Volume 5, Issue 1 (March 2026)
IJER 2026, 5(1): 0-0 |
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Varmazyar Z, Ardalani H, Mehrpooya A, Golnaz Mantegi Fasaei Z. (2026). The Impact of Henrique Oliveira’s Installations on Audience Perception, Emotion, and Sensory Experience: A Psychological Analysis Based on Deleuzian Concepts. IJER. 5(1),
URL: http://ijer.hormozgan.ac.ir/article-1-510-en.html
URL: http://ijer.hormozgan.ac.ir/article-1-510-en.html
1- Department of Philosophy of Art, Ha.C., Islamic Azad University, Hamedan, Iran
2- Department of Philosophy of Art, Ha.C., Islamic Azad University, Hamedan, Iran ,H.Ardealani@iau.ac.ir
3- Department of Foreign Languages, Ha.C., Islamic Azad University, Hamedan, Iran
4- Department of Drama, Central Tehran Branch, Islamic Azad University, Tehran, Iran
2- Department of Philosophy of Art, Ha.C., Islamic Azad University, Hamedan, Iran ,
3- Department of Foreign Languages, Ha.C., Islamic Azad University, Hamedan, Iran
4- Department of Drama, Central Tehran Branch, Islamic Azad University, Tehran, Iran
Abstract: (27 Views)
Objective: Henrique Oliveira’s installations possess key characteristics that create spaces which are not only visually compelling but also provide intense sensory experiences for audiences. These qualities offer significant potential for psychological investigation. This study aims to examine the impact of Henrique Oliveira’s installations on audience perception, emotion, and sensory experience, and to demonstrate how Deleuzian concepts such as becoming and the body without organs can contribute to a deeper psychological understanding of these experiences.
Methods: This research adopts a qualitative, library-based (documentary) methodology, drawing on philosophical texts, psychological theories, and art criticism related to installation art, Deleuzian philosophy, and Henrique Oliveira’s works.
Results: The findings indicate that Henrique Oliveira’s artistic concerns are formed around several central axes, each reflecting his human, social, and environmental preoccupations. His installations engage audiences through immersive sensory experiences, spatial disruption, and embodied participation, encouraging perceptual and emotional transformation.
Conclusions: Henrique Oliveira can be understood not only as an installation artist but also as a thinker who employs art as a tool for expressing concerns, raising awareness, and stimulating critical reflection. In his works, concepts such as sensory experience, balance, audience participation, and openness are repeatedly emphasized as core and fundamental ideas, aligning closely with Deleuzian notions of becoming and the body without organs.
Methods: This research adopts a qualitative, library-based (documentary) methodology, drawing on philosophical texts, psychological theories, and art criticism related to installation art, Deleuzian philosophy, and Henrique Oliveira’s works.
Results: The findings indicate that Henrique Oliveira’s artistic concerns are formed around several central axes, each reflecting his human, social, and environmental preoccupations. His installations engage audiences through immersive sensory experiences, spatial disruption, and embodied participation, encouraging perceptual and emotional transformation.
Conclusions: Henrique Oliveira can be understood not only as an installation artist but also as a thinker who employs art as a tool for expressing concerns, raising awareness, and stimulating critical reflection. In his works, concepts such as sensory experience, balance, audience participation, and openness are repeatedly emphasized as core and fundamental ideas, aligning closely with Deleuzian notions of becoming and the body without organs.
Keywords: Arrangement, Henrique Oliveira, Deleuzian Concepts, Openness, Body without Organs, Becoming
Type of Study: Original |
Subject:
Educational Psychology
Received: 2025/09/2 | Accepted: 2025/11/14 | Published: 2026/03/1
Received: 2025/09/2 | Accepted: 2025/11/14 | Published: 2026/03/1
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