本研究使用結構化問卷和民族誌書寫，分析花蓮考古展與遺址地景展示的系列活動，企圖釐清文化資產的當代使用者群體如何才能是意義創造的主體，包括檢驗遊客滿意度與深度剖析2008年花蓮文化局在舊鐵道倉庫舉辦的《活在遺址上》考古展，與緊接而來的花岡山遺址搶救挖掘。藉由評價2008年考古遺址區域之「使用者」對於史前文化的認知想像，將大學考古隊參與此次社區博物館的佈展經驗與觀眾迴響，與2007年國立自然科學博物館所設計的行動博物館特展《考古小偵探》加以比較。首先，針對觀眾構成進行分析，造訪2008年花蓮考古展的觀眾中回收有效問卷322份(n=322)，其中有86%回應此為其「三個月來首次觀賞的類似展覽」，和2007年行動博物館花蓮場的56%觀眾回覆(n=115)，均顯示出此「非經常性觀眾」的遊客背景。其次，針對遊客在社區博物館室內進行「文化體驗」時有哪些關注要件，滿意度調查（李克特量表）的結果顯示觀眾滿意度聚焦的重點在於：展品內容、動線設計與互動活動。然而對比下，戶外展示的生動地景卻是極大程度地引起市民社會的注視。整體結果顯示隱喻視野的對比展示，有助於在地學校、鄰里社群，乃至於旅遊團體理解：如何能在交流文化想像中重新欣賞史前與當代、人群與土地之間的互為主體關係。
In this study using a structured questionnaire and ethnographical writing, we analyze archaeological exhibitions of prehistoric landscape in Hualien during a series of museum activities in an attempt to clarify how the contemporary users of cultural heritage become the subjectivity of making meanings. The analyses include the interviews on visitor satisfaction in 2008 regarding a community exhibit for the regional archaeological culture in a railroad warehouse by Hualien Cultural Bureau, and immediately following a rescue excavation in the archaeological site of Hua-Kang-Shan. By evaluating prehistoric imagination of landscape users in the mentioned exhibits, the university team participated the organization of community museum exhibit in 2008, and compared with the result of action museum exhibit in 2007, designed by the National Museum of Natural Science. First, for the composition of the audience analysis, there is 86% of the visitors in 2008 as the ”non-ordinary audience” (valid sample size, n=322), compared with 56% in the action museum in 2007 (n=115). Secondly, the analyses explore the key attention clues on museum exhibits for visitors' cultural experience. Likert scale results for satisfaction show that the focus of audience satisfaction is primarily on exhibit content, moving line design and interactive practice. Contrasting to the indoor display, the outdoor fieldwork of the archaeological site is to a great extent redirect the attention of regional society. Overall results summarize that the metaphorical comparison of different references in exhibits can help to better understand how the local schools, city neighbourhood, and tourist groups exchange cultural imagination as to re-appreciate the inter-subjective relations between the prehistoric and contemporary landscape.
