ABSTRACT
This chapter explores the ubiquity of sound-from recording machines to DJ performances-to examine how a remix-based approach to sound in DH can provide tools for understanding sound as foundational to research and new knowledge creation. It examines how DJs remix archives and outline DJ methodology: an approach that mixes different sources to form new patterns of remixed thought. The chapter looks at sound studies and remix in relation to digital humanities, outlying exemplary work in the field before turning attention to the author's own work as a scholar and DJ working at the intersections of music, sound, and literature. It outlines some of the innovative and important cultural work being done at Vancouver Island University and at the Innovation Lab, including work with visiting poets, recording Indigenous elders, and three dimensional printing a sounding gramophone-an appropriate meeting of the past dialoguing with the present.
