本論文探討蔡明亮電影裡所呈現出的流動多元的時／空間是如何挑戰資本主義模式主導下的時空壓縮及全球均質化現象。藉由分析《洞》及《你那邊幾點》，論文指出蔡明亮經由重新想像過去與未來、「此」與「彼」的辯證關係，豐富化原本扁平及記憶架空的全球化「當下」，讓「當下」變得較適於居住。從迪瑟鐸對「日常性」的討論，我們得知所謂的「日常生活」並不是不證自明地提供透明無疑的經驗；事實上，「日常生活」裡充盈著許多鬼影幢幢的「他者」。這意味著日常生活的主體必須被視為處於一種活絡流動的狀態，這種主體是魅影盤旋、幽邃層疊的。在已去魅了的日常陳腐與資本主義同質時／空間的霸權下，蔡明亮藉由異質時間的嵌入，重新組構既有的空間，提供給我們批判性的想像及一種烏托邦的指涉。

The focus of this paper is to examine Tsai Ming-Liang’s cinematic creation of different kinds of time/space that challenges the capitalist model of time-space compression and global homogenization. By analyzing The Hole and What Time Is It There, I aim to show that Tsai is concerned with amplifying the presence of the “now” and making the present “habitable” by re-imagining what counts as past and future, here and there. Recalling Michel de Certeau’s discussion of the everyday, we see that the everyday is not simply an unproblematic and self-evident grounding for experience; instead, it is haunted by implicit “others.” This entails seeing the subject of everyday life as a volatile becoming, the subject who is not self-present. This paper argues that Tsai Ming-Liang still looks for myth in today’s disequilibrium, that his alternative cinematic narrative gestures toward an impulse to “re-enchant” the everyday banal in the age of globalization. By redistributing the existing space or by inserting a certain play (which usually entails temporality) into the order of the everyday, Tsai, particularly in The Hole and What Time Is It There, creates a space for maneuvers and for utopian points of reference.