What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

今天有什么混音？混音不再是争议，也不再是流行语，在当代媒体中无处不在。本文研究了这种情况，研究了在大多数情况下，混音在媒体领域中仅是公认的一部分，现在意味着什么。我认为应该从人种学的角度研究混音，重点是如何以及为什么使用混音。为此，本文确定了三种基于意向而非内容的混音概念化方法：美学，交际和概念形式。它探讨了（谈论）混音的历史，探讨了将混音视为一种艺术形式和将混音视为一种“回馈”媒体的方式之间的张力，以及如何通过观察不同的方式来解决这些张力。混音起源。最后，它解决了无所不在的混音可能对我们思考档案材料的方式意味着什么，以及这给档案馆本身带来的挑战。这样，本文就在混音无处不在的时期更新了混音的研究。