ABSTRACT
The salient distinction between digital humanities and remix has far less to do with the “digital” and far more to do with the “humanities” side of the term, and its impact is seen largely when we look at its scholarship, or rather the formal qualities of its scholarship. The form of these remixed segments is equally interesting, or rather the trajectory of the form of these segments is interesting: Analog media were recorded on a home VCR, then broadcast to millions via cable, after which they were digitized and placed online where the author accessed them on her home computer, completing the circle of media distribution and consumption. Lettered orality resists the narrative of progress that suggests the digital is somehow superior to or completely distinct from analog media. Might remix help bring us out of the Ivory Tower and encourage us to be better keyed into culture?.
