davidanugraha/M4-RAG huggingface dataset:
The Lighthouse, Glasgow

The Lighthouse in Glasgow is Scotland's Centre for Design and Architecture. It was opened as part of Glasgow's status as the UK City of Architecture and Design in 1999.
The Lighthouse is the renamed conversion of the former offices of the Glasgow Herald newspaper. Completed in 1895, it was designed by the architect Charles Rennie Mackintosh. The centre's vision is to develop the links between design, architecture, and the creative industries, seeing these as interconnected social, educational, economic and cultural issues of concern to everyone.
The Lighthouse Trust went into administration in August 2009. At its peak the Lighthouse Trust employed around 90 staff. Its directors moved on: Nick Barley became director of the Edinburgh International Book Festival. Following a substantial redundancy programme the remaining staff were transferred to Architecture and Design Scotland (A+DS) and Glasgow City Council (GCC). The Lighthouse building remains in the ownership of Glasgow City Council, which has made financial provision to meet the costs of operating the centre, re-establishing it as Scotland's National Centre for Architecture and Design.
A Steering Group – made up of representatives of Glasgow City Council, Glasgow School Of Art, Scottish Enterprise, Creative Scotland, and various independent architects and designers – has now implemented a range of permanent and temporary uses within the building including a conference/events programme, catering facilities, temporary and permanent exhibitions, a limited amount of business space, and a design shop (TOJO) on the ground floor. Architecture and Design Scotland (A+DS) now occupy one of five floors of the building and continue to run a range of programmes on that floor. The remaining staff were awarded extended contracts of employment with GCC.
One of the key features of the Lighthouse is the uninterrupted view over Glasgow's cityscape available from the Mackintosh Tower at the north of the building, which is accessible via a helical staircase from the third floor.
There is also another modern viewing platform at the south of the building, on the sixth floor and is only accessible via lift.
In 1999, the Clydesdale Bank issued a £20 note to mark Glasgow's celebrations as UK City of Architecture and Design which featured an illustration of the Lighthouse building and the dome of Thomson's Holmwood House on the reverse. The obverse side carried a portrait of Glaswegian architect Alexander "Greek" Thomson.
Cape Cod style

Cape Cod style was a style of lighthouse architecture that originated on Cape Cod in Massachusetts during the early 1800s, and which became predominant to the West Coast, where numerous well-preserved examples still exist. In such lighthouses, the light tower was attached directly to the keeper's dwelling, and centered on the roof; entry was achieved through a stairway in the top floor of the dwelling.
No lighthouses built in the Cape Cod style exist today on the East Coast. The original Alcatraz Island Light, the first lighthouse to be built on the West Coast, was built using this style.
Burden of Dreams (climb)

Burden of Dreams is a 4-metre (13 ft) red granite grade 9A (V17) bouldering problem at Lappnor near Loviisa, in Finland. It was first climbed by Finnish climber Nalle Hukkataival on 23 October 2016, who spent four years projecting the boulder, and features in the 2017 climbing film, The Lappnor Project.
Climbing awarded Hukkataival a Golden Piton [fr] in 2016 for having the courage to grade it at 9A (V17), making Burden of Dreams the world's first-ever boulder problem at the 9A (V17) grade.
After resisting further attempts by the world's strongest climbers for many years, including by Shawn Raboutou and Stefano Ghisolfi, it was finally repeated by Scottish climber Will Bosi on 12 April 2023. Bosi practiced on a 3D-printed replica of the key holds and movements of the route in the United Kingdom, before attempting the actual boulder in Finland. Bosi also confirmed the grade of V17 (9A).
After Bosi's repeat, climbing hold manufacturers began to offer highly accurate 3D-scanned replicas of the holds on Burden of Dreams to the public; and by altering the gradient to vertical, instead of a 45-degree overhang on the real route, it was estimated that the grade of difficulty is softened to almost V2 (5+).
Burden of Dreams has been ascended by:
Elephant Rocks State Park

Elephant Rocks State Park is a geologic reserve and public recreation area encompassing an outcropping of Precambrian granite in the Saint Francois Mountains in the U.S. state of Missouri. The state park is named for a string of large granite boulders which resemble a train of pink circus elephants. The park was created following the donation of the land to the state in 1967 by geologist Dr. John Stafford Brown. The park is used for picnicking, rock climbing, and trail exploration. It is managed by the Missouri Department of Natural Resources.
The Elephant Rocks, for which Elephant Rocks State Park is named, is a pile of residual boulders of weathered Graniteville Granite. It is a medium- to coarse-grained, muscovite-biotite alkali granite that, on the average, consists of 55 percent alkali feldspar, 40 percent quartz, and less than 5 percent mafic minerals. The Graniteville Granite is a pluton formed 1.4 billion years ago in the Proterozoic by the cooling of magma that intruded into the volcanic strata and country rock associated with a collapsed caldera. Nearly vertical fractures formed in the stone as it cooled, and uplift of the granite enhanced the fracturing. Eventually the overlying strata were removed through erosion, exposing the granite pluton. Before it was exposed, groundwater weathered the granite along fracture joints creating corestones of relatively solid altered granite embedded within friable saprolite. Surface runoff later eroded the saprolite that once surrounded the corestones and left, what are now locally called elephant rocks as boulders perched on the ground surface.
The reddish or pink granite has been quarried in this area since 1869, and two abandoned granite quarries are within the park. These and others nearby have provided red architectural granite for buildings in states from Massachusetts to California, but most particularly in St. Louis, including stone for St. Louis City Hall and the piers of the Eads Bridge. Stones unsuitable for architectural use were made into shoebox-sized paving stones that were used on the streets of St. Louis as well as on its wharf on the Mississippi River. Stone quarried in the area currently is used for mortuary monuments and is known commercially as Missouri Red monument stone.
A one-mile (2 km) circular interpretive trail in the Elephant Rocks Natural Area, called the Braille Trail, is the first in Missouri state parks designed specifically for visitors with visual and physical challenges. Spur trails off the main trail include one passing through "Fat Man's Squeeze," a narrow gap between two boulders that leads hikers to an abandoned quarry, and another that goes through "The Maze," a 100-foot (30.48 meter) section of scattered boulders. The park's picnicking area includes ADA-compliant facilities.
Coastal Landscape Park

The Polish Coastal Landscape Park (Polish: Nadmorski Park Krajobrazowy; Kashubian: Nadmòrsczi Park Krajòbrazny) is a protected area (Landscape Park) in northern Poland, established in 1978, covering an area of 188 square kilometres (73 sq mi).
The Park lies within Pomeranian Voivodeship, in Puck County (Gmina Kosakowo, Gmina Krokowa, Gmina Puck).
Within the Landscape Park are nine nature reserves.
In the Coastal Landscape Park there are all types of coast typical of the southern Baltic Sea. A characteristic element here are bogs, including the easternmost, Atlantic-type raised bogs. Almost half of the park is covered with forests, especially pine trees. There is a beech reserve on Cape Rozewie.
The fauna includes birds such as gulls, buzzards, ruffs. The coastal waters are rich in algae, crustaceans and molluscs. There are also many species of fish: stickleback, roach, perch, eel. Puck Bay is a reservoir for grey seals. It can also be seen in the Seal Sanctuary in Hel.
54°39′02″N 18°28′06″E﻿ / ﻿54.650670°N 18.468308°E﻿ / 54.650670; 18.468308
Teri (geology)

Teri or Teri dune complex is a coastal landscape peculiar to some parts of Tamil Nadu mainly in southeastern India. The landscape consists of sediments dating to the Quaternary Period and made of marine deposits with aeolianite and characteristic red sand and silt dunes. These red soils are thought to have originated in the Pleistocene. Robert Bruce Foote hypothesized that these dunes were created by the action of winds (aeolian) lifting the fine silt fraction from further east. These dunes are oriented along the axis running parallel to the coast and between the latitudes of 8°00′ to 9°30′ N and longitudes 77°18′ to 79°00′ E. The soils also have calcium deposits replacing the old roots of vegetation. The soil is rich in ilmenite and the red colour is derived from haematite originating from garnet.
Behind the Wall (2008 film)

Behind the Wall is a 2008 horror film directed by Paul Schneider. It stars Lindy Booth, Lawrence Dane, James Thomas in the lead roles.
The film is about a lighthouse in the town of Hinderson Bay which is haunted by an evil spirit from Katelyn's past. Once its basement is broken open, new bloodshed starts, and the horrible truth about the past is gradually unveiled.
For several generations the Parks family lived on a quiet hillside where Katelyn's grandfather and her father were keepers to the town's lighthouse. At the age of ten, Katelyn watched her mom enter the basement in their lighthouse home where minutes later she was brutally beaten and found dying on the floor. Her father, Christopher, was arrested and convicted for the killing, and Katelyn placed in foster care out of town. The murder drove Christopher into madness and he was sentenced to a mental institution, where he later died. Katelyn never had a chance to speak to her father since that horrible night.
Twenty years later, Katelyn receives a mysterious letter which brings her back to the lighthouse home she swore she would never return to again. Maine coastal town Harrison Bay is broke, so deputy mayor Drew Cabot arranges a deal with a contractor to develop the abandoned lighthouse for tourism. Father Hendry fails to convince the town council to veto the project. The town wants to open the lighthouse back up but someone from Katelyn's foggy past warns her to stop them! What they don't tell her is "why". Katelyn is forced to confront the evil that lurks within the lighthouse when some of the developers slowly begin to disappear. What she discovers is a family secret long buried by her grandfather. She must now unearth the truth and find a way to stop the nightmare which surrounds the lighthouse.
Yacimiento rupestre de Sáchica

El yacimiento rupestre de Sáchica es un conjunto de pinturas rupestres, de origen precolombino ubicadas en una formación rocosa en Colombia. Este sitio arqueológico está situado en el municipio de Sáchica departamento de Boyacá, en un pequeño cañón a la orilla derecha del río Sáchica.​
El yacimiento hace parte de una gran cantidad de creaciones de los nativos americanos documentados a lo largo de la geografía colombiana, especialmente en el altiplano Cundiboyacence.​
No existe certeza sobre el autor o autores de este conjunto de pictogramas, su significado, ni de su antigüedad; el sitio coincide con asentamientos de los arawak y los chibchas, documentados después del siglo IV d. C..​
En 1961 el antropólogo Eliécer Silva Célis, entonces investigador del Instituto Colombiano de Antropología e Historia (ICANH), interpretó las pinturas de la siguiente manera:​
El conjunto de pinturas, se ubican en varios grupos claramente definidos, en un trayecto de aproximadamente 40 metros de la formación rocosa, parcialmente resguardado de los efectos ambientales. Se han descrito 14 grupos diferentes de pinturas, predominantemente elaborados en color rojo y algunas de color negro. Dentro de los esquemas dibujados se visualizan diferentes figuras que recuerdan rostros y figuras humanoides, la imagen del sol, vegetales y otras ininteligibles, de las cuales en líneas generales se desconocen su significado.​
Este yacimiento al igual que la mayor parte de las pinturas rupestres y petroglifos en Colombia, se encuentra en peligro permanente de ser destruido o alterado, ya sea por parte de los pobladores y visitantes que desconocen el valor histórico de estos gráficos, o por investigadores inexpertos.​
Pinturas rupestres de Guane

Las pinturas rupestres de Guane son un conjunto de antiguos dibujos en las rocas del Cañón del río Chicamocha, en el departamento colombiano de Santander. Las pinturas rupestres del Cañón del Chicamocha tienen origen en la cultura Guane.
La mayoría de las pinturas rupestres se encuentran en los abrigos del municipio de Los Santos. Según algunos investigadores, las pinturas rupestres pueden ser consideradas pictogramas o dibujos que representan una idea o un concepto, generalmente de alcances sociológicos y costumbristas.
El investigador colombiano Alejandro Navas ha terminado un trabajo muy interesante para interpretar y estudiar las pinturas rupestres y los pictogramas. La mayoría de los signos son símbolos de animales o del Sol, que eran venerados como deidades.
Territorio Sus dominios colindaban por el occidente con el de los Yariguíes, por el norte con el de los Chitareros, por el oriente con el de los Laches, y por el sur y sureste con el de los Poimas y Chalalaes, entre otras etnias indígenas.
Arte rupestre del morro Vilcún

El arte rupestre del morro Vilcún corresponde al conjunto de 47 pinturas rupestres y 9 grabados​ de carácter precolombino existentes en varias cuevas del morro Vilcún, una formación de origen volcánico del sur de Chile que se localiza en el sector de Santa Bárbara, a 15 km al norte de la ciudad de Chaitén.​Se estima que fueron realizadas en la segunda mitad del siglo XII por el pueblo Chono.​
Las pinturas y petroglifos se encuentran en la cara sur del monte, sobre roca volcánica en distintos niveles: algunas a ras del suelo y otras hasta a 2,3 metros de altura. Éstas se constituyen en el primer hallazgo de arte rupestre en Chiloé continental,​ con una data estimada de 700 años a través de Carbono 14, aunque también se sugiere que parte de este conjunto artístico puede remontarse a los canoeros y nómades que habitaron la zona hace cinco mil años.​​
El sistema de cuevas ha preservado rasgos arqueológicos con material lítico y conchales que documentan la ocupación del sector. Una de las singularidades de este patrimonio es, hasta el momento, el único registro de arte rupestre con pigmentos en el litoral Pacífico. El sitio arqueológico alberga evidencias e indicadores de movilidad e intercambio con poblaciones cordilleranas y del lado Argentino, tal como se ha documentado en sitios similares en Curarrehue y Lago Caburgua.​
La existencia de estas pinturas rupestres, fueron presentadas a la comunidad a través de una investigación realizada el año 2012, a cargo del arqueólogo Rafael Labarca,​ en co-ejecución con Francisco Mena, también arqueólogo del Centro de Investigación en Ecosistemas de la Patagonia (CIEP), junto a Thierry Dupradou, fotógrafo y Alfredo Prieto del Centro de Estudios del Hombre Austral, de la Universidad de Magallanes. Los resultados fueron publicados en la BBC.​
Karen Holmberg, arqueóloga de la Universidad de Nueva York (NYU), en marzo de 2018 comenzó un proyecto de excavación en el Morro Vilcún. La iniciativa fue financiada por National Geographic (NatGeo), la Universidad Austral sede Puerto Montt y la Fundación ProCultura. Junto con estudiar la adaptación humana en zonas volcánicas, localizar nuevos sitios, e identificar el patrimonio geológico del lugar, la iniciativa se propuso reconstruir de forma inédita a través de imágenes 3D las cuevas, trabajo que pone de relieve el arte rupestre en su interior.
El proyecto incluyó a los arqueólogos Francisco Mena, Rafael Labarca y Elisa Calás, al geólogo de la Universidad de Aukland, Brent Alloway; la directora regional de Fundación Procultura Los Lagos, Constanza Gómez; al doctor en Medios y Tecnología de la Universidad de Los Andes (Colombia), Andrés Burbano; a la artista de NYU, Caitlin Barrigan; al fotógrafo, Thierry Dupradau y a la arqueóloga de la UACH y directora del Colegio de Arqueólogos de Chile, Javiera Letelier.
Conjunto de grabados rupestres de Fentáns

El conjunto de grabados rupestres de Fentáns es un área arqueológica formada por cerca de trescientos grabados al aire libre, una cifra que la convierte en una de las principales referencias del Grupo Galaico de Arte Rupestre. Está situado en San Jorge de Sacos, una parroquia del municipio de Cerdedo-Cotobade, provincia de Pontevedra (España). Forma parte del conjunto de arte rupestre de Terras de Pontevedra.
La mayor parte de los petroglifos que se encuentran dentro de este conjunto se atribuyen a la Edad de Hierro y a la Edad de Bronce. Los investigadores creen que los más antiguos se hicieron golpeando las rocas con cuarzo, mientras que los otros ya se tallaron haciendo uso de algún utensilio metálico. Los motivos abstractos y geométricos son muy numerosos, aunque son más los grabados que recrean figuras antropomorfas y animales.
El conjunto de Fentáns acoge cerca de 300 grabados, si bien tres destacan sobre los demás.
Además, esta área incluye otros grabados y petroglifos, entre otros, los conocidos como Chan do Rapadoiro, Outeiro da Besta, Portela das Rozas Vellas, Laxe dos Cebros, Coto da Braña, Outeiro Morcego, Coto dos Porros, Tras a Rasa o Quenlla do Lixo.
Junto con la Pedra das Ferraduras, el otro gran conjunto rupestre de Cotobade es el situado en el Outeiro do Lombo da Costa, también en San Xurxo de Sacos. Acumula más de la mitad de los petroglifos del Monte Arcela en sus más de treinta metros cuadrados y sus cerca de 20 rocas grabadas. En este conjunto se sitúan, por ejemplo, el petroglifo conocido como Laxe das Rodas, con unas cincuenta combinaciones de círculos concéntricos de variada tipología y numerosos cérvidos de pequeño tamaño, y el Laxe do Cuco, una roca plana que representa figuras de cérvidos, combinaciones circulares y cazoletas
Además, en la parroquia de Viascón está situada la estación de Portela da Laxe, integrada por un conjunto de rocas que presentan un gran repertorio de motivos como paletas o esvásticas soliformes, o Laxe das Coutadas, una roca de granito en donde se combinan círculos concéntricos con figuras zoomórficas. Y en Aguasantas se conserva la estación de Porteliña da Corte, un conjunto de grabados divididos en cinco rocas y que presenta un gran número de cazoletas, alrededor de veinte combinaciones circulares y un cuadrúpedo.
Museo Chileno de Arte Precolombino

El Museo Chileno de Arte Precolombino, conocido también como Museo Precolombino, es una institución cultural creada por la Municipalidad de Santiago y la Fundación Familia Larraín Echeñique. El Museo fue fundado el 10 de diciembre de 1981 y, siendo una institución público-privada, es financiado en partes iguales por la I. Municipalidad de Santiago, el Ministerio de las Culturas, las Artes y el Patrimonio y los recursos propios generados el propio Museo.​
El Museo funciona en el antiguo edificio del Palacio de la Real Aduana de Santiago, en calle Bandera 361, esquina Compañía, en el centro histórico de la capital chilena (estación metro Plaza de Armas).​
Durante más de cincuenta años, el arquitecto y filántropo chileno Sergio Larraín García-Moreno formó una importante colección de objetos precolombinos. Siguiendo criterios estrictamente estéticos y no antropológicos, Larraín conformó una completa colección de objetos que en su conjunto representa un arte propiamente americano.​
Durante la década de 1970, Larraín encarga al abogado Julio Philippi la creación de un modelo legal con el fin de crear una institución que albergara los objetos de la colección precolombina. Esto daría nacimiento a la Fundación Familia Larraín Echeñique, con el objeto de crear un museo orientado al cuidado, estudio y difusión de dicha colección.
A principios de la década de 1980, la Fundación acuerda un convenio con la Municipalidad de Santiago con el fin de solventar la infraestructura y gastos generales del Museo, el que abre sus puertas por primera vez en diciembre de 1981.​
El museo hoy alberga obras de arte únicas que demuestran la diversidad cultural americana, destacando su valiosa colección textil andina, con piezas de más de 3000 años de antigüedad, Momias de Chinchorro, las más antiguas del mundo, obras en cerámica, metal y piedra, verdaderas obras de arte de mayas, aztecas, culturas andinas, antiguos pueblos del Amazonas y el Caribe, y una sobresaliente colección de arte de las sociedades que habitaron el actual territorio chileno.​
En enero de 2014, como resultado de una alianza con Minera Escondida y BHP Billiton, el museo inauguró una nueva etapa diseñada por Smiljan Radic: una ampliación del 70% del área que incrementó las zonas de exhibición, depósito y laboratorio de conservación.​
Desde 1985, el museo edita el Boletín del Museo Chileno de Arte Precolombino, revista científica chilena indexada en la base de datos Web of Science, así como en SciELO, Latindex, entre otras.​
Museo de Arte Precolombino Felipe Orlando de Benalmádena

El Museo de Benalmádena, denominado anteriormente Museo Arqueológico Municipal de Benalmádena, se encuentra en la Avenida de Luis Peralta del núcleo antiguo (Benalmádena Pueblo) del municipio costasoleño de Benalmádena, Málaga, España.
Fue inaugurado en 5 de mayo de 1970 y reformado el 26 de abril de 2005 y consta de dos colecciones:
La primera planta y la planta baja albergan la colección de arte precolombino de Felipe Orlando García-Murciano, que ha sido ampliada gracias a donaciones, préstamos y adquisiciones por parte del Ayuntamiento de Benalmádena. Las piezas proceden de varios países hispanoamericanos como México, Nicaragua, Ecuador, Costa Rica y Perú.
La exposición ilustra los dos grandes núcleos de civilización: Mesoamérica o Antiguo México y los Andes Centrales o Antiguo Perú, así como el área intermedia que comprende la baja Centroamérica y los Andes del Norte. Cada zona integra una de las 3 salas.
Esta colección es una de las mayores colecciones de arte precolombino fuera de Hispanoamérica.
El sótano del museo alberga la colección arqueológica, que está integrada por objetos procedentes de excavaciones arqueológicas realizadas en el municipio desde la Prehistoria hasta la época romana. Destacan las estatuas encontradas en el mar tras el naufragio del pecio Isabella y otros objetos encontrados en las ruinas romanas de Benalroma.
Museo de Arte Precolombino (Perú)

El Museo de Arte Precolombino, MAP Cusco es un museo de arte, situado en la ciudad del Cusco, Perú. nació como una iniciativa de la Fundación BBVA Perú.​ Las piezas que se exhiben en este museo forman parte de la colección del Museo Larco de Lima.​
Está principalmente dedicado al arte precolombino​ y cuenta con 10 salas de exposición: la Formativa, Nazca, Mochica, Huari, Chancay- Chimú, Inka, Madera, joyería en Concha y Hueso, Plata y de Oro. La colección del museo está formada por utensilios y joyas de las culturas Nazca, Mochica, Huari, Chimú, Chancay e Inka.
Arte rupestre paleolítico del norte de España

El arte rupestre de la cornisa cantábrica en España está formada por una serie de manifestaciones artísticas en cuevas y abrigos rocosos pertenecientes a la época del paleolítico Superior. De hecho, las primeras manifestaciones de arte rupestre descubiertas, fueron aquí, en concreto en la cueva de Altamira, hallazgo que se asumió con escepticismo hasta que no se encontraron pinturas pertenecientes a la misma época y estilo (arte francocantábrico) en la Dordoña francesa.
Se trata de la primera gran manifestación artística de la humanidad, y suelen representarse figuras de animales típicos de la última era glaciar, como bisontes, caballos, ciervos, renos o toros.
Las dieciocho cuevas más destacadas son Patrimonio de la Humanidad. La Cueva de Altamira fue declarada como tal en el año 1985. En la reunión de la Unesco celebrada en Quebec (Canadá) en julio de 2008 se ha ampliado este sitio para incluir otras cavidades, pasando a llamarse el lugar «Cueva de Altamira y arte rupestre paleolítico del norte de España» (en inglés, Cave of Altamira and Paleolithic Cave Art of Northern Spain).
La Unesco ha justificado la extensión de la siguiente manera:
Se trata de diecisiete cuevas pintadas:
No obstante, las cuevas con arte rupestre en la zona son muchas más, si bien las principales son las ya protegidas por la Unesco.
Cave of Altamira and Paleolithic Cave Art of Northern Spain

The Cave of Altamira and Paleolithic Cave Art of Northern Spain (Cueva de Altamira y arte rupestre paleolítico del Norte de España) is a grouping of 18 caves of northern Spain, which together represent the apogee of Upper Paleolithic cave art in Europe between 35,000 and 11,000 years ago (Aurignacian, Gravettian, Solutrean, Magdalenian, Azilian). In 2008, they were collectively designated a World Heritage Site by UNESCO.
Chief among these caves is Altamira, located within the town of Santillana del Mar in Cantabria. It remains one of the most important painting cycles of prehistory, originating in the Magdalenian and Solutrean periods of the Upper Paleolithic. This cave's artistic style represents the Franco-cantabrian school, characterized by the realism of its figural representation. Altamira Cave was declared a World Heritage Site in 1985. In 2008, the World Heritage Site was expanded to include 17 additional caves located in three autonomous communities of northern Spain: Asturias, Cantabria and the Basque Country.
Piedras del Tunjo Archaeological Park

Piedras del Tunjo (Spanish for "Tunjo Rocks") is an important archaeological park established on a natural rock shelter 40 kilometres (25 mi) west of Bogotá in the municipality of Facatativá.
In the Late Pleistocene, the site used to be the shore of a large lake flooding the Bogotá savanna; Lake Humboldt .8 It was used by the Muisca rulers as a refuge during the time of the Spanish conquest. The site is one of the possible places where the soldiers of Gonzalo Jiménez de Quesada killed the ruling zipa Tisquesusa in April 1537.
The rocks are covered with pictographs made by Muisca artists on rocks of the Guadalupe Group. Their age has not been confirmed. The area of the park used to be an hacienda, property of a wealthy family since colonial times. It was nationalized in 1946 to establish the park.
Decades of government negligence and lack of policies for the protection of archaeological heritage have resulted in the destruction of most of the ancient paintings.
Prehistoric Rock-Art Site of Pala Pinta

The Prehistoric Rock-Art Site Pala Pinta (Portuguese: Abrigo rupestre da Pala Pinta) is a Paleolithic-era rock-art site, recognized for cave paintings in the Portuguese municipality of Alijó, in the civil parish of Carlão e Amieiro.
The cave was occupied during the 3rd millennium, and the rock art paintings were likely created during this period.
After its discovery, on 30 December 1985, there was a move by the Serviço Regional de Arqueologia da Zona Norte (North Zone Regional Archaeological Service) to have the site classified for protection. There was a positive reaction on 21 April 1986 to the endeavour by the Consultative Council of IPPC. Further initiatives were undertaken on 7 May by the Secretária de Estado da Cultura (Secretary-of-State for Culture) to classify the archaeological site as a National Monument. Although this was never promulgated, on 18 July 2006, the area was defined as a Zona Especial de Classificação (Special Classification Zone) by the DRPorto.
It was situated in an isolated, rural area in the middle of the hilltop facing the east.
The site includes rock-art paintings over granite surface, covering an area of 12 metres (39 ft) long and 2.50 metres (8.2 ft) high. There roughly two vertical panels, caused by fractures in the cave/clifftop, consisting of monochromatic paintings in ochre of radial imagery (likely sun or stars), points and anthropomorphic representations of figures.
Serranía de la Lindosa

The Serranía de la Lindosa is a 13 km (8 mi) stretch of cliff in Colombia covered by tens of thousands of painted rock art images.
The rock art was first recorded in the 19th century by Agustin Codazzi, who was mapping the region. It was also recorded by Richard Evans Schultes in 1943. The first photographs were taken in the 1980s. Some sources erroneously suggest that the site was only recently discovered when it was publicized in the 2020s.
The murals have not been directly dated. Some authors have suggested that they date to around 12,600 years ago, based on dating of sediment layers containing ochre flakes within excavations near the art, but others suggest that they are too well preserved to be so old. Local interpretative guides at the Cerro Azul site within Serranía De La Lindosa have said that the ochre paste was mixed with tree saps to aid in its preservation. It has been alternatively proposed that the art was made in the last 500 years by indigenous peoples after the initial European discovery of the Americas.
The murals were painted with yellow and red ochre. Some paintings at the Cerro Azul and Nuevo Tolima sites show figures climbing ladders or palm trees, indicating how they were able to reach the high upper painted walls. Some authors claim that the art depicts now-extinct South American megafauna, such as ground sloths, gomphotheres, native equines (Hippidion) and macraucheniids; others argue that they likely represent living animals, including domestic species introduced in the Columbian exchange like horses and cows, leading to a younger age estimate.
Florencia, Caquetá

Florencia (Spanish pronunciation: [floˈɾensja], English: Florence) is a municipality and the capital city of the Department of Caquetá, Colombia. It is the most populous city in the Amazon Region of Colombia. It lies on the Orteguaza River which flows into the Caqueta River. Its population is 177,946 in 2023.
The name of the city pays homage to an Italian businessman dedicated to the rubber trade, Paolo Ricci, from the city of Florence.
The area where Florencia is located was inhabited by tribes of the Andaquí ethnic group. The territory where the city is located was also inhabited by Witoto and Coreguaje [es] tribes. In 1542, the territory was explored for the first time by the Spanish conquistador, Hernán Pérez de Quesada. Florencia was founded on December 25, 1902 by Capuchin Friar Doroteo De Pupiales (1876-1959) Born in Pupiales, Nariño, Colombia. Rubber plantations around several areas of what is now known as the department of Caqueta encouraged the creation of the city next to the Hacha River [es]. The city became an important site after the creation of the trail between the settlement and the town of Guadalupe in what is now the department of Huila.
Florencia is located at the foot of the Cordillera Oriental mountain range. The municipality of Florencia limits to the north with the Huila Department and the municipality of El Paujil, to the east with the municipalities of El Paujil and La Montañita, to the south with the municipalities of Milán and Morelia, and to the west with the municipality of Belén de Andaquies and the Huila Department.
Florencia has a tropical rainforest climate (Köppen Af), and experiences significant rainfall during the course of the year. There is still a large amount of rainfall, even in the driest month. The average temperature in Florencia is 26.1 °C or 79.0 °F. In Florencia, January is the driest month, while June tends to be the wettest month. About 3,840 millimetres or 150 inches of rain falls annually during the year.
According to a report of the first half of 2022 by the MinCIT, the main economic activities of the city were Trade and repair of vehicles with 22.6%, followed by Public Administration and Defense with 18.8% and third, Artistic Activities with 10.9%.
Media related to Florencia at Wikimedia Commons
Indigenous territory (Colombia)

An indigenous territory (Spanish: territorio indigena) in Colombia is an area of land reserved for use of the indigenous peoples of Colombia. Almost one third of the country is covered by these territories, although the indigenous people account for just over 4-10% of the population.
As late as 1959, the Amazon region was considered uninhabited and was declared a natural reserve. The agrarian reform of 1961 recognized the need to define indigenous territories and to confirm as reserves (resguardos) the titles the Spanish crown had granted to the indigenous people. The first reserves were in the Amazon, the Vaupés reserve in 1982 with 3,375,125 hectares (8,340,120 acres) and the Vichada reserve in 1986–87 with 194,517 hectares (480,660 acres). The government of Virgilio Barco Vargas between 1986 and 1990 gave titles to another 13,000,000 hectares (32,000,000 acres) in the Amazonas and Guainía departments, forming a continuous indigenous territory of 20,000,000 hectares (49,000,000 acres) covering 50% of the Colombian Amazon.
The 1991 National Constitution of Colombia defined Territorial Entities (Entidades Territoriales) as departments, districts, municipalities, and indigenous territories. Within an Indigenous Territory Entity (ETI) the people have autonomy in managing their interests, and within the limits of the constitution have the right to manage resources and define taxes required to perform their duties. ETIs are to be defined by the government in conformance with the Organic Law on Land Management. However, this law has yet to be sanctioned so in practice the territories are unregulated.
The total area of Colombia is 114,174,800 hectares (282,132,000 acres). 36,000,000 hectares (89,000,000 acres), or 31.5%, is covered by indigenous territories. According to the 2005 census there were 41,468,384 people in the country of whom 1,378,884, or 3.28%, belonged to one of the 87 groups of indigenous people. The great majority of the indigenous people live in the Andean and Orinoco (savannah) zones. Large numbers in the Orinoco and Pacific Rim have land titles, but most in the Andes do not. Just 5% live in reserves (resguardos) in the Amazon zone. There are 156 reserves in the Amazon covering 25,600,000 hectares (63,000,000 acres), or 64% of the total. These lands hold disproportionate significance for the conservation of biodiversity, including wide-ranging species such as jaguars.
Some areas claimed by the indigenous people of the Amazon are used for mining and hydrocarbon operations. There is some overlap between protected areas administered under the National Parks System and the indigenous territories. Pressures on the indigenous peoples include depletion of the land, particularly in the Andes, and forced displacement due to the struggle with illegal armed groups. Gold mining and spraying of illegal crops causes pollution of the rivers, and in some areas the rivers are polluted by garbage. Oil extraction and dam construction also cause environmental problems in the reserves.
Boikot

Boikot is a Spanish left-wing punk rock band.
The band started in 1987 playing at bars, parties and every type of dive. After a pair of adjustments to the band's lineup they recorded two albums with the label Barrabás. They made themselves known by playing in venues across Madrid until 1995 when they split with Barrabás and decided to start their own production business aptly named BKT. They launched two albums, Cría Cuervos and Tu Condena, and played in rock festivals as diverse as Festimad and Metaliko Rock among others. Following this, the group decided to create a trilogy which would be named La Ruta del Ché, the three albums of which would include different versions of popular songs such as "Hasta Siempre" by Carlos Puebla and engravings made while they were on tour in countries such as Cuba, Mexico, and Argentina. At this stage of La Ruta del Ché the group took inspiration from the South American countries they visited and included a greater number of instruments and rhythms from Latin America.
After concluding Ruta del Ché, they released a new album entitled Historias Directas de Boikot, where they included a booklet and a video of the tour. This was in turn followed by the release of two new albums: De Espaldas al Mundo and Tus Problemas Crecen in 2002 and 2004 respectively. During 2007, much as in previous years, the band performed at numerous festivals in Colombia, Germany, Italy and Turkey. In Turkey the group featured in Barışarock, a festival organized under the motto "for peace, rock and the convergence of cultures" celebrated during August in Istanbul, Turkey. In addition, in 2007 the band also participated in the extensive tour "Not One Step Back" along with Reincidentes, Porretas and Sonora. Near the end of 2007 the members of Boikot traveled to Mostar, Bosnia to record their eleventh album in the Pavarotti Music Centre. Their eleventh disc was entitled Amaneció and was released on April 2, 2008 under Realidad Musical.
Boikot's music is a blend of ska, punk, hardcore punk and general rock. Bands like The Clash, La Polla Records, Kortatu, Pearl Jam, Ramones, Nirvana, NOFX, Bad Religion, Leño, Burning and Barricada influenced them. Their music is influenced by South American Latin rhythms and instruments. More recently Balkan instruments have worked their way into the group's diverse musical repertoire.
Out-of-place artifact

An out-of-place artifact (OOPArt or oopart) is an artifact of historical, archaeological, or paleontological interest to someone that is claimed to have been found in an unusual context, which someone claims to challenge conventional historical chronology by its presence in that context. Some people might think that those artifacts are too advanced for the technology known to have existed at the time, or that human presence existed at a time before humans are known to have existed. Other people might hypothesize about a contact between different cultures that is hard to account for with conventional historical understanding.
This description of archaeological objects is used in fringe science such as cryptozoology, as well as by proponents of ancient astronaut theories, young Earth creationists, and paranormal enthusiasts. It can describe a wide variety of items, from anomalies studied by mainstream science to pseudoarchaeology to objects that have been shown to be hoaxes or to have conventional explanations.
Critics argue that most purported OOPArts which are not hoaxes are the result of mistaken interpretation and wishful thinking, such as a mistaken belief that a particular culture could not have created an artifact or technology due to a lack of knowledge or materials. In some cases, the uncertainty results from inaccurate descriptions. For example, the cuboid Wolfsegg Iron is not a perfect cube, nor are the Klerksdorp spheres perfect spheres. The Iron pillar of Delhi was said to be "rust proof", but it has some rust near its base; its relative resistance to corrosion is due to slag inclusions left over from the manufacturing conditions and environmental factors.
Supporters regard OOPArts as evidence that mainstream science is overlooking huge areas of knowledge, either willfully or through ignorance. Many writers or researchers who question conventional views of human history have used purported OOPArts in attempts to bolster their arguments. Creation science often relies on allegedly anomalous finds in the archaeological record to challenge scientific chronologies and models of human evolution. Claimed OOPArts have been used to support religious descriptions of prehistory, ancient astronaut theories, and the notion of vanished civilizations that possessed knowledge or technology more advanced than that known in modern times.
Akata Benue Fishing Festival

Ememme Akata bụ mmemme ịkụ azụ n'etiti ndị obodo Akata. Akata dị na Katsina -Ala local government na Benue State, Nigeria . Ọ bụ mmemme mmemme kwa afọ, na emume asọmpi ịkụ azụ na-eme n'etiti ndị na-akụ azụ Tiv, Etulo na Jukun bụ ebe a na-enye onye na-akụ azụ̀ kasị ukwuu ụgwọ ọrụ. Asọmpi a na-ekpughekwa nkà ịkụ azụ dị iche iche, ebe asọmpi a na-aga n'ihu, egwu na ịgbà nwere nwhota dị iche iche nke obodo na-eme.
Ekwuru na mmemme a ga ya emeghe uche ndị mmadụ n'otu n'otu na otu dị iche iche wee gbasaa ohere ha wee hụ ọtụtụ ohere azụmahịa iji tinye na steeti Benue. Ememe ahụ na-eguzo dị ka onye na-emeghe ezinụlọ, Ndị na- achụ ego, ụlọ ọrụ, ndị na-eme mkpebi, na ndị njem nleta na ihe obodo nwere ike inye.
Kwa onwa, ememme ọhụrụ ahụ na-achọ itinyekwu ihe omume ma ọ bụ nkọwa n'oge nhazi nke kọmitii, iji mee ka ememe ahụ dịkwuo uto na ihe na-emetụta ndụ obodo, ma a na-edozi ihe ụfọdụ dị ka ọrụ ịkụ azụ na ịgba nkwa. Ihe omume ịkụ azụ nke bụ isi na isi ihe na-elekwasị anya n'ememme a na-enyere aka ịkụnye ịhụnanya ịkụ azụ n'ime ndị na-eto eto na ndị na-eto eto, ma na-eme ka agụụ na-ekpo ọkụ nke ụmụaka ndị na-achọkarị ịkụ azụ ma ha enweghị ohere ma ọ bụ ohere ime ya., n'ememme a, a na-enye ha ohere ịbanye n'asọmpi ịkụ azụ. Ememme a na-abụkarị ihe na-akpali agụụ mmekọahụ nke ụmụ okorobịa na-akụ azụ.
N'otu aka ahụ, n'èzí mmemme ịkụ azụ bụ ihe omume nkuzi ndị ọzọ na-ewere ọnọdụ n'oge ememme a, ụfọdụ kwa n'ime ihe ndị a bụ: Mgbakọ azụmahịa, Ịmụ ka esi esi nri ihe ngosi ọkachamara ị nwetara, Eme na Benue Expo, Ngosipụta Ịkụ azụ na Ngosipụta Ngwá Ọrụ, Aka. -na-Azụ na-elekwasị anya.
Ihe omume ntụrụndụ bụ: Mgba mgba, ịgba ọsọ igba igwu otu ebe, ịgba egwu, ịgba ọsọ ụgbọ mmiri, ịma mma, agba agba agba, Gala/Award Night, Cultural and Entertainment Night.
Ikeji festival

Ememme Ikeji bụ mmemme ụbọchị anọ nke ndị Igbo nọ n'Arondizuogu, na steeti Imo, Naijiria na-eme kwa afọ, n'etiti ọnwa Maachị na Eprel iji mee mmemme owuwe ihe ubi ji ọhụrụ na omenala Igbo. Mmalite mmemme Ikeji malitere na narị afọ ise ma bụrụ emume ndị Igbo na-ejikọ agbụrụ niile n'ụwa niile ka ha na-alaghachi na mpaghara ndịda-ọwụwa anyanwụ Naijiria ka ha gbaa ama wee sonye na mmemme ahụ. Ha na egosiputa ọtụtụ masquerades na-agba egwu gburugburu obodo, egwu na omume okpukperechi ọdịnala ndị Igbo.
Ha enwe echiche abuo Soro na ije meburu na mmemme nke Ikeji mana echiche nke ndị Arondizuogu nabatara n'ozuzu ha kwuru na mmemme Ikeji mbụ mere na narị afọ nke iri na isii na ebumnuche ya wee bụrụ naanị ekele maka chi nke ala. maka inye ha ezigbo owuwe ihe ubi ji ọhụrụ.
Ememe Ikeji bụ isi iyi na-enweta ego na Naijiria site na njem nlegharị anya dịka ndị mba ọzọ nakwa ndị Igbo niile nọ na mba ọzọ na-agaghachi na Arondizuogu iji hụ mmemme ahụ.
Mmemme dị iche iche ha ji wee mara mmemme Ikeji; nke kachasị ewu ewu bụ asọmpi aha ya bụ Ito-Ebule, nke sụgharịrị "Ịtọhapụ ebule". Ọ bụ mmemme kacha atụ anya ma na-eme n'ụbọchị ikpeazụ nke ememme Ikeji.ihe eji mara Ito-Ebule bụ ngosipụta nke ike mgbaasị site n'aka ndị dị iche iche na-akpọpụta onwe ha ndị dibịa afa bụ́ ndị si na mpaghara nile bịa jiri obi ha nile sonye n'asọmpi Ito-Ebule. N'oge asọmpi Ito-Ebule, a na-ekekọta ebule n'osisi, a na-agwakwa ndị dibịa afa ndị batara asọmpi ka ha gaa tọpụ ebule ahụ. Na ọdịnala ndị Arondizuogu, ọ bụ naanị onye mgbaasị kacha ike n'etiti ha niile nwere ike ịtọpụ ebule ahụ nke ọma.
Onye mgbaasị kacha nwee ihe ịga nke ọma, onye meriri asọmpi Ito-Ebule ọtụtụ oge site n'ịtọpụ ebule ahụ nke ọma kwa afọ, bụ praịm minista Pericoma Okoye onye omenala Arondizuogu.
Na nkiri Nollywood ha egosiri mmemme ndị Ikeji na movie isiokwu ya bu Eze ndị Africa.￼
Muson Centre

MUSON Centre (ụlọ ọba egwu nke Nigeria) bụ ụlọ nzukọ na Lagos. Ụlọ nzukọ obodo ahụ dị n'etiti Lagos Island, nke dị n'agbata National Museum, Citi họọrọ, Onikan Stadium na ebe obibi mbụ nke ndị Gọvanọ Naịjirịa na n'akụkụ Tafawa Balewa Square.
E guzobere égwu ọgbọ nke Nigeria (MUSON) n'afọ 1983 na saịtị nke "Love Garden" (tupu Prince Charles kpughee ụlọ ọrụ ahụ na 1995). E guzobere MUSON n'ihi mgbalị nke ụfọdụ ndị Naijiria na ndị mba ọzọ a ma ama iji nye ụlọ ọrụ maka egwu egwu oge ochie na Naijiria, ọkachasị na Lagos.
Mkpa maka ọzụzụ na ntụziaka egwu kpaliri nguzobe nke Muson School of Music n'afọ 1989. MUSON na-anọchite anya nde isi nlekọta nke Royal skulu nke egwu (ABRSM) na Naijiria ma na-enye echiche ABRSM na nyocha bara uru. MUSON na-ahazi kọntaktị nke Naijiria na nke Ọdịda Anyanwụ. Ndị ukwe MUSON malitere ime ihe nkiri n'afọ 1995 ebe ndị MUSON Symphony Orchestra, nke bụ naanị ndị ọkachamara symphony orchestra n'oge ahụ, malitere ime ihe ngosi na 2005. Ha na-eme ihe mgbe niile na MUSON Festival kwa afọ na n'oge oge egwu Society. A na-akpọkwa ndị MUSON Choir na ndị MUSÓN Symphony Orchestra ka ha rụọ ọrụ n'èzí MUSON.
MUSON Skulu nke of egwu, nke egwu ọgbọ nke Nigeria guzobere N'afọ 1989 ma bụrụ nke gọọmentị etiti nke Nigeria kwadoro, bụ ụlọ ọrụ egwu zuru oke. Ọ bụ ụlọ akwụkwọ egwú oge ochie nke Naịjirịa maka ndị ọgbọ niile. Ụlọ akwụkwọ egwu na-agụnye ụlọ akwụkwọ egwu na ụlọ akwụkwọ diplọma.
2015

Templeeti:Year article header2015 (MMXV) bụ afọ na-amalite na Tọzdee nke kalenda Gregorian, afọ 2015 nke Common Era (CE) na aha Anno Domini (AD), afọ 15 nke narị afọ nke atọ na 21st. narị afọ, na afọ 6th nke 2010 afọ iri
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2015 ka United Nations họpụtara dị ka:
Templeeti:Events by month links
Na ihe nkiri njem oge Back to the Future Part II, Doc Brown, Marty McFly, na enyi nwanyị Marty Jennifer Parker na-aga October 21, 2015 iji gbochie ejide nwa Marty.
Jelili Atiku

Jelili Atiku bụ onye na-ese ihe nkiri na onye na-akpụ ihe, o si na Lagos, Nigeria. Omume ya gbasara eserese, foto, ntinye ihe ọkpụkpụ, vidiyo na arụmọrụ ndụ emeela ka ọ bụrụ otu n'ime ndị na-ese ihe nkiri a ma ama site na Naịjirịa gburugburu ụwa. E kwuru na ọrụ ya nwere ike nke "dị na ojiji o ji akara Yoruba na ọdịnala obodo ya"
A mụrụ Atiku na 27 Septemba 1968 na Ejigbo, obodo dị na Lagos Steeti nke Naịjirịa. O nwetara nzere bachelọ nke nka site na Mahadum Ahmadu Bello, Zaria n'afọ 1998 na Master of Arts na nka ọhụụ na Mahadum Lagos, Nigeria, n'afọ 2006.
N'afọ 1998, ọ kụziri nka na Federal Government College, Ikot Ekpene, Akwa Ibom, Nigeria. Site n'afọ 2004 ruo n'afọ 2005, ọ rụrụ ọrụ dịka osote onye nkuzi mgbe ọ gụsịrị akwụkwọ na ngalaba nke Visual Arts, Mahadum nke Lagos . Site na 2011 ruo 2013 ọ bụ onye nkuzi nke Arts and Industrial Designs Department, Lagos State Polytechnic, Ikorodu, Lagos. N'afọ 2018, ọ ghọrọ osote prọfesọ na Ngalaba Africana Studies / Rite and Reason, Mahadum Brown dị na Providence, Rhode Island.
Ọrụ Atiku na-elekwasị anya na ikike mmadụ na ikpe ziri ezi nke ọha na eze, nke na-ewetakarị ya na ndị ọrụ gọọmentị okwu. Mgbe ọ rụchara ọrụ n'obodo ya bụ Ejigbo na 18th nke Jenụwarị, e jidere ya ma bo ya ebubo n'ụlọ ikpe. Ihe nkiri a, nke akpọrọ ''Aragamago Must Rid This Land of Terrorism'' bụ nke mwakpo obi ọjọọ a wakporo ụfọdụ ụmụ nwanyị atọ na Ejigbo nke o kwenyere na ọ bụ "ihe arụ" nke mere na eze ga-achụ aja n'ihu ọha na eze. E mechara wepu ya na ikpe ahụ mgbe ndị na-ese ihe na ndị otu obodo na ndị mba ọzọ rụgidere ha.
N'afọ 2012, Atiku na Helene Aurell (onye na-ese ihe na Sweden), Nigel Wells (onye na-ese ihe na UK / Sweden) na PålGunnäs (onye na-ese ihe na Norway) rụkọrọ ọrụ na arụmọrụ ọ kpọrọ, “In(ut)Flöde'. Ya na ndị ọzọ na-ese ihe dị ka Graham Martin na Scarborough, York (United Kingdom); na TOGYG, otu ndị na-ese ihe nke Bangor Greadigol, nke dị na North Wales.
N'afọ 2015, o ritere ihe nrite Prince Claus Award.
N'afọ 2017, ọ bụ otu n'ime ndị na-ese ihe na-anọchite anya Naịjirịa na Venice Biennale, na Italy.
Aráf'́rakù (2013). Ihe ngosi a lekwasịrị anya na ntụgharị uche Atiku banyere ọnwụ nna ọ na-ahụtụbeghị. Okwu "Aráf'́rakù" na Yoruba pụtara "akụkụ m na-efu." Ihe nkiri a mere n'ime ebe efu nke e ji mpempe akwụkwọ na foto nke nna Atiku kpuchie. "Ọ bụ naanị ya nọ n'ime ọtụtụ awa iri anọ na anọ ebe otu awa na-anọchite anya otu afọ ọ bụla nke ndụ ya, naanị onye a na-ekwe - ọ bụ ezie na ọ bụ obere oge - ikere òkè n'oge ahụ bụ nne ya, na-emepụta trilogy nke fọrọ nke nta ka ọ bụrụ transcendental. " Nke sochiri ya bụ arụmọrụ ihu ọha na eze nke na-eṅomi ememe olili ozu Yorùbá "na-eme ka ókèala dị n'etiti eziokwu na akụkọ ifo dị ka a na-anwa inweta ọnọdụ mmechi site na ngosipụta ọha na eze nke mmetụta uche zuru ụwa ọnụ"