The Furious" style car porn.
Head down to your local multiplex and catch Drive if you can; I defy you not to go home afterwards and immediately want to go for a spin around Vice or Liberty City in GTA."
By Gerald Lynch
Monday, 10 February 2014
Drive: Ending Explained
"If you’re reading this, then you’ve already had the chance to watch Nicolas Winding Refn’s pulpy crime-drama Drive, and hopefully enjoyed it as much as we did (be sure to read our Drive review).
Though Drive seems like a standard action/thriller (albeit with some art house style and flare), a lot of movie goers have walked away with questions about the movie’s final moments, which leave a fair amount of ambiguity hanging over the fate of “Driver,” the character played by Ryan Gosling.
In the past with our Shutter Island and Inception Ending Explanations, we here at Screen Rant have had to rely on our prowess as movie aficionados in order to form some logical deductions about what transpired in some of our favorite mind-bending movies, and what filmmakers intended with their ambiguous endings. In the case of Drive, however, we were fortunate enough to snag an explanation right from the primary source: director Nicolas Winding Refn.
When we last see Driver – bleeding out while behind the wheel of his car, before pulling himself together and speeding off into the night – there is a certain amount of lingering doubt about the literalness vs. figurativeness of what we are seeing. When I asked Refn first-hand what the ending of Drive was all about, I expected the typically coy filmmaker to hand me an equally coy answer. However, he was surprisingly straight forward in his response:
“Well all my films always have open endings. All of them. Because I believe art is always best when…you talk about it and think about it, so forth. Maybe once in a while I’ve gone too far, but I always believe in finding the right balance. And in ‘Drive’ he lives on for more and new adventures.”
So there you have it – if you were wondering whether or not the ending of the film was to be taken literally, or was some metaphoric death scene, you at least now know how the director sees it.
Refn has continuously referred to the film as a modern Grimm fairytale (unlikely hero rises to battle evil king, saves princess) and I for one always saw the ending as the hero saving the girl, while also being denied the “happily ever after” cliche he may want. Indeed, the implications of the film are such that Driver will likely speed off into new adventures, as Refn claims, albeit still stuck in the lonely and isolated existence in which we found him. The only difference is: he now knows what kind of hero he can be."
Written by Kofi Outlaw
Drive: Soundtrack
The soundtrack to Drive includes an original score by Cliff Martinez that was inspired by ’80s-style, synth-pop. In addition to crafting his own compositions, Martinez built the film’s sonic landscape from ideas pioneered by European electronic bands, such as Kraftwerk. Other songs in the set — which were recorded and arranged with a similar retro edge – include “Nightcall” by Kavinsky and Lovefoxxx of Brazilian dance-rock outfit CSS, a tune by the Chromatics, and others.
01 Nightcall – Kavinsky & Lovefoxxx
02 Under Your Spell – Desire
03 A Real Hero – College feat. Electric Youth
04 Oh My Love – Riz Ortolani feat. Katyna Ranieri
05 Tick of the Clock – The Chromatics
06 Rubber Head
07 I Drive
08 He Had a Good Time
09 They Broke His Pelvis
10 Kick Your Teeth
11 Where’s The Deluxe Version?
12 See You in Four
13 After The Chase
14 Hammer
15 Wrong Floor
16 Skull Crushing
17 My Name on a Car
18 On The Beach
19 Bride of Deluxe
Tracks 6-19 by Cliff Martinez
Violence: A History Of Violence (2005) Dir. David Cronenburg
A History of Violence is a 2005 American crime thriller film directed by David Cronenberg and written by Josh Olson. It is an adaptation of the 1997 graphic novel of the same name by John Wagner and Vince Locke. The film stars Viggo Mortensen as the owner of a diner who is thrust into the spotlight after killing two robbers in self-defense.
The style of violence is reminiscent to that in Drive. It is visceral and brutal. Is it real or hyperreal? How do you feel when you watch violent scenes like this and why do you feel the way you do? Are your experiences of violence informed by other media texts?
Cult Film: Drive
With his hyper-stylised approach to filmmaking and curt, dismissive approach to seemingly everything else, Nicolas Winding Refn is a man who really couldn’t help but acquire an avid cult following. That said, up until 2012, his career was characterised primarily by the maddening sense of great potential being left untapped: Pusher, Valhalla Rising and Bronson all effectively advertised his eye for alluring visuals and talent for visceral ultra-violence but none of them fully came together as films. While this year’s disappointingly self-indulgent Only God Forgives suggests that Refn has returned to old habits in a way that leaves the true extent of his talent as a filmmaker as questionable as ever, last year brought about the movie that would instantaneously fire itself and its helmer into the highest ranks of cult phenomenon, to stand alongside Big Lebowskis and Donnie Darkos forevermore. That movie was Drive.
The plot is pretty standard Hollywood fare: a mysterious young man falls for the girl next door, tries to use his talent as a wheelman to help out her and her young son, and quickly finds himself in a desperate struggle to protect them from the local mob boss after a seemingly simple heist goes badly wrong. Under many directors, that storyline could easily become a Fast & Furious-style, testosterone-fuelled exercise in mindless excess. This is a neon-drenched piece of neo-noir, an electro-infused Taxi Driver, a slickly minimalist thriller, a postmodern fairytale and, above all, a ninety-three minute masterclass in style.
One of the film’s greatest strengths is the confidence it carries itself with. Legendary filmmaker Hayao Miyazaki once spoke about the cinematic importance of the Japanese term ‘ma’. Roughly translated, it means ‘emptiness’; in film, it refers to the quiet moments in between those filled with action and emotion. Whilst the Michael Bay school of cinema demands a neverending stream of explosions, gags and leering chest-shots to scream for the viewer’s attention at every turn, Refn’s faith in his work and his audience allows him to move at his own pace. He knows that his movie oozes style; that every frame is so meticulously composed and perfectly complemented by Cliff Martinez’s ethereal electronic score that he can afford to dwell, to draw you into the film’s quiet moments before blowing you away with its loud ones. Few films create the same degree of exhilaration emptying entire clips that Refn manages with Drive’s single nerve-shattering report.
It’s possibly this patience that allows Drive to get away with its more exuberant tendencies because, in many ways, it’s a film that absolutely should not work. Take the opening credits: a shot of the illuminated LA cityscape with the film’s title emblazoned across it in hot pink cursive as Kavinsky’s Nightcall blares and we slowly cut to our satin-jacketed hero stare wistfully into the middle distance before driving off into the night. What should be ridiculous is instead made impossibly, ineffably cool, partially because of what preceded it: a near-silent, car-bound game of cat-and-mouse with the police that slowly cranks the tension up to bursting point before finally exploding into the aforementioned musical queue. Again, the quiet moments earn the loud ones.
Drive is a movie destined to become a vital pop culture touchstone in years to come, one whose rabid fans will proselytise its glory to anyone who’ll listen, never to be deterred by the fact that the majority are never going to love it quite as they do. If not for the fact that it is an expertly crafted thriller featuring an eclectically-chosen cast all on top form and one of the best soundtracks of recent years, it’s worth seeing just to see which side of the line you personally land on.
By Ross McIndoe
http://www.strathclydetelegraph.com/2013/11/cult-film-drive/
Drive (2011)
By day, the mysterious, taciturn young man (Gosling) works as a Hollywood stuntman and a mechanic at a dirty Los Angeles garage, while by night, as a driver with inhuman skills, he lends his services to criminals. His idyllic, peaceful triple life becomes complicated when he falls in love with his beautiful neighbour (Mulligan) with a small child and a husband in prison.
Numerous enthralled critics and viewers characterised Drive as “one of the greatest surprises of 2011” and a “Tarantinoesque film”. The latter notwithstanding, instead of a postmodern pastiche, a citation of and homage to road movies, heist films, film noir and 1980s cinema, Refn actually managed to create something more: he merged all the mentioned references into a unique whole, an entirely new model of auteur genre film for the new millennium, which simultaneously shocks and seduces with its honest mixture of brutality and elegance, existentialism and romance. Drive is Frankenstein’s monster built piecewise by Walter Hill, Monte Hellman, Richard Sarafian, Dennis Hopper, Robert Bresson, Nicholas Ray, Chris Petit, Wim Wenders, Clint Eastwood, Warren Oates and Steve McQueen, but it is a seamless monster that learned to walk in Victor Erice’s school.
Drive was adapted from the eponymous novel by James Sallis (who last year already followed up his instantaneous 2005 literary cult with a novel published under no less a laconic title, Driven). On the level of the story, the plot, and partly also the level of dramaturgy, it does not bring anything essentially new. The fundamental surplus, the very core of the film, lies in its form, in the exclusive authorial signature of Nicolas Winding Refn. As with his previous masterpiece Valhalla Rising (2009), we could again say that the story (or its germs) arise from the form, from the audiovisual, that is, the inherently filmic. Similarly, the surplus of Sallis’ novel lies almost exclusively in its form, a crossbreed between Carver, Bunker and Chandler. This admittedly evident thesis is confirmed by Refn himself, who tersely and wittily characterises Drive as a story “about a man who drives around listening to pop songs at night.” In short, the main hero’s character does not proceed from any in-depth psychology, or even a surface one, but is born entirely out of the mentioned night melodies that surround him, from the monumental way he is filmed, from the unexplained drive that propels him from scene to scene, from one story line to another, from one gear to another, to the end and beyond. It concerns real mythology, a timeless film for every moment.
“A brilliant piece of nasty business that races on a B-movie track until it switches to the dizzying fuel of undiluted creativity. Damn, it’s good. You can get buzzed just from the fumes coming off this wild thing.” Peter Travers
http://www.isolacinema.org/en/programme/films-and-sections/drive
Saturday, 8 February 2014
Friday, 7 February 2014
Thursday, 6 February 2014
Postmodern Music Task - Sky Ferreira
Homage
Julianne Escobedo Shepberd from Rolling Stone wrote that Ferreira's "songs are catchy, but they’re also thickly glazed with fuzz and synths, evoking influences like Suicide, Siouxsie Sioux and the krautrock group Harmonia". Karolina Ramos from The GW Hatchet compared Ferreira to New Zealand recording artist Lorde, both of whom she felt "tackle contemporary love, desire and insecurity with depth, composure and frankness." She compared her musical style to 1980s pop music, and noted that "her throaty, sultry vocals call to mind Lana del Rey, abandoning brightness and vivacity for a colder tone."
Ferreira said of the song (You're Not The One):
"The production is super-inspired by Low by David Bowie [...] I wanted to make a super-poppy version. Like not when you're rolling up your car windows because you don't want anyone to know you're listening to it. Like trying to hide it in your iTunes. Ariel had the idea. People say it sounds like Siouxsie Sioux. I guess the song was originally about a relationship when you're not chasing after them. You know they're kind of fucked up. It's like a game of cat and mouse. They're interested but not interested enough and it's not fair. That's basically what it should be called, 'It's Not Fair.'"
Ferreira's earlier work incorporated elements of dance-pop and synthpop, most notably seen in tracks from As If! and Ghost. As her career progressed, Ferreira more frequently experimented with elements of indie rock and indie pop, which were commonly heard in Night Time, My Time. Ferreira has cited Madonna, Prince, Gwen Stefani, Alice Cooper, Nancy Sinatra, Cat Power, Britney Spears, and The Runaways as musical influences.
Pastiche
Does your chosen artist use other peoples music in order to mock it and its fans? Are they attempting to damage the ‘authority’ of a style of music?
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Bricolage
"Ferreira's Eighties-weaned diva pop recalls no-nonsense Nineties alt-rockers like PJ Harvey and Shirley Manson, setting love-wracked disclosures to grungy guitar static, electronic gauze and computer-groove churn." Rolling Stone
Musically, Night Time, My Time differs from Ferreira's extended play Ghost. Drawing inspiration mainly from 80s pop and 90s grunge, the LP distances itself from the "relaxed" and "developed" sound found in Ghost. A late 1970s art rock influence is also prominent in Night Time, My Time. Additionally, "coin-slot video game samples" are often heard in album tracks. Lyrically, Ferreira disscusses the "familiar" themes of heartbreak and identity in ways that, according to Lauren Martin from Fact (UK), are "refreshed and engaging". The atmosphere of the album evoked records of Best Coast, Garbage and Siouxsie and the Banshees with "fuzzy, distorted tracks".
The album opens with "Boys", which "employs ringing blasts of guitar" and show Ferreira "optimistic about love". "Ain't Your Right" is a "cynical break-up-and-make-up anthem", and "24 Hours" was deemed a "sadder, somber take" on the song "Teenage Dream" by American singer-songwriter Katy Perry, and is a pop song with a "dreamy" and new wave music-inspired instrumental. "Autobiographical anger" is emulated on the "major rock anthem", "Nobody Asked Me (If I Was Okay)", that channels Ferreira's "frustrations". Fifth track, "I Blame Myself", sees Ferreira "spit[ting] self-doubt and frustrations" and is a "song about the power of vulnerability", alongside "bubbly melodies" and "driving beats". "Omanko", (Japanese slang for the vagina), has an indie rock-based sound, and in the song, Ferreira goes "full-on Alan Vega". It is followed by the album's first single, "You're Not the One", that's been described as a "masterfully carved" pop record with "equal parts self-loathing and redemption", and as blending Ferreira's "unmistakable early-90s pop sensibility" with "something decidedly harder to place". Eighth song on the album, "Heavy Metal Heart", is an electro rock ballad, which Ferreira sings with an "art-damaged" voice. "Kristine" contains ska undertones and sees Ferreira singing about "lifestyle posturing", while "I Will" demonstrates the singer's self-confidence, "taunt[ing] those who expect her to act a certain way or be deferential". The "Robyn-esque" song "Love in Stereo" is "new wave-tinged", while the title track (and closing song of the album) has a "distorted" and "strange jarring beat".
Intertextual References
Ferreira titled the album after lines spoken by Laura Palmer in David Lynch's Twin Peaks: Fire Walk with Me (1992), and the lyrics to the album's title track are almost entirely lifted from dialogue in the film.
"You're Not the One" was serviced as Night Time, My Time's lead single on 24 September 2013. Its music video, paying visual homage to 1983 film The Hunger and set in a high-fashion night club, was released on the same day.
Simulacrum
The cover art for Night Time, My Time, photographed by Argentine film director Gaspar Noé at Hotel Amour in Paris, was revealed by Ferreira on October 10, 2013. The singer appears topless in the artwork, wearing a cross necklace inside a shower, with a "demented" facial expression. While defending the cover, Ferreira described it as "raw" and revealed that she had two options for the album's cover to pick from. Aside from the actual Night Time, My Time cover, the other image that Capitol Records wanted to use depicted Ferreira with long blonde hair, while sitting on a bed wearing a black dress.
After establishing a friendship with recording artist Miley Cyrus in 2013, Gregory E. Miller from New York Post noted that the media and general public would continue "following her every move". Ferreira commented that "[Miley’s] obviously way bigger and all eyes [are] on her, but I feel like we’re kind of going through a similar thing where everyone’s trying to say that we’re trying to make ourselves objects, but really, everyone else is making it more like that — sensationalizing sex and reading into things. It’s nice to have someone that gets it." Ferreira had also generated a minor controversy after appearing topless on the cover for Night Time, My Time, to which she responded "there’s nothing about that photo that’s pornographic; we came on this earth nude."
Consumption
Night Time, My Time was first released as a digital download on October 29, 2013. A physical release as a compact disc was eligible for pre-order on Amazon.com, although for unknown reasons, it was indefinitely postponed. In addition, the vinyl edition of the record was not ready for release on the album's street date, as confirmed by Ferreira, who criticized Capitol Records and affirmed that she'd be producing vinyl copies of the record herself, which were sold through her online store. The album was later pressed on vinyl by Capitol Records and released on January 28, 2014, in addition to CD copies, including a limited edition CD combination package which included Ferreira's Ghost EP (2012).
After the release of Night Time, My Time: B-Sides Part 1, an online shopping page for the singer revealed various editions of the album available for purchase, including a green translucent vinyl and a CD. Furthermore, a bundle including the compact disc, a digital download and a poster was also revealed. On November 27, 2013, Ferreira revealed on her Twitter account that all physical Night Time, My Time copies pre-ordered had been shipped.
On late February 2014, the album started being sold on Amazon.com as a limited CD edition, which includes the original album and the Ghost EP, and as a double vinyl LP.
Creation
Night Time, My Time:
Sky Ferreira – vocals/songwriting
Chris Kasych – Pro Tools
Emily Lazar – mastering
Rich Morales – assistant mastering
Daniel Nigro – additional vocals, guitar
Justin Raisen – additional vocals, co-production, guitar, keyboards
Garrett Ray – drums
Ariel Rechtshaid – additional vocals, bass, guitar, keyboards, production, recording
Nick Rowe – editing
Mark Santangelo – assistant engineering
David Schiffman – mixing
"You're Not the One" is written by Ferreira, Ariel Rechtshaid, Justin Raisen, and Daniel Nigro, and produced by Rechtshaid and Raisen.
"Everything Is Embarrassing" was written by Ferreira, Dev Hynes, and Ariel Rechtshaid, while the latter two produced the track. Hynes, a friend of Ferreira, had sent her a demo of the song, which was inspired by a failed relationship; Ferreira then modified the original lyrics and structure along with Rechtshaid.
"Red Lips" was written and produced by Greg Kurstin, with additional songwriting provided by Shirley Manson.
Performance
A music video for "Red Lips" from the "Ghost" EP was directed by Terry Richardson. She went into its filming open-minded in regards to its concept, and ultimately agreed with the creative direction that Richardson proposed. The final product was premiered through Vevo on July 13, 2012. The clip sees Ferreira, dressed in nude-colored underwear, applying lipstick on her entire face, and is interspersed with footage of its co-star, the spider "Toby the Tarantula", crawling across her body. She stated that her wardrobe was intended to compliment the simplistic nature of the music video, rather than an attempt to create sex appeal.
Critics directed their commentaries of the music video towards Ferreira's increasingly risqué public persona, shifting from the more innocent image with which she launched her career. A writer from MuuMuse provided a favorable review, comparing it to the visuals for "Criminal" by Fiona Apple and summarizing that "Sky Ferreira is cooler than anything you and I could ever be." Becky Bain from Idolator stated that the appearance of Toby the Tarantula was "somehow nowhere near as disconcerting as the image of Sky, looking washed out with platinum hair against a white background, crazily painting her face with a tube of red lipstick." Michael Cragg of The Guardian felt that Ferreira's friendship with the controversial Richardson showcased a "shift away from the pop princess she felt she was being moulded into", and commented that the spider was "not for the faint-hearted". It differs from the previous electropop styles displayed in her earlier works, which was deliberately done in avoidance of being branded in a similar fashion as recording artist Britney Spears.
A music video for the album's title track, "Night Time, My Time" directed by Grant Singer and released on 27 November 2013, sees Ferreira wearing a variety of wigs and lingerie. Natasha Stagg of V wrote that, in the video, Ferreira "embraces the title she's been deemed by dressing in provocatively infantile accessories" and "cleverly [delivers] the junkie role back in her detractors' faces."
Influence
Andrew Unterberger stated that "through a variety of singles, EPs, guest features and live appearances, Sky has proven herself one of the most talented singers, creative songwriters and savvy collaborators currently working in the genre", but blamed "bad marketing, label disputes and her own perfectionism" for the extended delay of Night Time, My Time; he also stated that the repeated renaming of the record itself "should give you some idea of the musical identity issues she’s suffered over the years."
Saturday, 1 February 2014
Postmodern Music
According to Kramer (Kramer 2002, 16–17), postmodern music:
- is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
- is, on some level and in some way, ironic
- does not respect boundaries between sonorities and procedures of the past and of the present
- challenges barriers between 'high' and 'low' styles
- shows disdain for the often unquestioned value of structural unity
- questions the mutual exclusivity of elitist and populist values
- avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
- considers music not as autonomous but as relevant to cultural, social, and political contexts
- includes quotations of or references to music of many traditions and cultures
- considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
- embraces contradictions
- distrusts binary oppositions
- includes fragmentations and discontinuities
- encompasses pluralism and eclecticism
- presents multiple meanings and multiple temporalities
- locates meaning and even structure in listeners, more than in scores, performances, or composers
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