Going back to Doug and John's posts, to me 'nude media' (a great term, Kenneth, btw) is one way of talking about a history of appropriation whether it is offline or online. As John just illustrated - it is a question of choice, not medium.
That MP3 file 'stripped of its external signifiers' is essentially no different then a photocopied page separated from the author/title info. Are we not just replacing a pair of scissors (Gysin) with sound processing software? Perhaps the the main difference is in the speed with which the 'nude media' file makes it's way back into the remixing and sampling pool and how long it stays there for (and if it ever becomes used up/finished)?
And on that note, I thought Kenneth's asked some really interesting questions a few posts back, which we all seem to have skipped and I'd like to return to those:
-How does having a variety of contexts influence the cultural reception of such objects?
-Who or what determines an avant-garde artifact's value, both commercially and intellectually?
-How does this in turn impact the artist's reputation, both commercially and intellectually?
-If artifacts are always in flux, when is an historical work determined to be "finished"?