The term Remixing is wildly known within creative communities such as musicians, designers, artists, and writers. Remixing, in the broad sense of the word, reflects the action of re-using or re-integrating of element/pattern (s) - or a part of it - that has been previously mixed. In the past view decades; the journey of the Arabic visual language reflects understanding for the rationality and strict distinguishing between cultures of the modernism and even digested –somehow- the move to post-modernism in the 1970s with it's overlapped paradoxes and multi-cultural languages. Especially the post-modernism Arabic creativity has encouraged designers to start communicating differently and more effectively with their culture. Their concepts are based on the re-usage of hybrid visual patterns instead of the mono-cultural and strict unified paradigms. Today's global economical system forced as welldesigners from all over the world to create hybrid and remixed solutions. Even many authors considered this millennium as the period of Remixing and Cybernetics, where ambivalence cultural norms will be melt and unified!
The paper argues that remixing is a global phenomenon and there are enough evidences reflect its existence in different paradigms within design. Issues like the meaning of remixing in culture and design will be highlighted. The following questions will be discussed: What are the benefits of using remix modules in visual communication? Can designers through remixing succeed to produce non-banal design? What is the meaning of originality within the frame of remixing? The possible answerswill be given from socio-cultural, and graphicdesign dimensions, with focusing on international norms and its relation to contemporary visual