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Статті в журналах з теми "Turkmen Small art works"
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Jackson, Cailah. "The Illuminations of Mukhlis ibn ʿAbdallah al-Hindi: Identifying Manuscripts from Late Medieval Konya". Muqarnas Online 36, № 1 (2 жовтня 2019): 41–60. http://dx.doi.org/10.1163/22118993-00361p03.
Повний текст джерелаАнотація:
Abstract The arts of the book of late medieval Rum (Anatolia) constitute a rich resource for Islamic art historians that remains relatively unknown in the wider scholarship. This complex period saw the disintegration of Seljuk rule and the partial absorption of the region into the Ilkhanid realm. Konya (present-day central Turkey), the former Seljuk capital, was hardly isolated from its better-known neighbors and was evidently an active center for the patronage of the arts of the book. This article contributes to ongoing discussions concerning late medieval Islamic manuscripts by discussing illuminations that were produced by Mukhlis ibn ʿAbdallah al-Hindi in thirteenth-century Konya. One of the two named illuminators active in the city, Mukhlis extensively decorated two manuscripts, both in 677h (1278): a small Qurʾan and a monumental copy of Jalal al-Din Rumi’s Mas̱navī. Both are the initial focus of the article. Following an analysis of these manuscripts, the article presents additional material as possible products of Mukhlis’s hand or of Konya generally, demonstrating both the relative visual distinctiveness of Konya illumination and the need to potentially re-examine works previously attributed to Egypt or Persia.
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КУРБАНОВА, Д. А. "The folk song аs the most important component at the Turkmen epic art". Эпосоведение, № 3(11) (24 вересня 2018): 92–108. http://dx.doi.org/10.25587/svfu.2018.11.16942.
Повний текст джерелаАнотація:
Складывавшийся на протяжении тысячелетий духовный и культурный потенциал туркменского народа воплотился в творениях народного творчества, произведениях музыкального и художественного искусства. Яркую страницу в богатом наследии туркмен представляет живая эпическая традиция, носителями которой являются бахши-дестанчи. До сегодняшнего во всех уголках Туркменистана слушатели с большим воодушевлением воспринимают выступления эпических сказителей, в репертуаре которых сохранились многочисленные народные дестаны, а также главы монументальной героической эпопеи «Гёроглы».Цель статьи – проследить исторические предпосылки зарождения и пути формирования эпических жанров туркмен. Представленный в работе историко-хронологический метод исследования позволяет воссоздать общую панораму развития туркменского эпического сказительства, дать характеристику сказительского искусства в его современном бытовании, а также выявить значение народной песни, являющейся движущей силой туркменских эпосов и дестанов. Эпическая песня концентрирует в себе весь контекст жанра. Суть эпического интонирования проступает в мелодике народной песни и исполнительских особенностях бахши-дестанчи. Отличительная для каждой локальной школы манера исполнения эпоса придает искусству туркменских сказителей стилистическое разнообразие и обогащает его самобытными красками. Стиль каждого дестанчи глубоко индивидуален, вместе с тем, он прочно связан с незыблемыми исполнительскими традициями. При всем стилевом многообразии, структурная основа песен, их месторасположение в сказании и драматургическое развитие, а также традиционные прозаические формулы и поэтические повторы-клише, специфические гортанные украшения исполнителей свидетельствуют о близости устной традиции различных эпических школ. Преемственность основных компонентов музыки и стиля влияет на наследование музыкального напева от наставника, что также говорит о прочной опоре сказителя на складывавшуюся столетиями традицию. Она не препятствует проявлению индивидуального начала, но удерживает исполнителя в четко ограниченном русле. Поэтому, исполнение эпоса считают его воссозданием в пределах музыкально-стилевой традиции. Как видим, развитие эпической песни, а также живое бытование туркменского эпоса движет и поддерживает традиция. Пока есть традиция, существует и эпическое наследие туркмен. The spiritual and cultural potential of the Turkmen people, which has been developing for thousands of years, has been embodied in the works of folk art and music. A living epic tradition represented by bakhshi-destanchi is a bright page in the rich heritage of the Turkmen people. Until today, in all corners of Turkmenistan, listeners feel very enthusiastic about the performances of epic storytellers. Their repertoire includes numerous folk destans, as well as the chapters from the monumental heroic epic “Gorogly”.The purpose of the article is to trace the historical background of the origin and formation of Turkmen epic genres. The historical and chronological research methodology recreates the general panorama of the development of the Turkmen epic storytelling, characterizes this art in its modern existence, and identifies the importance of folk songs, which are the driving force of Turkmen epics and destans. The epic song focuses on the whole context of the genre. The essence of epic intonation comes through the folk melodies and features of bakhshi-destanchi performance. The distinctive style of local schools’ epic performance enriches the art of Turkmen storytellers with stylistic diversity and original colors. The style of each destanchi is deeply personal; however, it is closely connected to the sacred performance traditions. With all stylistic diversity, the structural basis of the songs, their location in the legend and dramatic development, as well as traditional prose formulas and poetic repetitions-clichés, performers’ specific faucal decorations indicate the proximity of various schools to the oral epic traditions. The continuity of the main components of music and style affects the inheritance of the musical tune from their master, which also speaks of the century-old traditional basis of the narrator. It does not prevent the manifestation of the individual beginning, but it keeps the performer in a clearly limited channel. Therefore, the performance of the epic is its reconstruction within the musical and stylistic tradition. As you can see, the development of the epic song, as well as the living existence of the Turkmen epic, moves and supports the tradition. While there is a tradition, the Turkmen epic heritage continues to exist.
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Курбанов, М. К., and Д. А. Курбанова. "Performing schools and tutorial methods in the epic art of bagshy-dessanchy." Вестник Северо-Восточного федерального университета имени М.К. Аммосова. Vestnik of North-Eastern Federal University. Серия "Эпосоведение. Epic studies", no. 4(24) (December 30, 2021): 71–83. http://dx.doi.org/10.25587/u9444-6196-4538-a.
Повний текст джерелаАнотація:
Искусство туркменских бахши-дестанчи имеет древние истоки и отличается жанровым богатством и стилевым разнообразием. Эпическое наследие туркмен в достаточной степени изучено филологами, этнографами, однако специальных исследований, раскрывающих природу сохранения изустной традиции и описывающих методы передачи эпических жанров из поколения в поколение в Туркменистане, до сих пор нет. Цель статьи – описать бытующие школы эпического сказительства, выявить их жанровые, исполнительские особенности, сохранившиеся в искусстве бахши-дестанчи традиции наставничества, а также охарактеризовать методы, позволяющие сказителям хранить в памяти огромное количество эпических песен и текстов. Для решения намеченных целей были осуществлены следующие задачи: проанализированы эпические жанры различных локальных школ; проведен сравнительный анализ исполнения эпоса одним и тем же сказителем в различные периоды времени, а также наставника и его учеников; определены факторы, влияющие на изменение дестанов. В качестве методологической базы использованы труды А. Лорда, В. В. Бартольда, В. М. Жирмунского, В. Я. Проппа, Е. Э. Бертельса, Б. Н. Путилова, К. Райхла. Источниками для анализа послужили образцы эпического наследия из аудио фонда Туркменской национальной консерватории, а также полевые аудио/видео материалы из личного архива авторов. Впервые в статье в качестве жанров эпических сказителей рассматриваются не только традиционные эпосы и дестаны, но и жанр легенды с музыкой, а также излюбленные в народе музыкально-поэтические транскрипции произведений поэтов-классиков. Проведенные исследования позволили выявить формообразующую роль песен и их функции, осуществляющие развитие музыкальной драматургии в дестанах. Впервые в работе выявлены «песни-маяки», составляющие каркас эпического сказания и способствующие запоминанию повествования в памяти народных сказителей. Незакреплённость песенных мотивов к текстам, а также использование в песнях мелодий-тем (музыкальных напевов, характерных для конкретных локальных школ) определяет особенности туркменского дестанного исполнительства. Учитывая тенденцию к ослабеванию интереса молодого поколения к древней традиции, изучение методов преемственности, используемых в процессе сохранения традиции устного наследия, представляется своевременным и актуальным. The art of Turkmen bagshy-dessanchy (epictellers) is ancient and distinguished by its genre richness and stylistic diversity. The epic heritage of Turkmens has been sufficiently studied by philologists and ethnographers, but there are no special studies in Turkmenistan revealing the nature of the oral tradition preservation and the methods of transmitting epic genres from generation to generation. The purpose of the article was to reveal the genre and performing features of the schools of epic epic-telling in Turkmenistan, describe the traditions of mentoring that have survived in the art of bagshy-dessanchy, and identify methods that allow Turkmen storytellers to keep in memory a huge number of songs and texts. To solve these goals, the following tasks were carried out: the epic legends of various local schools were analyzed; a comparative analysis of the performance of the epic by the same narrator in different periods of time was carried out; revealed differences in the performance of the same legend by the mentor and his students; the factors and means influencing the change of destans have been determined. The works of A. Lord, V. Barthold, V. Zhirmunsky, V. Propp, E. Bertels, B. Putilov, K. Reichl were used in the article as a methodological base. The sources for the analysis were samples of the epic heritage from the Fund of audio materials of the Turkmen National Conservatory, as well as field audio-, videomaterials from the authors’ personal archives. In the article, for the first time, not only epic cycles and destans, but also the genre of legend with music, as well as poetic transcriptions of the classical poet’s works were considered as the main genres of bagshy-destanchy. The studies helped to identify the formative role of epic songs and their important functions, thanks to which the development of the musical dramaturgy in epic genres was carried out. For the first time, we identified the beacon songs, that make up the frame of Turkmen epic works, thanks to which the epic text remembering in the memory of bagshy-dessanchy. The looseness of song motifs with texts, using the theme-melodies (musical tunes, which characteristic of specific local schools) in epic songs showed the particularities of Turkmen destan performance. Taking into account the tendency towards a gradual weakening of the interest of the younger generation in the ancient tradition, the identification of the methods used in the process of preserving the oral epic heritage is highly relevant.
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Jackson, Cailah. "The Arts of the Book in the Aydınid Realm: Exploring a Neglected Medical Manuscript from Late Fourteenth-Century Western Rum." Muqarnas Online 39, no. 1 (October 7, 2022): 61–77. http://dx.doi.org/10.1163/22118993-00391p05.
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Abstract It is now well established in scholarship that the Turkmen principalities (beyliks) of late medieval Rum possessed lively, dynamic court cultures and that several of their members were enthusiastic supporters of art and architecture. Recent publications have shown that, like their more famous Ilkhanid and Mamluk contemporaries, several Turkmen princes were avid patrons of the Islamic arts of the book. For the most part, however, scholars have not examined the contributions of the Aydınid principality (1308–1425) to this art form. Before the emergence of Ottoman domination, the Aydınids were one of the most powerful and prosperous local polities, based on the western coast of present-day Turkey in and around Birgi, Ayasuluk (Selçuk), Tire, and İzmir. In an effort to contribute to ongoing discussions concerning the production and patronage of the late medieval arts of the book from Rum, this article analyzes and contextualizes an illuminated manuscript that was produced for Fakhr al-Din ʿIsa ibn Muhammad ibn Aydın (r. ca. 1360–90). This manuscript appears not to have been studied in any depth before. Given the small number of securely identified manuscripts from late fourteenth-century Rum, this material marks an exciting and welcome addition to the corpus.
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Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History." Getty Research Journal 13 (January 1, 2021): 121–42. http://dx.doi.org/10.1086/713432.
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Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO." Abdi Seni 12, no. 1 (November 3, 2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.
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Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.
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Gentle, Paul, and Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, no. 4 (December 20, 2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.
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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.
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Bowen, Barbara C. "A Neglected Renaissance Art of Joking." Rhetorica 21, no. 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.
Повний текст джерелаАнотація:
This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost qualifies as an independent art of joking, and together they add valuable information to our knowledge of Reformation wit.
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Thomas, Leslie. "ART WORKS Projects: Claiming Public Space for Human Rights." Revista Electrónica de Derecho Internacional Contemporáneo 3, no. 3 (December 18, 2020): 167–70. http://dx.doi.org/10.24215/2618303xe013.
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ART WORKS Projects (AWP) was born out of desperation. A photo of a small boy who had been murdered in a genocidal attack against civilians in Darfur by a Sudanese government intent upon their eradication led to the formation first of the DARFUR/DARFUR exhibition of large-scale exterior projections and eventually to AWP. The founders, by and large architects, filmmakers, editors, photographers, lawyers, and designers, weren’t naive enough to believe that art can always end genocide (or any other grave human rights abuse), but they knew it impacted them and so they theorized that the same could happen to policymakers, voters, and ultimately, perpetrators.
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Yang, Zeyin. "Application and Development of Digital Enhancement of Traditional Sculpture Art." Scientific Programming 2022 (February 3, 2022): 1–8. http://dx.doi.org/10.1155/2022/9095577.
Повний текст джерелаАнотація:
Sculpture art, as an important carrier of spiritual civilization, also portrays a prosperous scene as an industry with urban and cultural development. Three-dimensional technology offers a new platform for sculpture creation, allowing for the digitization of sculpture works via electronic information technology, and the display of sculpture works in front of people via displays, facilitating the exchange and dissemination of information and promoting the growth and progress of the entire sculpture creation industry. We plan to use digital enhancement technology to conduct small-scale creation experiments on traditional sculpture works, discuss the method of GA (Genetic Algorithm) in image restoration processing, investigate the method of image segmentation processing based on the genetic algorithm, and propose the method of image segmentation processing based on the fuzzy membership surface genetic algorithm, in order to verify and solve the creation difficulties of traditional sculpture works.
Дисертації з теми "Turkmen Small art works"
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Clark, W. Andrew, Cher L. Cornett, and Peter M. Hriso. "Linking Art to Science: Digital Media as a Technology Translation Tool." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/2524.
Повний текст джерелаАнотація:
Technology translation can be achieved through the blending of the sciences and arts in the form of digital imagery. Digital animation and video can be utilized to portray molecular events where the mechanism of action is known but the process occurs at a sub-microscopic level. There needs to be a strong collaboration between scientific advisors and digital artists when creating the animation such that the artistic interpretation of the molecular event conforms to the known and accepted confines of science. The finished animation may be used for information, education or persuasion as entrepreneurial biotechnical companies attempt to find markets, customers and investors interested in their inventions. Educational institutions with programs in the sciences, arts, digital media and medicine need to promote the interaction of students from these disciplines through cross-functional teams and courses. Solutions to problems developed by these teams tend to be broader and more comprehensive than more homogeneous teams.
Книги з теми "Turkmen Small art works"
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Bossan, Enrico. Worlds: Contemporary artists from Kyrgyzstan, Tajikistan and Turkmenistan. Crocetta del Montello]: Antiga edizioni, 2016.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Ghana, FCA, ed. Small works, big city. [Accra]: FCA Ghana, 2005.
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Gallery, Sligo Art. Íontas: Sixth small works art exhibition. Sligo: Sligo Art Gallery, 1995.
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Gallery, Sligo Art. Íontas: Second small works art exhibition. Sligo: Sligo Art Gallery, 1991.
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Gallery, Sligo Art. Íontas: Eigth small works art exhibition. Sligo: Sligo Art Gallery, 1997.
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Romanow, Joanna Kleinberg. Small. New York: Drawing Center, 2014.
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Íontas, (8th 1997 Sligo Ireland). Íontas eighth small works art exhibition, 1997. [Sligo]: Sligo Art Gallery, 1997.
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Íontas (7th 1996 Sligo, Ireland). Íontas seventh small works art exhibition 1996. [Sligo]: Sligo Art Gallery, 1996.
Знайти повний текст джерелаЧастини книг з теми "Turkmen Small art works"
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Ertör, Irmak, and Pinar Ertör-Akyazi. "Towards Just and Sustainable Blue Futures: Small-Scale Fisher Movements and Food Sovereignty." In Ocean Governance, 385–402. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20740-2_17.
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AbstractOceans and seas have been vital food sources for both coastal and terrestrial communities for thousands of years. Traditionally, the main actors were small-scale fishers adopting more ecologically-benign fishing practices either for their own subsistence or small-scale commercial use and livelihood. Members of small-scale fishing communities frequently combine other socioeconomic activities such as small-scale agriculture and animal husbandry with their fishing activity as well. Thus, they usually have broader and different understandings and narratives regarding their relations and interdependency with the fish and the seas compared with industrial capture fisheries targeting the most profitable commercial fish species using more destructive gears and high technological capacities. In this chapter, we aim to shed light on their past and present—as well as highlight their existence as a rather neglected and marginalized social group, their political agency and their global movement for food sovereignty in order to uncover their social, political and ecological roles for the future of oceans, coastal communities, and the society in general. Our research methodology relies on participant observation and action methods based on 3 years of continuous work with small-scale fishing cooperatives in Turkey, Spain and Europe, as well as following and collaborating with the WFFP (World Forum of Fisher People) members both in Europe and globally. We conducted more than 80 interviews with key actors from fisheries sector including policy makers, NGOs, members of fishing cooperatives, and fisheries and marine scientists that inform this investigation. We claim that even though small-scale fishing communities are usually neglected actors of the ‘present’ in most mainstream marine policies, narratives and agendas such as the Blue Economy, their ‘presence’ in ocean governance is of utmost importance and their future existence needs to be ensured for an ecologically, socially and economically just ocean governance.
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Mehl, Margaret. "11. The World in Sendai." In Music and the Making of Modern Japan, 345–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.
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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners met and played and listened to music that was being performed and heard worldwide. The repertoire included a wide range of genres and countries of origin. Together, this variety, and the locations, scenes, and stories evoked by the pieces reveal much that is obscured by the blanket term, ‘Western music’. Works from the narrow canon of the ‘great masters’ of European art music, in fact, represented only a small fraction of what was performed. For example, the programme of a concert in Sendai in February 1916 included the ‘Tipperary Song’, sung by a Japanese high school student. Published in 1912 and first recorded in 1914, the song evokes to this day the image of British Soldiers marching in the First World War. In fact, three months after the Sendai concert, in the naval battle of Jutland, 26 survivors of the wreck of the Tipperary were reportedly recognized and rescued, when they sang, ‘It’s a long, way...’ It is hard to beat this conjunction as an illustration of music’s power as a force of global integration.
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Tausch, Arno. "The Empirical Results of Our Empirical Study." In Political Islam and Religiously Motivated Political Extremism, 45–75. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-24854-2_5.
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AbstractThe study clearly shows that identification with Turkey and Iran, with a political Islam that also influences elections and results in a theocracy, promotes religious and gender discrimination and advocates an Islamist interpretation of Islam, are very much the most important, interrelated syndromes of political Islam, which together explain more than 50% of the total variance of the 24 model variables used. If the states of Europe want to win the fight against jihadism, they must work closely with the moderate Arab states, such as Egypt, Jordan, Morocco, Saudi Arabia, the United Arab Emirates and other Arab Gulf states, and be aware that, on a population-weighted basis, 41% of all Arabs now view the Muslim Brotherhood, which is the strongest and most coherent force in political Islam today, negatively or very negatively. According to the data brought to light here, only 7% of people in the Arab world now have a high level of trust in their country's Islamist movement, while 14% have some trust, 19% have little trust, but 60% have no trust. Our overall index—Overcoming political Islam shows that Morocco and Tunisia are the top performers, while Iraq and Sudan bring up the rear. Following an important study by Falco and Rotondi (2016), we also explore the question of whether political Islam is more prevalent or less prevalent among the more than 20% of the Arab population who plan to emigrate in the coming years than among the population as a whole. Far from feeding alarmist horror scenarios, our evaluation shows firstly that Falco and Rotondi (2016) are correct in their thesis that among potential migrants to the West, political Islam is certainly less pronounced than among the Arab population as a whole. On a population-weighted basis, only 13.11% of potential migrants to the West openly state that they trust the country-specific Islamist movement. In the second part of our empirical evaluations, we explore religiously motivated political extremism (RMPE) by international comparison on the basis of the following items of the World Values Survey, which are sparse but nevertheless available on this topic: The proportion of the global population who favour religious authorities in interpreting the law while accepting political violence is alarmingly high in various parts of the world and is raising fears of numerous conflicts in the coming years in an increasingly unstable world system. It amounts to more than half of the adult population in Tajikistan (the international record holder), and Malaysia and some non-Muslim-majority countries. In many countries, including NATO and EU member states, it is an alarming 25–50%, and we mention here the Muslim-majority countries Iraq, Lebanon, Bangladesh, Kazakhstan, Nigeria and Indonesia. It is 15–25% even in core countries of the Western security architecture, but also in the Muslim-majority countries: Pakistan, Iran and Tunisia. Only in the best-ranked countries, among them the Muslim-majority countries Albania, Egypt, Bosnia and Herzegovina, Kyrgyzstan, Azerbaijan and Jordan, the potentially fatal combination of mixing religion and law and accepting political violence has a relatively small following of less than 15%. In the sense of the theses of the late Harvard economist Alberto Alesina (1957–2020), social trust is an essential general production factor of any social order, and the institutions of national security of the democratic West would do well to make good use of this capital of trust that also exists among Muslims living in the West.
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Philbrick, Ethan. "Introduction." In Group Works, 1–24. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0101.
Повний текст джерелаАнотація:
In the introduction, Philbrick sets up the conceptual and historical terrain of the book by offering three short essays on the group tuned to three different registers—group theory, group politics, and group art—before turning to archival traces of one visionary small group from the 1970s, the Combahee River Collective, and the resonance of their work in Cauleen Smith’s 2018 film Sojourner.
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Harold, James. "Wicked Artists." In Dangerous Art, 51–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0004.
Повний текст джерелаАнотація:
This chapter takes up the problem of immoral artists, as well as related questions, like immoral production. When an artist commits great crimes, some are tempted to treat the art itself as though it were also tainted. The question is whether this is the right thing to do. This chapter argues that the question can be approached in two ways. First, the chapter considers the possibility that works by bad artists are in themselves morally bad. It argues that this view is plausible in only a small number of cases. Second, the chapter considers the possibility that communities around bad artists are tainted by the artist’s bad actions. It defends this view against objections. The primary conclusion is that we should not, for the most part, think of works themselves as being moral or immoral because their creators are.
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"Batya Brutin, Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xvi + 213 pp." In No Small Matter, edited by Anat Helman, 283–85. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577301.003.0025.
Повний текст джерелаАнотація:
This chapter reflects on Batya Brutin's Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank (2020). This volume documents the engagement of artistic creativity with the photographs of the boy with raised hands in the Warsaw ghetto (1943) and those of Anne Frank. In the six chapters detailing the various ways in which artists from different cultures and countries integrated these iconic figures into their oeuvre, Brutin acquaints the reader with dozens of artists who, at some point in their artistic development, opted to “express their thoughts, emotions and perceptions of the Holocaust.” These artists' works touch on various themes elaborated upon by Brutin: the fate of Jewish children in the Holocaust; personal identification with the iconic figures; their use to represent Jewish identity and universal human situations; their uniqueness; their imaginative connection with the state of Israel; and their “facelessness,” “disappearance,” and “disintegration.” Thus, the photographs have been used for decades by artists to perform a function in their art.
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Akca, Meltem. "Strategic Leadership, Readiness for Change, and Innovative Work Behavior." In Strategy and Superior Performance of Micro and Small Businesses in Volatile Economies, 57–77. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7888-8.ch005.
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At the present time, business work environments are becoming more volatile and competitive. The development of information technologies, rapid changes of organizational structures, changeable customer attitudes are more important for today's organizations. These features of the marketplace direct organizations to be in search of new methods to achieve and maintain sustainable performance. Leadership, employee favorable work behavior, technological investments are some methods to provide continuity of an organization's existence. This chapter aims to obtain influence of strategic leadership on the employees' innovative work behavior. Furthermore, it is expected to obtain the mediator role of readiness for change in this relation. In the study, the sample is composed of four-star hotel employees in Antalya, Turkey. This evidence-based field study proves new implementation's impact on the employees.
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Lipps, Jere H., Ajit Vartak, Ton Van Eijden, C. Rajshekhar, Sudha Vaddadi, and Rohit Vartak. "Paleontological postage stamps in art and education." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(25).
Повний текст джерелаАнотація:
ABSTRACT Postage stamps are small works of art seen by people worldwide that can be used effectively in education. The first paleontological stamp was released by India in 1951. Since then, over 4000 stamps with fossils, paleontologists, museums, and collecting sites have been issued by almost 200 countries. Stamps that illustrate fossils or reconstructions are intrinsically interesting and popular with many of the millions of stamp collectors. All disciplines of paleontology are represented, but dinosaurs are by far the most common subject, although even bacteria appear on a few stamps. Most of the stamps were scientifically accurate at the time they were issued though some artists took artistic liberties to fashion unique stamps. Overall, the stamps are artistic and educational because their small sizes and low cost make them easily accessible for classroom activities, exhibits, and presentations. They cover topics such as biodiversity, geology, ecology, oceanography, and evolution, among others. Paleophilately has provided art, education, joy, and happiness to people worldwide.
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Cleempoel, Koenraad Van. "Representations of astrolabes in Western art." In Astrolabes At Greenwich, 99–112. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198530695.003.0009.
Повний текст джерелаАнотація:
Abstract The relatively infrequent depiction of astrolabes in works of art seems disproportionately small in relation to the large amount of instruments that have survived and to the high number of contemporary treatises that discuss the astrolabe. In comparison, its three-dimensional counterparts – the armillary sphere, and the celestial and the terrestrial globe – have experienced wider acclaim from artists throughout the ages. The immediate ornamental and didactic appeal of these other instruments may be responsible for this trend. But also, in a broader sense, the image of the globe and the armillary sphere became a popular visual metaphor for disciplines such as geometry and astronomy, where they are still used until the present day.
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Rodowick, D. N. "The Force of Small Gestures." In Indefinite Visions. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407120.003.0012.
Повний текст джерелаАнотація:
In The Logic of Sensation, Gilles Deleuze describes sensation as a domain that lies beneath, over, or inside quotidian vision as if in another dimension of intensive qualitative experience masked by habitual perception. Sensation is also a way of grasping the immanence of philosophy to works of art. The logic of sensation is part and parcel of our world as lived; one might say that sensation is immanent to perceptual experience as force is immanent to matter. In Deleuze’s account of sensation, the plastic arts are less concerned with matter and figuration than they are with force and becoming. Perhaps the problem for both painting and cinema is how to see time and force differently, and to release the figural force of sensation in the image. The chapter continues by investigating the logic of sensation in recent experimental video, primarily Ernie Gehr’s Glider (2001), but also two of the author’s own recent artworks, Waterloo and Plato’s Phaedrus. The chapter concludes with an account of Henri Bergson’s lecture on philosophical intuition to argue that there is a continuous dynamic line that runs between intuition and philosophy, Image and Concept
Тези доповідей конференцій з теми "Turkmen Small art works"
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Ebaugh, Helen Rose, and Dogan Koc. "FUNDING GÜLEN-INSPIRED GOOD WORKS: DEMONSTRATING AND GENERATING COMMITMENT TO THE MOVEMENT." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/mvcf2951.
Повний текст джерелаАнотація:
The projects sponsored by the Gülen-inspired movement are numerous, international and costly in terms of human and financial capital. Critics of the movement often question the fi- nancing of these initiatives – with some convinced of collusion with Middle Eastern govern- ments, others (within Turkey) suspicious that Western governments are financially backing the projects. Aware of these criticisms, in a recent comment to a group of visiting follow- ers, Fethullah Gülen indicated greater financial transparency must become a priority for the movement. This paper addresses the financing of Gülen-inspired projects, based on interviews with busi- ness leaders in Turkey, as well as local businessmen throughout Turkey who constitute the financial infrastructure of the movement. In addition, the paper presents data from one local Gülen movement organisation in Houston, Texas, that collects thousands of dollars annually from local members, mostly students on small educational stipends. The paper is framed sociologically in terms of organisational theories of commitment. Beginning with Kanter (1972;1977) and including subsequent major figures in the organi- sational field (e.g. Reichers 1985; Meyer and Allen 1991; Hall 2002; Scott 2003), scholars have demonstrated a positive correlation between sacrifices asked of members and degree of commitment to the goals of the organisation. Using this perspective, the paper argues that the financial contributions made by members in the Gülen movement both demonstrate commit- ment to the ideals espoused by Fethullah Gülen and generate commitment to the movement. The paper presents empirical evidence, based on interviews with financial supporters both in Turkey and the U.S., of how financial resources are generated, the initiatives being supported and the impact of financial giving on the commitment of supporters. The Gülen movement is a civil society movement that arose in the late 1960s in Turkey, initially composed of a loose network of individuals who were inspired by M. Fethullah Gülen. As a state-approved mosque preacher, Gülen delivered sermons in cities throughout Turkey, beginning with a handful of listeners and gradually drawing tens of thousands of people. His sermons focused not only on religious texts but included a broad array of such topics as religion and science, social justice, human rights, moral values and the importance of education. Gülen repeatedly stressed the importance of educating the youth of society by establishing first-rate schools that expose students to the latest scientific knowledge in an at- mosphere of moral values. The projects sponsored by Gülen-inspired followers today number in the thousands, span international borders and are costly in terms of human and financial capital (Woodhall 2005). These initiatives include over 2000 schools and seven universities in more than ninety countries in five continents (Yavuz and Esposito 2003; Baskan 2004; Tekalan 2005), two modern hospitals, the Zaman newspaper (now in both a Turkish and English edition), a television channel (Samanyolu), a radio channel (Burc FM), CHA (a ma- jor Turkish news agency), Aksiyon (a leading weekly news magazine), national and interna- tional Gülen conferences, Ramadan interfaith dinners, interfaith dialog trips to Turkey from countries around the globe and the many programs sponsored by the Journalists and Writers Foundation. In addition, the Isik insurance company and Bank Asya, an Islamic bank, are af- filiated with the Gülen community. In 1993 the community also established the Business Life Cooperation Association (ISHAD) which has 470 members (Baskan 2004). Questions regarding the financing of these numerous and expensive projects are periodically raised by both critics of the Gülen Movement and newcomers to the movement who are invited to Gülen related events. Because of the large amounts of money involved in these projects, on occasion people have raised the possibility of a collusion between the movement and various governments, especially Saudi Arabia and/or Iran, and including the Turkish government. There has even been suspicion that the American CIA may be a financial partner behind the projects (Kalyoncu, forthcoming). Aware of these criticisms, in a recent comment to a group of visiting followers, Fethullah Gülen indicated that a priority must be proactive financial transparency. In this paper, we address directly the issue of the financing of Gülen inspired projects based on the little that is available in published sources, including an interview with Gülen himself, and supplementing that information with interviews with business leaders in Turkey who constitute the infrastructure of the movement. In addition, we present data from one local Gülen organization in Houston, Texas, that regularly collects over half a million dollars from local members, mostly students on small educational stipends. Our analysis is framed socio- logically in terms of organizational theories of commitment. We argue that the contributions made by rank and file movement members, as well as by wealthier sponsors, both demon- strate commitment to the ideals of the movement and simultaneously generate commitment to the movement. An analysis of Gülen-inspired financial contributions must include the ideological and reli- gious motivations inherent in the concepts of hizmet, himmet, sohbet, istisare, and mutevelli. For an understanding of these concepts, we are most indebted to the superb work of Mehmet Kalyoncu whose study of the Gülen movement in Mardin, a city in southeastern Turkey, was very helpful both in understanding these ideas and in demonstrating their applicability to the financing of local projects in the city.
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Koçak, Özgecan, and Özge Can. "Design of public support for R&D: a study of Turkish technoparks." In 16th Annual High Technology Small Firms Conference, HTSF 2008. University of Twente, 2008. http://dx.doi.org/10.3990/2.268489273.
Повний текст джерелаАнотація:
We report on and examine the consequences of the Turkish experience with public support for science/ technology parks (STPs). The Turkish government has been supporting STP development through a 2001 legislation that provides significant tax exemptions for tenants of STPs established according to its mandate. While the law has been successful in encouraging more than twenty STPs to be established, and getting more than 800 firms to move to STPs by 2007, it also has had some unintended consequences that seem to work against fulfillment of the full intention of the law. Using archival data collected by the Ministry of Trade and Industry, survey data collected from STP managers, and in-depth interviews with STP managers, tenants, university administrators, and other actors involved in STP governance, we report on the overall tenant population of STPs in Turkey and some practices and outcomes that are relevant for assessing the impact of the public support on R&D. The data at hand point to some significant progress being made as well as some shortcomings.
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Fujarra, André L. C., Guilherme F. Rosetti, Jaap de Wilde, and Rodolfo T. Gonçalves. "State-of-Art on Vortex-Induced Motion: A Comprehensive Survey After More Than One Decade of Experimental Investigation." In ASME 2012 31st International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/omae2012-83561.
Повний текст джерелаАнотація:
After one decade of experimental investigation, the Vortex-Induced Motion – VIM phenomenon deserves a comprehensive survey concerning the advances related to its understanding, mainly under the consideration of the fundamental aspects that keep it in a close relationship to the dynamic behavior of the same phenomenon acting on slender bodies, the well known Vortex-Induced Vibration – VIV. A considerable amount of results can be found in the literature, although there are few works dealing with a general view of the problem. Probably, the main reason for such a large amount of works with no interaction between themselves and, consequently, without a common understanding about VIM might be due to its technological origin, featured by huge platforms with a variety of geometrical details, which ends up placing the researches more on the field of the faithful reproduction of the features in small-scale and less on the global understanding of the phenomenology regardless the floating system, e.g. a spar platform, a monocolumn or even a semi-submersible or a tension-leg platform. Obviously, no one should disagree that there is part of the research that must keep a faithful relationship with the full scale, however, in most of them it is possible to identify the common fundamentals concerning the fluid-structural interaction. The aim of the present work is to address a comprehensive evaluation of the experimental investigations during the past decade on the VIM, trying to gather a general understanding about its phenomenology including some comparisons to VIV. As a result, some relevant aspects are pointed out for a more prospective way of research.
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Некрасова-Каратеева, О. Л., and Е. П. Сталинская. "AUTHOR’S SOUVENIRS BY CERAMIST VYACHESLAV SHVETSOV." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_136.
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В статье представлены материалы о творчестве художника-керамиста В. А. Швецова — о создании авторских произведений в разряде минискульптуры, характеризующихся особой темой «Воспоминания» и реализуемых в качестве оригинальных сувениров. Целью статьи является попытка расширить содержательный аспект функции сувениров за счет уникальных художественных произведений небольшого формата, создаваемых и ориентированных на личные воспоминания и сопереживания многих людей. Темы авторских скульптурных мини-композиций В. Швецова: сельская природа (лес, река, радуга); деревенская тематика детства художника; темы материнства, любви («Двое»), Петербурга («Петербургские настроения», «Белые ночи»). Исполненные искренно, душевно, они вызывают у зрителей соучастие, приятные ассоциации и личные воспоминания. Исследование обладает новизной, т. к. материалы его оригинальны и предлагаются к публикации впервые, продолжая ряд представленных на предыдущих конференциях примеров авторских сувениров (2020 — «Авторская серия деревянных скульптурных композиций “арт-сувенир”»; 2021 — «Авторские новогодние картинки К. О. Почтенной как уникальные сувениры»; 2022 — «Ялтинский пейзаж как авторский видовой сувенир»). Результаты и методы исследования этой статьи могут быть полезны в искусствоведении для применения анализа конкретных явлений в культуре и искусстве, новых жанровых образований. The article presents materials about the work of the ceramist artist V. A. Shvetsov – about the creation of author’s works in the category of minisculpture, characterized by a special theme “Memories” and implemented as original souvenirs. The goal of the article is an attempt to expand the content aspect of the function of souvenirs due to the unique artistic works of small format, created and oriented to personal memories and empathy of many people. The themes of the author’s sculptural mini-compositions by V. Shvetsov: rural nature (forest, river, rainbow); village themes from the artist’s childhood; themes of motherhood, love (“Two”), Petersburg (“Petersburg moods”, “White Nights”). Performed sincerely, soulfully, the works evoke in the audience emotional response from the audience, as well as pleasant associations and personal memories. The study has a novelty as its materials are original and are offered for publication for the first time, continuing a number of examples of author’s souvenirs presented at previous conferences (2020 – “Author’s series of the Art Souvenir wooden sculpture compositions”; 2021 – “Author’s New Year pictures by K. O. Pochtennaya as unique souvenirs”; 2022 – “Yalta landscape as author’s souvenir with a view”). The results and methods of the study can be useful in art criticism for the analysis of specific phenomena in culture and art, as well as new genre formations.
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Marquis, Fabien. "Inductors and Coils New Production Solutions using Additive Manufacturing such as EBM 3D Printing and Precision Casting—A Presentation of the Current State-of-the-Art Technologies." In HT 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.ht2017p0236.
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Abstract In induction heating process, coils and inductors are the core of the heating process. They are the end tool where the magnetic process affecting the part or material to be heated occurs. For more than a century, the dominant manufacturing process has been based, mainly, upon joining technologies where the coppersmith skill has been the safeguard of the quality. Use of fixtures, mandrels, and machined parts have improved the repeatability and quality of the produced elements but high volume, dimensional repeatability has always been source of problems. GH Induction continuously works on the improvement of such relatively artisanal methods to allow better lifetime, minimized production time and overall better quality. Following a first development work bringing a patented innovation in 2011 using a precision casting solution (Microfusion – Wax casting), with a solution provided a single piece coil, GH Induction has, after 2 years of development, patented a new additive manufacturing solution (3D printing concept) based on the use of Electron Beam Melting (EBM). The EBM solution benefits from the latest technology in additive manufacturing, both technologies present tremendous advantages for the designer and user. Complex shape, very small inductors can be manufactured, which are impossible to do with standard method. This presentation and article summarized the concept, manufacturing principle and technical benefits that the final users can have using such innovative solutions.
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Mortensen Steagall, Marcos, and Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.174.
Повний текст джерелаАнотація:
The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundations.
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Zhao, Xin, Liufang Sang, Guiguang Ding, Yuchen Guo, and Xiaoming Jin. "Grouping Attribute Recognition for Pedestrian with Joint Recurrent Learning." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/441.
Повний текст джерелаАнотація:
Pedestrian attributes recognition is to predict attribute labels of pedestrian from surveillance images, which is a very challenging task for computer vision due to poor imaging quality and small training dataset. It is observed that semantic pedestrian attributes to be recognised tend to show semantic or visual spatial correlation. Attributes can be grouped by the correlation while previous works mostly ignore this phenomenon. Inspired by Recurrent Neural Network (RNN)'s super capability of learning context correlations, this paper proposes an end-to-end Grouping Recurrent Learning (GRL) model that takes advantage of the intra-group mutual exclusion and inter-group correlation to improve the performance of pedestrian attribute recognition. Our GRL method starts with the detection of precise body region via Body Region Proposal followed by feature extraction from detected regions. These features, along with the semantic groups, are fed into RNN for recurrent grouping attribute recognition, where intra group correlations can be learned. Extensive empirical evidence shows that our GRL model achieves state-of-the-art results, based on pedestrian attribute datasets, i.e. standard PETA and RAP datasets.
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Li, Haoming, Xinzhuo Lin, Yang Zhou, Xiang Li, Yuchi Huo, Jiming Chen, and Qi Ye. "Contact2Grasp: 3D Grasp Synthesis via Hand-Object Contact Constraint." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/117.
Повний текст джерелаАнотація:
3D grasp synthesis generates grasping poses given an input object. Existing works tackle the problem by learning a direct mapping from objects to the distributions of grasping poses. However, because the physical contact is sensitive to small changes in pose, the high-nonlinear mapping between 3D object representation to valid poses is considerably non-smooth, leading to poor generation efficiency and restricted generality. To tackle the challenge, we introduce an intermediate variable for grasp contact areas to constrain the grasp generation; in other words, we factorize the mapping into two sequential stages by assuming that grasping poses are fully constrained given contact maps: 1) we first learn contact map distributions to generate the potential contact maps for grasps; 2) then learn a mapping from the contact maps to the grasping poses. Further, we propose a penetration-aware optimization with the generated contacts as a consistency constraint for grasp refinement. Extensive validations on two public datasets show that our method outperforms state-of-the-art methods regarding grasp generation on various metrics.
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Meleško, Jaroslav. "ROBUST AUGMENTED REALITY SYSTEM." In Inžinerinė grafika ir projektavimas. Informacinių technologijų sauga ir informacinės sistemos. VGTU Technika, 2016. http://dx.doi.org/10.3846/itsis.2016.09.
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I developed an augmented reality system based on Hough transform to transcend limitations of popular Augmented Reality libraries such as ArUco. The purpose of the system is to project a digital image on to a real canvas, merging digital and traditional artistic media for ease of art production and practice. The technological challenges were identified in fiducial marker based prototype and overcome in the Hough transform based system are as follows: need for a printed marker, imprecision and weakness to occlusion. The developed software based on Hough transform works with any standard sheet of paper (A4, A3 formats). The system projects a photograph directly on to canvas or paper and automatically rotates and fits the image within the canvas. It is also resistant to occlusion, such as a hand on top of the canvas or canvas that is not fully within the frame. Resistance to small scale noise is achieved thought Hough transform and large occlusions are overcome by a line averaging algorithm. The software has shown 14% better performance than analogical ArUco library based software.
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Shi, Wei, Weihong Li, Bo Shi, Xueying Li, Jing Ren, and Hongde Jiang. "Uncertainty Quantification of Conjugate Heat Transfer of a Cooled Turbine Vane: Roughness Effect." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63837.
Повний текст джерелаАнотація:
HP turbine usually works in complex operation conditions and subjects to strong temperature variability and thermal gradients. For these reasons, some small variations caused by manufacturing process and operation conditions will yield great effect on the heat transfer performance and the life of hot components. UQ is a state of the art that seeks to provide a framework for calculating the effects of input parameter uncertainty on model output variables. This study presents an investigation of the uncertainty quantification (UQ) of conjugate heat transfer of a typical high load HP cooled turbine vane, considering the influence of total inlet temperature, turbulence intensity and different surface roughness level. The non-intrusive Probabilistic Collocation Method, integrated with sparse grid quadrature has been used in the UQ analysis. The scaled sensitivity analysis is also carried out to assess the influence of each input uncertainty on the output response. The UQ analysis implies that the increasing of surface roughness will enlarge uncertainty of metal wall temperature. As a result, it needs to amplify the safety margin coefficient in order to assess the turbine guide vane surface temperature distribution and service life.