ABSTRACT
This chapter argues that the cut as a productive method, one that can create an active space of between-ness, enabling new meanings to be formed, new juxtapositions to be made, new ways of seeing and new content to be created. It considers remix specifically in its digitality as an agent of subjectivity, and in the process think through how remix may shed light on cultural transformations that navigate identity, experience, selfhood and individual expression. The remix can be better understood today as a discourse rather than any particular set of cultural practices or techniques. The remix has its roots as a musical practice starting from the late 1960s in Jamaican music and developed in the 1970s with the growing practices of sampling in disco and hip hop culture. Due to the wide range of applications, the exact parameters of practices constituting remix have become a little muddy.
