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Frankenstein or the Modern Prometheus by Mary Shelley (1818) is the starting point for this reading of remix in relation to authorship and its implications for creative work. The monster in Frankenstein has no single author, or father, and is damned by his mixed parentage as much as by his inability to recreate himself. Alone, he falls into the waste as a product of the divide between poetry and science. The ‘two cultures’ coined by C. P. Snow (1956) address this same divide and lament its dominance in mid twentieth-century intellectual life. But contemporary remix culture that relies on digital media closes this gap as poets now write code and artists are technicians. In my close reading of five remixes I show that origin is no longer relevant in the mixed material realization of processes that are performed or ‘re-authored’ in reception. In these remixes the creator reinterprets by changing the context of remixed elements in the works. The result is textual hybrids that are remixed further in reception.

Frankenstein’s Monster Comes Home: The ‘Two Cultures’ in Remix