Remediating Region by unknow

Author:unknow
Language: eng
Format: epub
Tags: Fiction & Literature, Literary Theory & Criticism, American, Nonfiction, Social & Cultural Studies, Social Science
ISBN: 9780807175750
Publisher: LSU Press
Published: 2021-07-07T04:00:00+00:00

NOTES

1. Kentucky Route Zero, v. 22 (Cardboard Computer, 2020).

2. Parikka, A Geology of Media.

3. Literary and cinematic references abound in Kentucky Route Zero: the Marquez family, living at 100 Macondo Lane, functions with its Aunt Remedios as an homage to Latin American writer Gabriel García Márquez, and cousins Shannon and Weaver recall the theorists central to the creation of the integrated circuit and to communication studies more broadly. One company featured in the game is “Laszlo Electronics,” recalling the Jamf of Thomas Pynchon’s Gravity’s Rainbow. One of Cardboard Computer’s intermissions for the game, The Entertainment, is a mock play about alcohol addiction whose authorship is attributed to Lem Doolittle, a character who appears in later acts of Kentucky Route Zero as a skeletal distillery worker, which suggests the infamous paralyzing media central to the plot of David Foster Wallace’s Infinite Jest. One of the workers at the underground telephone exchange is named Dashiell Morse, in a nod to Dashiell Hammett, who is the author of The Maltese Falcon. Another sequence, entitled “In Bedquilt,” evokes Dorothy Canfield. Conversations between the two cyborg musicians, named Johnny and Junebug after the Cashes, feature lines lifted from the plays of Beckett and the lyrics of Christian hymns. The game’s references thus form an amalgamation of American cultural references together with postmodern and avant-garde media: it is deeply interested not only in the experimental textual structures that have inspired hypertextual traditions, but also in those that inform American culture more broadly. Having characters mimic lines from American texts with a reputation for being canonical and foundational—one makes reference to Whitman’s “very well then, I contradict myself”—legitimizes an area of economic and structural scarcity, often caricatured as cut off from forms of high art in spite of its well-established literary and cultural history.

4. The game’s hypertextual nature makes exact citations difficult—while some sequences are tied to specific acts, others appear at differing periods based on the player’s choices, such that they can avoid certain areas entirely.

5. Marks, “Kentucky Route Zero Review”; Plante, “Why Kentucky Route Zero Is the Most Important Game of the Decade.”

6. Joyce, afternoon, a story.

7. Manovich, The Language of New Media, 35, 123; Galloway, The Interface Effect, 3.

8. Manovich, The Language of New Media, 19, 50; in an interview for the now-defunct Venus Patrol website, game artist Tamas Kemenczy offers a brief catalogue of films that inspired his techniques of visual experimentalism, among them the films of Andrei Tarkovsky, Alexander Sokurov’s Russian Ark, and the film art of Steina and Woody Vasulka. He points specifically to the “Scan Processor Studies” videos created by Woody Vasulka and Brian O’Reilly, citing the ability of their “deflecting cathode rays to make strange landscapes. They share a family resemblance to the Zero, and they are partly responsible for the tone of it and other map modes in KRZ.” Boyer, “Venus Patrol Presents: The Kentucky Route Zero Guide to Film.”

9. “COPY < IT > RIGHT!”

10. Morton, “NOTES ON THE AESTHETIC OF ‘copying-an-Image Processor.’”

11. Christine Tamblyn notes that “Sandin

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