Remediation, Remix, Assemblage. Looking across these concepts, these seems to be one through line. Of course, they all pertain to composition, but more importantly, there is one mechanism common across them, the aspect of copying or replication. A remediation attempts to re-create sense experiences, a remix copies and transforms other texts, and an assemblage relies on the piecing together of pre-existing materials. However, given these analyses, we can draw some tentative conclusions about the domains of each instance of copying. Looking at Terminator the Second through the lens of remediation, we primarily focused on the dual logics of immediacy and hypermediacy, as those are the component parts of the theory. We were able to understand that the play copied content from the screen to the stage, primarily by working within the material constraints of theater. But, beyond understanding that the copying did in fact take place in service of hypermediacy, Bolter and Grusin’s theory doesn’t offer much for understanding how this remediation takes place. This shortcoming can be explained by features of the theory: Bolter and Grusin’s work focuses primarily on media and how they resemble one another, not devoting much attention to human agents that contribute to these changes. Through this lens, we can only get a macro-level sense that a text is a remediation without understanding how it is accomplished. On the other end of the spectrum, Remix might actually give us our best understanding of how content is moved across media. Kirby Ferguson’s “copy, transform, combine” shows how different aspects of different texts can be combined for new compositions, just as Yancey describes. However, where remediation is fixated on media, remix, at least currently, seems focused only on texts. Remix may be a material practice, but the focus is primarily on making new meanings by combining old ones. Again, we can recognize a text as a remix accomplished by copying and transforming, but may not have a way to understand the materials used for it. Using the best of both concepts, assemblage provides a way to understand both the material practice and semiotic meanings created by assembling these things together. Perhaps what is most appealing about assemblage is its versatility: it can explain the piecing together of individual lines and the transformation of lawn equipment, all to serve the purposes of making meaning.