此文以路寒袖的歌詞、臺語詩、攝影詩為例，從拉康鏡象說及左右腦分工說切入，討論影音大潮的後現代進路中，路寒袖以詩之影音化建構其自我符碼的緣由、變化、和可能趨勢，以及此種創作方式所呈現的意涵。他由主流的華語符碼中逃逸，開始架築臺語影音場域及捕捉豐富之臺灣圖象，或是他要從年幼失恃和匱乏的焦慮感中不斷逃逸又不斷建構的填補方式，卻正好敏銳地符應了「由左腦返右腦」、「輕文重圖」的時代走向，其臺語詩與歌詞獨樹一幟，為臺語文字的雅緻化鋪出了坦途。而從中心流向邊緣、由深陷到逃逸，這使得路寒袖一生始終處在不安的動態性創作中，宛如歷史中不斷變換走向的臺灣圖象。

This paper, concerning Lu Han-Show's lyrics, Taiwanese poetry, poetry of photography, by using the theory of the division of labor with the brain and mirror theory of Jacques Lacan, discuss how Lu construct himself in the tide of modern audio-visual, and find the implications presented by this kind of creative ways. His escape by the mainstream of the Chinese world, began construction of the Taiwanese audio-visual field and the capture of Taiwan image, may be his lack of a sense of the filling, but just keen to meet the ”right of return by the left”, ”abandoned text into figure”. The era of flowing from the center to the edge, from deep to escape, which makes the Lu's lifetime is always in uneasy dynamic creation, like the changing trend of Taiwanese image.