Mathematical Models and Methods of Mediametrics

The idea of the book is measuring of effectiveness of mediate communication, which we consider as transmitting and receiving of some message, realizing by any technology and in any genre.





A message has form and content, accordingly, we can estimate its effectiveness from two points of view. In the first approach the meaning of the message is considered central, in this case we measure the content. In the second approach the image is considered central, and in this case we measure form. Concrete psychological experiments, clarifying of perception indexes, are the basis of measuring methods. Information of these indexes allows showing ways of their increasing that in turn increases communicational effectiveness.





The book does not contain practical recommendations on development of effective media messages. Its goal is showing of measuring methods and mathematical analysis of measuring result.





Target audience





The book intend for scientists, specializing in the area of mass communications: sociologists, psychologists, media experts etc. And with it its content is simple for students. Understanding of foundations of experimental psychology and mathematical statistics is only required.





Book structure





The book consists of two parts: "Measuring of meaning and" "Measuring of image" which is development of articles "Measuring of visual design by the method of semantic differential" and "Content analysis of visual design" correspondingly. First part is devoted to measuring of semantic perception of media message content. The second part considers measuring of image perception of message form. Both parts have similar structure: at first we model mathematically a perception phenomenon, then consider the measuring methods and, at last, propose methods of statistical analysis of experimental data.





We use two basic examples one of them relates to measuring of meaning, and second relates to measuring of image. In the end of each chapter we address to the example to illustrate ideas, which given above.





Chapter i. Media





Part I. Measuring of meaning





Chapter ii. Primary message





Chapter iii. Methods of measuring





Chapter iv. Statistical analysis of experimental data





Chapter v. Cognitive congruence of primary and media message





Part II. Measuring of image





Chapter vi. Space of attitude





Chapter vii. Methods of measuring





Chapter viii. Statistical analysis of experimental data





Resume





Acknowledges





The author acknowledges all people who help him in writing this book. Special thanks my students which took part in all experiments.





Distribution





Phone chair of mathematics of Samara State University of Architecture and Civil Engineering, say the secretary your address and the book will be sent you.





Country code: 7 (Russia), phone: 846-339-14-72.





Distribution is free of charge before 2008.06.30. For more information consult author.

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M C Escher - The Genius Pioneer of Mathematical Art

Maurits Cornelis Escher, Mauk, or M. C. Escher was a famous Dutch graphic (woodcuts, lithographs, and mezzotints) artist born on June 17, 1898, to a civil engineer George Arnold Escher and his wife, Sara Gleichman, in Leeuwarden, The Netherlands. In 1903, Eschers moved to Arnhem, where the artist learnt carpentry and piano, until the age of 13. His schooling lasted from 1903-18. His family stayed in a magnificent home named "Princessehof," now a museum to display his works. Recognized as one of the world's most celebrated graphic artists, MC Escher was a genius in 'Mathematical Art.' Millions all over the globe appreciate the founder of 'Tessellation,' Escher.

Following an aborted effort to become an architect, Escher acquired his graphic skills in 1919, at the School for Architecture and Decorative Arts in Haarlem, under Samuel Jessurun de Mesquita. Owing to poor academic grades and an innate aptitude for drawing & designing, M.C. Escher adopted 'Graphic Arts' as his career line. After gaining experience in drawing and woodcuts, the artist left the school in 1922 to explore Italian and Spanish countryside. This year Escher drew his first artwork consisting of eight human heads displayed on eight different planes.

In Italy, he met Jetta Umiker, whom he married in 1924 and had a son from. Around this phase, landscape sketching was the artist's fancy. Eschers stayed in Rome until 1935. Owing to Mussolini induced political upheaval; the couple went to Switzerland and stayed there until 1937. Escher's date with the mathematical exploration of images began in 1936, while he was in the Mediterranean. In 1937, the family moved to Ukkel, Belgium. "The Transformation Prints (Metamorphosis I, Metamorphosis II and Metamorphosis III - woodcut-1937)," "Still Life and Street (lithograph-1937)," and "Sky & Water I (woodcut-1938)," are some of his famous works of this phase. Then, owing to World War II, the family settled in Baarn, the Netherlands in 1941. The same year M.C. Escher wrote a self-help paper, "Regular Division of the Plane with Asymmetric Congruent Polygons," which helped him with 'Crystallography.' "Reptiles (1943)" and "Drawing Hands (lithograph-1948)" were his popular creations of this phase.

Roughly overlooked until the 1950s, M.C. Escher started gaining prominence and fame for his practically unfeasible structures, such as "Relativity (1953-lithograph)." In 1956, he acquired a global standing for his first exhibition by fetching the Knighthood of the Order of Orange Nassau. This year the genius also flirted with infinity in two-dimensional plane. The visualization and the application of a strong arithmetical element in his artworks always baffled as well as pleased his critics & mathematicians, as the artist's formal education in mathematics was limited to schooling level. In 1958, the artist presented another paper, "Regular Division of the Plane." Splendid "Circle Limit III (1959)," "Ascending and Descending (lithograph-1960)," and "Waterfall, lithograph-1961," are his proud creations.

With time, M.C. Escher's works started showing the strong influence of the geometrical drawing. They captured the essentials of non-Euclidean geometries. Mesmerized with paradox, "impractical" figures, and design of Roger Penrose, Escher developed a new style, resulting in many of his fascinating works of art. Escher's mathematical artwork comprised of the geometry and the logic of space in the purview of hyperbole and topology. He mostly drew cones, spheres, cubes, rings, columns, and spirals, while exploring their interlocking imagery as well. In 1970, the Eschers moved to Laren.

M C Escher drew many enthralling landscapes, portraits, and geometric designs, "Tessellations," however, for which he is most famous, were his main preoccupation. Recognized for his pragmatic, meticulous prints that accomplish ocular and abstract effects, Escher shaped thousands of 'Tessellating' shapes in the form of fish, birds, dogs, crabs, insects, horses, humans, and other beasts. Arithmetic and Crystallographic in style, M.C. Escher's works integrated Monet's vision, Michelangelo's judgment & meticulousness, the perception & the three-dimensional images of Wright, and the patterns of the Moors. His works fashioned an impractical world of eccentric and the wonderful 'Tessellations' of people, animals, and geometric shapes. M.C. Escher passed away on March 27, 1972, at an age of 73.

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