后人类视域下科幻动画的身体美学实践

——以《黑门》为例

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[中图分类号]J954；B83-0：[文献标识码]A[文章编号]1671-8372（2026）01-0095-07

The body aesthetics practice in science fiction animation from a post-human perspective

acasestudyofSwarm QULi-feng，WANG Tie-ying （School ofArt and Design，Xihua University， Chengdu 6loo39， China）

Abstract：Atthe intersectionofthephilosophyof technologyandlife sciences，the sci-fianimationSwarm（Chinese title：Black Gate）transcends the traditional aesthetic paradigms ofcyberpunk themes bycentering its narrative on brain science and cognitive neuroscience，thereby constructing anembodied cognitive space within the“brain universe".From a post-humanist perspective，this studysystematically analyzes four dimensions of bodily representation in Swarm：the bodiless ealm，the pathofself-cultivation，the danceof avatars，and the metaphorof embodiment.The analysis reveals that Swarm leverages the temporal and spatial elasticity unique to animation to transform cuting-edge technological concepts-such as brain-computer interfaces and swarm inteligence-into embodiedcognitiveaesthetic practices.This approach not only extends the technological imagination found in Donna Haraway's"Cyborg Manifesto”but also providesaconcretecognitivelandscape forreflecting on issuesof subjectivity in theageof artificial intellgence.The work，through the re-coupling of the bodyand cognition，implies a new path for subject construction within the posthuman context，offering profound practical significance.

Keywords：sci-fi animation;post-human;body aesthetics;practical significance

一、引言

自笛卡尔（ReneDescartes）身心二元论将身体贬抑为机械客体以来，现象学对其发起了根本性质疑：从海德格尔（MartinHeidegger）强调“在世存在”[]的具身性，到梅洛-庞蒂（MauriceMerleau-Ponty）提出的“身体主体”[2]，二者共同动摇了主客二分的传统哲学框架，成为后人类理论重要思想资源之一。（剩余12331字）