當一個文化成為消費品，即需視之為實體化的客體，置於時空環境中予以拆解。這可依個人需求，經由詮釋來進行換置，也可以就社會的機制作結構性的調整。此乃因應文化霸權的一種策略，在其間以心智的思辨規劃一個可換置物件的戰略性軟體。甚至採用類比性的想像力將個個型態之文化主體分解轉換為各式訊息符號，以作為自身歷史結構上的隱喻，而去掌握時空延展的契機及對話方式，方能促成新的主體意義之產出。在此款運作的過程中無形地架構著另個的文化組成，從中所創造而得的作品以及產品既可將之推至市場以展露其消費上的效益。這樣策動出來的文化演化方式，旨在於文明隨著歷史時空的機遇，不斷在開拓生命體蛻變的活動場域，呈現於技藝的展示，或是一款美學的表述。據此論述，希望能提供文化產業的組成如何融入在地新意，且較為內在結構的觀點與規劃方向。

While some culture becomes some sort of consumption, we should regard it as substantive object, which can be deconstructed in space-time environment. This can be done by interpretation in process of transposition due to personal demand, or by structural adjustment according to social mechanism. It appears to be some kind of tactics responding to culture hegemony, so that it impels to materialize each subject through intellectual dialectics or even analogical imagination. Each subject may take himself as structural metaphor in order to grasp the extension pattern in space-time for creating new meanings. That is, it may frame the new culture construction and so achieve the consumption benefit. This kind of culture benefit purports that history provides the evolution of living entities through ages, and is presented in artistry exhibitions or aesthetics statements. In accordance to the thesis, we look forward to more internal structural viewpoints and dimensions that
may provide innovative local significance for the integration and composition of the cultural enterprises.