Biography
Talafou
Scientific achievements
Taunuʻuga faasaienisi
Ninoslav Marina (Macedonian: Нинослав Марина; born 25 September 1974) is Rector of the University of Information Science and Technology "St. Paul the Apostle" located in Ohrid, Macedonia and President of the Rectors' Conference of the public universities in the Republic of Macedonia.
Ninoslav Marina (Macedonian: Нинослав Марина; na fanau i le aso 25 o Setema 1974) o le Rector o le Iunivesite o le Science Science ma Tekinolosi "St. Paul the Apostle" o loo i Maketonia ma Peresitene o le Fono a le Rectors 'o iunivesite a le malo i le Malo o Maketonia.
Under the leadership of Rector Marina, UIST is currently ranked third in Macedonia.
I lalo o le taʻitaʻiga a Rector Marina, o loʻo i ai nei le IAOS lona tolu i Maketonia.
The ranking was made by Shanghai Jiao Tong University and the score was improved from 44.1 points in 2012 to 94.5 out of 100 in 2016. [1]
O le faʻavae na faia e le Shanghai Jiao Tong University ma le sikoa na faʻaleleia mai le 44.1 points i le 2012 i le 94.5 mai le 100 i le 2016. [1]
After completing the undergraduate studies at the Faculty of Electrical Engineering at the Saints Cyril and Methodius University of Skopje, he obtained a Ph.D. degree at the École Polytechnique Fédérale de Lausanne (EPFL) in 2004.
Ina ua maeʻa aʻoaʻoga i lalo ole aoga i le Faculty of Electronics Engineering i le Au Paia Cyril ma Methodius University of Skopje, na ia mauaina se Ph.D. tikeri i le École Polytechnique Fédérale de Lausanne (EPFL) i le 2004.
In partnership with Nokia Research Centre in Helsinki, his thesis was in information theory and wireless communications.
I le faiga faapaaga ma le Center Research Center i Helsinki, o lana suʻesuʻega na i totonu o faʻamatalaga o aʻoaʻoga ma fesoʻotaʻiga eletise.
Ninoslav Marina was Director of R & D at Sowoon Technologies from 2005 to 2007, where he was leading the development of a headset to measure fatigue, stress and sleepiness for astronauts, cosmonauts, drivers and security personnel.
Ninoslav Marina o le Faatonu o R & D i Sowoon Technologies mai le 2005 i le 2007, lea na ia taʻitaʻia ai le atinaʻeina o se ulu e fua ai le vaivai, le mautonu ma le moe mo tagata vaalele, cosmonauts, avetaavale ma tagata faigaluega saogalemu.
From 2007 to 2008, Dr. Marina was Visiting Scholar at the University of Hawaii at Manoa, on a prestigious fellowship from the Swiss National Science Foundation.
Mai le 2007 i le 2008, o Dr Marina o se Tagata Asiasi Asiasi i le Iunivesite o Hawaii i Manoa, i luga o se lauiloa faʻapitoa mai Swiss National Science Foundation.
From 2008 to 2009, he worked as a postdoctoral researcher at the UNIK Graduate Center at the University of Oslo working on a project from the Research Council of Norway.
Mai le 2008 i le 2009, na galue ai o ia o se tagata suʻesuʻe i le postdoctoral i le UNIK Graduate Center i le Iunivesite o Oslo o galue i luga o se poloketi mai le Fono Faufautua a Nouei.
During the period 2009–2012, Prof. Marina was Visiting Postdoctoral Researcher at Princeton University on a prestigious Marie Curie International Outgoing Fellowship under the Seventh Framework Programme (FP7).
I le vaitau 2009-2012, na asiasi ai Polofesa Marina i le Iunivesite o le Princeton i le Kolisi o Princeton i luga o se faailoga aloaʻia Marie Curie International Outgoing Fellowship i lalo o le Polokalame Tausaga Fitu (FP7).
In 2014, Dr. Marina obtained funding under the Swiss-Brazilian Leading House program and had a project on distributed storage with the University of Campinas in the state of São Paulo.
I le 2014, na maua ai e Dr. Marina se tupe i lalo o le polokalama Swiss-Brazilian Leading House ma sa i ai se poloketi i luga o le tufatufa atu o oloa ma le Iunivesite o Campinas i le setete o São Paulo.
Prof. Marina has co-authored more than 100 scientific papers, books and popular texts.
Prof. Marina ua uma ona tusiaina ma sili atu ma le 100 pepa faasaienisi, tusi ma tusitusiga lauiloa.
He has been a guest professor at more than forty universities in the following countries: United States, Russia, China, United Kingdom, Japan, France, Germany, Switzerland, Netherlands, Brazil, Norway, Finland, Belgium, Austria, Hong Kong, Malaysia, Israel, Czechia, Morocco, Poland, Romania, Greece, Egypt, Croatia, Bulgaria, Serbia, Azerbaijan, and Moldova.
O ia o se polofesa faʻapitoa i le sili atu ma le fasefulu iunivesite i atunuu nei: United States, Rusia, Saina, Malo Tele, Iapani, Farani, Siamani, Suitiselani, Netherlands, Pasila, Nouei, Finelani, Peleseuma, Ausetalia, Hong Kong, Malaysia , Isaraelu, Czechia, Morocco, Polani, Romania, Eleni, Aikupito, Croatia, Bulgaria, Serbia, Azerbaijan, ma Moldova.
He has raised multiple funding through various instruments both in academia and industry, including programs such as the Swiss CTI, Swiss NSF, Research Council of Norway, the European Commission and the European Space Agency.
Na ia faʻatupulaia le tele o faʻamatalaga e auala atu i mea eseese i le aʻoga ma le alamanuia, e aofia ai polokalame e pei o le Swiss CTI, Swiss NSF, Council Research a Norway, le Komisi Europa ma le Ofisa ole Avanoa Europa.
He has been an expert of the European Commission’s Framework Programmes.
Ua avea o ia ma tagata atamai i Polokalama Taʻiala a le Komisi Europa.
Dr. Marina is a Senior Member of the Institute of Electrical and Electronics Engineers (IEEE) and Technical Program Committee Chair of the International Congress on Ultra Modern Telecommunications and Control Systems (ICUMT).
Dr. Marina o se sui sinia o le Inisetiute o Initaneti ma le Inisinia afi (IEEE) ma le Komiti o Polokalame Faʻatekonolosi a le Palemene Faʻavaomalo i luga o Fesoʻotaʻiga Televavave ma Fesootaiga (ICUMT).
He is the founding member and was the Chair of the IEEE Information Theory Society Macedonian chapter in 2016 and 2017.
O ia o le sui na faavaeina ma sa avea ma Nofoa o le IEPE Information Society Society Society i 2016 ma 2017.
In July 2015, Dr. Marina was invited by the President of the 69-th session of the United Nations General Assembly, H.E. Mr. Sam Kutesa on the Panel for informal interactive consultations on the World Summit on the Information Society. [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18] [19] [20] [21]
I le masina o Iulai 2015, na valaaulia ai Dr. Marina e le Peresetene o le 69-sauniga o le Fono Aoao a Malo Aufaatasi, H.E. Mr. Sam Kutesa i luga o le Laulau mo faatalatalanoaga faasamasamanoa faasamasamanoa i le Summit a le Lalolagi i luga o le Sosaiete Faamatalaga. [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18] [19] [20] [21]
Retrieved 2014-08-27. ↑ "Ninoslav Marina at Princeton". www.princeton.edu. ↑ "Ninoslav Marina at the Football Federation of Macedonia (in Macedonian)". www.crnobelo.com. ↑ "Diploma ceremony for the first generation of students (in Macedonian)". www.webohrid.com. Retrieved 2014-05-12. ↑ "Ninoslav Marina at the Politehnica University of Timișoara". www.opiniatimisoarei.ro. Retrieved 2013-07-04. ↑ "Ninoslav Marina at the University of Porto". up.pt.
↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help) ↑ Empty citation (help)
Two modern dancers
Lua tagata taaalo faaonapo nei
Dance is a performing art form consisting of purposefully selected sequences of human movement.
O siva o se faʻatino galuega fomu aofia ai le filifilia ma le loto i ai o fuataga o le gaioiga o tagata .
This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture.[nb 1] Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin.
O lenei gaioiga e matagofie ma taua lona taua, ma ua lauiloa o se siva e le au fai taga ma tagata matamata i totonu o se aganuu faapitoa. O le siva e mafai ona faʻavasegaina ma faʻamatalaina e lana talanuʻu, e ala i lona lisi o gaioiga, poʻo lona taimi faʻasolopito poo le nofoaga na afua mai ai .
An important distinction is to be drawn between the contexts of theatrical and participatory dance,[4] although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical.
O se eseesega tāua o le vaʻaia i le va o taʻaloga o taʻaloga faʻasalalau ma auai, e ui o nei vaega e lua e le o taimi uma e vavae ese ai; e mafai uma ei latou ona i ai ni galuega faʻapitoa, pe faʻapisinisi, faʻasalalau, faʻatauvaʻa, faʻamalo, martial, pe paia / liturgical .
Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronised swimming, marching bands, and many other forms of athletics.
O nisi ituaiga o gaioiga a tagata e i ai taimi e fai mai ai le lelei o le siva, e aofia ai le martial galuega, faiaoga, faʻafiafiaga, taʻavale ata, sosoʻo faʻafeiloaʻi, taʻavale savavali, ma le tele o isi ituaiga afeleti.
Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle, usually a performance upon a stage by virtuoso dancers.
O le siva taʻaloga, faʻapitoa foi o le taʻaloga poʻo le siva faʻasalalau, o le faamoemoe autu o se faaaliga, e masani lava o se faʻataʻitaʻiga i luga o se laasaga e tagata amio mama.
It often tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is often specially composed.
E masani ona faamatalaina se tala, atonu e faʻaaogaina le mime, teuga ma vaaiga, a leai o lona uiga o le taina o musika, lea e masani ona fatuina.
Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas.
O faʻataʻitaʻiga o paleni sisifo ma siva faʻaonaponei, siva Initia masani ma pese Saina ma Iapani ma talavaʻa siva.
Most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre.
O le tele o fomu masani e faʻapitoa i le siva, ae o le siva taʻaloga e mafai foi ona i ai i le opera ma isi ituaiga musika.
Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group dance such as a line, circle, chain or square dance, or a partner dance such as is common in western Western ballroom dancing, is undertaken primarily for a common purpose, such as social interaction or exercise, of participants rather than onlookers.
Le siva auai, i le isi itu, pe o se siva faa-tagata, se siva faaagafesootai, se siva vaega e pei o se laina, liʻo, filifili po o se siva sikuea, po o se siva a le paaga e pei ona taatele sisifo Sisifo polosolo siva, ua faia muamua mo se faʻamoemoe masani, e pei o fegalegaleaiga faʻaagafesootai poʻo faamalositino, o tagata auai nai lo tagata matamata.
Such dance seldom has any narrative.
O lea siva e seasea ona i ai se tala.
A group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly.
O se siva kulupu ma se paʻaleti, se siva a le paaga faʻapisinisi ma se pas de lua, e ese le loloto.
Even a solo dance may be undertaken solely for the satisfaction of the dancer.
E oo lava i se siva siva e mafai ona faia na o le faamalieina o le siva.
Participatory dancers often all employ the same movements and steps but, for example, in the rave culture of electronic dance music, vast crowds may engage in free dance, uncoordinated with those around them.
O tagata taaalo auai e masani ona latou faʻaaogaina ia lava gaioiga ma laasaga ae, mo se faʻataʻitaʻiga, i le aganuʻu agavaʻa o siva musika faaeletonika, e mafai e le toʻatele o tagata ona auai i siva siva, e le faʻatasi ma i latou o siomia i latou.
On the other hand, some cultures lay down strict rules as to the particular dances in which, for example, men, women and children may or must participate.
I le isi itu, o nisi aganuu latou te faataatia tulafono laiti e faatatau i siva faapitoa, lea, mo se faataitaiga, o alii, tamaitai ma tamaiti e mafai pe tatau foi ona auai.
Clockwise from upper left: an 1887 self-portrait by Vincent van Gogh; a female ancestor figure by a Chokwe artist; detail from The Birth of Venus (c. 1484-1486) by Sandro Botticelli; and an Okinawan Shisa lion
Faʻasologa mai le agavale pito i luga: se 1887 ata faʻapitoa a Vincent van Gogh; se tuafusi fafine na tusia e se tusiata Chokwe; auiliiliga mai le Fanau Mai o Venus na saunia e Sandro Botticelli; ma le Okinawan Shisa leone
Art is a diverse range of human activities in creating visual, auditory or performing artifacts (artworks), expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power.[1][2] Other activities related to the production of works of art include the criticism of art, the study of the history of art, and the aesthetic dissemination[clarification needed] of art.
Faatufugaga o se ituaiga eseese o gaoioiga o tagata i le foafoaina o vaaia, auditory po o le faatinoina mamanu (galuegefaatugaga), le faaalia o le a le tusitala fatufua, manatu faʻavae, po o le tomai faapitoa, faamoemoe e talisapaia mo lo latou matagofie po o se malosiaga faalelagona. O isi gaoioiga e fesootaʻi ma le gaosiga o galuega taulima e aofia ai le faitioina o ata, suʻesuʻega o le tala faasolopito o faatufugaga, ma le faʻasalalauga faʻalelei o faatufugaga.
The three classical branches of art are painting, sculpture and architecture.[3] Music, theatre, film, dance, and other performing arts, as well as literature and other media such as interactive media, are included in a broader definition of the arts.[2][4] Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences.
O lala e tolu o le aufaʻatagata o ata vali, vane ma faʻatagata. Musika, fale tifaga, ata tifaga, siva, ma isi gaioiga faatino, faapea foi ma tusitusiga ma isi ala o faasalalauga e pei o faasalalauga fefaasoaai, o loo aofia ai i se faauigaga lautele o faatufugaga. Seʻi oʻo i le seneturi lona 17, o tusiga e faatatau i soʻo se tomai poʻo le masini ma e leʻi faʻaeseese mai le fomai poʻo le faasaienisi.
In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.
I le faaaogaina i ona po nei ina ua mavae le senituri lona 17, i le mea maualuga iloiloga matagofie, o le faatufugaga lelei tuueseeseina ma faailoga ese mai tomai maua i le aoao, e pei o le teuteu po o faaaogaina faatufugaga.
Though the definition of what constitutes art is disputed[5][6][7] and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency[8] and creation.[9] The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.[10]
E ui o le faauigaga o le mea e aofia ai le faatufugaga ua finauina ma ua suia i le taimi, o faamatalaga lautele na taua ai se manatu o le mafaufau po o le tomai faapitoa e mafua mai i le saolotoga o tagata ma le foafoaga. O le natura o faatufugaga ma manatu e tutusa, e pei o le fatufatuaʻi ma le faʻaliliuga, o loʻo suʻesuʻeina i se paranesi o filosofia ua lauiloa o le faʻalelei.
In a modern sense, comedy (from the Greek: κωμῳδία, kōmōidía) is a genre of fiction that refers to any discourse or work generally intended to be humorous or amusing by inducing laughter, especially in theatre, television, film, stand-up comedy, books and novels or any other medium of entertainment.
Le maliega o se ituaiga o talafatu e faatatau i soʻo se lauga poʻo se galuega masani e faʻamalieina pe malie e ala i le faatosinaina o le lata, aemaise lava i le fale tifaga, televise, ata tifaga, malie malie, tusi ma tala poʻo isi faʻalauiloa.
The origins of the term are found in Ancient Greece.
O le tupuaga o le upu o loʻo maua i Ancient Greece .
In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theaters.[1] The theatrical genre of Greek comedy can be described as a dramatic performance which pits two groups or societies against each other in an amusing agon or conflict.
I le faatemokalasi a Atenia, o le manatu lautele o tagata palota na aafia i le taitai faaupufai na faatinoina e le au solo pese i fale faafiafia. [1] O le genre tala faatino o faleaitu Greek e mafai ona faamatalaina o se faatinoga maoae lea pits ni vaega se lua po o le sosaiete e faasaga i le tasi le isi i se mālie agon po o feteenaiga.
Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old."[2] A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions that pose obstacles to his hopes.
Northrop Frye na faʻaalia nei itu faʻafeagai e lua o se "Sosaiete a le Autalavou" ma se "Sosaiete o le Tuai." [2] O se vaaiga toe iloilo ua faʻaalia ai le taua o le faʻamaʻaloga o se tauiviga i le va o se tupulaga talavou e leai se malosi ma fono faʻalapotopotoga lea e avea ma faʻalavelave i ona faʻamoemoega.
In this struggle, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse in ruses which engender very dramatic irony which provokes laughter.[3]
I lenei tauiviga, ua malamalama le autalavou ona o lona leai o se pulega faʻaagafesootai, ma ua tuua i se filifiliga itiiti ae o le faia o se mea e fai i tala faasee lea e mafua ai le le mautonu tele e mafua ai le talie. [3]
Satire and political satire use comedy to portray persons or social institutions as ridiculous or corrupt, thus alienating their audience from the object of their humor.
O le satire ma le faʻapolokiki faaupufai e faʻaaoga ai le vevesi e faʻaalia ai tagata poʻo faʻalapotopotoga faʻapitoa e faʻavalevalea pe leaga, ma faʻapenaina ai a latou faʻalogo mai le mea o latou aga malie.
Parody subverts popular genres and forms, critiquing those forms without necessarily condemning them.
Palody subverts ituaiga lauiloa ma fomu, faitioina na ituaiga e aunoa ma le taʻusalaina oi latou.
Footnotes
Faasinomaga
La Scala of Milan
La Scala o Milan
Palais Garnier of the Paris Opéra
Palais Garnier o le Paris Opera