This paper theorises the culture of remix and reuse in a contemporary data-saturated society from a practice-based phenomenological perspective by studying how the materials in a number of animation archives housed at the University for the Creative Arts are approached and treated. Remixing and reuse the archival materials not only widens access to the animation archives, but also transforms the learning activities. In so doing, it enhances student-centred flexible learning, and encourages students to contribute to sustainable cultural heritage.

The analytical framework will be based on Callon's 'sociology of translation' (1986, Callon et al., 1983) and Callon and Law's concept of 'interests and enrolment' (1982) to understand how the archival materials are 'domesticated', '(re-)appropriated', re-contextualised in the archive visitor's works (or influence the visitor's work. We will identify the relationships between the actors (the animators) and the archival relationships, the possibility of interaction (e.g. the materiality of animation, and production labours), discuss how the margins of manoeuvre are negotiated and delimited (ibid.: 68). For example, materiality of animation and production labours can be explored by asking how can/do these knowledges continue to inform the types of animation films made by practitioners. More broadly, we wish to consider how interactions between humans and technologies change behaviours and can be appropriated in different situations, how the body is engaged in those endeavours of shifting modes and materials of production, and how these differentials impact on the type of work that is made.

• http://www.pt-ai.org/iacap/2014/program