后人类视域下装置艺术的情动机制

上海视觉 ›› 2026, Vol. 0 ›› Issue (2): 158-165.

后人类视域下装置艺术的情动机制

杨紫月¹^,², 宋雨亭¹^,²

¹ 上海戏剧学院，上海 200040
² 上海交通大学，上海 200240

出版日期:2026-06-20 发布日期:2026-07-20
作者简介:杨紫月（1994— ），女，上海戏剧学院艺术学理论博士在读。研究方向为法国现当代文艺理论。
宋雨亭（2001— ），女，上海交通大学文艺学硕士在读。研究方向为西方文论。
基金资助:
国家社科基金重大项目“人类命运共同体视域下的21世纪西方激进左翼文论批判研究”(编号20&ZD290)

The Affective Mechanisms of Installation Art from Posthuman Perspective

YANG Ziyue¹^,², SONG Yuting¹^,²

Online:2026-06-20 Published:2026-07-20

摘要/Abstract

摘要：

随着后人类主义不断从理论沿革到感性表达的延展，后人类艺术作品也大量涌现，重新寻求其本体形态的理论反思。本文以后人类艺术的感性机制为核心问题，将“装置”作为后人类艺术的主要形态，阐释其生成论特征，并以布莱恩·马苏米的情动理论探讨装置艺术如何通过情动机制，使潜能性在显象过程中生成事件。这一情动机制不仅体现了后人类艺术对传统审美结构的超越，也构成其回应当代表层生态、政治、技术结构的生成性路径。

关键词: 后人类, 情动, 生成, 装置艺术, 布莱恩·马苏米

Abstract:

As posthumanism continues to extend from theoretical discourse to affective expression, posthuman art practices have proliferated prompting renewed theoretical reflection on their ontological forms. This study centers on the affective mechanisms of posthuman art, identifying installation as a primary modality through which its generative characteristics are articulated. Drawing on Brian Massumi’s affect theory, the paper further explores the and virtual dimensions embedded in posthuman installation practices. The affective mechanisms examined here not only exemplify posthumanist transcendence of traditional aesthetic paradigms but also constitute a generative pathway for engaging with contemporary ecological, political, and technological conditions.

Key words: Posthuman, Affect, Becoming, Installation Art, Brian Massumi

杨紫月, 宋雨亭. 后人类视域下装置艺术的情动机制[J]. 上海视觉, 2026, 0(2): 158-165.

YANG Ziyue, SONG Yuting. The Affective Mechanisms of Installation Art from Posthuman Perspective[J]. SHANGHAI VISION, 2026, 0(2): 158-165.

图/表 2

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