本文嘗試從人類學的角度探討在文化產業的發展過程中，地方社會的社會文化性質如何透過不同的方式運作、轉化、或再創造。首先，「文化產業」受到不同力量所形塑，包括不同時期及不同方式的資本主義、西方教會的力量、國家不同單位均影響了當地文化產業的興衰，地方與全球的互動也扮演了重要角色。當地工作坊主人在正式成立工作坊之前與外在大社會的互動經驗，尤其是以個人為中心建立了不同的社會網絡，呈現出賽德克的社會特質如何在當代脈絡中繼續運作。　　其次，不同工作坊對於織布圖紋的多元解釋，是一個正在進行中的文化再創造過程，尤其織布作為「纏繞的物」（entangled objects），具有多重意象（ image），在不同情境下可以和新的意義結合在一起。進而，本文更深入探討人和布的關係，凸顯當地人的主體性，從當地人織布的心路歷程可以看出人的主體性與物的客體性相互建構的過程，人透過吸納（sublation）物的特性而建構其自我，人和物是一種辯證的關係；而且，個人學習、教導織布的過程也是建立社會關係及社會性人觀（sociality）的過程，社群成員透過分享彼此的特質來建構社會關係，因此個人的認同是社會關係的縮影，也是不斷重新建構的過程；尤其織布是女性實踐 waya、以及與 utux 溝通的場域，或許可以被視為女性的儀式，女性透過織布而參與了宇宙秩序的再生產。

Cultural industry demonstrates different forms of combining economy and culture. On the one hand, due to the speedy mobility of capital, information, and population, the local community is confronted with a very competitive challenge coming from international forces. On the other hand, the emphasis on “cultural capital,” such as local knowledge and historical heritage, provides the local people a chance to subjectively interpret their cultures. As “economy” is presented in the “cultural form” during cultural industry development, culture is reconstructed, standardized, and objectified as ritual, festival, sport, garment, food, etc. In this process, culture is deconstructed, reconstructed, and represented in a new form. The local people redefine their cultures for fulfilling outer needs and making an inner transformation. This aspect is further associated with colonial government and national construction. Hence, cultural recognition is a dynamic process and a field of power display which includes the possibility of negotiation, competition, and re-creation. Regarding the research of “culture industry” in Taiwan, many studies have discussed this issue from the aspects of policy promotion, economic development, community empowerment, and tourism. This article tries to discuss culture industry from an anthropological viewpoint, and explores how social or cultural features are operated, transferred, and re-created in the developmental process of cultural industry. This paper, firstly, describes how cultural industry is shaped by different power sources. Capitalism, power from Western churches, and different national departments affect the development of cultural industry. Interaction between the local and the global also plays an important role. Moreover, I will take several weaving workshops as examples to show the hosts’ interaction experience with the outside world before establishing their workshops. Social networks based on the individual demonstrate how the Sediq social characteristics operate in a contemporary context. In addition, this article analyzes various interpretations regarding weaving patterns as part of the process of cultural reinvention. As entangled objects, weaving cloth embodies multiple images that combine with different meanings in different contexts. Furthermore, this paper discusses relationships between people and cloth, and highlights the locals’ agency. The weavers’ psychological journey gives us insight into the process of inter-construction between the subjectivity of human agents and the objectification of objects. In other words, a weaver constructs her identity through the sublation of an object’s characteristics. The relationships between humans and objects are, therefore, dialectical. Moreover, learning and teaching weaving provides chances of constructing social networks and sociality. As community members construct social relations through sharing characteristics, a person’s identity is an epitome of social relations and the process of reconstruction. More importantly, weaving is a field in which women can practice waya (literally, norms) and communicate with utux (literally, spirits). It could be viewed as a female ritual. Thus women participate in the regeneration of cosmic order through weaving.