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The following thesis explores the conditions of possibility for remix culture through the work of Paul D. Miller, a.k.a. Dj Spooky that Subliminal Kid. Beginning with the impact and vertigo of Dj Spooky's language and practice, it explores the reciprocal relation of media to language in the construction of the proper (property) and the author (authority). The context of Dj Spooky as a conceptual artist and the material of his book, Rhythm Science , provides the setting and scenario for extended readings of the paradoxes and cultural effects of remix culture, including the relation of writing to djing, practices of incorporative media, tactics of digital email, combat over copyright, and the sampling of the archive. The formalization of these effects is outlined by writing in-between the theories of Gilles Deleuze and Jacques Derrida. This formalization signals the advent of the network over the territory, the form over the content, the formal over the expressive (while nonetheless recognising the distinction, persistence and difference of these terms). It argues that remix culture regenerates and redefines the parameters of the author and the proper through technological and political forces that nonetheless retain their structures of power. The conduit and context of this formal, paradoxical transformation are the cultural forces of global and digital networks, which is here defined as the "oceanic network."