davidanugraha/M4-RAG huggingface dataset:
Urdu poetry

Urdu poetry (Urdu: اُردُو شاعرى Urdū šāʿirī) is a tradition of poetry and has many different forms. Today, it is an important part of the culture of India and Pakistan. According to Naseer Turabi, there are five major poets of Urdu: Mir Taqi Mir (d. 1810), Mirza Ghalib (d. 1869), Mir Anees (d. 1874), Muhammad Iqbal (d. 1938) and Josh Malihabadi (d. 1982). The language of Urdu reached its pinnacle under the British Raj, and it received official status. All famous writers of Urdu language including Ghalib and Iqbal were given British scholarships. Following the Partition of India in 1947, it found major poets and scholars were divided along the nationalistic lines. However, Urdu poetry is cherished in both the nations. Both the Muslims and Hindus from across the border continue the tradition.
It is fundamentally performative poetry and its recital, sometimes impromptu, is held in Mushairas (poetic expositions). Although its tarannum saaz (singing aspect) has undergone major changes in recent decades, its popularity among the masses remains unaltered. Mushairas are today held in metropolitan areas worldwide because of the cultural influence of the South Asian diaspora. Ghazal singing and Qawwali are also important expository forms of Urdu poetry.
The principal forms of Urdu poetry are:
The principal collection forms of Urdu poetry are:
Urdu poetry forms itself with following basic ingredients:
The major genres of poetry found in Urdu are:
In the Urdu poetic tradition, most poets use a pen name called the Takhallus (تخلص). This can be either a part of a poet's given name or something else adopted as an identity. The traditional convention in identifying Urdu poets is to mention the takhallus at the end of the name. The word takhallus is derived from Arabic, meaning "ending". This is because in the Ghazal form, the poet would usually incorporate his or her pen name into the final couplet (Arabic: مقطع, romanized: maqta') of each poem.
In Pakistan and Deccan region of India, Urdu poetry is written in the standard Nasta'liq calligraphy style of the Perso-Arabic script. However, in north India, where Urdu poetry is very popular, the Perso-Arabic is often found transliterated into the Devanāgarī script, as an aid for those Hindī-speakers, who can comprehend Urdu, but cannot read the Perso-Arabic script. With the dawn of the internet and globalization, this poetry is often found written in Roman Urdu as well as in Hindi script.
The following is a verse from an Urdu ghazal by Syed Khwaja Mir Dard:
Urdu:
Roman Urdu:
English translation:
Note Dard's use of the royal we in this couplet, a technique characteristic of formal Urdu poetry.
Bahr (poetry)

A baḥr (from Arabic بحر, lit. 'sea'; Persian: بحر; Azerbaijani: bəhr; Turkish: bahir; Urdu: بحر; Uzbek: bahr) means a meter in Arabic, Persian, Turkic and Urdu poetry. Essentially, bahr is a specific pattern, combining the arkaan of Urdu prosody that define the "length" of a sher. However, generally bahr is categorized in three classes: Short, medium, long, depending upon the length of the sher of the ghazal.
For a ghazal, since all the shers in it should be of the same bahr, determining the bahr of one sher (or even one line of the sher) is enough to determine the bahr of the entire ghazal. For example, in this ghazal of Ghalib, the length and meter of the ashaar is same throughout. In terms of the European method of scansion, the metre can be written as follows (where "x" = long or short, "u" = short, "–" = long, "u u" = one long or two short syllables):
The ghazal above is written in a bahr called: khafiif musaddas makhbuun mahzuuf maqtu (Meter G8). This is a ten-syllable bahr and by the standards of Urdu poetry, is a chotii (small) bahr.
As with the scansion of Persian poetry, a syllable such as miid or baat consisting of a long vowel plus consonant, or sharm consisting of a short vowel and two consonants, is "overlong", and counts as a long syllable + a short one.
In Urdu prosody, unlike Persian, any final long vowel can be shortened as the metre requires, for example, in the word kaabaa in the last verse above.
Taqti is the process of breaking down words of all verses of a ghazal or a poem into fundamental syllables, calculating their weights (vazn), and checking if all verses have a consistent meter. For example, the word jaanisaar can be broken down into four syllables: jaa, ni, saa and r. The weight of jaa is 2, ni is 1, saa is 2 and r is 1, thus making the weight of the word jaanisaar 2121. Rekhta has developed a free online tool (Rekhta Taqti) that can be used to identify the bahr of any given ghazal or sher.
There exist many bahrs, but mainly there are 19 bahrs used in Urdu poetry. These bahrs are further distributed in different types, but they are not described here. The names are:
Maqta'

In Persian, Turkic and Urdu poetry, the maqta' (from Arabic مقطع maqṭaʿ; Persian: مقطع; Azerbaijani: məqtə; Turkish: makta; Uzbek: maqta; Urdu: مقطع) is the final bayt, or couplet, of a ghazal. In this sense, it is the opposite of the matla'. The poet's takhallus, or pen name, is usually employed in the maqta', often in very creative ways.
A shayar can use the maqta' in a variety of interesting ways. He can "talk to himself", "to somebody else", "refer to something" etc. For example Firaq Gorakhpuri, whose takhallus is the word for the common theme in Urdu poetry of the state of pining for the beloved, plays on his pen name and the word firaq:
Urdu:
تو یہ نہ سمجھنا کے فِراق تیری فِراق میں ہیں
فِراق اُسکی فِراق میں ہہ جو تیری فِراق میں ہہ
Roman Urdu:
English Translation:
A sher by Mir Taqi Mir:
Mir in neem baaz aankhon mein
Saari masti sharaab ki see hai
Another by Mirza Ghalib:
Kaba kis munh se jaaoge Ghalib
sharm tum ko magar nahiN aati
Another by Nasir kazmi:
Itefaqaat zamaana bhi ajab hai Nasir
Aaj woh dekh rahe hai, ko suna karte the
Avirbhav Verma

Avirbhav Verma is an Indian tabla player and percussionist who performs Hindustani classical music. He is the disciple and son of Pawan Kumar Verma, and grandson of Pandit Lachman Singh Seen of Punjab Gharana.
Avirbhav was born in Chandigarh, India. He received his first tabla lessons from his father, Pawan Kumar Verma. In 2000, after Verma's death, Avirbhav was taught by his grandfather, Pandit Lachman Singh Seen. His mother, Gandharv Verma, is a vocalist and an artist performing on All-India Radio and Doordarshan. His older brother, Swarit Verma is also a notable tabla player and lives in Melbourne, Australia.
Avirbhav has accompanied and performed alongside a number of vocalists and instrumentalists, including:
He has performed with various French music bands through Alliance Française, including Masaladosa and Erik Truffaz. He has also performed in Auckland, New Zealand, with his brothers Swarit Verma, Basant Madhur, and Deepak Madhur. He joined Delhi Public School, Chandigarh in 2013 as a teacher.
He received the State Award by the Government of Punjab which was presented to him by the Punjab Chief Minister, Captain Amrinder Singh.
Nazim Hussain

Ustad Nazim Hussain is an Indian tabla player and popularly known as Ustad Nazim Hussain Bismillah Khan and also called as Nazim Bhai. He is the youngest son of shehnai master Ustad Bismillah Khan, whom he accompanied as well. Nazim Hussain has accompanied his father disciples Pandit Dr. S. Ballesh and Dr. Krishna Ballesh in several concerts on tabla
Nazim gave his first concert in chennai at age sixteen in a Music conference accompanying his father along with performed by Ustad Bade Gulam Ali Khan and Ustad Vilayat Khan, Nazim is one of the Chief Patrons along Maestro Ilaiyaraaja and A.R. Rahman of Tansen Academy Of Music, founded by Ballesh and his son Krishna Ballesh, In 2005 he performed a tribute concert in Chennai organized by Tansen Academy of Music. He is teaching Guru of Tabla in the academy.
Nazim was awarded with Yash Bharati Award, the highest civilian award conferred by Uttar Pradesh Chief Minister, in 2017
Benares gharana

Benares gharānā (Hindi: बनारस घराना) is one of the six most common styles of playing of the Indian tabla.
The Benares tabla gharana was developed a little over 200 years ago by Pandit Ram Sahai (1780–1826). At the age of nine, Ram moved to Lucknow to become a disciple of Modhu Khan of the Lucknow gharana.
After some time performing in Benares, Pandit Ram Sahai felt the need to make a significant change in his tabla playing. For six months, he withdrew into seclusion, and worked to develop what is now known as the Benares baj or style of tabla playing. The philosophy behind this new style of tabla playing is that it would be versatile enough to perform solo, and to accompany any form of music or dance. The tabla would be able to play delicately, as required for khyal, or more aggressively, like pakhawaj, for the accompaniment of dhrupad or kathak dance. Ram Sahai developed a new way of fingering the tabla strokes; especially important is the sound Na, being played with a curved ring finger to allow for maximum resonance of the dahina. He also composed numerous compositions within existing compositional forms (gats,tukdas, fard, parans< etc.) and created new forms, such as uthan, Benarasi theka, and fard.
Today, the Benares tabla gharana is well known for its powerful sound, though Benares players are also very capable of playing delicately and sensitively. The gharana is categorized into the Purbi (eastern) baj, which includes the Farukhabad, Lucknow, and Benares gharanas. The Benares style makes use of the more resonant strokes of tabla, such as Na (played on the lao), and Din.
The tabla solo is highly developed in the Benares gharana, and some artists, such as Anokhelal Mishra, Samta Prasad, Nanhku Maharaj (Fardi Baj)13th generations, and Kishan Maharaj, have become famous as tabla soloists. The direct descendants making up the 6th generation of tabla players are Mahapurush Misra, Ananda Gopal Bandopadhyay (disciple of Mahadev Prasad Mishra), and Chandra Nath Shastri (disciple of Anokhelal Mishra). The 7th generation consists of Kumar Bose, Pt Ashis Chakraborty (disciples of Pt. Mahapurush Mishra) and Sukhwinder Singh 'Pinky' (disciples of Kishan Maharaj), and Sanju Sahai (disciple of Sharda Sahai}
Other noted artists include Kanthe Maharaj, uncle and guru of Kishan Maharaj, and whose disciples were Badri Maharaj and Ashutosh Bhattacharya.
The Benares baj makes use of over 20 different compositional types, and has an enormously varied repertoire of each type.
Reputed players of the gharana include Anokhelal Mishra (1914–1958), Samta Prasad (1921–1994),Nanhku Maharaj(1921-1995), Kishan Maharaj (1923–2008), Ashutosh Bhattacharya (1917–2004), Prakash Maharaj ( born 1945-2003),Chandra Nath Shastri (b. 1948), Ananda Gopal Bandopadhyay (b. 1942-2021), Kumar Bose (b. 1953), Udai Mazumdar (b. 1970), Sandeep Das (b. 1971), Nandan Mehta (1942–2010), Pt.Ravinath Mishra,and Prabhash Maharaj(1982).
Under Construction, Part II

Under Construction, Part II is the third and final studio album released by hip hop duo Timbaland & Magoo. It was released by Blackground and Universal on November 18, 2003, in the United States. The group's third album and Timbaland's fourth overall LP, as he issued Tim's Bio: Life from da Bassment, a solo album, in 1998, Under Construction Part II is nominally a sequel to Missy Elliott's fourth studio album Under Construction, which was also chiefly produced by Timbaland. The album was dedicated to R&B singer and regular Timbaland collaborator Aaliyah, who had died on August 25, 2001.
Elliott appears on the album's lead single, "Cop That Shit. Many other guest stars, from Brandy to Sebastian, Bubba Sparxxx, Wyclef Jean and Beenie Man, also appear on the album. Three singles were released from Under Construction, Part II: "Cop That Shit", "Indian Flute", and the promotional single "Naughty Eye". In August 2021, Blackground rebranded as Blackground 2.0, with Barry Hankerson remaining as founder. Blackground 2.0 signed a distribution deal with Empire Distribution, which will re-release the label's catalogue onto digital download sites and streaming services. Under Construction, Part II was rereleased on August 27, 2021. This was the last album by Magoo before his death in August 2023.
AllMusic editor John Bush found that "there aren't quite enough guest features or catchy hooks to make this a must-purchase for most rap fans, but Timbaland always has a few tricks up his sleeve." He remarked that "aside from Missy and Bubba Sparxxx, Timba's actually the best rapper on display, much improved from his previous solo shots or his infrequent rhymes on other artists' records. Magoo is still an unimaginative, pint-sized Snoop Dogg." Ben Sisario from Blender felt that "for the most part, the grooves ride low and easy, like a next-generation G-funk transplanted to the Virginia coastline: Call it V-funk [...] But Timbaland can't rest that easy, and just beneath the languid surface is effortlessly brilliant innovation in every direction."
Robert Christgau wrote: "Good thing the two rappers have less personality combined than any of their 10-cameo-artists-in-16-tracks, because personality would distract from the beats, which with Timbo means what it says – no mainstream DJ relies so heavily on rhythm instruments per se. His sweetener of choice is chants." In a negative review, Rolling Stone's Jon Caramanica called Under Construction, Part II the "duo's third and weakest collaborative album." He remarked that "Tim's normally dazzling beats dodder along harmlessly, proof that he's looking over his shoulder when he should be hunching over his studio equipment."
Sample credits
Ananda Shankar

Ananda Shankar (11 December 1942 – 26 March 1999) was an Indian sitar player, singer, and composer whose music blended Western and Eastern musical styles. He was married to dancer and choreographer Tanusree Shankar.
Born in Almora, Uttar Pradesh (now in Uttarakhand), North India, Shankar was the son of Amala Shankar and Uday Shankar, who were dancers of Bengali heritage, and also the nephew of sitar player Ravi Shankar. He studied in The Scindia School, Gwalior. Ananda did not learn sitar from his uncle but studied instead with Lalmani Misra at Banaras Hindu University. He died in Kolkata on 26 March 1999 aged 56 from cardiac failure.
In the late 1960s, Shankar travelled to Los Angeles, where he played with many contemporary musicians including Jimi Hendrix. There he was signed to Reprise Records and released his first album, Ananda Shankar, in 1970, with original Indian classical material alongside sitar-based cover versions of popular hits, The Rolling Stones' "Jumpin' Jack Flash" and The Doors' "Light My Fire". The album is included in the book 1001 Albums You Must Hear Before You Die.
Returning to India in the early 1970s, Shankar continued to experiment musically and in 1975 released his most critically acclaimed album, Ananda Shankar and His Music, a jazz-funk mix of Eastern sitar, Western rock guitar, tabla and mridangam, drums and Moog synthesizers. Out of print for many years, the album was re-released on CD in 2005.
After working in India during the late 1970s and 1980s, Shankar's profile in the West began to rise again in the mid-1990s as his music found its way into club DJ sets, particularly in London. His music was brought to a wider audience with the release of Blue Note Records' 1996 rare groove compilation album, Blue Juice Vol. 1., including two tracks from Ananda Shankar and His Music, "Dancing Drums" and "Streets of Calcutta".
In the late 1990s, Shankar worked and toured in the United Kingdom with the London DJ State of Bengal and others, a collaboration that resulted in the Walking On album, featuring Shankar's trademark sitar soundscapes mixed with breakbeat and hip hop. Walking On was released in 2000 after Shankar's death the previous year.
Niladri Kumar

Pandit Niladri Kumar is an Indian sitar player and music composer.
He was born to sitar player Kartick Kumar, a disciple of Ravi Shankar. He started learning sitar under his father at the age of four. Kumar gave his first public performance at the age of six at Sri Aurobindo Ashram in Pondicherry.
He was a part of the Masters of the Percussion tour alongside Zakir Hussain. Kumar has also worked with Jonas Hellborg and V. Selvaganesh on their album Kali's Son and with John McLaughlin on album Floating Point. Kumar has also worked with various music directors in Hindi cinema, including A.R. Rahman, Shankar–Ehsaan–Loy and Pritam. Niladri was conferred the Sangeet Natak Akademi's Ustad Bismillah Khan Yuva Puraskar, awarded to young musicians, in March 2007. Niladri has also won MTV Immies award for the Best Classical/Fusion Instrumental for his album If. The concept initiated from a traveling sitar, which was modified by Kumar to create rock guitar sound out of it. Kumar reduced the number of strings on the instrument from 20 to five. He also added an electric pickup inside the instrument so that it would sound more like a guitar. His first full album composed using the instrument, titled Zitar, was released in 2008. Kumar wrote the first track for the album Priority in 2003. Over the next five years he improved the track and subsequent track by gauging audience reaction during live performances. He improvised the tracks adding components from various genres such as rock, electronic and lounge. He also won the MN Mathur Award in the 51st Maharana Kumbha Sangeet Samaroh for his contribution to Indian classical music in March, 2013. He is currently the Dean of Maya Somaiya College of Performing Arts at Somaiya Vidyavihar University, Mumbai.
Aditya Vikram Sengupta

Aditya Vikram Sengupta (born 6 September 1983) is an Indian film director, cinematographer and graphic designer. His first film Asha Jaoar Majhe or Labour of Love, released in 2014 which premiered at the 11th Venice Days section of the Venice International Film Festival, which won him the National Award for Best Debut in India.
Aditya Vikram Sengupta was born in Kolkata in 1983 to Sharmila Sengupta and Tridib Kumar Sengupta. He attended St. Xavier's Collegiate School and post-school, Aditya was accepted at the prestigious National Institute of Design in Paldi, Ahmedabad. After NID, he worked at Channel [V] for a number of years as a promo and creative director before turning director full-time.
His first directorial venture was the Bengali film Asha Jaoar Majhe (English: Labour of Love) premiered at the 11th Venice Days at the Venice International Film Festival on 4 September 2014. At the 62nd National Film Awards, it won the Indira Gandhi Award for Best First Film of a Director and Best Audiography.
Aditya's second film Jonaki was an international co-production between India-France and Singapore. Catherine Dussart Productions of France and Samir Sarkar's Magic Hour Films were co-producers of Jonaki. Shortly after the festival run of Jonaki, it was available for streaming on Netflix.
Once Upon a Time in Calcutta (previously titled Memories and My Mother) is Aditya's third film and his first collaboration with Turkish director of photography, Gokhan Tiryaki. Filmed in 2019, Once Upon A Time in Calcutta has been selected for 78th Venice Film Festival 2021 in the Orizzonti Competition. The film had its North American premiere at the New Directors New Films MoMA in 2022 before screening and winning awards at other festivals in the US.
According to Variety, Aditya's follow up film, Birthmark, a five country co-production between India, France, Norway, Luxembourg and Denmark, which was initially part of HAF Hong Kong Film Financing Forum, the Venice Gap Financing Market at the Venice Production Bridge and received production support from Luxembourg Film Fund and the Danish Film Institute was shelved because of reasons not disclosed by the production.
Aditya is developing three projects under his home production banner, For Films. First is Death of an Elephant based on a Bengali author Tarashankar Bandopadhyay's short story. The other two projects are Mandrake, a film on magic in Kolkata and an untitled documentary on Bollywood looked through a socio-cultural lens.
Aditya is married to Jonaki Bhattacharya, who also works with him as an Art Director on all of his projects.
Ruba Ghazal

Ruba Ghazal (born December 6, 1977) is a Canadian politician, who was elected to the National Assembly of Quebec in the 2018 provincial election. She represents the electoral district of Mercier as a member of Québec solidaire. In November 2024, she became the female co-spokesperson of the party after an uncontested election.
Ghazal was born in Beirut, Lebanon to a family of Palestinian refugees. She lived in the United Arab Emirates until she was 10, when her family immigrated to Quebec. She studied at HEC Montréal.
Ghazal was a founding member of Québec solidaire in 2006, and was the party's candidate for Laurier-Dorion in the 2007 and 2008 general elections. In 2018, she was elected to the National Assembly of Quebec for Mercier, succeeding Amir Khadir.
Following the 2022 provincial election, she became the opposition critic for Education, Culture and Communications, the French Language, and the Status of Women.
In 2023, Ghazal ran for the co-spokesperson election of Québec Solidaire. Ghazal lost the election in the second round, getting 49.7% for Ghazal against Émilise Lessard-Therrien who obtained 50.3%.
Ghazal has pushed for government policies to reverse the decline of the French language in Montreal. As Québec solidaire's critic for language issues, Ghazal has advocated for the creation of a special branch of the Office québécois de la langue française (OQLF) for Montreal.
In 2021, Ghazal attended protests amid the 2021 Israel–Palestine crisis against the Israeli government's actions in actions in Sheikh Jarrah. Ghazal stated that "One day we will look back and declare this a humanitarian crime against Palestinians." Ghazal was among the signatories of a 2021 letter opposing Canada's bid for a seat on the United Nations Security Council due to the country's position on Palestine.
Escudo de la provincia de Santa Cruz (Argentina)

El escudo de la provincia de Santa Cruz es uno de los escudos provinciales más modernos de Argentina ya que fue oficializado el 25 de septiembre de 1955.
Se inspira en cierta configuración fundamental del escudo argentino: La forma elíptica (que evoca al perfil de una cabeza humana visto desde arriba), rodeada de una laurea o corona de laureles, símbolo de la victoria. En su interior el escudo se divide, como el escudo nacional argentino, en dos campos simétricos: el superior muestra de un modo muy bien figurado al cerro Chaltén cuyo fondo es un cielo azul celeste en el cual se puede observar la constelación de la Cruz del Sur, constelación de la cual es oriundo el nombre del estado provincial.
El campo inferior tiene como centro al Sol de Mayo en un campo plata (o blanco), la ubicación del Sol de Mayo en la parte "baja", a diferencia de lo que sucede en otros escudos, significa que las riquezas de la patria también se hallan distribuidas en el extremo sur. Bajo el dorado Sol de Mayo se encuentra una cartela semicircular, la disposición cóncava de tal cartela evoca una sonrisa.
Bandera de la provincia de Santa Cruz (Argentina)

La bandera de la provincia de Santa Cruz fue adoptada el 12 de octubre de 2000. Fue diseñada por Santiago Sebastián Arenillas, de 27 años, quien presentó su trabajo, que resultaría ganador el 22 de agosto de 2000, en un concurso​en el cual se presentaron más de 149 trabajos que fueron expuestos en septiembre en la capital provincial.
Según su autor la bandera representa:
Isla Lobos (Argentina)

La isla Lobos es una isla ubicada en la costa centro-norte del Departamento Deseado de la Provincia de Santa Cruz (Argentina). Su ubicación geográfica es a 25 km al sur de la ciudad de Puerto Deseado. Se encuentra en la parte norte de la bahía de los Nodales, a 6,5 kilómetros al norte de punta Médanos Negros y a 2,5 kilómetros al oeste de punta Lobos. Sus dimensiones aproximadas son 700 metros en sentido norte-sur por 800 metros en sentido este-oeste. En realidad se trata de una península que se conecta con el continente en la marea baja.
Se trata de una isla de rocas ignimbríticas de la formación Bahía Laura que presenta restingas en sus costas. Presenta dos sectores, uno de mayor tamaño cercano a la costa continental y con una importante cubierta eólica, y otro separado por un puente angosto, de menores dimensiones y mayormente rocoso. Pocos kilómetros al sur existen varios islotes de pequeñas dimensiones.
En esta isla y los islotes cercanos existe una colonia de cría de cormorán de cuello negro (Phalacrocorax magellanicus).​​ Existía también en esta zona una lobería de lobos marinos de un pelo (Otaria flavescens) donde se contabilizaron hasta 2000 nacimientos a principios de la década de 1950.​ Actualmente, es uno de los pocos lugares en la Provincia de Santa Cruz donde existen apostaderos con actividad temporaria de cría, por lo que es abandonada al finalizar la época reproductiva, sin que se sepa de momento cuáles son las loberías hacia donde se movilizan las hembras con los cachorros.​
En la isla existen instalaciones abandonadas que probablemente correspondan a la explotación comercial de lobos marinos durante algún momento del siglo XX, probablemente posterior a la década de 1950, ya que este emprendimiento no es mencionado por Carrara en su relevamiento del año 1952.​
Isla Chata (Santa Cruz)

La isla Chata, perteneciente a Argentina, es una pequeña isla ubicada en el Departamento Deseado en la costa centro-norte de la Provincia de Santa Cruz.
Su situación geográfica es a 22 kilómetros al sur de la ciudad de Puerto Deseado, y a aproximadamente 1,7 kilómetros de la costa continental. Se encuentra en el extremo norte de la bahía del Oso Marino, y constituye un grupo de islas de dicha bahía junto con la Isla Pingüino, Blanca y Castillo. Sus dimensiones aproximadas son 900 metros en sentido norte-sur por 200 metros en sentido este-oeste.
Se trata de una isla rocosa que presenta restingas en sus costas y una pequeña cubierta sedimentaria.​
Se observa la presencia de colonias reproductivas de pingüinos de Magallanes (Spheniscus magellanicus).​ También existen pequeñas colonias reproductivas de gaviotín de pico amarillo (Thalasseus sandvicensis) y gaviotin real (Thalasseus maximus ), escúa Parda (Catharacta antarctica), escúa Común (Stercorarius chilensis),​ y gaviota Cocinera (Larus dominicanus).
A su vez, se destaca la presencia de una importante colonia reproductiva del cormorán imperial (Phalacrocorax atriceps), una de las más grandes de la costa Patagónica.​​ Además también existen una pequeña colonia de cormorán de cuello negro (Phalacrocorax magellanicus).​
A partir de las colonias de aves existentes en la isla Chata se han generado acumulaciones de guano. Se estima que podrían producirse hasta 300 toneladas por temporada. Estos materiales han sido explotados comercialmente durante la década de 1950.​ Hoy en día esta isla, junto con las islas Pingüino, Blanca y Castillo y la costa de bahía del Oso Marino constituyen una reserva Provincial a partir de la promulgación de la Ley de la Provincia de Santa Cruz (Argentina) 2274 del año 1992.​​
Ruta Provincial 11 (Santa Cruz)

La Ruta Provincial 11 es una carretera de Argentina que comienza en la Ruta Nacional 40 al sudoeste de la provincia de Santa Cruz.​ Su recorrido total es de 107 kilómetros completamente de asfalto. Teniendo como extremos la Ruta Nacional 40 al este y el Glaciar Perito Moreno en el oeste.
La ruta bordea la costa sur del Lago Argentino, siendo esta el único acceso por tierra a la ciudad de El Calafate. Para acceder al Glaciar Perito Moreno, la ruta ingresa al Parque Nacional Los Glaciares bordeando el Brazo Rico.​
Berardo Dujovne

Berardo Dujovne (Buenos Aires, 3 de noviembre de 1937) es un arquitecto argentino.
Hijo de Israel Dujovne.​ Estudió arquitectura y se graduó en la Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires.​
En 1962 junto a la Arq. Silvia Hirsch diseñaron y dirigieron la construcción de edificios y proyectos de vivienda social en Buenos Aires y en la Patagonia. Dos años después, este dúo entró en el estudio Arquitectos Dujovne-Hirsch y Asociados en 1964, cuando la oficina contaba ya con tres décadas de antigüedad (fue fundada en los Años 1930 por el Ing. Israel Dujovne y que más tarde se uniría el Ing. Gregorio Faigón). Los cuatro profesionales compartieron el trabajo del estudio hasta la muerte de Israel Dujovne en 1975 y la disolución de la empresa en 1981 con Faigón.​
Fue director de la revista Contextos, editada por la Facultad de Arquitectura, Diseño y Urbanismo (Universidad de Buenos Aires). La revista Contextos apareció por primera vez durante 1999 y, luego de una interrupción, retomó su periodicidad, para reflejar la actividad de esta entidad académica.​
Alberto Soriano

Alberto Soriano (1920-20 de octubre de 1998, Buenos Aires), fue un agrónomo, botánico, fisiólogo y profesor argentino. Su trabajo de investigación estuvo centrado en la fisiología vegetal y en la ecología de regiones desérticas y de pastizales húmedos; así como en la ecofisiología. Fue profesor de la UBA e investigador de CONICET.
Graduado de ingeniero agrónomo en la Facultad de Agronomía de la Universidad de Buenos Aires en 1942 con medalla de oro, recibió un fuerte estímulo de Lorenzo Parodi. Luego fue ayudante de la cátedra de Fisiología Vegetal y Fitogeografia y, posteriormente profesor en la Universidad Nacional del Litoral.
De 1948 a 1956 fue técnico del Instituto de Botánica del Ministerio de Agricultura y Ganadería de la Nación; y, de 1956 a 1957, jefe de la División Ecología y Fitogeografía del mismo instituto.
Desde 1957 se desempeñó como profesor titular de la Cátedra de Fisiología Vegetal y Fitogeografía en la Facultad de Agronomía de la UBA, trabajando extensamente en actividades científicas y académicas en la Universidad de Buenos Aires. Ingresó a la carrera de investigador de CONICET, llegando a la categoría de Investigador Superior. Soriano se destacó por la formación de un sólido grupo de investigación. Entre sus discípulos cabe mencionar a Rolando León, Osvaldo Sala, Antonio Hall y Rodolfo Sanchez, entre muchos otros investigadores que luego han observado una destacada trayectoria.
Además de sus importantes contribuciones a la ecofisiología, su labor cobra particular relevancia si se toman en cuenta los agitados momentos que vivió el país en vida de Soriano de los que la universidad no estuvo ausente. Por otro lado, fue un fuerte propulsor de la formación de posgrado; contribuyendo a la formación de la Escuela de graduados de la FAUBA, que lleva en honor su nombre.
En 1983 recibió el Premio Konex por su trayectoria.
En su honor se nombró la "Escuela para Graduados Alberto Soriano - Facultad de Agronomía (UBA)".
«Alberto Soriano». Índice Internacional de Nombres de las Plantas (IPNI). Real Jardín Botánico de Kew, Herbario de la Universidad de Harvard y Herbario nacional Australiano (eds.).
Freak of Nature

Freak Of Nature (Capricho de la naturaleza) es el segundo álbum de la cantante y compositora estadounidense Anastacia, lanzado en el Reino Unido el 26 de noviembre de 2001, y más tarde en todo el mundo el 11 de diciembre de 2001. Fue principalmente producido por Ric Wake con la producción ocasional de Sam Watters, Louis Biancaniello, y Richie Jones. El álbum debutó en el número veintisiete en los Billboard 200 de EE. UU., mientras que alcanzó el número cuatro en el Reino Unido y número uno en Alemania, Suiza, los Países Bajos, Bélgica, Suecia, Dinamarca y Noruega. Vendiendo aproximadamente 12.000.000 de discos en todo el mundo. El álbum fue relanzado el 4 de noviembre de 2002, como un conjunto de colección de edición, re-envasados con un disco extra que incluye temas extra, remezclas y grabaciones en directo. Algunas ediciones del álbum no se pueden reproducir en Windows o Mac.
(Un disco es igual que la edición Europea)
Neon Nature Tour

Neon Nature Tour es la tercera gira musical de la cantautora británica Marina and the Diamonds, realizada con el objetivo de promocionar su tercer álbum de estudio Froot (2015). El recorrido inició el 12 de octubre con un concierto en Houston, Estados Unidos.​ Diamandis anunció que en un comienzo participaría de festivales, y luego el tour daría inicio a partir de octubre, en diferentes recintos a través del mundo.​
En este tour lanzó una línea de mercancía que podía ser adquirida exclusivamente durante los conciertos aunque luego la lanzó en su tienda en línea.
Los visuales del concierto fueron creado por Mr. Gabriel Marqués
Esta lista corresponde al concierto realizado el 16 de febrero de 2016 en Glasgow. No representa a todas las fechas de la gira.
Acto 1: The Family Jewels
Formación el Imperial

La Formación el Imperial es una unidad litoestratigráfica del Paleozoico superior de la cuenca San Rafael, que aflora en el bloque de San Rafael, en el centro y este de la provincia de Mendoza en Argentina.​​
La unidad aflora en el centro de Mendoza, al norte y sur del río Diamante (por ejemplo Mina Zitro), en las cercanías de los arroyos el Imperial y los Gateados, los puestos Agua de las Yeguas y Pantanito, y los cerros Ponón Trehue y Áspero.​
La parte inferior de esta unidad se correlaciona, por su litología, con la Formación Totoral, aflorante en la Cordillera Frontal.​
Esta unidad se divide en dos grupos litológicos, uno inferior y otro superior, con un contacto transicional.
El Miembro Inferior se encuentra conformado por areniscas cuarzosas estratificadas, areniscas micáceas y arcillosas y esquistos arcillosos micáceos de color gris. El Miembro Superior está constituido por areniscas de color castaño con estratificación entrecruzada, niveles de esquistos arcillosos intercalados y conglomerados lenticulares.​​​
Esta unidad tiene fósiles de plantas y palinomorfos que permiten datar la unidad.​
A la Formación El Imperial se le asigna una edad carbonífera tardía – pérmica temprana (Penssilvaniano- Cisuraliano), por su asociación de fósiles.​
La formación se habría depositado en un ambiente glacimarino, marino somero y continental,​​ sobre el suelo irregular de un paleovalle.​ Los depósitos, serían propios de un cuenca de antepaís, que formaba parte de una serie de cuencas desarrolladas en el margen paleopacífico del Gondwana.​​
Canal Lemaire

El canal Lemaire (o Le Maire) es un estrecho que separa la isla Booth de la costa Graham en el oeste de la península Antártica, Antártida.​​
Tiene 11 kilómetros de largo y 1,6 kilómetros de ancho máximo (y 0,7 de mínimo), extendiéndose en dirección noreste-sudoeste desde el islote Rothschild y el Falso Cabo Renard hasta la punta Roullin y el cabo Cloos.​ En su entrada norte se destacan los Picos Una.​​ El canal alcanza una profundidad de 150 metros,​ y en todo su recorrido está rodeado por acantilados, glaciares y montañas que alcanzan los 1000 metros de altura.​
Es un atractivo turístico, formando parte del recorrido de numerosos cruceros antárticos.​ Posee icebergs que en ocasiones dificultan la navegación, obligando a los barcos a modificar sus rutas.​
Fue descubierto por una expedición alemana al mando de Eduard Dallmann, en 1873-1874, a bordo del buque Grönland. En 1898 fue atravesado por la Expedición Antártica Belga al mando de Adrien de Gerlache de Gomery y nombrada por él en honor a Charles Lemaire, explorador belga del Congo quien ayudó a la expedición antártica.​​
En 1935 fue cartografiado por la Expedición Británica a la Tierra de Graham, entre 1956 y 1958 fue fotografiado desde el aire por el Falkland Islands and Dependencies Aerial Survey Expedition (FIDASE) y vuelto a cartografiar por el British Antarctic Survey.​
La toponimia antártica de Argentina y Chile mantuvieron el nombre.​
A menudo aparecen orcas (Orcinus orca), yubartas (Megaptera novaeangliae) y ballenas minke (Balaenoptera bonaerensis).​ También se pueden observar pingüinos adelaida (Pygoscelis adeliae), delfines cruzados (Lagenorhynchus cruciger), pingüinos macaroni (Eudyptes chrysolophus) y focas cangrejeras (Lobodon carcinophagus).​
Argentina incluye al canal en el departamento Antártida Argentina dentro de la provincia de Tierra del Fuego, Antártida e Islas del Atlántico Sur; para Chile forma parte de la comuna Antártica de la provincia Antártica Chilena dentro de la Región de Magallanes y de la Antártica Chilena; y para el Reino Unido integra el Territorio Antártico Británico. Las tres reclamaciones están sujetas a las disposiciones del Tratado Antártico.
Nomenclatura de los países reclamantes:
Hielo fijo

El hielo fijo o hielo permanente (en inglés, «fast ice») es una banquisa (mar de hieloielo fi) que se ha congelado a lo largo de la costa y se extiende fuera de la tierra en el mar, permaneciendo anclada a ella, fijada a lo largo de los bancos de arena, barras o a las partes más someras de la plataforma continental. En la Antártida, el hielo fijo también se extiende entre icebergs varados. A diferencia del otro tipo de banquisa, el hielo a la deriva, el hielo fijo no se mueve con las corrientes y el viento.​
La anchura (y la presencia) de estas zonas de hielo suele ser estacional y depende del espesor del hielo, de la topografía del fondo marino y de la posición geográfica las islas. En el océano Ártico el hielo fijo se extiende hasta una profundidad de 20 metros, mientras que en los mares subárticos, solamente llega a unos 10 m. Los icebergs varados pueden actuar también como anclas para el hielo fijo, especialmente en la Antártida. En algunas zonas costeras, con una plataforma abrupta y sin islas (por ejemplo, en el mar de Ojotsk frente a Hokkaidō), las mareas previenen la formación de cualquier área de hielo fijo. Las cuencas oceánicas más pequeñas pueden tener hielo fijo solamente en zonas en que no haya hielo a la deriva (por ejemplo, en el Sound McMurdo en la Antártida).​
La topografía del hielo fijo varía desde un nivel muy llano y suave hasta un perfil escabroso. El hielo fijo puede crecer tanto por la congelación del agua de mar como por la congelación de trozos de hielo a la deriva de la costa o de otros sitios en que queden anclados.
La Organización Meteorológica Mundial (OMM), emplea una terminología muy especifica para definir los diferentes tipos de hielo. El Servicio de Hidrografía Naval de Argentina ha realizado una recopilación de tales términos en una publicación llamada «Nomenclatura de la OMM del hielo marino», que recoge la siguiente definición de hielo fijo:
Puerto Charcot

Puerto Charcot o ensenada Charcot es una bahía de la isla Booth del archipiélago Wilhelm en la Antártida.
La bahía fue llamada así en honor del doctor Jean-Martin Charcot, famoso neurólogo francés. Fue el sitio de invernada del buque Le Français de la Tercera Expedición Antártica Francesa (1903-1905) dirigida por su hijo Jean-Baptiste Charcot, que la cartografió.​ Fue fotografiada desde el aire por la FIDASE (1956-1957).
La bahía de 2,4 km de ancho se encuentra sobre la costa noroeste de la isla Booth, al oriente de punta Herveou, y en el brazo noroeste de la costa en Y de la isla. La bahía está coronada por una colina de 50 m de altura donde se encuentran los restos de la expedición de 1904.​
Sin embargo, es una bahía que no es inmune a los vientos, las olas y los icebergs.​ Las barracas, hoy desaparecidas, se construyeron para llevar a cabo observaciones científicas. Solo queda un montón de piedras en la colina y un refugio de piedra. Cerca de la playa, existen los restos de un bote.
El sitio alberga una colonia de pingüinos gentoo, pingüinos de barbijo y cormoranes. Hay focas de Wedell y leopardos de mar.
El mojón de rocas con un pilar y una placa de madera en donde están gravados los nombres de los miembros de la primera expedición Charcot en 1904 fue declarado Sitio y Monumento Histórico n.º 28 a propuesta de Argentina por Rec. VII-9 de 1972. Es conservado por Argentina y Francia.​
Argentina incluye al fondeadero en el departamento Antártida Argentina dentro de la provincia de Tierra del Fuego, Antártida e Islas del Atlántico Sur; para Chile forma parte de la comuna Antártica de la provincia Antártica Chilena dentro de la Región de Magallanes y de la Antártica Chilena; y para el Reino Unido integra el Territorio Antártico Británico. Las tres reclamaciones están sujetas a las disposiciones del Tratado Antártico.
Nomenclatura de los países reclamantes:
Santa Cruz Formation

The Santa Cruz Formation is a geological formation in the Magallanes/Austral Basin in southern Patagonia in Argentina and adjacent areas of Chile. It dates to the late Early Miocene epoch, and is contemporaneous with the eponymous Santacrucian age of the SALMA (South American land mammal age) timescale. The Santa Cruz Formation is known for its abundance of vertebrate fossils, including South American native ungulates (astrapotheres, litopterns, notoungulates), as well as rodents, xenarthrans (armadillos, sloths, anteaters), and metatherians.
The formation extends from the Andes to the Atlantic coast. In its coastal section it is divided into two members, the lower, fossil rich Estancia La Costa Member, which consists predominately of tuffaceous deposits and fine grained mudrock, and the upper fossil-poor Estancia La Angelina Member, which consists of sedimentary rock, primarily mudrock, and sandstone. The environment of deposition was mostly fluvial, with the lowermost part of the Estancia La Costa Member being transitional between fluvial and marine conditions. The environment of the Estancia La Costa Member is thought to have been relatively warm and humid, but likely became somewhat cooler and drier towards the end of the sequence.
The Santa Cruz Formation is exposed in isolated outcrops across the Magallanes/Austral Basin extending from the Atlantic coast to the Andes, especially along the Santa Cruz River, as well as along the southern coastline of Santa Cruz Province. While primarily located in Argentina, small outcrops are also found in Chile. The base of the formation is defined by a marine regression event transitioning from the marine environment of the underlying Monte Léon Formation, which formed when large areas of Patagonia were submerged as a part of the Patagoniense Transgression.
The main source of sediment input to the basin was from the Andean orogeny to the west. The formation reaches a maximum thickness of over 295 meters, though the total thickness of the formation is strongly controlled by subsequent erosion and the 295 meters likely does not represent a complete sequence. The formation primarily consists of floodplain deposits. The lower parts of the formation have an abundance of tuffs and tuffaceous sediments. These likely originated from distant eruptions that were transported into the basin by aerial fallout, wind and/or river transport. The formation likely spans an approximately 3 million year interval in the late Early Miocene around 18 to 15.2 million years ago, during the Burdigalian and Langhian stages.
The environment of the Santa Cruz Formation is thought to have been relatively warm and humid, including a mix of open savanna, gallery forests and semi-deciduous forests. Permanent bodies of water such as lakes, ponds and streams are likely to have been present.
Posadas Lake

Lake Posadas is a lake located on the edge of the southern Andes, northwest of Santa Cruz Province, Argentina, near the border between Argentina and Chile.
Its turquoise waters and a curious tunnel-shaped rock at the centre makes a distinctive landscape. A narrow land bridge separates the northern end of Lake Posadas from the bigger, deeper Cochrane/Pueyrredón Lake.
Bordered by glacial moraines, Lake Posadas is located on the eastern slope of the Andes mountain range. It belongs to the Argentine-Chilean binational basin of the Baker River which drains into the Pacific Ocean. It has an important affluent, the Tarde River, and two others minor ones and it drains into Lake Pueyrredón through a short river reach. Mean annual rainfall is 200 mm and annual temperature is 4.5 °C.
Lake Posadas, somewhat triangular in shape, has cliffs, ravines and volcanic tuffs with no plant cover on its northeastern slope. Towards its eastern end, open steppe shrubs prevail (Senecio spp, Schinus molle, Nassauvia ulicina) with Adesmia boronioides and scanty broom sedge (Andropogon argenteus). On its southern shore there are fluvio-glacial fans bordered by patches of thickets composed of "duraznillo" (Colliguaya integerrima), "calafate" (Berberis heterophylla), and "neneo" (Mulinum spinosum). The lake's shores are stony with scanty vegetation in low shrubs.
The basin of the lakes Posadas/Pueyrredón and Ghio is the lowest glacier depression in the southern Patagonian Andes, raising only 500 ft over the sea level. Lago Posadas, fed by the glacier rushing streams of the Furioso and Tarde rivers, receives with the thawing suspended matter that confers its unmistakable color. Separated from the crystalline and deep blue Lago Pueyrredón by the isthmus (La Península), now drains into it, and both to the Pacific Ocean. In older times, the waters flowed to the Atlantic. From remote times the basin sheltered both human and animal life, of which give proof important archaeological remains; a guide is recommended.
The town of Hipólito Yrigoyen (Lago Posadas) and the National Route 40 (Argentina) are located in the vicinity of the lake. This guarantees accessibility, lodging infrastructure and services for visitors.
The whole region is known as a trout and salmonidae fishing destination, and a place also suitable for trekking, kayaking and rural tourism.
From Lake Posadas it's also possible to travel to Cañadón del río Pinturas, entering the Patagonian steppe. There is a sector called Cueva de las Manos ("Cave of Hands"; where many ancient paintings can be found. These painting are 10000 years old.
Gymnocalycium nigriareolatum

Gymnocalycium nigriareolatum is a species of Gymnocalycium from Argentina.
Gymnocalycium nigriareolatum is a cactus that grows either as a solitary plant or in clusters. It has dull, light to dark gray-green, rounded stems that are 4–6 cm tall and 5–8 cm wide (occasionally up to 12 cm). The plant typically has 10 sharp-edged ribs with shallow, transverse notches. It lacks central spines but has about 7 slightly curved, light gray-brown radial spines with darker tips. These spines are 1–3 cm long, with the 3 lowest being the longest.
The flowers are funnel-shaped, either white with a pinkish throat or carmine red. They measure 4–4.6 cm in length and up to 4 cm in diameter. The spherical fruits are small, about 1–1.2 cm in diameter.
This species is native to the Sierra de Graciana and Cuesta de Los Angeles in the Catamarca province of Argentina, where it grows on rocky terrain at altitudes of 500 to 1500 meters.
It was first described in 1934 by Curt Backeberg.
Iceberg Point

Iceberg Point is a prominent point 8 miles (13 km) west-southwest of Ryswyck Point, on the east side of Anvers Island, in the Palmer Archipelago, Antarctica. The point was first mapped by the Belgian Antarctic Expedition, 1897–99. The name appears on a chart based upon a 1927 survey by Discovery Investigations personnel on the Discovery, but may reflect an earlier naming.
This article incorporates public domain material from "Iceberg Point". Geographic Names Information System. United States Geological Survey. 64°38′S 63°6′W﻿ / ﻿64.633°S 63.100°W﻿ / -64.633; -63.100