在整个历史中，混合文化不仅在交流口头故事方面而且在圣经中都是真实的。[56]尤金·畢德生（Eugene H. Peterson）在他的2002年出版的《消息//重新混音（英语：The Message (Bible)）》一书中重新解释了圣经的故事，这使圣经更易于读者理解。[57]混音的想法可以追溯到贵格会（Quakers），后者会用自己的声音来解释圣经并创造圣经的叙述，这与更普遍的“只读”做法背道而驰。[58]
^Crombie, David; Lenoir, Roger, Designing Accessible Music Software for Print Impaired People, Assistive Technology for Visually Impaired and Blind People (Springer London), 2008: 581–613, ISBN 9781846288661, doi:10.1007/978-1-84628-867-8_16
^ 21.021.1Jacobs 1888 harvnb模板錯誤: 無指向目標: CITEREFJacobs1888 (幫助), Introduction, page xv; Ryder 1925 harvnb模板錯誤: 無指向目標: CITEREFRyder1925 (幫助), Translator's introduction, quoting Hertel: "the original work was composed in Kashmir, about 200 B.C. At this date, however, many of the individual stories were already ancient."
^See page 262 of Kalila and Dimna, Selected fables of Bidpai [Vol 1], retold by Ramsay Wood, Knopf, New York, 1980; and the Afterword of Medina's 2011 Fables of Conflict and Intrigue (Vol 2)
^Ryder 1925 harvnb模板錯誤: 無指向目標: CITEREFRyder1925 (幫助), Translator's introduction: "The Panchatantra contains the most widely known stories in the world. If it were further declared that the Panchatantra is the best collection of stories in the world, the assertion could hardly be disproved, and would probably command the assent of those possessing the knowledge for a judgment."
^Edgerton 1924，第3頁 harvnb模板錯誤: 無指向目標: CITEREFEdgerton1924 (幫助). "reacht" and "workt" have been changed to conventional spelling: '"...there are recorded over two hundred different versions known to exist in more than fifty languages, and three-quarters of these languages are extra-Indian. As early as the eleventh century this work reached Europe, and before 1600 it existed in Greek, Latin, Spanish, Italian, German, English, Old Slavonic, Czech, and perhaps other Slavonic languages. Its range has extended from Java to Iceland... [In India,] it has been worked over and over again, expanded, abstracted, turned into verse, retold in prose, translated into medieval and modern vernaculars, and retranslated into Sanskrit. And most of the stories contained in it have "gone down" into the folklore of the story-loving Hindus, whence they reappear in the collections of oral tales gathered by modern students of folk-stories."
^Kindle 3G Wireless Reading Device. 2010-08-04. （原始内容存档于2010-08-04）. Wireless Access to Wikipedia Kindle also includes free built-in access to the world's most exhaustive and up-to-date encyclopedia, Wikipedia.org. With Kindle in hand, looking up people, places, events, and more has never been easier. It gives whole new meaning to the phrase walking encyclopedia.
^Neis, Pascal; Zipf, Alexander, Analyzing the Contributor Activity of a Volunteered Geographic Information Project — the Case of OpenStreetMap, ISPRS International Journal of Geo-Information, 2012, 1 (2): 146–165, Bibcode:2012IJGI....1..146N, doi:10.3390/ijgi1020146
^You're in charge! - From vital patches to game cancellations, players are often intimately involved. （页面存档备份，存于互联网档案馆） by Christian Donlan on Eurogamer"Supreme Commander fans released Forged Alliance Forever and gave the game the online client it could otherwise only dream of. I haven't played it much, but I still got a tear in my eye when I read about the extents these coders had gone to. There's nothing quite so wonderful to witness as love, and this is surely love of the very purest order. [...] SupCom guys resurrect a series whose publisher had just gone under." (2013-11-02)
^Yuri Takhteyev, Quinn DuPont. Retrocomputing as Preservation and Remix(PDF). iConference 2013 Proceedings. 2013: 422–432 [2016-03-26]. doi:10.9776/13230 (不活跃 2019-10-31). （原始内容存档(PDF)于2020-12-10）. This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation.
^Friesike, S.; Flath, C.M.; Wirth, M.; Thiesse, F. Creativity and productivity in product design for additive manufacturing: Mechanisms and platform outcomes of remixing. Journal of Operations Management. 2018. doi:10.1016/j.jom.2018.10.004.
^Stanko, M.A. Toward a theory of remixing in online innovation communities. Information Systems Research. 2016, 27 (4): 773–791. doi:10.1287/isre.2016.0650.
^Lawrence Lessig. Re-examining the remix(video). TEDxNYED. ted.com. 2010-04-01 [2016-02-27]. （原始内容存档于2016-03-05）. Time 9:30: "This man (Walt Disney) is a Remixer extraordinaire, he is the celebration and ideal of exactly this kind of creativity."
^Rostama, Guilda. Remix Culture and Amateur Creativity: A Copyright Dilemma. WIPO. 2015-06-01 [2016-03-14]. （原始内容存档于2016-03-23）. In a further twist, widespread access to ever more sophisticated computers and other digital media over the past two decades has fostered the re-emergence of a “read-write” culture.
^Rostama, Guilda. Remix Culture and Amateur Creativity: A Copyright Dilemma. WIPO. 2015-06-01 [2016-03-14]. （原始内容存档于2016-03-23）. Canada is one of a few countries, if not the only one, to have introduced into its copyright law a new exception for non-commercial user-generated content. Article 29 of Canada’s Copyright Modernization Act (2012) states that there is no infringement if: (i) the use is done solely for non-commercial purpose; (ii) the original source is mentioned; (iii) the individual has reasonable ground to believe that he or she is not infringing copyright; and (iv) the remix does not have a “substantial adverse effect” on the exploitation of the existing work.
^ 68.068.1Rostama, Guilda. Remix Culture and Amateur Creativity: A Copyright Dilemma. WIPO. 2015-06-01 [2016-03-14]. （原始内容存档于2016-03-23）. in 2013 a district court ruled that copyright owners do not have the right to simply take down content before undertaking a legal analysis to determine whether the remixed work could fall under fair use, a concept in US copyright law which permits limited use of copyrighted material without the need to obtain the right holder’s permission (US District Court, Stephanie Lenz v. Universal Music Corp., Universal Music Publishing Inc., and Universal Music Publishing Group, Case No. 5:07-cv-03783-JF, January 24, 2013).[...] Given the emergence of today’s “remix” culture, and the legal uncertainty surrounding remixes and mash-ups, the time would appear to be ripe for policy makers to take a new look at copyright law.
^Rufus Pollock. Optimal copyright over time: Technological change and the stock of works(PDF). University of Cambridge. 2007-10-01 [2015-01-11]. （原始内容(PDF)存档于2013-02-21）. The optimal level for copyright has been a matter for extensive debate over the last decade. Using a parsimonious theoretical model this paper contributes several new results of relevance to this debate. In particular we demonstrate that (a) optimal copyright is likely to fall as the production costs of 'originals' decline (for example as a result of digitization) (b) technological change which reduces costs of production may imply a decrease or a decrease in optimal levels of protection (this contrasts with a large number of commentators, particularly in the copyright industries, who have argued that such change necessitates increases in protection) (c) the optimal level of copyright will, in general, fall over time as the stock of work increases.
^Rufus Pollock. Forever minus a day? Calculating optimal copyright term(PDF). University of Cambridge. 2009-06-15 [2015-01-11]. （原始内容(PDF)存档于2013-01-12）. The optimal term of copyright has been a matter for extensive debate over the last decade. Based on a novel approach we derive an explicit formula which characterises the optimal term as a function of a few key and, most importantly, empirically-estimable parameters. Using existing data on recordings and books we obtain a point estimate of around 15 years for optimal copyright term with a 99% confidence interval extending up to 38 years. This is substantially shorter than any current copyright term and implies that existing terms are too long.
^Julian Sanchez. Lawrence Lessig: Re-examining the remix(video). TEDxNYED. ted.com. 2010-04-01 [2016-02-27]. （原始内容存档于2016-03-05）. Time 7:14: "social remixes [...] for performing social realities"; 8:00 "copyright policies about [...] level of control permitted to be exercised over our social realities"
