本論文以「塑膠射出成型機器」作為一種討論創作課題的可能，主要涉及了創作者的存有論（ontology）問題，並凸顯某種「雙重性」：臥底的雙面間諜（double agent）。這樣的立場假設了創作者仍然擁有藝術的自由與革命叛亂精神，但是必須深入敵營以「藝術家」的身分維生。
討論內容包括創作者在資本主義中的處境為何？討論兼具藝術創作的理論與實踐的技術？資本主義中的創作者如何取得「藝術家」身分？接續的問題為取得「藝術家」身分有無明確「方法」與「技術」可言？「藝術家」如何進入藝術產業並且與之共生共存，亦即「藝術家」如何與資本主義緊密銜接？又是在什麼條件下，藝術進入資產社會且又能同時進入美術館並寫進藝術史？甚至還包括了創作者與「藝術家」身分的衝突、矛盾與尷尬。
主要方法是以創作者自身實際的藝術生產經驗與藝術產業的收編之間，考量創作者在進入體制內取得「藝術家」身分的合法性與有效性等問題上進行探索。依賴實際創作經歷與相關文獻對於藝術產業與現象的分析來達到驗證的目的。
最後回到創作者在資本主義中，以藝術作為抽象機器，體現以有限的肉身與物器，實踐宇宙終極的抽象原理與無限的力量。

This paper "plastic injection molding machines" may be discussed as a creative subject, mainly related to the ontology of the artist, and highlight some kind of "duality": (undercover) double agent. Such a position assumes that the artist still have artistic freedom and the spirit of revolutionary rebellion, but it must be in-depth enemy camp to the identity of "artist" for a living.
The discussions included the situation of the artist in capitalism and mentioned the technology of both the theory and practice of artistic creation. Besides, how the artist in capitalism achieve the identity of "artist"? The problems continue to obtain the identity of "artist" with clear "method" or "technology" at all? How the "artist" within the art industry and coexistence with it. How the "artist" closely co-ordinated with capitalism? Under what conditions, art gets into society, at the same time, into a museum or written into art history? These are the main topics in this study
The main method is from the incorporation of the artist's own practical experience in art production and art industry, and explore the "artist" within institutions to obtain the legitimacy and validity of the identity of "artist". Dependent on the actual creating experience and with related documents analysis to achieve the purpose of verification for the industry and the phenomenon of art.
Finally, back to the artist in capitalism, art is as an abstract machine, reflecting the limited flesh and matter, practices the ultimate universe of abstract principle and the infinite power.