本研究挪用法蘭克福學派文化工業的批判觀點，探討華山由「藝文特區」過渡至「創意文化園區」之變遷歷程所產生的諸多變異；並且疊合對藝術空間、原創性以及身體經驗的關心，對支配性意識形態的角色提出質疑，發掘壓制底下的創造性意義。文化工業浪潮作用下的華山，展現了一個資本產銷邏輯對應下的機能空間，建立在以消費娛樂帶動藝術體系的思考上，對應了空間的商品化、媚俗化及官僚傾向，藝術空間逐漸走向擁抱社會大眾的趨勢，藝術原創性與自主性面臨被巧妙收編的危機；而在強大的支配力背後，隱然浮現一個既依附又抵抗的空間實踐過程，透過或明或暗的活動經驗、自發性革命方式、閃躲社會主體伴隨產生的愉悅，恢復了一種摒棄資本邏輯壓制的新身體，以抵抗失衡的權力關係，重新喚起主體的顛覆潛能，徹底翻轉現下空間表徵之支配狀態，從而克服空間商品化、異化之可能，產生新的實踐與認同。

Adopting the critical perspective of Frankfurt School on culture industry, this study discusses the transitional space of Huashan from the Art District into the Industrial Park of Cultural and Creative Industries, with the focus concerning art space, creativity and body experience, to question the dominated role of ideology, and to find out the creative meaning under the ideological suppression. In keeping with the tide of the culture industry, Huashan not only reflects the functional space corresponding to the capitalistic logic on production and marketing, but also manifests the thinking that the art system is driven by consumption and entertainment, which results in the commercialization, vulgarization and bureaucratization of the space, the transformation of the art space into a space that could embrace the public, and the crisis that the creativity and autonomy of art is deliberately co-opted. However, underlying these driving forces, a compromised yet resistant process for practice is emerging, which through the experience of formal and informal activities, the spontaneous revolution, and the pleasure of evading social subjectivity, is capable of reversing the unbalance in power relationship, reawaking the potential of autonomous subversion, and overthrowing the representational dominance over the space, and as a result to overcome the commercialization and alienation of the space to create the new possibilities for practice and identity.