mental-visual perception and processing mainly take place in a certain direction of the vision field. Viewing and processing a visual field has start and end points, extension, and dominant direction. Most designers are not aware of the way the perceptual system of the mind works. This lack of knowledge causes the selection of forms and positions of visual elements not to be in accordance with the processing patterns of the mind. Analyzing and knowing how the mechanism of visual perception works makes it a more effective design of every element. This type of approach leads to more scientific reasons for descriptive and sometimes ambiguous aesthetic analyses.
The purpose of this research is to find the desired extension and scope in the field of vision and also the direction of reading visual works of art and architecture in the cultural and linguistic context of the right-hand writing community in the cognitive sciences template.
This research is based on the theoretical research literature and content analysis of the findings in parallel with experimental tests in an analytical structure. Therefore, this research is considered descriptive-analytical research with a scientific interpretation of descriptive topics and findings.
Language habits and the direction of reading texts in different cultures, although they cannot be completely unaffected, but the range, orientation and desired visual direction are dependent on the mechanism of mental perception, and writing direction is not considered the main factor. Reading and processing along the horizontal line take place from left to right due to the spatial orientation of the mind in the left area of the visual field. This issue is independent of language teachings in orthographic cultures. The orientation of the mind in reading visual works is related to brain structure and perception mechanism, which is caused by the inherent asymmetry of the brain. This mental bias to left will lead to horizon preference. Different areas in a landscape are not perceived and valued equally. Therefore, the importance of each form in space depends on the position of the observer’s visual field.
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