ABSTRACT
In the digital age, artifacts of cultural production can no longer be attributed mono-dimensionally to a single location. Similarly, various postcolonial theorists have challenged the notion of place-bound cultural identities, although Homi Bhabha's The Location of Culture is the landmark publication. Location is indisputably the classifier of choice, especially in the dynamic and flexible cultural products of remix culture. The major reason why locations play an essential role not only in talk about remix culture but also in conceptions and configurations of it is the significance of the respective contexts in which it emerges and takes place. To refute the importance of location, or of the original, in remix culture phenomena is, of course, not to imply that differences should be ignored. Location processes have not become any less important in light of this development. It is more imperative than ever to question the strategies and interests that underpin localization.
