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	<title>Comments on: Dronescapes in Red</title>
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	<link>http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/</link>
	<description>...an Infinite Amount of Things to Speak Of</description>
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		<title>By: Electroacoustic Music &#8211; Vittorio Gelmetti &#171; jessbens</title>
		<link>http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/comment-page-1/#comment-7976</link>
		<dc:creator>Electroacoustic Music &#8211; Vittorio Gelmetti &#171; jessbens</dc:creator>
		<pubDate>Thu, 08 Sep 2011 18:50:51 +0000</pubDate>
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		<description>[...] Gelmetti’s music used in film &#8211; Red Desert: The use of electronic music composed by Vittorio Gelmetti for the soundtrack of Antonioni’s first color film Il Deserto Rosso, contributed greatly to the film’s aesthetic complexity as well as the displaced psychological underpinnings of it’s characters. Rarely heard before in cinema, this example of early musique concrète would serve as a harbinger of the now, widespread use of electronica in film and television. –NC    http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/ [...]</description>
		<content:encoded><![CDATA[<p>[...] Gelmetti’s music used in film &#8211; Red Desert: The use of electronic music composed by Vittorio Gelmetti for the soundtrack of Antonioni’s first color film Il Deserto Rosso, contributed greatly to the film’s aesthetic complexity as well as the displaced psychological underpinnings of it’s characters. Rarely heard before in cinema, this example of early musique concrète would serve as a harbinger of the now, widespread use of electronica in film and television. –NC    <a href="http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/" rel="nofollow">http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/</a> [...]</p>
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		<title>By: Times Quotidian</title>
		<link>http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/comment-page-1/#comment-4404</link>
		<dc:creator>Times Quotidian</dc:creator>
		<pubDate>Fri, 10 Sep 2010 07:03:51 +0000</pubDate>
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		<description>[...] more outré moments in pre- and postmodern classical music. Around 1956, Italian concrète composer Vittorio Gelmetti drew not on the work of his European contemporaries, but on Schoenberg, Webern and latter-day [...]</description>
		<content:encoded><![CDATA[<p>[...] more outré moments in pre- and postmodern classical music. Around 1956, Italian concrète composer Vittorio Gelmetti drew not on the work of his European contemporaries, but on Schoenberg, Webern and latter-day [...]</p>
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		<title>By: Kat</title>
		<link>http://www.timesquotidian.com/2010/07/20/dronescapes-in-red/comment-page-1/#comment-4218</link>
		<dc:creator>Kat</dc:creator>
		<pubDate>Sat, 07 Aug 2010 13:33:00 +0000</pubDate>
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		<description>Aram, I&#039;m very glad to see you&#039;re still writing.
It&#039;s Kat from UT. E-mail me sometime if you&#039;d like to catch up. (I posted this comment using my most recent e-mail address; hopefully you can view it.)</description>
		<content:encoded><![CDATA[<p>Aram, I&#8217;m very glad to see you&#8217;re still writing.<br />
It&#8217;s Kat from UT. E-mail me sometime if you&#8217;d like to catch up. (I posted this comment using my most recent e-mail address; hopefully you can view it.)</p>
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