ABSTRACT
In this chapter, the author offers two of his DJ performances as examples from which to explore how remix studies might inform the digital humanities. The author explores how the act of live video mixing of archival materials presents the reader with two opportunities to critically interrogate and operationalize remix theory within the digital humanities. In detailing two public performances, this chapter invests in a remix praxis as a way to both disrupt curatorial power as well as induce an ethical honoring of those within the archive and the cultural specificity of the archive's publics. By bringing a DJ's sensibility to interrupt archival methodologies and procedures, the remix praxis practiced is one that attempts to write a new how Black life might ethically be archived-a critical consideration for the future of hip hop archives. The remix is one practice that clearly infringes upon the hegemonic thinking of the West and its copyright regimes.
