本論文藉由後人文主義對於人類與智能機器結合等科技文化現象的視角，以期能形塑一套有別於傳統人文主義中「人類」與「非人」之間涇渭分明的價值觀。本文探討電腦龐克（Cyberpunk）中的塞爆空間（Cyberspace）並以「虛擬偶像」為研究對象，其中又以威廉．吉布森的《阿伊朵》（Idoru）和安德魯．尼可執導的科幻電影《虛擬偶像》（S1m0ne）為主要文本。
　　本文將從人機合體的簡史開始論述，並簡介電腦龐克和賽伯格的世界。在電腦龐克中，「身體」僅被視為「肉身」說明了人類的有限，進而歌頌主體離身於塞爆空間的自由。「虛擬偶像」變成了一種尋找出打破現實／虛擬界線之方法的離身性主體。第二章以後人文主義觀點闡釋科技／文化產業對虛擬偶像的想像。後人文主義彌平了人文主義和反人文主義間的對立，更進一步發展可能的替代方案。本章援引了凱瑟琳．海爾思（Katherine Hayles）、凱利．沃爾夫（Cary Wolfe）和唐娜．哈樂薇（Donna Haraway）等學者的理論。筆者認為，凡以人類觀點解釋宇宙萬物的論述，仍無可避免地視其他物種為階級中的「他者」，人文主義的傲慢使得人類持續掌控了評價的權力。哈樂薇則單視人類為相互依存的世間萬物中（包含賽伯格及其他非人物種等芸芸眾生）的一小群。第三章試圖分析威廉．吉布森《阿伊朵》中的塞爆空間和各個要角。小說中，角色透過化身在塞爆空間中互動，甚至生活其中。虛擬空間糢糊了人類與非人物種間的分界。非人物種因而不再僅作為客體或邊界，他們以與人類同等的身分存在。簡而言之，通過吉布森所想像的未來，提供了我們對於人類與非人的關係另一面向的思考。他以人類與所有非人物種互為主客作為舞臺，發想了人與非人無休止的互動情境之模式。

Through a posthumanist view of the articulation of humans with intelligent machines, my thesis aims to explore the possibilities of crafting a value that rejects the classic humanist divisions of the human and the non-human. This thesis discusses cyberspace and the virtual idol in cyberpunk, and the sample texts include William Gibson’s Idoru as well as Andrew Niccol’s film S1m0ne.
This study begins with a brief history of the hybrid of human bodies and machines, followed with an introduction on cyberpunk and the cyborg. In cyberpunk, the reduction of the physical body as merely meat questions the limits of humanity and leads to the celebration of the freedoms of disembodied subjectivity in cyberspace. Blurring the border between actual and virtual reality, the virtual idol becomes a further challenge to the disembodied body. In Chapter Two, I turn to posthumanism to investigate the virtual idol within techno-cultural production and imagination. Posthumanism marks the end of the opposition between humanism and anti-humanism and goes further in exploring alternatives. Theorists discussed in this thesis include N. Katherine Hayles, Cary Wolfe and Donna Haraway. My argument is that because “human” as a first-order observer still unavoidably regards other beings as political “others” in a hierarchical system, the humanistic arrogance continues to control the measure of values. Haraway recognizes the human as just another knot among the organic or technological nonhuman beings, including cyborg and all other kinds labeled as “posthuman,” in the worldwide web of interspecies dependencies. Chapter Three intends to analyze cyberspace and characters in William Gibson’s Idoru. In Gibson’s novels, characters employ avatars to interact and even dwell in cyberspace. The virtual environment blurs the boundaries between humans and multiple nonhuman beings. Thus, nonhuman beings are not merely objects or boundary points anymore; rather, they exist in the same sense as humans. To be brief, Gibson’s vision of the future offers a different way for us to think about the relationship between humans and nonhumans. He sets the stage where humans and all significant others interact as both subjects and objects in ongoing intra-action.

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