本研究從探討台灣及韓國兩國目前為扶植文化創意、數位內容產業所推動之發展政策比較，介紹兩國目前的推動政策內容以及發展狀態，並探討為振興整體產業，如何運用相關政策而帶動產業發展，且從中國家力量在推動產業時所扮演的角色及力量。透過台灣、韓國對文化創意、數位內容產業之相關推動政策比較，試圖探討執行政策之優缺點，再進一步比較截至目前為止的發展成果。此外，本研究介紹了台灣、韓國兩國近期在相關產業發展過程中所引發爭論的智財議題，在比較分析兩國文化創意、數位內容產業所面臨的智慧財產議題後，探討兩國在知識經濟時代如何保護運用相關智慧財產，及其與產業發展的關聯。為了解台灣、韓國文化創意、數位內容產業界實際現況及對於政府輔助政策的意見，並探討相關推動政策的實效等，本研究在訪談兩國相關企業後，找出目前產業實際問題所在且蒐集來自產業界的意見，最終導出本研究結果，並依據韓國文化創意、數位內容產業發展的歷程，對台灣文化創意、數位內容產業發展提出本研究的建議。 / This study started from the comparison of the Taiwanese and Korean government policies that are intended cultivate the development of culture creative and digital content industry. By introducing the measures and activities taken officially, we can clearly see how each government acts in the development of their culture creative and digital content Industry, following by discussing the pros and cons of the policies and further comparison of the achievements until now in Taiwan and Korea. On top of the background analysis of the culture creative and digital content industry in Taiwan and Korea, this study introduced the intellectual property related issues that were raised during the development, and discussed how they manage to protect and commercialize their intangible assets and how this effects to the industry. Interviews of local companies were conducted in order to evaluate how the Taiwanese and Korean policies work and see if that really meet the demands of the industry. The conclusion of this comparative study comes from the opinions of the industry, and since the Korean had gone further in the development of culture creative and digital content field, the study came out a few suggestions for Taiwan for their future development in these industries.

本論文探討主題為文化創意產業之國際化，首先透過文獻探討方式，了解文化創意產業、企業國際化、新創事業、企業核心資源能力等議題內容；第二階段則透過個案訪談與次級資料的搜集與整理，對研究個案企業之發展歷程與國際化相關策略作一介紹；第三階段則將先前探討之文獻、研究與研究個案之國際化模式作分析、比較，歸納出命題並提出本研究之結論。 2002年行政院提出「挑戰2008：國家發展重點計劃」，明確將「文化創意產業」列為台灣未來重點發展產業，然綜觀目前國內有關文化創意產業之研究多以整體產業發展、文化創意產業與地方/社區經濟發展等相關主題為多，甚少有研究以文化創意產業為主體，針對其國際化議題做探討。本研究針對此議題，選擇以獲得行政院文建會所遴選之文化創意產業成功企業之法藍瓷有限公司為研究個案。法藍瓷成立至今僅有五年歷史，然憑藉著優異的設計創意與產品品質，產品上市不久即榮獲海內外各項大獎肯定，目前在海外市場約有五千多個銷售點，遍及美國、歐洲、紐澳地區、大中華地區與日韓等市場，年營業額約一千兩百多萬美金，是目前台灣文化創意產業裡，海外市場發展相對較成功者。 本研究結論簡述如下： 一、文化創意產業進入國際市場時，應考量本身資源能力，彈性地選擇最適合的 進入方式。 二、文化創意產業國際化的過程中，仍然適用於一般產業依各地比較利益不同而 將價值鏈各環節活動安排在不同地區之模式。 三、文化創意產業進行國際化時，除了研發、創意的掌握，亦應同時強化品牌行 銷能力培養與通路的建立。 四、國際化的資源能力可以在企業經營活動的動態過程裡逐步累積，企業若能 將國際化過程所習得的知識與經驗整理吸收，未來踏入一個新的國外市場 時，對於經營業務的推動與策略的形成將有相當幫助。 關鍵字：1.文化創意產業 2.國際化動機 3.國際市場進入模式 4.新創事業 5.工藝類文化創意產業 6.核心資源能力 / The cultural industry has been considered as the most promising industry for the future economic energy sources for many countries. However, with the limited market size in Taiwan, Taiwanese cultural industry also needs to go international for a bigger market. The purpose of this research is to understand the internationalization of cultural industry in Taiwan. As an exploratory research by case study method, the research consists of four aspects：（1）the characters of cultural industry；（2）the internalization of business；（3）the newborn business；（4）the core competence of a company. Through primary data collection, such as in-depth interview and secondary data collection from other researches and publications, the research chose Franzcolletions as the study focus. Conclusions drawn from this research results are： 1. When going globalization and entering into a foreign market, the cultural industry should take account of its own resources and capability, and thus being flexible choosing the most suitable entry mode. 2. During the process of globalization, the cultural industry will arrange the value chains activities which following the comparative advantage theory like other industries. 3. In addition to R&D, the cultural industry should also strengthen marketing ability and building up the distribution channels. 4. The cultural company can accumulate its resources and train up the core competence through the internalization process. Learning from the previous experiences, a cultural company can form a thorough strategy when entering a new foreign market in the future. Key Words：Motivation of Internationalization；International market entry mode；the cultural industry；Newborn business；Core competence.

我國「文化創意產業發展法」於2010年三讀通過，根據第3條之定義，文化創意產業共計15類產業，及一款經中央主關機關指定之產業。法令規章所建構之文化創意產業類別體制，於文化創意產業政策實務推動中之執行完整度，扮演著極為重要角色。 本研究爰從文獻分析，針對文化創意產業政策計畫演變，比較我國與韓國文化創意產業制度設計。在個案選取上，以珠寶產業為例，探究文化創意產業政策執行實務，說明官僚組織設計，對文化創意產業政策執行影響的情形，並提出若干省思及相關建議。 / Taiwan's "Cultural Creative Industry development act" was adopted in 2010 after the third reading. According to the definition in article 3, there are a total of 15 types of industries that are classified as part of the "Cultural Creative Industry" , as well as other industries designated by the Central Competent Authority. The classification system of the Cultural Creative Industry decreed in the regulations plays an extremely important role in implementing the promotion of practical Cultural Creative Industry policies. The present study aims to elucidate the changes in policy planning of the Cultural Creative Industry through a literature review and compare the design of Taiwan's Cultural Creative Industry policies with those of South Korea. The jewelry industry was selected as a study case to investigate the practicality of policy implementation of the Cultural Creative Industry, explain the influences on the policy implementation by the design of the bureaucratic organization, and propose a number of reflections and related suggestions.

華山創意文化園區的產業化發展受到一個由國家、藝術社群與企業三方構成的社會結構影響，藝術社群、國家與企業三者在不同階段扮演了關鍵的角色。此轉型過程經歷文化創意產業化的價值張力現象和政策磨合，揭示了上述行為者對於空間規劃與產業發展的不同主張，一方面造成其不同的信任與競合關係；另一方面也造成空間功能的轉向－此地區由一個位於前端的藝術創作聚落轉變成為靠近後端的大眾文化消費園地。 本文認為文化創意產業化的過程將引發行為者不同的價值取向，其原因為：一、精緻藝術與通俗文化的特性不同；二、創作前端與市場後端的需求與運作邏輯不同。而為了尋求文化與產業的永續發展，政府必須回應這種特殊的產業特性，扮演彈性的平台角色，一方面能夠觸動行為者的相互交流、理解與信任關係，使其自由溝通並跨界合作，誘發各種創新的可能；另一方面需要釐清空間的角色與功能，讓有效的補助與保護機制連結網絡關係及群聚效應。如此一來，這樣的制度環境能夠鼓勵創新，不因產值思維而壓抑創意，而創作前端與市場後端能夠充分活化與溝通，進一步完整價值鏈機能。 / The industrialized development of Huashan Creative Park was influenced by the social structure, composed of the state, the community of artists and the enterprise. These three factors played crucial roles within different phases. The Industrialization of culture and creativity resulted in tensions between discrepant values as well as policy modification within the transition, which displayed diverse positions toward spatial planning and industrial development from different factors. The tensional phenomenon not only altered the relationships of trust and contention among factors but also brought about functional change of the space－this cluster of art creation near the front end of value chain turned into a pop culture consuming park near the back end. This paper argues that industrialization of culture and creativity will lead to dissimilar value orientations of factors because of two reasons：the first, distinct features of fine art and pop culture；the second, different needs and logic of creating front end and consuming back end of the value chain. In order to build up sustainable development of culture and industry, the government is suggested to deal with this kind of special industrial feature and take a role as a flexible platform. On the one hand, this platform should induce interaction, understanding, and trust between factors as well as generate free communication, synergies among multi-fields, and all possibilities of innovation, on the other hand, it can clarify the significances and functions of spaces as well as connect network and cluster effect to complete the function of value chain by an appropriate protective system and subsidies. As a result, this institutional environment can encourage innovation and interaction between creation and market instead of oppressing creativity due to output value requests.

台灣整合行銷產業受限於市場規模小及與市場景氣連動性高的因素下，面臨利潤被壓縮的挑戰，提出創新服務勢必為未來發展的趨勢。另一方面，雖然政府大力投入資源於文化創意產業，民國一百年甚至被馬總統宣告為台灣設計年，但多數的創意品牌設計卻無法面臨市場機制的挑戰。本研究試圖探討能否導入整合行銷傳播模式於文化創意產業鏈，發揮以市場為導向的價值建置跨業資源整合平台，改變過往的產業開發商品模式。 　　本研究架構以「新視紀整合行銷集團」及其建置的「有藝氏創意商品整合平台」為例，綜合交易成本理論分析和透過與「有藝氏創意商品整合平台」實際運作成效，分析整合行銷傳播模式應用在文化創意產業的可行性與綜效。 　　研究結論發現，導入整合行銷傳播模式的「有藝氏創意商品整合平台」有效降低整體現在文化創意產業鏈開發商品過程中發生的交易成本，除提高創意商品化的可能性之外，亦加快商品從研發到上市的速度，而消費者則是整體產業鏈交易成本降低的最大受益者。 / The integrated marketing industry in Taiwan faces a low gross-profit challenge because the limited market share and its growth is highly relevant to the worldwide economy. Providing a creative service becomes a trend for the industry to respond those tough situations. Although the Taiwan government has been putting a lot of resources into the cultural and creative industry and President Ma Ying-Jeou announced that the year of Taiwan centenary (2011) is “Taiwan Design Year,” most of Taiwanese design companies could not cross through a marketing chasm successfully. Most creative products could not been accepted by mass consumers. Thus, this research seeks to explore the application of integrated marketing communications in cross-disciplinary and then analysis the feasibility of changing creative product developing processes with the integrated marketing communications model. This research uses the transaction cost theory and takes New Vision Integrated Marketing Communications Group and its subsidiary company, Unique Art Integrated Platform of Creative Products, as case study to evaluate the efficiency in creative product developing processes. This research concludes that “Unique Art Integrated Platform of Creative Products” which applied the integrated marketing communications model into the cultural and creative industry in Taiwan, indeed increased the possibility of developing creative products, decreased transaction costs in developing creative products, and shortened the whole developing process, from searching for a design to launching a product. Most importantly, consumers are beneficiaries, spend less money to buy creative products, because of this new business model.

公共部門的組織運作相較於過去，正處在更為不穩定和動盪的環境之中，公部門必須提高其「創新」的能力以為因應，並由於治理網絡形式的顯現，也更加強調公部門創新的重要性。面對當前許多充滿高度複雜與棘手的公共問題，我們不僅需要公共創新的新途徑，同時也要為許多問題的解決方案提出必要的工具。無疑地，吾人必須關注如何透過治理網絡中行動者間的協力，即是公共管理者、民選官員、企業、非營利組織等行動者的協力，用以強化公共創新，因此，「協力創新」可以說是當前公部門創新的重要議題，同時也是公部門面對網絡治理亟欲尋求的新方法。簡言之，欲探究的「協力創新」，則是指以網絡為基礎的協力，促進治理過程中公部門的創新。 本研究主要聚焦在公共部門協力創新的理論與實務的討論，以下述兩個關鍵重點做為討論的主軸：一、重點是針對「公共部門的創新」，而非一般所談論的企業創新；二、著重於「跨部門間或網絡協力」的創新，並非單一組織內部的創新。研究問題包括：何謂是在公部門的協力創新？協力創新的過程需要具備哪些條件？網絡中的行動者如何透過協力過程以導引出創新？協力創新呈現的樣貌或結果為何？對文化行政機關而言，文化創意產業政策之推動，對文化行政官僚的協力創新經驗有何特殊性？協力創新的過程有何困難？如何克服這些障礙，以驅動協力創新？ 儘管公部門透過跨部門、跨組織的協力創新研究還處在發展萌芽的階段。在實務上，公部門必須審時度勢，在協力過程中透過制度設計，與行動參與者進行有效溝通、建立信任，並證明展現其領導、協調和整合的能力。因此，本研究關注協力創新在公部門的應用，一方面提出整合自公部門創新、協力治理文獻而發展出來的理論架構，另一方面也針對文建會在推動文化創意產業政策運用協力創新的過程和經驗，進行質化的實證研究，以提供公部門有關協力創新應用之理論面與實務面相互印證的機會。 研究發現公部門創新必須致力於創造更多的公共價值；政治的推力、回應外部發展趨勢、核心職能外新增業務的壓力、尋求和匯集外部資源、創造有利創新的組織文化是公共組織內外環境中存在激發協力創新的驅動因素；而網絡治理的領導能力、多層次與橫向溝通平台、互惠的信任關係基礎、良性的創新循環等是影響協力創新過程的關鍵因素；公部門適當的制度設計有利於協力創新的發展；協力創新的多元價值結果亦呈現出不同的創新類型。最後，本研究也針對協力創新的實務應用、制度設計及組織運作、文化創意產業推動方面提出若干建議。 / The importance of strengthening innovation in the operation and organization of the public sector is highlighted by both today's increasingly variable environment and the emergence of governance networks. The many complex and wicked problems that are currently encountered in civil sector indicates a need not only to innovate, but also to come up with necessary tools for solving multiple problems. No doubt the primary focus should be on uniting efforts among actors in governance networks, namely civil sector managers, elected officials, businessmen, and non-profit administrators, in order to strengthen public sector innovation. For these reasons, collaborative innovation is an important topic in public sector innovation and an anxiously pursued new method as the public sector faces collaborative governance. Moreover, collaborative innovation is network-based collaboration that promotes innovation in the public sector governance process. This study primarily focuses on theories of public sector collaborative innovation and discussions of actual practice in the field. The study revolves around two key points: a focus on public sector innovation as opposed to commonly discussed business innovation, and innovation in cross-sector collaboration or network-based collaboration as opposed to innovation within a single organization. Questions addressed in this study include: What is meant by public sector collaborative innovation? What are the prerequisites for collaborative innovation processes? How do actors within a network lead innovation through collaborative processes? What are the features or results of collaborative innovation processes? What special experiences have administrators of cultural bureaus had promoting cultural and creative industry policies with collaborative innovation? What difficulties are encountered during processes of collaborative innovation? How can these difficulties be overcome in order to spur collaborative innovation? Research of cross-sector and transorganizational collaborative innovation in the public sector is still in its developmental stages. Each collaborative process must be assessed through system design to ensure effective communication and the establishment of trust, as well as to verify leadership, coordination and integration capabilities. Therefore, this study concerned with the application of collaborative innovation in the public sector first constructs its theoretical framework on extant literature in the fields of public sector innovation and collaborative governance, and secondly is directed at the Council for Cultural Affairs use of collaborative innovation in its policies that promote cultural and creative industries. This study employs qualitative empirical research to provide opportunities for mutually verifiable theoretical and practical collaborative innovation applications related to the public sector. Results of this study suggest that innovation in the public sector should be directed at creating more public value. Governmental influence, response to external trends, pressure added by work extrinsic to core functions, the collection of external resources and organizational culture cultivating beneficial innovation are all factors that drive collaborative innovation in and around public organizations. Network governance leadership ability, forums for both horizontal and vertical communication, foundations of mutually beneficial trust, and healthy innovation cycles are all influential factors in collaborative innovation processes. Appropriate organizational design in the public sector spurs the development of collaborative innovation, and the manifold values of collaborative innovation result in different innovative forms. Finally, this study aims to make recommendations for the practical application, organizational design and operation of collaborative innovation, and the promotion of cultural and creative industries.

台北都會區正在面臨轉型，由於老舊建築的生活機能不佳、公共設施也不足，加上安全防災不齊全，所以民間和政府都積極參與都市更新，讓市容煥然一新。這不單只是硬體上拆除重建或建築翻新而已，而是要展現各地方獨特風格形式與魅力，進一步帶動經濟活力，提供下一波成長的競爭力，讓城市每個角落呈現更多創意的嶄新面貌。面對此一目的，本研究希望從此一方向進行探索性研究，探討在都市重生過程中，有時限的閒置空間如何再作利用，帶給企業或機關學校延展性的資源，產生競爭優勢，並且讓空間到期之後，還能順利讓空間重生，提供城市成長的競爭力。 關於再生空間，國內外均有許多實例以文創產業活化閒置空間的案例，但此類再生空間都是以永續經營發展為目標，對於有時限的空間再利用，則鮮少著墨，因此本研究希望了解(1)空間經營組織該如何以文創事業導入都市再生過程中的閒置土地? (2)以文創事業導入都市再生過程中的閒置土地再生空間樣貌為何? (3)空間經營組織在經營再生空間之後，如何建立核心資源?本研究藉由文獻次級資料與報章雜誌的回顧分析，並以都市再生空間為基礎發展出個案研究的基礎架構。選擇之代表研究對象為尚處初步階段的案例，包括城中藝術街區和127公店，希望透過本研究，能給台北都會區發展轉型實務與學術的發展。 本研究初步結論包括：(1) 各組織在動態網絡中，擷取彼此優勢，互賴繁衍生長。(2) 對於使用有年限的再生空間，文創事業不以一般營利為主要導向，給予產業更多靈感。(3)文創事業體的成長是空間經營組織的核心資源。本論文最後進一步提出實務上待克服之地方及後續研究上的建議。 / Due to poor life function of the old buildings, including shortage of public facilities, incomplete security disaster prevention system, and Taipei metropolitan area is force to face urban regeneration which is encouraged by local government and locals. As to the process of urban regeneration, this does not just demolish the old building or reconstruction on the renovation itself, but to show the form of local unique style and charm, to further promote economic vitality by providing growth competitiveness. Therefore, this study wants to be a base for following research in this topic. There are lots of examples of reusing vacant spaces among domestic and foreign countries, but the goal of managing these spaces is making them sustainable. As for reusing time-limited space, the discussion is not mentioned a lot. The purpose of this study is to understand (1) how do organizations that run the vacant spaces cooperate with culture creative industries during urban regeneration process? And what are their relations? (2) What are the space characteristics during culture and creative industry into urban regeneration process? (3) What are the benefits for the organization participating in urban regeneration, and how can the organizations build core resource such as core competence? Through reviewing of secondary data such as literature newspapers and magazines, this study derives the research structure. The cases of this study are still in the initial stage, including UrbanCore Arts Block and store no. 127. This study is hoping to give Taipei metropolitan area practical and academic development in urban regeneration process. The study finds: By cooperation with culture and creative business, companies and organizations learn to develop human resources as the main target. Also, as for time-limited space, cultural and creative business is not lean to consumer-oriented, but to give industry more inspiration. Finally, the growth of cultural creative business is also the core resource for the organizations that run the vacant space. In the end, this paper further proposes difficulties on local practice and recommendations on the follow-up study.

自英國於1997年首度提出創意產業，讓創意的附加價值藉由無形或文化性的特質融入到產品與服務創新中，文創產業已然是後知識經濟時代的指標；基於台灣文創環境的無形資產鑑價制度尚處於建構期，整體機制尚不成熟，因此相關企業在面對成長躍進中常因資金受限，也間接影響了整體產業發展，而此種現象尤以藝術經紀授權產業為甚。 「無形資產」是藝術經紀授權產業營運模式的核心。而國內對於如何將無形資產轉換為有形之概念性商品，而且又能使商品成本與企業價值被量化之議題的論述探究甚少，因此本研究將以藝術經紀授權產業為主體架構去進行鑑價模型之分析，冀望為文創產業注入更大的延展空間。 本研究整理現今無形資產、智慧資本、智慧財產之相關鑑價理論與方法流程，並就藝術經紀授權產業現況進行質化的分析，並冀望從理論出發含概實務觀點的去建構適合此產業的鑑價機制，並挑選P個案公司去驗證本研究所提出運作模型，以實現其價值轉化過程。 本研究結果可以幫助文創產業中之無形資產鑑價分析較為貼近產業之真實面貌，亦可讓文創產業經營者引為借鏡，以期盼提升台灣整體文創產業的競爭力。最重要的是藉由檢視相關產業的發展歷程，本文獻進而讓政府在制定相關產業政策時，更能以全方位的角度衡量產業政策，降低產業投入者資金進入門檻，讓更多的創投基金及金融機構投入，以促進產業發展與提升產業競爭力。 / Since the introduction of creative industry in Great Britain in 1997, which allowed the merge of value-added creativity into product and service innovations via intangible or cultural features, cultural creative industry has apparently become the index of the post-information economy. However, the intangible asset valuation system in the cultural creative industry in Taiwan is still under construction, yet immature, and the lack of capital inflow is usually the key restriction to the development and progress for many relevant enterprises, which in turn influenced the development of the entire industry; such phenomena is especially apparent in the industry of art 、agency、 licensing. “Intangible asset” lies at the core of the operation of art 、agency、and licensing industry. But there is not enough discourse analysis domestically on issues regarding how to turn intangible asset into conceptually tangible products or to further quantify the product cost and enterprise values, therefore, this study conducts analyses of valuation model based on the scaffolding of the art 、agency、 and licensing industry, hoping to introduce greater room for expansion in the cultural creative industry. The study has compiled valuation theories, methodologies and procedures regarding intangible asset, intellectual asset, and intellectual property, conducted qualitative analysis on the current status of art agency、 licensing with the expectation to develop a valuation mechanism suitable for this industry based on the theories and practical aspects, selecting company P as example to verify the operation model proposed in the study and to realize the process of value transformation. The study aims to help bring the valuation analysis of intangible asset in the cultural creative industry closer to the reality, and also serve as a reflection for operators of the cultural creative industry with the expectation of promoting the overall competitiveness of the cultural creative industry in Taiwan. Most importantly, by inspecting the process of development in related industries, this study may in turn provide an all-rounded evaluation for the government when drafting relevant policies of the industry to lower the investment threshold, allow the introduction of more venture capitals and financial institutions, and facilitate the development of the industry and improve competitiveness.

「溫羅汀」指的是台北市大安區的溫州街、羅斯福路以及汀洲路的區域，在七、八零年代開始，隨著台灣大學為核心的運動氣息和自由氛圍，聚集著人文氣息濃厚的主題書店、獨立音樂及咖啡館所構成的文化地景，擁有著獨立、非主流、自由的精神。「溫羅汀」的獨立音樂場景也由著這樣的文化與歷史脈絡而於此落葉生根。 透過論文的整理與分析溫羅汀在地的獨立音樂的歷史、環境與文化，再以這個為背景，來討論台灣獨立音樂在台北的群聚與社會網絡，並觀察與分析溫羅汀做為台北獨立音樂場景的重要基地其主要的因素。最後，再從外部的政策環境以及內部的獨立音樂發展方向的矛盾，來討論台灣獨立音樂發展的限制。 研究認為，溫羅汀會成為台北獨立音樂的重要音樂場景主因是因為，溫羅汀的音樂人力聚集形成一種「創意型群聚」，而這樣密集的社會網絡提供了經濟機會，而且，這樣的群聚是集合了包含生活圈、社會網絡以及產業鏈的「生態圈」。因此政府在做相關產業政策時，絕對不能忽視獨立音樂場景之中，生活圈以及社會網絡對於獨立音樂發展的重要性。並且，政府在做獨立音樂產業政策時，各部會層級的溝通也都該有「文化」的思維，並且，部會間的橫向與縱向的溝通與協調機制也必須要能夠發揮。

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。