ReMix

A remix is an alternative version of a song, made from an original version. This term is also used for any alterations of media other than song (film, literature etc.). http://en.wikipedia.org/wiki/Remix

Remix culture is a term based on Lawrence Lessig's Remix book to describe a society which allows and encourages derivative works. Such a culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of Copy Right holders. Lessig presents this as a desirable ideal and argues, among other things, that the health, progress, and wealth creation of a culture is fundamentally tied to this participatory remix process. In his book, Lessig uses the term "Read/Write (RW) culture" to contrast it with a Read/Only (RO) culture. The latter is also called a permission culture. He has been queried as to his reliance on a binary opposite rather than a spectrum of permissions but this he explains is his way to broadcast this message to a mainstream audience. http://en.wikipedia.org/wiki/Remix_culture

Plunderphonics is a music genre in which tracks are constructed by sampling recognizable musical works. The term was coined by composer John Oswald in 1985 (note - mostly analog!) in his essay "Plunderphonics, or Audio Piracy as a Compositional Prerogative",[1] and eventually explicitly defined in the liner notes of his Grayfolded album. Plunderphonics is a form of sound collage. Oswald has described it as a referential and self-conscious practice which interrogates notions of originality and identity. https://en.wikipedia.org/wiki/Plunderphonics Plunderphonics was used as the title of an EP release by John Oswald. Oswald's original use of the word was to indicate a piece that was created from samples of a single artist and no other material. Influenced by William S. Burroughs' cut-up technique, he began making plunderphonic recordings in the 1970s. In 1988 he distributed copies of the Plunderphonics EP to the press and to radio stations. It contained four tracks:[6] "Pretender" featured a single of Dolly Parton singing "The Great Pretender" progressively slowed down on a Lenco Bogen turntable so that she eventually sounds like a man; "Don't" was Elvis Presley's recording of the titular song overlaid with samples from the recording and overdubs by various musicians, including Bob Wiseman, Bill Frisell and Michael Snow; "Spring" was an edited version of Igor Stravinsky's The Rite of Spring, shuffled around and with different parts played on top of one another; "Pocket" was based on Count Basie's "Corner Pocket", edited so that various parts loop a few times... In 1989 Oswald released a greatly expanded album version of Plunderphonics with twenty-five tracks... All undistributed copies of plunderphonic were destroyed[7] after a threat of legal action from the Canadian Recording Industry Association on behalf of several of their clients (notably Michael Jackson, whose song "Bad" had been chopped into tiny pieces and rearranged as "Dab") who alleged copyright abuses. Various press statements by record industry representatives revealed that a particular item of contention was the album cover art which featured a transformed image of Michael Jackson derived from his Bad cover.