如果「影像空間」已經有了固定的範團來維持自主的領土，那麼唯一打磁框框以外或跳脫出的途徑，只有「策略連盟」一途。延伸這「影像空間」的內容，去集結其他的空間內容、去排列所有可以共同分享的內容、去多重同一但有著差異的視覺內容。也就是說，重複影像的空間，使敘述的時空得以擴展、分歧，但不同於動態影像（盯任何形式的影片），使靜態影像所構成的敘述時空有著一種模糊上的閱讀自由，如果每個單一獨立的框限都能自成一體的形勢下，又有著相互間某些可連繫的點，那麼來自主題上的共同，或者空間上的延續將有可能會產生。那麼，在對照時所取得的差異化，其實用白話來說就是「大同小異」。任何藝術創作朝這類型脈絡發展，自然地會運用到「集置、編排、系列構成」，來形成戚覺結構（視覺上、平面上）的比較分析，一種碰撞「戚」與「知」的理性思維其實，而且也唯獨只有透過影像才能辦到的理性直覺。一但「集置」、「編排」、「系列化」過程成立了，敘事也自然地會發生。只因為四個框框已經無法再獨立成單一的影像空間，變成打開而且「複數的影像空間」。

If the outlines of the images was created to maintain its own autonomous territory, only the cooperative strategy is the only way to break into the surrounding image. The extension of the content of the image space, connecting it to another space first, then organize and share their content aims. In other words, repeat the areas of images, so that the existence of spatio-temporal narrative continue, but the difference of dynamic images (ie any kind of video), Stills nevertheless possesses an indefinable charm our reading, in case all areas build their self-images reciprocal connections. All sorts of creations are moving towards this kind of development, they naturally use methods: define the location, layout, composition series, so that forms the structure of the sensation (visual level and flat surface), it is a kind of collision between ＂meaning＂ and ＂knowledge＂ in the true rational thought, and it belongs exclusively to image. Once the methods have been implemented, the narrative occurs naturally. Just because the image edge were unable to lock the images into a single space, and it becomes open plural.