后人类主义是晚近兴起的一个极具前卫性的激进思潮,人—机共生是其重要原则,张狂的玄想和思辨则是其标志性的理论风格。但其意义并非仅仅在于向未来投射漫无目的的幻象,而更在于对当下的时代状况给出切入骨髓的诊断。机器、网络对肉体和生命的操控与渗透并非必然导向解放的希望,相反,只有在解域和逃逸的策略之下,方可真正实现流动与游牧。我们试图以赛博朋克教父威廉·吉布森的名作《爱朵露》为具体案例,以德勒兹及瓜塔里在《千高原》中对颜貌的启示性论述为理论参照,展示近未来时代的游牧方略。“空漠之眼”实现着对欲望—机器的解域,而作为面具之脸又戏剧性地上演着不同空间的节奏共振。 Post-humanism is an avant-garde and radical trend of thoughts that has arisen lately. Man-machine symbiosis is an important principle of this. Posthumanism and speculation are their landmark theoretical styles. But its significance is not merely to project an illusion of purposelessness to the future, but to give a diagnosis of the current situation of the age-proven marrow. The manipulation and infiltration of the body and the life of the machinery and network are not necessarily the guide to liberation. On the contrary, the real flow and nomadic reality can only be realized under the strategy of solution and escape. We try to use the example of “Love Dulu”, the masterpiece of Cyber ​​Punk Godfather William Gibson, as a theoretical reference to the revelation of the appearance in Deleuze and Guattari in the “Thousand Plateaus,” to show that the near future era Nomadic strategy. The Eye of the Hollow realizes the domain of desire, the machine’s solution, and the face of the mask drastically alters the rhythms of different spaces.