Visualization have Visual features and is the simplest way of imaginings, which employs a process of Visual imagery. Image is a medium and seems that any Visual image can be used in a sensory Visualizing. Nonetheless, it should be noted that there are some difficulties to understanding the meaning of image, and pictorial and subjective ideology may be the best definition for it. According to our knowledge and identification of the world, experimental data shows that our practice in imagining, the same ours in seeing includes picture. Herein the questions are: 1) which aspect of image can be differently interpreted through the history and transferred by its medium? And 2) to what extent there are some equal characteristics among perceived image and reality? This paper will answers those questions in a semantics research about the Visual content of picture and by employing some reasonable account, explain the striking realities within artworks. We should consider that, imagination do not have grammar rules, grammar allow images to represent linear process and these modes render instantaneous while grammar elaborates the meaning in a temporally articulated sequence. This, the image’ s essential instantaneity is lost, while its concise quality constitutes a unifying synthesis that is already present: this is above all a concise vision of a totality articulated in its unity. When we speak of a grammar of the imagination, we make an analogy with verbal language without overlaying these two fields. If we speak of a semantics of the image, we are dealing with a process of organizing a structure that cannot be individuated and facing it sequentially that can be logically reconstructed. We administrate ourselves through experience by seeing. This vision is full of pre-cognitions of the world. It is not relevant here to claim what the image reflects; but, it is important to understand what is evoked to us by image. As we have seen, the image is endowed with an entry point. It has a frame through which it objectifies itself for us. What we have recognized in our world through the image, what in the image has enticed our attention, is, so to speak, brought onto the stage. We find ourselves alternatively in the image, it has also become a part of us, an image of ourselves. The part that we call memory. Our knowledge (and more than any other that gained through the image) has a history. The space occupied by the image consequently becomes the space of the subject, a space in which we hold fast to our vision in the objectivity of the medium in order to locate ourselves in this same objectivity, and to work from within it. The resulting position thus sheds light that the certain Visual nature of image content have a live quality and this can make the entity of our mind apparent. Further, the Framework and objectivity of artwork stand on the active subject-matter which any of them is the way of seeing the world.

Background: The present study aimed to explore the effect of motor independent and dependent Visual perception practices on dynamic Visual acuity and depth perceptions among children aged 7-8 years.Material and Methods One hundred and seven primary school students were randomly selected through purposive sampling and divided into two experimental groups (Visual perception exercises dependent vs independent to movement) and a control group. Experimental subjects were trained for six weeks and each week constituted three 45-minute sessions suited for their own planned training sessions. Analysis of Variance analysis (ANOVA) for within and between-group and Kruskal-Wallis and Wilcoxon tests were used to analyze the depth and dynamic Visual acuity perception respectively.Results The results indicated that motor independent and dependent training had improved the components of depth perception and dynamic Visual acuity in children aged 7-8 years, but there was no significant difference between these two training methods.Conclusion This conformed movement Pyne & Issac’s hypothesis (2005), which stated that the important issue in the development and adjustment of Visual perceptual components is not an individual's movement, but selective attention to moving objects.

Chizar, if not to all Tehranian but for the inhabitants of Shemiranat has a familiar identity. It is a district important from historical texture on one side, and on the other side, as a degraded texture, is involved in specific problems. From the perspective of this article, any kind of correction and design for space improvement of this district, should be done in accordance with expert-advice concerns in addition to paying attention to experience, memories and interests of inhabitants and beneficiaries. So, considering the importance of contribution of citizens, this article pays attention to a specific age group of citizens which are less taken into consideration in designs.  Buildings and districts are designed by adults, whereas they are used mainly by children. At the time of design, adults pay much attention to standards such as applicability, energy preservation, aesthetics and economic issues. For sure, these cases are of great significance but they do not have any connection with the children experiences. The experience of adults of space are defined based on their method of use of these places, whereas children are searching to see what every space says and how to encounter with it and experience it. Using the survey method, this article studies the experience and sense of young adults in Chizar district in respect of different spaces of their districts. It tries to present the outcome of a research which has been conducted to first “sensitize” the young adults to space and architecture and second to sense perception and taste and their views of Chizar district space. The findings show that a serious deliberation needs to be made in reconstruction of local spaces by considering the sense and experience of the children of the district.

2Background: The results of previous studies have shown that children with attention deficit-hyperactivity disorder (ADHD) have problems with Visual-motor skills. Based on this, the present study was conducted with the aim of comparing the effects of motor-independent and motor-dependent Visual perception practice on the Visual-motor integration of children with attention deficit hyperactivity disorder. Methods: This study was a quasi-experimental study with a pretest-posttest design with two experimental groups and one control group. The statistical population was all children aged 4 to 6 years in Tehran city in 2022 who had been referred to Ali Asghar Hospital. After screening, 45 of these people were selected as the research sample. Subjects were divided into three groups: motor-dependent Visual perception, motor-independent perception, and control. Subjects in the experimental groups received 15 minutes of 45-session training, while the control group received no intervention. All participants were assessed before and after training using the Bender Gestalt test. The data were analyzed using multivariate analysis of covariance. Results: The results showed that the subjects of both test groups had a significant improvement in the total score of Visual-motor integration and all its components compared to the control group. Also, the results showed that the subjects in the movement-dependent group obtained a higher improvement in the copy and movement components compared to the motor-independent group. Conclusion: Based on the results of the present study, the use of motor-independent or motor-dependent Visual perception practice can be suggested as an effective intervention to improve the Visual-motor integration of children with ADHD.

Background and Objective: The measure of motion playing a role in the growth of Visual perception components and particularly Visual perception depending on the motion components has not been known. The aim of this present study was to investigate the effect of Visual and Visual-motor training programs related to the motion of the components of Visual perception in children with lazy eye. Materials and Methods: For this purpose, 30 amblyopic children who were identified through the Department of Social Welfare were selected as sample. Thereafter, based on the pre-test scores in the component of the Visual perception dependent on motion, the participants were divided into three equal groups and randomly assigned to three experimental groups, first (orthotics), second (Visual-motor exercises), and third (control). Triables in the experimental groups perform exercise for three weeks, four days a week, 30 minutes per session. Afterwards, triables of each three groups under the same conditions participated in the post-test. Results: The results of analysis of variance (ANOVA) and LSD post hoc test showed that a significant statistical difference between the experimental and control groups exists in components of depth perception, dynamic Visual acuity and chase of vision. But, there was no difference between experimental groups. Conclusion: In general, according to results of the present study, it can be concluded that the pre-designed Visual exercises (active, passive) improved components of depth perception, dynamic Visual acuity and chase of vision.