Stem cells are defined by the experts as a type of cells that can help the body in the repair, replacement and regeneration of different specialized cells and tissues by differentiating themselves in many types of other specialized cells. Likewise, these cells have the ability to produce growth factors and cytokines which travel to other surrounding tissues and boost the healing process.
This capability of stem cells therapy to repair human tissues and organs make them an innovative option for treating a lot of cartilage, bone, ligaments, tendons, nerve, fat, muscle, neurons and even blood vessels conditions. Stem cell therapy is also being studied to treat more complex diseases such as Diabetes Mellitus (especially type 1), Alzheimer's, Parkinson's, ALS (Lou Gehrig's Disease), multiple sclerosis, Duchenne muscular dystrophy (DMD), spinal cord injuries, ear and eye conditions and HIV/AIDS.
There are different types of stem cells. The first stem cells that humans have in the body (during the intrauterine life) are pluripotent cells, while non-embryonic adult mesenchymal stem cells are multipotent. The pluripotent fetal cells have a greater capacity for differentiation than multipotent adult cells, which means that the lasts are less versatile when it comes to differentiating themselves in other cell types. This is the main reason why blood cells from the umbilical cord are widely used in the stem cell therapy.
How is a Stem Cell Therapy performed?
The stem cell therapy has a very precise procedure that must always be done by a specialist. The first step consists in obtaining the stem cells from the own patient (bone marrow, fat tissue or peripheral blood) or a newborn (in the case of stem cells from cord blood) under surgically sterile conditions and local anesthesia (if needed). This step usually takes less than 20 minutes to be completed.
After that, the sample with millions of stem cells is processed in the laboratory to separate the stem cells from other particles or cells that are not necessary. Once the sample of stem cells have been purified and processed, it is injected into the patient's blood or directly in the specific area that needs to be treated (such as joints, spinal space or other tissues).
It is important to say that some steps of the stem cell therapy can vary according to the area from where the stem cells will be extracted and used.
In which medical areas can the power of Stem Cell Therapy be used?
Nowadays, the stem cells therapy is widely used in the orthopedic branch. This can be explained by the fact that the stem cells have the capability to repair or replace the bone, tendons and ligaments cells. Furthermore, the cytokines that they help to release can reduce the surrounding tissues inflammation.
Stem cells therapy is also successful in this area because it represents a minimally invasive and low-risk option for treating common conditions like arthritis/osteoarthritis, spine disease, sports-related injuries and other problems with shoulders, elbows, hands/wrists, hips, knees or ankles.
Likewise, many orthopedic conditions are caused by inflammatory, autoimmune, or degenerative processes, which can be treated with stem cell therapy as it was stated earlier.
Another branch in which stem cell therapy is widely used is neurology. Although most of these uses are still being investigated, the experts have used this therapy to treat multiple sclerosis, Parkinson's disease, peripheral neuropathy, spinal cord injuries, muscular dystrophy, among others, with pretty satisfactory results.
Stem cell therapy is a good option for these conditions because these cells have the ability to cross the blood-brain barrier, so they can reach different areas of the nervous system that have been affected by injuries or degenerative diseases.
Certain cardiac and pulmonary diseases can also be treated with stem cell therapy. In fact, the researchers have found that it can be a good treatment option for heart attacks, ischemic heart disease, myocardial infarctions, congestive heart failure, pulmonary fibrosis and COPD.
This is very important because at least 1 in every 3 deaths in the United States of America are due to cardiovascular diseases. The promising fact about stem cell therapy in this branch is that it can help to regenerate or replace the cells lost in cardiac ischemia and even trigger the formation of new coronary artery branches by releasing substances like the angiogenesis factor.
The autoimmune diseases can also be successfully treated with stem cell therapy. This is because they can help to replace the defective cells of the immune system, so they do not react against the patient's own tissues.
Among the autoimmune diseases that have been treated with stem cells therapy, lupus, Crohn's disease, CIDP (Chronic Inflammatory Demyelinating Polyneuropathy), scleroderma, hepatitis, rheumatoid arthritis, myasthenia neuropathy and ulcerative colitis, can be included.
Finally, there are certain urogenital and skin conditions that have been successfully treated with stem cell therapy. It is especially recommended for diseases which involve atrophy and inflammation, such as Intersticial Cystitis (IC) and Lichen Sclerosis.
Likewise, the erectile dysfunction seems to be a condition of multifactorial causes that can be properly treated with stem cell therapy. The experts say that it can be due to the fact that stem cells may stimulate the growth of the smooth muscle lining of vessels, which helps to improve the endothelial function by repairing or replacing the damaged cells, which also boosts the blood flow to the penile's erectile tissues.
Remember that only a qualified doctor can determine if a person can benefit from stem cell therapy.
How Can I Correct My Poor Posture?


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Manuel Jurado (Alicante, 26 de septiembre de 1952) es un actor, economista, neurocomunicólogo y profesor universitario español. Es más conocido por sus pequeñas intervenciones y papeles secundarios en varios largometrajes y series españolas.

Biografía
Manuel Jurado nació en 1952 en Alicante, hijo de Manuel Jurado Gálvez  industrial de café y de Josefa Mesa una pintora. Su abuelo Alfonso Mesa,  fue propietario de un famoso restaurante en París excelente músico, tocaba el contrabajo en la Filarmónica de las Palmas. Su tío abuelo José Mesa y López fue el político más influyente de las Islas Canarias, dos veces Alcalde de Las Palmas, Presidente del Cabildo Insular, entre muchos más nombramientos que tuvo a lo largo de su vida.

Manuel Jurado se licenció en Ciencias Empresariales en ESCE Escuela Superior de Ciencias Empresariales de Alicante (jesuitas), años después, obtiene la Licenciatura en Ciencias Económicas y Empresariales por la ICADE de Madrid. En la Universidad de Alicante superó los dos años de doctorado estando pendiente en presentar la tesina para el doctorado en Economía.

Su primer trabajo fue en 1977 como Delegado Provincial de seguros de vida en Unión Iberoamericana, organizando la red de ventas y vendiendo seguros de vida. Se incorpora más tarde en la empresa familiar de café desde 1979 hasta 1998 como Administrador Gerente, lo que le permitió conocer diversos países de Sudamérica y Centroamérica, así como por Europa y África, incluyendo países como Colombia, Panamá, Angola y Polonia.

Como Economista trabajo durante 12 años en su despacho profesional contable y fiscal, asesorando a empresas y particulares. En Alicante fue propietario del restaurante La Cava durante 14 años, consiguiendo reconocimiento de la Guía Michelin. Como escritor publicó el libro Análisis Práctico y Guía de Consulta un año antes de implantarse el IVA, también tiene registrado y los derechos de autor del libro El Arte de la Persuasión Emocional. Las Armas de los Comunicadores (2017).

En el año 1999 comienza sus estudios de interpretación en Rumania (Teatro Nacional de Timișoara, específicamente) estudiando con el actor y profesor universitario George Stana. Tras volver a Madrid estudió en la escuela de Juan Carlos Corazza y estudió en el Estudio Guindalera durante dos años con Juan Pastor. Desde entonces le hemos visto incursionado en papeles secundarios en series como Cuéntame como pasó, El internado y Policías.

Está casado con María Salud Gras García y tiene tres hijos.

Desde el año 2009 imparte conferencias y cursos de Oratoria Emocional en diferentes instituciones públicas y privadas, Cmara de Comercio, FUNDESEM, Instituto de Empresa, despachos de abogados, en diferentes maestrías,su especialidad es la Telegenia y el Media Training participando en cursos para políticos y portavoces de diferentes partidos políticos.

Trayectoria

Televisión
 Víctor Ros (2016), como Don Emilio del Campo
 Centro médico (2016)
 Águila Roja (2015)
 Cuéntame como pasó (2004-2015) como el Farmacéutico, jefe de prensa
 Bandolera (2011)
 El internado (2007-2010), como Antonio
 Hospital Central (2008)
 R.I.S. Científica (2007)
 Severo Ochoa: La conquista de un Nobel (2001; miniserie)
 Lluvia de estrellas (1998), como Joan Manuel Serrat
 Compañeros
 Al salir de clase
 Policías
 Luna llena

Películas
 Hermosa juventud (2014), como Carlos
 Del retiro a Sol (2012) cortometraje
 Las palabras de Vero (2005) película para televisión
 Trece campanadas (2004)
 Iván (2002), como Mario
 T.O.C.: Un caso práctico (2001), como Fernando
 Una familia feliz (2000) cortometraje

Referencias

Enlaces externos

Actores de televisión de España
Actores de cine de España
Empresarios de España
Profesores de España
Nacidos en Alicante

redpajama_set_name: RedPajamaWikipedia


The last day to make payments for delinquent 2017 taxes at participating community banks is Thursday, May 2, 2019.
You must have an account at the bank.
Visit the bank and bring your entire original tax bill.
Pay by direct debit from your checking or savings account.
Payments will be accepted year-round.


I read Blogs- EVERYDAY. I love the creative and intelligent women (and men) of my generation showing a world similar yet, so different than mine. I have decided seperate my personal blogging from my photography page, so changes they are a' comin.


Oh, and Wiz Khalifa, too. Do we have a quorum yet?
This afternoon, Warren G informed the world, via his website, that he would be gracing Coachella's main stage with his good friend Snoop Dogg, who headlines the two Sunday nights (April 15 and 22) of the fest with Dr. Dre. Oh, and also that he'd be bringing Eminem with him. And Kendrick Lamar (who is already slated to play on the two Fridays of the fest, but is now supposedly coming onstage with the whole gang Sunday, thanks to his recent Dre team-up). Oh, also Wiz Khalifa, according to Rolling Stone. We're sure Nate Dogg is stoked to hear about all this from the Eastside Motel in the sky.
It should be noted that the Regulator didn't mention whether he, Em, and the gang would be showing up for both weekends or just one, so fans will have to wait to be shocked. The one question that remains is, what surprise guests haven't been announced yet? By the way, if you hadn't heard yet, we hate to break the news, but you might want to bring your ponchos with you to Indio this year: it might get rainy.


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Featured Editorials
Saleh got it Right; Calling for Jets to Back Zach Defies Logic
Following his team's heartbreaking 10-3 loss at the hands of the New England Patriots last Sunday, Jets head coach Robert Saleh had an important decision to make.
Option A: Stick with his floundering quarterback and hope his defense and running game can continue to carry his team to victories?
Option B: Does Saleh bench his young signal caller, who is arguably the worst player at his position in the NFL right now, and try to inject a bit of life into his offense?
Zach Wilson this season:
•4 TDs (34th)
•1,279 passing yards (31st)
•55.6 completion percentage (36th)
•72.6 QBR (35th)
Flacco time for the #Jets? pic.twitter.com/004BFl17l3
— Michael Balko (@MichaelBalkoJr) November 22, 2022
It was an easy call and Saleh got it right. It's Zach Wilson to the bench, and Mike White under center. In no way does this mean White is a more talented player or that he has a higher ceiling. What it does say is that the Jets want to win football games right now and asking their defense to continue doing that for them isn't sustainable.
At some point, the Jets need a quarterback who will find the open receiver and give him a chance to make a play on the ball. Even if White were to miss the mark and turn the ball over at a higher rate than Wilson, the Jets can live with that as long as there are some touchdown passes along the way. That's not happening with Wilson, who is on pace for just 8 touchdown passes. Eight. In the year 2022. Inexcusable.
With Wilson under center, the Jets had a quarterback who, time and again, wasn't seeing (or wasn't throwing to) wide open receivers. Wilson wasn't trusting his eyes and he was terrified at the sight of pressure. Too often Wilson would either bail on a clean pocket, or flat out refuse to hang in to take a hit while looking to complete a pass down the field. That's in the job description of an NFL quarterback, and right now it's one of the many aspects of his job at which he is failing.
There are still those fans clamoring for Wilson. "How will we know what we have if he sits"? That's the problem. As Wilson continues to hold on to the ball too long and fail to find the end zone, the Jets are finding out that what they have is a QB who is holding the rest of the team back.
The Jets haven't sniffed a playoff game in over 10 seasons. Right now their defense is playing at a championship level. That type of defense doesn't call for elite QB play. it calls for a quarterback who can consistently get you in to the end zone. Will Mike White be able to get the job done? That's something that nobody knows.
But what everybody knows, is that Zach Wilson can't. Not right now anyway. Giving White a shot tells the other 52 guys on the roster (and the fan base), that the team isn't willing to throw away a potentially special season on just one player. Anyone calling for Wilson to stay on the field to produce nothing on offense couldn't be more off the mark.

redpajama_set_name: RedPajamaCommonCrawl


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Day Break é uma série de TV americana, transmitida pela rede ABC no ano de 2006.

Criada por Taye Diggs, ator e cantor experiente em televisão, a série conta a história de um policial que é injustamente acusado de um crime, e que vive o mesmo dia repetidas vezes. A idéia não é totalmente inédita: o filme Groundhog Day (Feitiço do Tempo, em Portugal e no Brasil), com Bill Murray, já explora o tema. O atrativo de Day Break é que a cada dia o protagonista vai descobrindo pistas para solucionar o mistério de quem o está acusando e o porquê.

A série foi criada com apenas 13 capítulos, na intenção de segurar a audiência enquanto a série Lost estava em recesso na época dos feriados de fim de ano. Devido à baixa audiência, a emissora acabou optando por retirar a série do ar após o sexto episódio. Os fãs usaram a Internet como veículo de protesto, e após algumas semanas, a ABC passou a transmitir o resto da série pelo seu site, apenas para o território americano.

Espera-se o lançamento de um DVD com toda a série em 2007.

Referências

Ligações externas

 Site oficial da série

Séries de televisão de drama policial dos Estados Unidos
Séries de televisão de ficção científica dos Estados Unidos
Séries de televisão de aventura dos Estados Unidos
Séries de televisão de drama criminal da década de 2000
Séries de televisão de ficção científica da década de 2000
Séries de televisão de aventura da década de 2000
Séries da American Broadcasting Company
Programas de televisão dos Estados Unidos que estrearam em 2006
Programas de televisão dos Estados Unidos encerrados em 2008
Programas de televisão em língua inglesa
Programas de televisão produzidos pela ABC Signature


Since the 1930s, Blackwing pencils have been claimed as the best writing utensil in the world. Famous for the quality of graphite, iconic shape and replaceable eraser, these pencils are for all types of users. The Classic Black pencil features a soft graphite. Measures 8 inches.


Shariah Courts in this country dispense justice independently of the Civil Courts. Their decisions affect the lives and affairs of Muslims, and in certain circumstances, of non-Muslims too. For the sake of uniformity, certainty, and predictability, it is vital that Shariah Law is accessible to all – be they judges, jurists, legal practitioners, academicians, law students or even the members of the public.
There is an eminent Advisory Panel in place being consulted on each issue. The Advisory Panel is led by Dato' Faiza Tamby Chik, former High Court Judge, distinguished Fellow of the Faculty of Syariah and Lam (Islamic Science University of Malaysia) and a Director in the Board of Directors for the Institute of Islamic Understanding, Malaysia.
The Shariah Law Reports is updated four (4) times per year.
From Pakistan and other Middle East Countries.


text:
I cry at all weddings. Even nationally televised ones.
Sean and Catherine are finally hitched y'all!
And in some honeymoon suite at the Four Seasons, there's a discarded seven-piece champagne colored lingerie set that is strewn all over the floor.
It's disturbing that I am not Catherine's BE-FRI to her ST-END, yet I know the delicate details of what she wore on her special night. Me and however many other millions of people who flipped back and forth from the Lowe wedding, the Grammy's and Downton Abbey that is…
In case you were mesmerized by teenager Lorde singing "Royals" in front of all of her musical peers, or exhaling that breath you didn't know you were holding when Bates FINALLY found out about Anna, here's a rundown of the many emotions I experienced during the two-hour special.
Denial: I must have experienced some brain lapse because I totally forgot that Sean and Catherine rode off on an elephant after getting engaged in Thailand.
Confused: Why was Our Host Chris Harrison treating this wedding like he was on a red carpet? "There's Molly and Jason! Don't they look lovely! And there's Aunt Edna. At least that's why my cheat sheet says. I've never met her before."
Blubbery: When Sean and Catherine asked his Dad to officiate their ceremony, and he began to cry, I pretty must lost it. The first time.
Dumbfounded: Am I supposed to know what groan sexy means? Is this what the kids are calling it these days? And is that appropriate for a wedding? WHAT IS SHE TALKING ABOUT?
Clued in: OH! Grown sexy. I see. I see that I still don't get it.
Relieved: Thankfully, Sean sits her down on a dirt road and asks about grown sexy and how this could possibly translate into flowers, candles and cake. Catherine explains that she has always been viewed as a funny, jovial, happy person and this wedding is her coming out party to be sexy and a woman.
Helpful: Maybe the word she's looking for is elegant, sophisticated and mature. Those are the older, wiser sisters of "grown sexy" I believe.
Creepy: Why, oh why did ABC insist on installing a honeymoon camera and then send some random person in to fluff the down comforter and pillows?
Awkward: Seeing Sean pick out lingerie for Catherine made me hide behind my couch cushion. Flipping back and forth from Lady Mary to La Perla helped me not break out into hives. Hearing Catherine describe said lingerie as "icing for her body" while she's sitting in a satin robe waiting for her photographer to arrive so he/she can take naughty pictures for Sean made me bust out the fast forward on the remote. I just couldn't.
Mathematical: There were approximately 32 bridesmaids. I wondered where they would all stand, but instead of flanking the stage, they sat down. Behind the row of former Bachelor success stories of course. And the token runner-ups from Sean's inaugural season. There's One F skating off into the distance. And Ari is looking for a secluded brick wall. Nice.
Happy: Sean's handful of groomsmen surrounded him and prayed over him before the ceremony. LET THE TEARS FLOW!
Exasperated: Sean and Catherine had to schedule in two commercial breaks for their live wedding. Good thing they had the 2Cello guys playing for them. Speaking of…
Perplexed: Even though it sounded pretty cool, I found myself questioning Catherine's decision to walk down the aisle to "Human Nature" by Michael Jackson. It must be a grown sexy thing.
Weepy: First Mrs. Lowe is crying, then the Dad cries during the vows and then Sean cries the entire way back down the aisle after announcing them husband and wife. I CAN'T TAKE IT!
Secure: After seeing the Monique Lhuillier dress, the Neil Lane diamond band, a collection of every flower on the West Coast and fancy hair courtesy of that tan guy who wears a cowboy hat, I'm pretty sure we will all be invited to the nuptials of Des and Chris this time next year. And let the record show: there will be poetry.
Did you enjoy the wedding? Are you annoyed that we didn't get to see the reception? Based on all the tears, do you think this will last?
MWStacey1054
I was wondering before it started just how much "Jesus" would be in the ceremony…I was really happy to see He was pretty frequently mentioned! I wondered if, had it not been on live tv, it his dad would have "preached" a little more, but I thought the ceremony itself was very sweet, very much "them" (since I know them so well), and very personal.
Rachel H
Oh my oh my, you said it! Glad to have company in feeling awfully igry about the whole grown sexy thing. The more I understood what she meant, the less I wanted to know.
Also? If they are both really virgins, the wedding night is unlikely to be a very good time. Awkward-but-Sweet is probably the best they can hope for.
I am not ashamed to say that I cried too. I missed the first part because I forgot about it being on and was watching the Grammy's. When they got too much for me to handle, I channel surfed right over to the wedding. I am sure I would have cried too when they asked Shawn's Dad to officiate. I just love him! 🙂 The honeymoon cam was ridiculous and all the talk about the anxiously awaited honeymoon activities was TMI but in the end I was glad I tuned in. It would be nice if every husband would allow… Read more »
I'm not sure, but I don't think the bride wiping away nose snot with her bare hand during the ceremony qualifies as grown sexy. The wedding planner to the stars should have thought of a handkerchief! 😉
Ange @ Cowgirl Runs
I wish I had been made aware of this "grown sexy" thing prior to the show – that would have made a great drinking game!
I thought Sean's dad did a wonderful job. Made it personal and spiritual. There's been so much made of their being virgins — and as Sean said, that is only part of his faith. But hopefully a good example to others. Jimmy Fallon didn't even believe them and asked if they would be willing to take a lie detector test.
I didn't watch, Sean was not a fave of mine and I felt there would be too much cheese. I have seen lots of pics on line and she looked beautiful. Grown Sexy? WTH?
Will they last? Maybe, but the jury is still out on it. Remember, since their season ended they haven't been away from the cameras, the hoopla, and the adoration for a single moment. The true test will come when they live together and lead a normal, everyday life.
I'm pretty sure that magazines have said he was a "born again" virgin, but of course it's a buzzword that gets people's attention so ABC will flaunt it all they can. So many of your comments about the show were the same things I uttered to myself last night!
I figured ABC (and all other media) would harp on them not having sex before marriage. I think it's great and I love how open they are about their faith. It's so foreign in today's society. The honeymoon suite cam was quite creepy. I think the camera guys were just trying to have fun with it.
I missed the first part and started watching right before she walked in. I am a wedding director and it was all sooo strange, from her walking in by herself to her mom picking her up halfway to her giving her bouquet to her mom to her bridesmaid coming on stage to fluff her dress. I think it would have been more special to have at least the best man and maid of honor up there with them. It was so sweet to see his dad perform the ceremony and to hear all about faith and Sean's walk with Christ.… Read more »
The most riveting moment for me was watching Andy Dick talking to Sean's father in the mini-screen. Even though he was on DWTS, I kept wondering if he was crashing another wedding. Or if Sean's father would manage to make him born-again too!
Also, loved when Sean poured Catherine's glass of bubbly, it seemed normal, then his own had major, major head, and in the next shot from a different angle it had magically disappeared.
Lincee
Andy Dick was random. I have no idea what the connection was there.
It was a sweet, sweet ceremony. Mr. Lowe crying…best EVER! Sean crying after announced man and wife…SO SWEET.
I'm also glad that they stuck to their spiritual guns. Sean quoting Romans…LOVE!
Grown sexy? I have no idea what that is even after she tried to explain it. Eeew I didn't need to see the lingerie.
Shopgirl
I was mildly grossed out by the honeymoon suite cam, but TOTALLY grossed out by the train sound effects as the credits rolled at end…
Beautiful beautiful wedding, catherine's vows were a little weird, the whole lingeree and honeymoon cam was just TOO MUCH, I would have rather seen the guests more and the reception, at least the first dance!!! OHCH looked very dapper though!!!
Bachelor Matt James Recap | Episode 2 | We discovered…
Happy New Year everyone! Well, it's a new dawn. It's a…
Bachelor Matt James Recap | Episode 1 | It's a…


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Alain Laframboise, né à Saint-Benoît-des-Deux-Montagnes en 1947 et mort à Rigaud en 2016, est un artiste et un historien de l'art québécois.

Biographie
Alain Laframboise est né à Saint-Benoît-des-Deux-Montagnes en 1947. Après des études effectuées à l'Université de Montréal, où il obtient un baccalauréat et une maîtrise en Histoire de l'art, Alain Laframboise décroche, en 1980, un doctorat en philosophie et en esthétique des formes à l'Université Paris X (Nanterre). Sa thèse Istoria et théorie de l'art : Italie, XV, XVI siècles obtient la mention "très bien".

Débutant comme chargé de cours en 1975, Laframboise est nommé professeur adjoint en 1980. Il devient professeur agrégé au Département d'histoire de l'art de l'Université de Montréal en 1986. Durant son professorat, Laframboise assume la responsabilité de 9 cours et assure la supervision de 34 mémoires et de deux thèses universitaires. Il devient également codirecteur et collaborateur de plusieurs projets de recherche. C'est toujours durant cette carrière universitaire que Laframboise obtient plusieurs subventions lui permettant de mener à bien une dizaine de recherches.

Grand spécialiste de la Renaissance italienne et du maniérisme, l'artiste québécois est également reconnu pour la richesse et la qualité de ses œuvres artistiques. Ayant à son actif une vingtaine d'expositions individuelles et plus d'une cinquantaine de participations à des représentations collectives, effectuées entre 1983 et 2018, Laframboise marque le milieu artistique contemporain québécois. Plusieurs de ses œuvres se trouvent au sein de collections publiques comme celles du Musée d'art contemporain de Montréal, du Musée national des beaux-arts du Québec, et de la Banque d'œuvres d'art du Canada à Ottawa.

Une grande partie des créations de Laframboise décontextualise et recontextualise les objets de tous les jours afin d'interpeller le spectateur sur le sens du quotidien. En continuité avec son travail de chercheur et de théoricien de la représentation en art, son travail poursuit sa réflexion sur la figuration dans ses œuvres de création, que ce soit dans ses collages, ses assemblages en 3 dimensions, ses photographies et vidéos.

Alain Laframboise est également, de 1985 à 1996, cofondateur et codirecteur de la revue d'écriture et d'érudition TROIS et des Éditions TROIS. Il participe à l'organisation de trois colloques dont un consacré à la représentation d'Andromède au 16 et 17 siècles (les actes du colloque « Andromède ou le héros à l'épreuve de la beauté » ont été publiés en 1996). Au cours de sa vie, Laframboise publie six ouvrages et rédige plus d'une centaine d'articles parus au sein de multiples périodiques.

Le , Alain Laframboise s'éteint à Rigaud au Québec à l'âge de 68 ans.

Œuvres
Avec ses collages, ses boîtes, ses photographies et ses vidéos, il mène, depuis le début de sa production, une exploration qui consiste à suggérer, à partir d'objets divers qu'il met en scène, qu'ils soient familiers ou qu'ils fassent référence à l'histoire de l'art, des scénarios potentiels par l'utilisation qu'il fait des éclairages, la disposition des figures dans l'espace et par le choix des cadrages. Qu'elles renvoient à l'art classique, académique ou contemporain, qu'elles soient kitsch ou naïves, ces compositions s'inscrivent dans une réflexion sur les pouvoirs de suggestion de la mémoire en s'accompagnant toujours d'un exercice ludique sur les formes mêmes de la représentation.

Sélection d'œuvres

Expositions individuelles
Galerie Jolliet, 1984.
Échos et Écarts, Galerie René Bertrand, Québec, 1985.
Blow up, Galerie Graff, Montréal, 1985.
Galerie Graff, Montréal, 1987.
Galerie Graff, Montréal, 1989.
Fondali, Associazione Culturale italo‐francese di Bologna, Italie, Bologne, 1992.
Fondali, Associazione Culturale italo‐francese di Bari, Italie, Bari, 1992.
 Fondali, Centro sociale, Dogana, Italie, République de San Marino, 1992.
Intarsia, Galerie Graff, Montréal, 1992.
Pictura, Galerie Graff, Montréal, 1994.
Capricci, Espace Écureuil, Marseille, 1995.
Visions domestiques, Galerie Graff, Montréal, 1997.
Théâtres pour voir (duo avec Ian Paterson), Sarajevo, Ambassade canadienne en Bosnie‐Herzégovine et Paris, Services culturels de l'Ambassade du Canada, 1998.
GOLD & RUST, (duo avec Louis Cummins), Galerie Graff, Montréal, 1998.
Portraits d'intérieur, Galerie Graff, Montréal, 1999.
Visions domestiques II, Galerie Graff, Montréal, 2002.
Visions domestiques III, Galerie Graff, Montréal, 2005.
Parcours, Galerie Graff, Montréal, 2008.
Figures, Galerie Graff, Montréal, 2012.
Alain Laframboise, Le sens du quotidien, rétrospective, commissaire Karl-Gilbert Murray, Musée d'art contemporain des Laurentides, Saint-Jérôme, 2014.
Alain Laframboise, Le sens du quotidien, rétrospective, commissaire Karl-Gilbert Murray, Centre d'exposition de l'Université de Montréal, Montréal, 2015.
Alain Laframboise, Construire le sens, Carrefour des arts, Université de Montréal, Montréal, 2015.
Alain Laframboise, Les derniers caprices, exposition posthume, commissaires: Louis Cummins et Karl-Gilbert Murray, Galerie Graff, Montréal, 2017.

Expositions collectives
 Hypothétiques confluences, commissaire René Payant, Galerie Jolliet, Montréal, 1983.
 Acquisitions récentes, Galerie Jolliet, Montréal, 1983.
 F(r)ictions: en effet(s), commissaire Johanne Lamoureux, Galerie Jolliet, Montréal, 1984.
 2e Salon National des galeries d'art, Galerie Jolliet, Montréal, 1984.
 Montréal tout terrain, Ancienne clinique Laurier, Montréal, Galerie René Bertrand, 1984.
 L'art pense organisée par la Société d'esthétique du Québec dans le cadre du Xe Congrès international d'esthétique à l'Université de Montréal, Montréal, 1984.
 Le T-shirt, Galerie J. Yahouda Meir, Montréal, 1984.
 Voir et revoir, Galerie René Bertrand, Québec, Galerie Graff, Montréal, 1985.
Regards obliques pour deux générations, Galerie Jolliet, Montréal, 1985.
 La peinture au Québec: une nouvelle génération, Musée d'art contemporain de Montréal, Montréal, 1985.
The T-shirt, Galerie Grunewald, Toronto, 1985.
20e anniversaire de Graff, Place des Arts, Hall d'entrée de la salle Wilfrid-Pelletier, Montréal, 1986.
Graff 1966-1986: Aperçu historique, Galerie de l'Université du Québec à Montréal, Montréal, 1986.
Conseil des Artistes Peintres du Québec, Montréal, 1986.
L'art contre le sida, Galerie John A. Schweitzer, Montréal, 1986.
Montréal / Genève, Centre Saidye Bronfman, Montréal, 1986.
Rétrovisions, Galerie Graff, Montréal, 1986.
Installations fiction, Galerie Graff / Éditions NBJ, Montréal, 1986.
Dazibao, Centre de photographies actuelles, 1986.
Exposition des artistes de la galerie, Galerie Graff, Montréal, 1986.
Absurde, Galerie J. Yahouda Meir, Montréal, 1986.
Montréal / Genève, Centre d'art visuel, Genève et Villa du Jardin Alpin, Meyrin, 1986.
 GRAFF 20 ans, Musée d'art contemporain de Montréal, Montréal, 1988.
 Les artistes, Bâle, Suisse, Galerie Graff, 1988.
 Tandem, Dazibao, Centre de photographies actuelles, Montréal, 1989.
Incorporation, Galerie d'art Lavalin, Montréal, 1989.
ART 20 '89, Bâle, Suisse, Galerie Graff, 1989.
 Pratiques, Maison de la culture Côte-des-Neiges, Montréal, 1990.
 Les artistes de l'Université de Montréal, Galerie du SAC, Montréal, 1990.
Tandem Bis, Dazibao, Centre de photographies actuelles, Montréal, 1990.
FIAT LUX. Photographie et architecture, Dazibao, Centre de photographies actuelles, Montréal, 1990.
ART 21 '90, Bâle, Suisse, Galerie Graff, 1990.
ART 22 '91, Bâle, Suisse, Galerie Graff, 1991.
 Articulation, Expression, Centre d'exposition de Saint-Hyacinthe, Saint-Hyacinthe, 1991.
 Corriger les lieux. Après la photographie de voyage, Maison de la culture Côte-des-Neiges, Montréal, 1991.
Phylactères ‐ Les figures qui parlent, Galerie Verticale, Laval, 1992.
 Lo sguardo dell'atro/Le regard de l'autre, Maison de la culture Côte-des-Neiges, Montréal, 1994.
 L'effet cinéma. Quand l'image raconte, Musée d'art contemporain de Montréal, Montréal, 1996.
900 cm à collectionner, Galerie Graff, Montréal, 1996.
ESTAMPA 96, Foire Internationale d'art contemporain, Espagne, Madrid, 1996.
 L'histoire à l'œuvre, Centre Saidye Bronfman, Montréal, 1997.
 Regards croisés, Centre d'exposition de l'Université de Montréal, Montréal, 1998.
 Sur les mots de Jean-Paul Daoust, Centre d'exposition Lanaudière, Charlemagne, 1998.
 États d'âmes, états de langue, Centre d'exposition Lanaudière à Charlemagne, 1999.
 FIAC 99, Galerie Graff, France, Paris, 1999.
 Séries, Galerie Graff, France, Paris, 2000.
 La nature des choses, Musée du Québec, Québec, Québec, 2001.
Laboratoire, Galerie Graff, Montréal, 2001.
Correspondances hommage à Robert Wolfe, Galerie Graff, Montréal, 2003.
Toronto International Art Fair, Galerie Graff, Metro Toronto Convention Centre, 2008.
 Les musiques et la mort, organisée par la revue Frontières, Bibliothèque centrale de l'Université du Québec à Montréal, Montréal, 2008.
 La coexistence des traits, 40 ans de dialogue entre les Éditions du Noroît et les artistes 	visuels, Maison de la culture du Plateau Mont-Royal, Montréal, 2011.
Foire Papier 11, Galerie Graff, Montréal, 2011.
Couleurs et lumières – Œuvres de la collection, commissaire Bernard Lamarche, Musée régional de Rimouski, 2011.
Les Éditions Roselin : vingt ans de livres d'artiste, Maison de la culture du Plateau-Mont-Royal, Montréal, 2013.
 Incursion dans le studio d'art. L'apprentissage du dessin d'hier à aujourd'hui, commissaire Andrée Matte, Musée de Lachine en 2018.
Répliques, commissaire Emmanuel Galland, Centre d'exposition de l'Université de Montréal, 2019.

Collections
Son œuvre est représentée dans plusieurs collections, dont celles de la Collection Prêt d'œuvres d'art du Musée national des beaux-arts du Québec, Banque d'œuvres d'art du Canada, du Musée national des beaux-arts du Québec, du Musée d'art contemporain de Montréal, du Musée de Lachine, du Musée d'art de Joliette, du Musée régional de Rimouski, du Musée d'art contemporain de Baie Saint-Paul et du Musée d'art contemporain des Laurentides.

Bibliographie et Fortune critique

Textes d'Alain Laframboise, Historien de l'art

LAFRAMBOISE, Alain, Les normes de l'image sacrée de la seconde moitié du cinquecento, Montréal, Presses de l'Université de Montréal, 1974, 146 pages. (Mémoire de maîtrise)
LAFRAMBOISE, Alain, Istoria et théorie de l'art : Italie, XVe, XVIe siècles, Montréal, Presse de l'Université de Montréal, 1989, 415 pages. (Thèse de doctorat)
LAFRAMBOISE, Alain et Françoise SIGURET, Andromède ou Le héros à l'épreuve de la beauté, Paris, Klincksieck Paris; Paris Musée du Louvre, 1996, 655 pages.

Textes de catalogues, comptes rendus, articles, etc. portant sur l'œuvre d'Alain Laframboise

ARASSE, Daniel et al., Théâtres pour voir Alain Laframboise, Ian Paterson = Performing Eyes : Alain Laframboise, Ian Paterson, (Galerie Mak (Sarajevo, Bosnie-Herzégovine); Centre culturel canadien (Paris, France), Paris, Ambassade du Canada, Services culturels, Collection « Esplanade », 1998, 89 pages.
BÉDARD, Catherine, « Représenter l'Italie: pour l'esquisse d'un rapport entre diplomatie et photogénie », in Le Regard de l'autre = As others see us = Los guardo dell'altro, Montréal, Maison de la culture de Côte-des-Neiges, 1994, 51 pages.
BERLUTTI, Walter (Alain LAFRAMBOISE et Louis CUMMINS), Gold & Rust, Louis Cummins, Alain Laframboise, Éditions Graff, Graff, Centre d'exposition et de théorie de l'art contemporain, Montréal, 1998, 24 pages.
BERNIER, Christine (dir.), Construire le sens. Alain Laframboise, Montréal, Éditions L'ARgoT et Université de Montréal, 2015, 106 pages.
BOULANGER, Chantal, « L'histoire à l'œuvre » in Le champ historique entre trajectoire et stase, Montréal, La Galerie d'art du Centre Saidye Bronfman, 1997, 48 pages.
CHASSAY, Christiane, « L'entrée en matière/Introduction », in L'art pense, Montréal, La Société d'esthétique du Québec, pages 5‐13 et 85‐93.
COLLECTIF, Montréal tout-terrain, Montréal, ancienne Clinique Laurier, 1984, 71 pages.
COLLECTIF, Le monde selon Graff, 1966-1986, Montréal, Éditions Graff, 1987, 632 pages.
COLLECTIF, Les artistes de l'Université de Montréal, Montréal, Service d'animation culturelle, Service aux étudiants, Université de Montréal, 1988, 25 pages.
COLLECTIF, ELAAC : Entrée libre à l'art contemporain, 1989, Montréal, Association des galeries d'art contemporain de Montréal, 1989, 82 pages.
COLLECTIF, Pratiques : Exposition d'œuvres d'artistes-enseignants au Département d'histoire de l'art de l'Université de Montréal, Montréal, Maison de la culture Côte-des-Neiges, 1990, 55 pages.
COLLECTIF, Entrée libre à l'art contemporain 1991/Puissance et reflets, 1991-1992, Montréal, Association des galeries d'art contemporain de Montréal, 1991, 116 pages.
COLLECTIF, Dazibao, Trois, 6, , Laval, 1991, 238 pages.
CUMMINS, Louis, « Feintes et secrets achriens », in Lectures obliques : Douze pratiques d'écriture reliées à l'art contemporain, Hérouville Saint-Clair, France: Centre d'art contemporain de Basse-Normandie, 1999, page 71.
CUMMINS, Louis, « L'inconscient blanc de la photographie » in Alain Laframboise, Visions domestiques II, Montréal, Galerie Graff, 2002, n. p.
DANDREY, P., « Andromède ou le héros à l'épreuve de la beauté », Revue de Littérature Comparée, vol  72, no 1, , page 537.
DE BELLEFEUILLE, Normand  et Alain LAFRAMBOISE, Notte Oscura, postface d'André Gunthert, Saint-Lambert, Éditions du Noroît, 1993, 102 pages.
DE BLOIS, Nathalie, La nature des choses, Québec, Musée du Québec, 2000, 37 pages.
DESAUTELS, Denise et Alain LAFRAMBOISE, Tombeau de Lou; autour des Visions domestiques d'Alain Laframboise, Montréal, Éditions du Noroît, 2000, 134 pages.
GODMER, Gilles, « Des affinités électives » in Peinture au Québec : une nouvelle génération, Montréal, Musée d'art 	contemporain de Montréal, 1985, pages 7‐9.
LACROIX, Paul et Alain LAFRAMBOISE, Tempête/Macula, travaux photographiques de Paul Lacroix, texte Alain Laframboise, maquette et reliure J. Fournier, Éd. Roselin, 1994, n. p.
LAFRAMBOISE, Alain et Anne-Marie ALONZO, French Conversation, Laval, Éditions Trois, collection « Cabinet des 	merveilles », 1986, 73 pages.
LAFRAMBOISE, Alain, « Quelques observations d'un artiste « collectionneur » sur la Collection », notes de l'auteur, texte inédit, , n. p.
LAFRAMBOISE, Alain, « Alain Laframboise: L'image capricieuse », in Articulation, Saint-Hyacinthe, Expression, Centre d'exposition de Saint-Hyacinthe, 1991, pages 37‐41.
LAMARCHE, Bernard, Couleurs et lumières : Œuvres de la collection du Musée régional de Rimouski, Rimouski, Musée de Rimouski, opuscule, 2011, 4 pages.
LAMOUREUX, Johanne, « Écho II : La peinture tourne de l'œil/Écho II : Painting's faint vision », in L'art pense, Montréal, La Société d'esthétique du Québec, 1984, pages 50‐54 et 111‐113.
LAMOUREUX, Johanne, « L'image capricieuse/L'immagine capricciosa » in Alain Laframboise Fondali, Edizioni Essegi, Ravenna, 1992, n. p.
LANDRY, Pierre, « Peinture au Québec 'Les entours' », in Peinture au Québec : une nouvelle génération, Montréal, Musée d'art contemporain de Montréal, 1985, pages 44‐45.
LANGLOIS, Monique, « Le retour à la figuration en art actuel: tradition et innovation » in Actes du XI° Congrès international d'esthétique, Nottingham (1988), 1990, n. p.
LAVOIE, Vincent, « M. L. a fait aussi son monument », in Pratiques, Montréal, Maison de la Culture Côte‐des‐Neiges, 1990, pages 25‐27.
LUSSIER, Réal et Olivier ASSELIN, L'effet cinéma, Montréal, Musée d'art contemporain de Montréal, 1995, 58 pages.
MATHIEU, Jacqueline, Corriger les lieux, après la photographie de voyage, Montréal, Maison de la culture Frontenac, opuscule, 1991, 2 pages.
MAYRAND, Céline, « Hors‐d'œuvre » in Incorporation, Montréal, Galerie d'art Lavalin, 1989, n. p.
MURRAY, Karl-Gilbert, Alain Laframboise, Le sens du quotidien, Saint-Jérôme, Musée d'art contemporain des Laurentides, 2014, 64 pages.
PAYANT, René, Hypothétiques confluences, Montréal, Galerie Jolliet, 1983, 10 pages.
PAYANT, René, Alain Laframboise : Échos et écarts, Québec, Galerie René Bertrand, opuscule, 1985, 4 pages.
PAYANT, René, « Échos et écarts »  in Vedute : Pièces détachées sur l'art, 1976-1986, Laval, Éditions Trois, 1987, pages 469-471.
SIGURET, Françoise, «Théâtres de Rome /Teatri di Roma » in Alain Laframboise Fondali, Edizioni Essegi, Ravenna, 1992, n. p.

Textes de périodiques portant sur les œuvres d'Alain Laframboise
ALONZO, Anne‐Marie, « Sans titre comme ses boîtes », La Nouvelle barre du jour, n° 135, , pages 82‐85.
ANONYME, « Il fotografo "pittore" Laframboise espone dal 23 », La Gazetta di San Marino, , n. p.
ANONYME, « Fondali di Alain Laframboise », Mongolfiera (Bologne), , p. 31.
AQUIN, Stéphane, « Alain Laframboise. Décors et âmes », Voir, 24 au , page 27.
AQUIN, Stéphane, « Alain Laframboise. L'être et le néant », Voir, vol 9, n° 3, 8 au , page 65.
AQUIN, Stéphane, « Alain Laframboise », Voir, 24 au , n. p.
BEAUDET, Pascale, « La peinture au Québec ‐ Une nouvelle génération », Vie des Arts, 1985, vol 30, n° 102, pages 18‐21.
BÉLISLE, Josée, « Graff : un phénomène » in Graff 1966-1986, Musée d'art contemporain de Montréal, 1988, 103 pages.
BENTLEY MAYS, John, « New generation reaffirms old fashioned journalism Quebec artists heed the call of tradition », The Globe and Mail, , page 13.
BERNATCHEZ, Raymond, « Traces du passé dans l'œuvre de six jeunes artistes », La Presse, , n. p.
BERNIER, Christine, « Alain Laframboise », Parachute, n° 56, automne 1989, pages 58‐59.
BERNIER, Christine, « Phylactères. Les figures qui parlent », Trois, vol 8 n°1, automne, 1992, p. 59.
BERNIER, Christine, « Alain Laframboise », Parachute, n° 79, été 1995, pages 43‐44.
BERNIER, Jean-Jacques, « Le jeu de la pénombre… Alain Laframboise. Visions domestiques », Vie des Arts, vol 41, n° 167, 1997, page 66.
BERTAUDON, Yves, « Capricci, d'Alain Laframboise », Les nouvelles publications, Marseille, , n. p.
BEURDELEY, Timothée, « Alain Laframboise, l'œuvre et son commentaire », Quartier Libre, .
BIRON, Normand, « Narcisse piégé par le  », Le Devoir, , page 29.
CAMPEAU, Sylvain, « Laframboise/Giroux/Royston », ETC Montréal, n° 9, automne 1989, pages 56‐58.
CAMPEAU, Sylvain, « Alain Laframboise », Parachute, n° 69, hiver 1993, pages 36‐37.
CAMPEAU, Sylvain, « Alain Laframboise, Parcours », CV Photo, n° 79, 2008, page 56.
CAMPEAU, Sylvain, « Alain Laframboise, Figures », Galerie Graff, Montréal, du  au  », Ciel variable : art, photo, médias, culture, n° 94, printemps-été 2013, page 81.
CARANI, Marie, « Venise dé/masquée dans le tourbillon du post‐moderne », Protée, vol 18, n° 3 (La reproduction photographique comme signe), 1990, pages 4, 8, 18, 28, 40, 48, 58, 72.
CHALUT, Stéphanie, « Alain Laframboise : Le sens du quotidien », Vie des Arts (webzine), .
CHANTOURY‐LACOMBE, Florence, « Les photographies d'Alain Laframboise : le Wunderkammer de l'histoire de l'art », 	Esse art + opinions, n° 70, automne 2010, pages 32‐37.
CHANTOURY-LACOMBE, Florence, Peindre les maux : arts visuels et pathologie, XIVe-XVIIe siècle, préface Alain Laframboise, Paris, Hermann, 2010, 422 pages.
CHANTOURY-LACOMBE, Florence, « Alain Laframboise. Par-delà le médium photographique », Etc Média, n° 103, oct. 2014-fév. 2015, pages 93-96.
CHANTOURY-LACOMBE, Florence, « Alain Laframboise. Le regard du spectre », Ciel Variable, n° 108, hiver 2018, pages 72-74.
CORRIVEAU, Hugues, « Nous mentons tous », Lettres québécoises : la revue de l'actualité littéraire, n° 73, 1994, pages 31-32.
CORMIER, Réjean‐Bernard, « L'objet d'intérieur comme outil de théâtralité », ETC Montréal, n° 40, déc. 1997- janv.-fév. 1998, pages 39‐40.
CORMIER, Réjean-Bernard, « Une deuxième vie », ETC Montréal, n° 61, mars‐avril‐, pages 41‐45.
CORMIER, Réjean-Bernard, « Alain Laframboise, Visions domestiques III, Paroles et objets »,  ETC Montréal, n° 72, déc. 2005 ‐ janv. ‐ fév. 2006, pages 60‐65.
CRON, Marie‐Michèle, « Peindre pour remédier à défaillance du réel », Le Devoir, 7‐, page C‐9.
CRON, Marie-Michèle, « Pictura », Le Devoir, , page B‐10.
CUMMINS, Louis et Alain LAFRAMBOISE, « Gold & Rust », Visuel(s), nos 7‐8, 1999, pages 44‐48.
DAIGNEAULT, Gilles, « Les partis‐pris de René Payant », Le Devoir, , page 28.
DAIGNEAULT, Gilles, « Les boîtes à malice d'Alain Laframboise », Le Devoir, , page 33.
DAIGNEAULT, Gilles, « Des fictions tonifiantes », Le Devoir, , page 28.
DAIGNEAULT, Gilles, « L'exubérance de l'art contemporain Québécois », Le Devoir, , page 17.
DAIGNEAULT, Gilles, « Le trimestre en huit », Vie des Arts, automne 1984, page 85.
DAIGNEAULT, Gilles, « Les hauts et les bas de Noël », Le Devoir, , n. p.
DAIGNEAULT, Gilles, « Au MAC ‐ Une célébration de la jeune peinture », Le Devoir, , pages 13 ‐14.
DAVID, Carole, « Le fantasme du livre », Le Devoir, , n. p.
DAVID, Frédérique, « Une exposition retrace l'itinéraire de vie artistique d'Alain Laframboise », L'Écho du Nord, vol 79, 	n° 23, , page 27.
DELAGRAVE, Marie, « Alain Laframboise. La mise en boîte de la peinture », Le Soleil, , pages C10 et C11.
DELISLE, Linda, « Alain Laframboise », Parachute, été 1987, n° 43, pages 39‐40.
DESGAGNÉ-DUCLOS, Gabrielle, « Alain Laframboise, Le sens du quotidien, Centre d'exposition de l'Université de 	Montréal, du  au  », Ciel variable : art, photo, médias, culture, n° 102, hiver 2016, page 92.
DUMONT, Jean, « Plaidoyer pour un libre regard », Montréal ce mois-ci, , n. p.
DUMONT, Jean, « La photographie fait un beau clin d'œil à l'art au Centre Dazibao », Le Devoir, , page C‐6.
DUMONT, Jean, « Les liens étranges qu'on tisse entre les choses », Le Devoir, , page C‐12.
DUSSAULT, Micheline, « Un pont entre artistes et philosophes : Les œuvres », Continuum, , page 16.
FUCITO, Gianguido et Michel AEBISCHER, Montréal/Genève Genève/Montréal, Québec, Centre Saidye Bronfman; Genève, Suisse: Centre  d'Art Visuel, 1986, 56 pages.
GAUTHIER, Ninon, « Le marché de Montréal, un marché en pleine effervescence », Finance, , pages 14‐18.
GIGLI, Ivo, « I "Fondali" di Laframboise », La Gazetta di San Marino, , page 23.
GODMER, Gilles, « Des affinités électives » in Peinture au Québec : une nouvelle génération, Musée d'art contemporain de Montréal, 1985, pages 7‐9.
HAZAN, Olga, « Artifices et beautés sublimes », Frontières, vol 20, n° 2, 2008, pages 113-115.
JOUBERT, Lucie, « Le paratexte chez Anne-Marie Alonzo : invitation à une lecture de la complicité », Voix et Images, vol 	19, n° 2, (56) 1994, pages 297-308.
LACROIX, Laurier, « Alain Laframboise », Parachute, n° 88, automne 1997, pages 53‐54.
LAMARCHE, Bernard, « Des projets inachevés. Deux expositions illustrent une volonté chez les artistes québécois d'un recours à l'histoire de l'art », Le Devoir, 18‐, n. p.
LAMARCHE, Bernard, « Visions domestiques », Le Devoir, 26‐, n. p.
LAMOUREUX, Johanne, « Noir et blanc : précis d'usages plus ou moins vagues » in La photographie et l'art contemporain, Actes du colloque, Esse art + opinions, Montréal, 1988, hors‐série n°2.
LAVAL, Martine, « Le sens du quotidien d'Alain Laframboise », Journal Accès, , page 27.
LAVOIE, Vincent, « Alain Laframboise : par le biais du corps » in Les artistes de l'Université de Montréal, Service d'animation culturelle, Université de Montréal, 1988, page 14.
LAVOIE, Vincent, « Dérive vénitienne, œuvres récentes d'Alain Laframboise », Spirale, été 1989, page 13.
LEPAGE, Jocelyne, « Le moment rêvé de se faire, à soi, des cadeaux Noël. Noël dans les Galeries », La Presse, , page F3.
LEPAGE, Jocelyne, « Quand l'art pense à l'art », La Presse, , n. p.
LEPAGE, Jocelyne, « Fiction, en effet », La Presse, , page E8.
LEPAGE, Jocelyne, « Montréal‐tout‐terrain Place au jeu », La Presse, , pages 13‐22.
LEPAGE, Jocelyne, « Dernier sprint de l'année », La Presse, , n. p.
LEPAGE, Jocelyne, « Une belle génération de bricoleurs », La Presse, , page F1.
LÉPINE, Stéphane, « Écrire dans les deux langues », Le Devoir, , page C‐3.
LETOCHA, Louise, « Fiction en effet de critique », Spirale, , page 10.
LUCBERT, Françoise, « Incorporation ou l'art des vastes thèmes », Vie des Arts, n° 139, , page 64.
LUCBERT, Françoise, « La promotion des arts visuels : au centre culturel Canadien de Paris », Vies des Arts, vol 43, n° 175, 1999, page 30.
LUPIEN, Jocelyne, « L'inquiétante étrangeté des objets immobiles »,  CV Photo, n°39, été 1997, pages 23‐24.
MAGNONI, Nicoletta, « I Fondali di Laframboise ‐ Se la fotografia è un po' pittura », Il resto del Carlino (Bologne), , cahier IV, page 1.
MATHONNET, Philippe, « Montréal‐Genève : le choc des images québécoises », Journal de Genève, , n. p.
MAZOYER, Guillaume, « Tous au commissariat », Quartier Libre, vol 23, n° 1, , page 17.
MERLE, Patrick, « Photo : Laframboise ou la tentation du classique », Le Méridional (Marseille), , n. p.
PAGEAU, Édith-Anne, « L'art contemporain : une châsse du sacré? », ETC, n° 58, 2002, pages 58-60.
PAYANT, René, « Paysages multiples », Spirale, , n. p.
PAYANT, René, « Peinture au Québec: une nouvelle génération », Parachute, n° 40, 1985, pages 48‐49.
PELLETIER, Sonia, « Ouvrages à souligner / New and Worthy », Ciel variable : art, photo, médias, culture, n° 98, automne 2014, page 102.
Protée, Théories et pratiques sémiotiques, Vol 18 n° 3, automne 1990 (Iconographie par Laframboise)
RACINE, Yolande et Gaston SAINT-PIERRE, Regards croisés : Rencontre de 11 artistes et 11 collections : Détournement et appropriation, Montréal, Centre d'exposition de l'Université de Montréal, 1998, 24 pages.
ROZON, René, « Les Défis du Salon des Galeries d'Art de Montréal », Vie des Arts, vol 29, n° 118, 1985, pages 60-61.
SABBATH, Lawrence, « Museum gives young Quebecers their due », The Gazette, , 	page 19.
TIFFET, Paul, « F(r)ictions en effet(s) », Parachute, n° 35, été 1984, pages 32‐33.
TOURANGEAU, Jean, « Peinture au Québec ‐ Une Nouvelle Génération », Vanguard, vol 14, n° 7, , pages 	13‐14.
UZEL, Jean‐Philippe, « Louis Cummins et Alain Laframboise », Parachute, n° 94, 1999, pages 47-48.
VERDIER, Jean‐Émile,  « Alain Laframboise, Galerie Jolliet, 6‐ », Parachute, automne 1984, pages 51‐52.
VERDIER, Jean-Émile et Suzanne LAMOUREUX, « Fiat Lux. Photographie et architecture », Parachute, n° 61, hiver 1991, pages 53‐54.
VILLENEUVE, Pâquerette, « Alain Laframboise. Vivre et voir Venise », Vie des Arts, n° 136, , page 69.
YERGEAU, Normand, « L'art sur l'échiquier. Gold & Rust », Vie des Arts, vol 42, n° 174, 1999, page 75.

Textes d'Alain Laframboise portant sur des expositions et/ou le travail artistique d'autres artistes (Critiques, comptes rendus, articles)

COLLECTIF, Emprunts et citations, autour de Suzanne, livre d'artistes, textes de Catherine Bédard, Alain Laframboise, Pierre Landry Allard et Nycole Paquin, Éditions Graff, collection « Montréal-Boissano », 1991.
LAFRAMBOISE, Alain, « Question de fragment », in Où est le fragment, Montréal, Musée d'art contemporain de Montréal, 1987, pages 13-20.
LAFRAMBOISE, Alain, « L'Homme des chimères », Vie des Arts, vol 32, n° 127, 1987, pages  42-43, 77.
LAFRAMBOISE, Alain, « Le velo vénitien », in Protée, vol 16, nos 1-2, hiver-printemps 1988, pages 181-187.
LAFRAMBOISE, Alain, « Tenir l'image à distance », Parachute, n° 56, automne 1989, pages 52-53.
LAFRAMBOISE, Alain et Peter TERRIO, Raymond Gingras, Montréal, P. Terrio éd., 1990, 35 pages.
LAFRAMBOISE, Alain, « Grotesques et écologiques. Serge Murphy, exemplaire et singulier », Parachute, n° 59, été 1991, pages 16-21.
LAFRAMBOISE, Alain, « Paul Lacroix », Parachute, n° 61, hiver 1991, pages 51-52.
LAFRAMBOISE, Alain, « Marcel Lemyre », Parachute, n° 61, hiver 1991, pages 55-56.
LAFRAMBOISE, Alain, Le magasin monumental, essai sur Serge Murphy, Laval, éd. Trois, 1992, 62 pages.
LAFRAMBOISE, Alain, « Daniel Arasse. Autour du détail », Parachute, n° 71, été 1993, pages 10-14.
LAFRAMBOISE, Alain, Farrell & Parkin a passion for maladies = Une passion pour les maladies, Montréal, Dazibao, Centre de photographies actuelles, 1993, 13 pages.
LAFRAMBOISE, Alain, « The Making of a Memory: Evergon », in Frame of Mind. Viewpoints on Photography in Contemporary Canadian Art, Banff, The Banff Centre for the Arts, Walter Phillips Gallery, 1993, pages 48-57.
LAFRAMBOISE, Alain, « Stephen Schofield. Des plaisirs ancillaires de la sculpture », Parachute, n° 76, automne 1994, pages 5-9.
LAFRAMBOISE, Alain et al., Trevor Gould African English Pavillon : Jardin botanique de Johannesburg, Outremont, Centre d'exposition et de théorie de l'art contemporain, 1995, 1 portefeuille.
LAFRAMBOISE, Alain, « Deux inventaires de la mort : Bronzino et Serrano. Entre l'ivresse du détail et la perfection de la sculpture », Etc Montréal, n° 42, été 1998, pages 20-23.
LAFRAMBOISE, Alain, « Michel Goulet », Parachute, n° 89, hiver 1998, pages 41-43.
LAFRAMBOISE, Alain, « Christian Boltanski », Parachute, n° 94, printemps 1999, pages 40-41.
LAFRAMBOISE, Alain, « Michel Bricault », Parachute, n° 96, automne 1999, pages 73-74.
LAFRAMBOISE, Alain, « La grotesque dans les portraits d'Agnolo Bronzino », Visio, vol 5, n° 4, hiver 2000-2001, pages 73-81.
LAFRAMBOISE, Alain, « Dérives et retours sur la question du voyeurisme en art », Etc Montréal, n° 56, hiver 2001-2002, pages 10-14.
LAFRAMBOISE, Alain, « Le miroir d'Evergon », CV Photo, n° 58, 2002, pages 9-11.
LAFRAMBOISE, Alain, « Dans la ville instable », Ciel variable : art, photo, médias, culture, n° 69, oct. 2005, pages 18-21.
LAFRAMBOISE, Alain, « Jana Sterbak: Trompe-l'œil vénitien » / "Jana Sterbak: Trompe-l'œil in Venice", Ciel variable : art, photo, médias, culture, n° 77, 2007, pages 19-21.
LAFRAMBOISE, Alain, « Des retouches au désordre », Etc Montréal, n° 86, été 2009, pages 7-10.
LAFRAMBOISE, Alain et Alain GIGNAC, « L'art et la Bible au risque de leurs interprètes. Dialogue interdisciplinaire entre un exégète biblique et un historien de l'art (Post-scriptum) », Théologiques, vol 17, n° 2, 2009, pages 157-167.
LAFRAMBOISE, Alain, « Images d'un meurtre : la Genèse des artistes », Théologiques, vol 17, n° 2, 2009, pages 135-155.
LAFRAMBOISE, Alain, « Obsessions et rituels », Etc Montréal, n° 88, hiver 2009-2010, pages 56-57.
LAFRAMBOISE, Alain, « L'impossible réciprocité. Sophie Calle, Pour la première et la dernière fois, Musée d'art contemporain de Montréal, du  au  », Ciel variable : art, photo, médias, culture, n° 101, automne 2015, pages 86-87.

TROIS. Revue d'écriture et d'érudition & les ÉDITIONS TROIS

Alain Laframboise a été cofondateur et codirecteur (avec Anne-Marie Alonzo et Richard Boutin) de la revue d'écriture et d'érudition TROIS et des Éditions TROIS de 1985 à 1996.

Quelques ouvrages (catalogues, romans, essais, contes, poésies) publiés par les Éditions TROIS :

ALONZO, Anne-Marie, Denise DESAUTELS et Raymonde APRIL, Nous en reparlerons sans doute, poésie, photographies, 1986.
ALONZO, Anne-Marie et Alain LAFRAMBOISE, French Conversation, poésie, collages, 1986.
ALONZO, Anne-Marie,  La vitesse du regard. Autour de quatre tableaux de Louise Robert, essai fiction, 1990.
BERNARD, Denis et André GUNTHER, L'instant rêvé. Albert Londe, préface de Louis Marin, essai, 1993.
CAMPEAU, Sylvain, Chambres obscures. Photographie et installation, essais, 1995.
CIXOUS, Hélène, La bataille d'Arcachon, conte, 1986.
COLLECTIF, Tombeau de René Payant, essais en histoire de l'art, 1991.
DAOUST, Jean-Paul, Du Dandysme, poésie, 1991.
DOYON, Carol, Les histoires générales de l'art. Quelle histoire!, essai, 1991.
LAFRAMBOISE, Alain, Le magasin monumental (essai sur l'œuvre de Serge Murphy), 1992.
MARTIN, André, Chroniques de L'Express : natures mortes, récit et photographies, 1997.
MERCURE, Luc, Le souvenir blanc des Cyclades, roman, 2005.
PAYANT, René, Vedute. Pièces détachées sur l'art 1976-1987, 1987.

Collaborations

 Il codirige avec Françoise Siguret d'Études françaises de l'Université de Montréal, de 1988 à 1994, une recherche sur les représentations d'Andromède aux  et  siècles. Les actes du colloque Andromède ou le héros à l'épreuve de la beauté sont parus en 1996 (Musée du Louvre et Klincksieck).
 En 2004, il a été responsable avec Victor Stoichita (Université de Fribourg) de l'atelier Représenter l'espace dans le cadre du  congrès du Comité international d'histoire de l'art tenu à Montréal.

Notes et références

Voir aussi

Liens externes

 Fonds Alain Laframboise, Fonds d'archives conservé par l'Université de Montréal

Naissance en décembre 1947
Décès en avril 2016
Décès à 68 ans
Naissance au Québec
Décès en Montérégie
Artiste québécois
Peintre québécois
Photographe québécois
Historien de l'art canadien
Personnalité culturelle de Vaudreuil-Soulanges
Professeur à l'Université de Montréal


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Obesity increases the likelihood of you dying young, including a higher risk for heart disease and diabetes.


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Düsseldorfer TuS Fortuna 1895 II
Stadium Paul-Janes-Stadion
Capacity 7,150
Manager N. Michaty
Fixtures / Results / TV Schedules / Live Stream Listings
« Prev. Next »
Live REG Apr 20 + 8:00am Fortuna Düsseldorf II 0 - 3 Wuppertaler SV
Live REG Apr 27 + 8:00am Kaan-Marienborn 2 - 1 Fortuna Düsseldorf II
Live REG May 6 + 1:00pm Fortuna Düsseldorf II 0 - 5 Köln II
Live REG May 11 8:00am Herkenrath 0 - 0 Fortuna Düsseldorf II
Live REG May 18 + 8:00am Fortuna Düsseldorf II 1 - 1 Rot-Weiss Essen
REG Jul 27 8:00am Fortuna Düsseldorf II vs Lippstadt 08
REG Aug 3 8:00am Alemannia Aachen vs Fortuna Düsseldorf II
REG Aug 10 8:00am Fortuna Düsseldorf II vs Bonner SC
REG Aug 17 8:00am TUS Haltern vs Fortuna Düsseldorf II
REG Aug 24 8:00am Fortuna Düsseldorf II vs Schalke 04 II
*All times are shown in your local time
J. Möllering
J. Theissen
M. Zelic
M. Okoye
B. Schmitz
R. Bormuth
B. Kummer
G. Siadas
Goals: 2
L. Kwadwo
M. Stöcker
M. Montag
N. Galle
L. Goralski
D. Lovren
A. Lambertz
K. Froese
Sidelined: Ankle Ligaments V. Schaub
T. Kaminski
G. Touloupis
E. Lofolomo
D. Ehret
L. Kazelis
S. Appelkamp
T. Deters
J. Laws
K. Miyake
J. Tepe
E. Kujović
A. Falahen
J. Endres
T. Bornemann
D. Willms
J. Möllering 17 180 2 2 0 0 14 0 0 0 0 0
J. Theissen 21 1350 15 15 0 0 0 0 0 1 0 0
22 M. Zelic 19 180 2 2 0 0 14 0 0 2 0 0
1 M. Okoye 19 1350 15 15 0 0 4 0 0 3 0 0
B. Schmitz 18 0 0 0 0 0 2 0 0 0 0 0
R. Bormuth 23 180 2 2 0 0 0 0 0 0 0 0
B. Kummer 20 823 13 9 4 2 8 0 0 0 0 0
G. Siadas 19 1009 17 13 4 12 9 2 0 3 1 0
5 L. Kwadwo 22 1559 18 18 0 1 0 0 0 10 0 0
16 M. Stöcker 20 862 19 9 10 2 22 0 0 2 0 0
2 M. Montag 21 2778 32 31 1 3 1 2 0 1 0 0
3 N. Galle 20 2472 28 28 0 2 1 1 0 4 0 0
4 L. Goralski 25 2582 29 29 0 1 0 0 0 13 1 1
D. Lovren 20 282 4 4 0 4 0 0 0 1 0 0
17 A. Lambertz 34 699 11 9 2 6 11 0 0 2 0 0
A. Barkok 21 268 3 3 0 1 0 1 0 0 0 0
15 K. Froese 23 1438 22 16 6 9 7 7 0 4 0 0
13 V. Schaub 20 764 15 8 7 4 20 1 0 2 0 0
21 T. Kaminski 19 591 23 4 19 4 28 2 0 5 0 0
8 G. Touloupis 19 0 1 0 1 0 1 0 0 0 0 0
E. Lofolomo 19 5 1 0 1 0 3 0 0 0 0 0
D. Ehret 20 2619 31 31 0 12 1 4 0 10 0 0
11 L. Kazelis 20 7 3 0 3 0 11 0 0 0 0 0
S. Appelkamp 18 110 5 0 5 0 6 1 0 0 0 0
7 T. Deters 23 118 2 1 1 0 2 0 0 0 0 0
6 J. Laws 21 639 8 7 1 0 1 0 0 0 0 0
10 K. Miyake 21 2636 31 31 0 6 0 8 0 5 0 0
20 J. Tepe 20 205 6 2 4 2 19 0 0 1 0 0
14 E. Kujović 30 80 1 1 0 1 0 0 0 0 0 0
9 A. Falahen 26 944 15 10 5 3 5 3 0 1 0 1
12 J. Endres 22 1979 25 22 3 9 3 5 0 3 0 0
18 T. Bornemann 18 137 4 1 3 1 4 2 0 0 0 0
D. Willms 19 956 19 9 10 5 15 1 0 1 0 0
Transfers In
T. Deters 01 February 2019 Meppen Free
Transfers Out
M. Oktay 22 January 2019 Beşiktaş -
Soccer scores: Rot Weiss Ahlen vs Fortuna Dusseldorf II - Redskins 101
9 July. We are ready to prepare. That is International Clubs Club Friendly Games: Rot Weiss Ahlen v Fortuna Dusseldorf II.
Redskins 101 (1 week ago)
News roundup: Captain Morgan sponsors Union, Zack Steffen off to Fortuna Dusseldorf, 25K soccer fans in Sweden can't be wrong - The Philly Soccer Page
Photo: Earl Gardner. Philadelphia Union. Nothing like chasing that slice of Bimbo bread with a snifter or two of Captain Morgan.
The Philly Soccer Page (1 week ago)
Bundesliga: RB Leipzig sign Christopher Nkunku | Sports| German football and major international sports news - Deutsche Welle
RB Leipzig have signed a talented French midfielder from PSG. This is the latest big move after Sebas
Deutsche Welle (13 hours ago)
Footy on the Telly 7/13 – 7/19 – The Philly Soccer Page - The Philly Soccer Page
USA/Canada – Major League Soccer 7:30pm Montreal Impact vs Toronto FC ESPN+, MLS Live, TSN GO, TSN4 7:30pm Orlando City SC vs Columbus Crew
The Philly Soccer Page (5 days ago)
Soccer scores: FC Viktoria Cologne vs Heracles Almelo - Redskins 101
12 July. We are there to boost. This is International Clubs Club Friendly Games: FC Viktoria Cologne v Heracles Almelo.
Redskins 101 (6 days ago)
Soccer scores: FC Viktoria Cologne vs Bonner SC - Redskins 101
3 July. We are ready to create. That is International Clubs Club Friendly Games: FC Viktoria Cologne v Bonner SC.
Redskins 101 (2 weeks ago)
MLS Exports: Injuries, promotion/relegation and Champions League dreams - MLSsoccer.com
Another highly eventful month has passed for the MLS products playing around the globe, which means it's time to get you caught up with all their on-field
MLSsoccer.com (4 weeks ago)
Locomotive FC signs U.S. National Team forward Jerome Kiesewetter - KTSM News Channel 9
El Paso Locomotive FC signs top-flight German-born American Forward Jerome Kiesewetter, pending league and federation approval.
KTSM News Channel 9 (3 months ago)


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text:
Brian Wilson Speaks
50 Stories: 50 Years in Radio
About Brian Wilson
More than a month ago now, Jack Minzey sent what was to be the final chapter in the long line of books and treatises that he has written over the years... Jack died Sunday, 8 April 2018.
Professionally, Jack was head of the Department of Education at Eastern Michigan University as well as a prolific author of numerous books, most of which were on the topic of Education and the Government role therein. His interest in Conservative Politics was exceeded only by his intellectual ability. This is the last of his works.
How do civil wars happen?
Two or more sides disagree on who runs the country. And they can't settle the question through elections because they don't even agree that elections are how you decide who's in charge. That's the basic issue here. Who decides who runs the country?
When you hate each other but accept the election results, you have a country. When you stop accepting election results, you have a countdown to a civil war.
The Mueller investigation is about removing President Trump from office and overturning the results of an election. We all know that. But it's not the first time they've done this. The first time a Republican president was elected this century, they said he didn't really win. The Supreme Court gave him the election. There's a pattern here.
What do sure odds of the Democrats rejecting the next Republican president really mean? It means they don't accept the results of any election that they don't win. It means they don't believe that transfers of power in this country are determined by elections.
That's a civil war.
There's no shooting. At least not unless you count the attempt to kill a bunch of Republicans at a charity baseball game practice. But the Democrats have rejected our system of government.
This isn't dissent. It's not disagreement. You can hate the other party. You can think they're the worst thing that ever happened to the country. But then you work harder to win the next election. When you consistently reject the results of elections that you don't win, what you want is a
dictatorship.
Your very own dictatorship.
The only legitimate exercise of power in this country, according to Democrats, is its own. Whenever Republicans exercise power, it's inherently illegitimate. The Democrats lost Congress. They lost the White House. So what did they do? They began trying to run the country through Federal judges and bureaucrats. Every time that a Federal judge
issues an order saying that the President of the United States can't scratch his own back without his say so, that's the civil war.
Our system of government is based on the constitution, but that's not the system that runs this country. The Democrat's system is that any part of government that it runs gets total and unlimited power over the country.
If the Democrats are in the White House, then the president can do anything. And I mean anything. He can have his own amnesty for illegal aliens. He can fine you for not having health insurance. His power is unlimited. He's a dictator.
But when Republicans get into the White House, suddenly the President can't do anything. He isn't even allowed to undo the illegal alien amnesty that his predecessor illegally invented. A Democrat in the White House has 'discretion' to completely decide every aspect of immigration policy. A Republican doesn't even have the 'discretion' to reverse him. That's how the game is played That's how our country is run. Sad but true, although the left hasn't yet won that particular fight.
When a Democrat is in the White House, states aren't even allowed to enforce immigration law. But when a Republican is in the White House, states can create their own immigration laws. Under Obama, a state wasn't allowed to go to the bathroom without asking permission. But
under Trump, Jerry Brown can go around saying that California is an independent republic and sign treaties with other countries.
The Constitution has something to say about that.
Whether it's Federal or State, Executive, Legislative or Judiciary, the left moves power around to run the country. If it controls an institution, then that institution is suddenly the supreme power in the land. This is what I call a moving dictatorship.
Donald Trump has caused the Shadow Government to come out of hiding: Professional government is a guild. Like medieval guilds. You can't serve in if you're not a member. If you haven't been indoctrinated into its arcane rituals. If you aren't in the club. And Trump isn't in the club. He brought in a bunch of people who aren't in the club with him.
Now we're seeing what the pros do when amateurs try to walk in on them. They spy on them, they investigate them and they send them to jail. They use the tools of power to bring them down.
That's not a free country.
It's not a free country when FBI agents who support Hillary take out an 'insurance policy' against Trump winning the election. It's not a free country when Obama officials engage in massive unmasking of the opposition. It's not a free country when the media responds to the other
guy winning by trying to ban the conservative media that supported him from social media. It's not a free country when all of the above collude together to overturn an election because the guy who wasn't supposed to
win did.
Have no doubt, we're in a civil war between conservative volunteer government and a leftist Democrat professional government
h/t David Webb
A Timely Reminder
Originally posted just a few months ago, the crumbling of society has accelerated, exacerbated by an aggressively emboldened - or increasingly desperate - MSM to mis- and disinform anyone attempting to pay attention via their "News". Feel free to share with your friends, especially those having trouble with discernment. BW When searching for the reason why things go wrong, stop when you get to the Media. The Media is our Teacher. It's the whole world's teacher. Everything we learn, we learn from the Media. With screens, cameras, actors and glib, well-coiffed hosts, radio and TV signals, cable, microwave, publishing, the all-powerful Internet with its own 'social media', it instructs us hourly, daily, weekly, month in, year out. The classroom is anywhere; it's ubiquitous. Class is in session even when school is closed. The course are Obedience, Submission, Conformity, Regimentation. There is no 'graduation'. There is no individual achievement, on
Dear Dr Fauci
NOTE: Linked below is the most comprehensive, direct, factual and professional peer-to-peer confrontation of Dr. Anthony Fauci I've seen. It's long. It poses direct questions to Fauci that likely reflect the same questions you have had - but not answered. There is no way this Open Letter can be construed as "conspiracy theory" or the product of a "special interest group" with a profit motive similar to the purported connections between Fauci and Bill Gates. Take the few minutes it will require to read and adsorb the entire piece. Yes, there are a few "medical" terms but nothing that will obscure the totality of the gauntlet thrown at the feet of Dr. Fauci. His various, often oblique or contradictory pronouncements taken as 'gospel' by power-crazed politicians have killed thousands, ruined businesses, even entire cities. Demand answers by writing directly to him directly and your various representatives. Share this with everyone yo
The Color of Crime
In the Age of BLM, here are some stats you may find informative - maybe even useful: • Black males age 18-35 years of age are only 1.8% of the U.S. population, yet have committed 52% of homicides from 1980-2008. Black males (all ages) are only 6% of the U.S. population, yet commit 46% of all violent crimes, and 50% of the gun homicides. If Blacks were removed from the equation, the U.S. gun homicide rate would be equal to Great Britain's, who have some of the most restrictive gun control laws in the world. • The Black homicide rate is 17 per 100,000, a rate over 9x that of the White rate, and comparable to some of those most murderous countries in the world. If the homicide rate for the U.S. were the White-only rate, the homicide rate would drop 84%, making the U.S. rate comparable to European countries. • According to the Bureau of Justice Statistics 2018 survey of criminal victimization, there were 593,598 interracial violent victimizations (ex
Now available at Amazon
The Existential Threat to Gun Rights
Attention Devout Statist
Brian Wilson 2015


Courtney Cook is an MFA candidate at the University of California, Riverside with an emphasis in Creative Nonfiction. She has been published in The Cerurove, Belle Ombre, and The Manifest-Station, and is a winner of a Hopwood Award in Nonfiction. Also an artist, Courtney is a contributing illustrator at Crybaby Zine and Lithium Magazine. Her illustrations have been featured by The Killer & Sweet Thing, Sugar Magazine, among others. When not creating, Courtney enjoys napping with her senior cocker spaniel, Francie.


The Review welcomes unsolicited articles (as well as essays, comments, and other types of shorter pieces) on lawyering, clinical teaching, legal practice, or related subjects. Text and citations should conform to The Bluebook: A Uniform System of Citation (18th ed.). Because the Review employs a system of anonymous peer review of manuscripts as part of its process of selecting articles for publication, manuscripts should not bear the author's name or identifying information.


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You are currently searching within the At Cassidy's Request, Senate Overwhelmingly Passes NFIP Extension section.
At Cassidy's Request, Senate Overwhelmingly Passes NFIP Extension
WASHINGTON—U.S. Senator Bill Cassidy, M.D. (R-LA), released the following statement after the Senate voted 86-12 to keep the National Flood Insurance Program from shutting down at midnight tonight:
"I thank Republicans and Democrats for voting overwhelmingly to keep the National Flood Insurance Program writing policies," said Dr. Cassidy. "I appreciate Senate leaders listening to my request to move the vote up to today so that no one in Louisiana or the rest of the country is left in the lurch. We now have four months to finalize a long-term plan that reforms the program to make it more affordable, accountable and sustainable."
The Senate was originally scheduled to vote on the extension later in the week, which would have caused a short lapse in the NFIP. Yesterday, Cassidy secured an agreement with Senate leadership to hold a vote today on the four-month NFIP extension the U.S. House of Representatives passed last week. Senate Majority Leader Mitch McConnell announced the addition of the NFIP vote to Tuesday's schedule after Cassidy spoke on the floor.


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Biografia

Origini
Zeynep Sultan nacque a Costantinopoli, nel Palazzo Topkapi, l'8 aprile 1720. Era figlia del sultano ottomano Ahmed III.

Matrimonio
Zeynep Sultan si sposò due volte:

 Nel dicembre 1728 sposò Küçük Sinek Mustafa Pasha, nipote del Gran Visir Nevşehirli İbrahim Pasha (marito della sua sorellastra Fatma Sultan). Il 9 dicembre la coppia si trasferì nel Palazzo Kıbleli. Insieme ebbero un figlio. Zeynep rimase vedova nel 1764.
 Nel 1765 sposò Damat Melek Mehmed Pascià, Kapudan della flotta e poi Gran Visir nel 1792.

Morte
Zeynep Sultan morì il 25 marzo 1774. Venne sepolta nel suo mausoleo nella moschea che aveva costruito, la moschea Zeynep Sultan.

Discendenza
Dal suo primo matrimonio, Zeynep Sultan ebbe un figlio:

 Sultanzade Yüsuf Bey (1732 - 1765)

Beneficenza
Zeynep Sultan costruì una moschea nel quartiere Eminönü, all'epoca chiamata Moschea Ruh-i Sultaniye e oggi nota come Moschea Zeynep Sultan. Intorno alla moschea costruì una scuola e una fontana.

Note

Bibliografia

 Sakaoğlu, Necdet (2008). Bu mülkün kadın sultanları: Vâlide sultanlar, hâtunlar, hasekiler, kadınefendiler, sultanefendiler . Oğlak Yayıncılık. ISBN 978-9-753-29623-6.
 Uluçay, Mustafa Çağatay (2011). Padişahların kadınları ve kizları . Ankara: Ötüken. ISBN 978-9-754-37840-5.
 Dinastia ottomana


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FATHER Project Uses New Grant and Partnerships to Expand Services
Author: CFFPP . Date: April 18, 2012
Guy Bowling, the manager of the Minneapolis-based FATHER Projectsays he is often asked "When will you have a FATHER Project in our community?" His answer to that question is "Right now!"—in four new communities serving seven counties across Minnesota. The FATHER Project, a 13-year-old program run by Goodwill/Easter Seals Minnesota, is using its recent Responsible Fatherhood grant of more than $1.7 million to replicate and expand its comprehensive services for noncustodial parents to the areas of Park Rapids, Rochester, St. Cloud and St. Paul.
According to Guy Bowling, the expansion is the outgrowth of a strategic plan developed in 2008 to accommodate the growing number of parents asking for services, and to reach diverse cultural communities across the state. Ultimately, he hopes to have a FATHER Project in each of the more than 20 Goodwill stores in Minnesota. He said, "We know that fathers around the state have similar needs… We want to reach out and stretch ourselves further, even in the rural communities."
Two of the new service locations, in St. Cloud and St. Paul, are "expansion sites" because the program will build on existing Goodwill staff and infrastructure. The other two new locations, in Park Rapids and Rochester, are "replication sites" that will be hosted by partnering organizations. These partnerships were facilitated by theMinnesota Fathers and Families Network (MFFN), which had mobilized several leadership circles around the state to advocate for fathers' support services. One of MFFN's leadership circles was in Park Rapids, where the FATHER Project is now partnering with St. Joseph's Area Health Services. The other leadership circle was in Rochester, where Family Service Rochester is the partner. Guy Bowling notes that "We wanted to partner with agencies that are interested and will take the lead to be the hub for services. You need to start with a hub for fathers to come to… Doing a one-stop shop really works well."


Need an open restaurant near you? These 156 results are waiting for your call.
Featured reviews for restaurants in Townsville.
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Thank you to The Kirwan Tavern for providing a friendly venue, great food and service recently. It is a convenient place to catch up for lunch with business colleagues. Highly recommended.
Sorry this is a bit late, but have had computer issues. My partner and I attended your 2016 Melbourne Cup day function and would like to commend all of your staff, particularly MC Emily for an absolutely wonderful day! The food was absolutely delicious, the staff worked tirelessly the whole time whilst still keeping a smile on their face and the atmosphere was just wonderful. Thank you guys—may even look at attending our Christmas day celebrations there.
The place to find the best restaurants in Townsville.
Townville restaurants commitment to culinary excellence has been noticed nationally the Australian Good Food Guide. In particular Townsville restaurants create dishes that reflect the strong agriculture industry around the area, most ingredients are sourced locally and represents the quality of Australian produce. With restaurants quickly being recognised nationally, Townsville is quickly becoming a large destination for individuals looking for the Food Mecca of Northern Queensland. Townsville also embraces its food culture with its very own food magazine highlighting its critically acclaimed dishes and restaurants. Whether individuals are dining with their families or as a couple there is a restaurant that welcomes everyone. Whether you're looking for a meaty steak, tasty Thai food or sensational seafood, Localsearch can help you chow down on your favourite cuisine.


Do you see yourself as an athletic trainer (AT)? Get ready for a rigorous, but rewarding, program that will prepare you for the future. BC has one of the top athletic training programs in the country.
In the summer of 2017, BC launced a new Master of Science in Athletic Training. Bridgewater College is no longer admitting students into the bachelor of science in athletic training program. Any student wishing to pursue athletic training at Bridgewater College should consider seeking admissions to the Master of Science in Athletic Training program as an accelerated B.S./M.S. or post-baccalaureate program student.
The Athletic Training Educational Competencies published by the National Athletic Trainers' Association (NATA) and the Standards of Accreditation established by the Commission on Accreditation of Athletic Training Education (CAATE) dictate the curriculum requirements. The athletic training program classes are tough, often integrating the sciences with the human body's functional performance to ensure understanding of function and dysfunction.
The program's faculty are seasoned veterans in the field of athletic training who have worked with high-level athletes and published in the field of athletic training (including a book adopted across the country by program directors and students to prepare for the Board of Certification [BOC] examination).
The Bridgewater College athletic training education program has met all of the nationally-recognized Standards for Entry-Level Athletic Training Education. The last review by the Commission on Accreditation of Athletic Training Education (CAATE) granted the maximum 10 years of reaffirmation. BC will undergo its next comprehensive evaluation during the 2018-2019 academic year.
Complete a minimum of 120 credit hours with a minimum of 45 credit hours chosen from junior and senior-level courses.
Complete general education requirements for the respective degree.
Earn a minimum cumulative GPA of 2.0 and a minimum GPA of 2.0 in courses required for the major.
Complete a minimum of 33 credit hours with 30 of the last 33 credit hours of academic work in residence at Bridgewater College or at a College-approved study abroad program. In addition, complete at least 9 credit hours of the major at Bridgewater College.
Following successful completion of this program, a student will be eligible to sit for the Board of Certification (BOC) exam.
There are additional requirements for program progression and retention identified in the Athletic Training Program Student Manual. Please contact the department of health and human sciences for a copy of this manual.
All students admitted to the professional phase of the program are required to attend pre‑season training as early as August 1 each year.
Students admitted to the professional phase of the program may be required to complete their clinical affiliations during normal college breaks, e.g. spring break and holidays.
Additional fees for the program are announced in the athletic training student handbook and may include things such as the cost for class books, laboratories, clinical affiliations, criminal background check, medical examinations, CPR/AED/First Aid certification and clinical uniforms.
Learn more about career paths, employment and advancement in the field of athletic training from the professional organizations listed under Athletic Training on the Career and Professional Resources page.


text:
	filename_length = system_string_length(
	                   filename );

	basename_end = system_string_search_character_reverse(
	                filename,
	                (system_character_t) LIBCPATH_SEPARATOR,
	                filename_length + 1 );

	if( basename_end != NULL )
	{
		basename_length = (size_t) ( basename_end - filename ) + 1;
	}
	if( basename_length > 0 )
	{
		if( mount_handle_set_basename(
		     mount_handle,
		     filename,
		     basename_length,
		     error ) != 1 )
		{
			libcerror_error_set(
			 error,
			 LIBCERROR_ERROR_DOMAIN_RUNTIME,
			 LIBCERROR_RUNTIME_ERROR_SET_FAILED,
			 "%s: unable to set basename.",
			 function );

			goto on_error;
		}
	}

redpajama_set_name: RedPajamaGithub


text:
Q: Check if image file exist I want to check if a img file exist else i use a default img.
but the check i want to use to be sure the image file is there dosnt work.
I have the following code.
$filename = "http://".$_SERVER['SERVER_NAME']."/media/img/".$row['CatNaam'].".jpg";
        echo"  ";

        echo "filename";

        if (file_exists($filename)) {
            echo "The file $filename exists";
        } else {
            echo "The file $filename does not exist";
        }

the image is there i can see it, but it says that the image does not exist.
if i copy the response from echo filename the file is there.
EDIT:
i changed my code to
$filename = "/media/img/".$row['CatNaam'].".jpg";
        echo $filename;
        echo"  ";

         echo "
 $filename
";
        if (file_exists($filename)) {
            echo "The file $filename exists";
        } else {
            echo "The file $filename does not exist";
        }

I can still see the image but now i get a diffrent warning ( i gues this is better then before)
the warning says:
arning: file_exists() [function.file-exists]: open_basedir restriction in effect. File(/media/img/Badkraan.jpg) is not within the allowed path(s): (censored) in mydomain/public_html/ve/paginas/producten/zoek.php on line 71
The file /media/img/Badkraan.jpg does not exist
The filepermission is 755

A: Source : http://us1.php.net/file_exists
<?php
    $filename = '/path/to/foo.txt';

    if (file_exists($filename)) {
        echo "The file $filename exists";
    } else {
        echo "The file $filename does not exist";
    }
?>

OR
Source : http://us1.php.net/manual/en/function.is-file.php
<?php
    var_dump(is_file('a_file.txt')) . "\n";
    var_dump(is_file('/usr/bin/')) . "\n";
?>

A: <?php
$imgFile = "http://www.technew.in/uploads/image/samsung_galaxy_xpro_2_technew_in.jpg";
if (getimagesize($imgFile)) {
  echo "Valid image file";
} else {
  echo "Invalid image file or file not exist";
}
?>

A: Check this:
$file = 'Your_file';
$file_headers = @get_headers($file);

if($file_headers[0] == 'HTTP/1.1 404 Not Found') {
   // does not exist
} else {
   // exist
}

A: Try the following things

*

*make sure $filename is properly validated

*it will only work when allow_url_fopen is activated in your PHP
config

*make sure you have given permission for the image folder

A: You are checking the file as the client sees it (http...). You need instead to check the actual file on the server's disk, i.e. if you are on linux something like:
if(file_exists($PATH_TO_FILES . '/' . $row['CatNaam'] . ".jpg")) ...

where $PATH_TO_FILES may be computed starting with something like: dirname(__FILE__)), which will give you the directory your current script sits.

A: This function returns FALSE for files inaccessible due to safe mode restrictions.
http://php.net/manual/en/function.file-exists.php

A: It might be that file_exists does not work properly for files served over the http-protocol. At least it's like that in my case (even with allow_url_fopen set to On). I'm assuming the files are coming from a different server where you don't have direct access to the file system. Otherwise it would be easier to just use the full path to the file itself.
You could try it like this though. It's not that nice, but it should at least get the job done. You should be able to find some other examples on the php.net page for file_exists.
$filename = "http://".$_SERVER['SERVER_NAME']."/media/img/".$row['CatNaam'].".jpg";
echo"  ";
echo "filename";

$file_headers = @get_headers($filename);
if($file_headers[0] == 'HTTP/1.1 404 Not Found') {
    echo "The file $filename does not exist";
}
else {
    echo "The file $filename exists";
}

A: I have same problem and i solve it by giving the actual address ,it ant pretty but it is work for me :
1- first get the addrss for current location and put it in an array:
$pieces = explode("/", __FILE__);

2-change the address to fit the file you want :
array_pop($pieces);

3-finally put it together :
$final = implode("/", $pieces);

4- then put it in file exist function.

A: $filename = "http://im.rediff.com/money/2011/jan/19sld3.jpg";
    $file_headers = @get_headers($filename);

    if($file_headers[0] == 'HTTP/1.1 404 Not Found') {
    //return false;
    echo "file not found";
    }else {
    //return true;
    echo "file found";

    }

redpajama_set_name: RedPajamaStackExchange


text:
Khaṭvāṅga
(Redirected from Khatvanga)
Find sources: "Khaṭvāṅga" – news · newspapers · books · scholar · JSTOR (November 2016) (Learn how and when to remove this template message)
Khatvanga
खट्वाङ्ग
Sanskrit transliteration
A khaṭvāṅga (Sanskrit: खट्वाङ्ग) is a long, studded club originally created as a weapon. It was adopted as a traditional religious symbol in Indian religions such as Tantric traditions like Shaivism and Vajrayana Buddhism. The khatvāṅga was adopted by some lineages of historical tantra though it preceded such traditions as of an original tribal shaman shaft.
1 Hinduism
2 Fabrication
3 Vajrayana Buddhism
Hinduism[edit]
In Hinduism, Shiva-Rudra carried the khatvāṅga as a staff weapon and are thus referred to as khatvāṅgīs. Author Robert Beer says, "In Hinduism the khatvanga is an emblem or weapon of Shiva, and is variously described as a skull - topped club, a skull - mounted trident, or a trident - staff on which three skulls are impaled".[1]
Author A. V. Narasimha Murthy says, "In classical literature the weapon Khatvanga is mentioned in works like Mālatīmādhava of Bhavabhuti and Śiva Stutī of Narayana Panditacharya".[2]
Fabrication[edit]
Originally, the khatvāṅga was made of bones, especially, the long bones of forearm or the leg of human beings or animals. Later, wood and metal were used. The khatvāṅga is a long club with skulls engraved on the body. A khatvāṅga represents the vajra.
Vajrayana Buddhism[edit]
Author Robert Beer says, "The form of the Buddhist khaṭvāṅga derived from the emblematic staff of the early Indian Shaivite yogins, known as kapalikas or 'skull-bearers'. The kapalikas were originally miscreants who had been sentenced to a twelve-year term of penance for the crime of inadvertently killing a Brahmin. The penitent was prescribed to dwell in a forest hut, at a desolate crossroads, in a charnel ground, or under a tree; to live by begging; to practice austerities; and to wear a loin-cloth of hemp, dog, or donkey-skin. They also had to carry the emblems of a human skull as an alms-bowl, and the skull of the Brahmin they had slain mounted upon a wooden staff as a banner.These Hindu kapalika ascetics soon evolved into an extreme outcaste sect of the 'left-hand' tantric path (Skt. vamamarg) of shakti or goddess worship. The early Buddhist tantric yogins and yoginis adopted the same goddess or dakini attributes of the kapalikas. These attributes consisted of; bone ornaments, an animal skin loincloth, marks of human ash, a skull-cup, damaru, flaying knife, thighbone trumpet, and the skull-topped Tantric staff or khaṭvāṅga".[3]
Author Robert Beer relates how the symbolism of the khatvāṅga in Vajrayana, particularly the Nyingma school founded by Padmasambhava, was a direct borrowing from the Shaiva Kapalikas, who frequented places of austerity such as charnel grounds and crossroads as a form of "left-handed path" (vamachara) sādhanā.[3]
In the Buddhist lore, it is also a particular divine attribute of Padmasambhava and endemic to his iconographic representation and depicted as an accoutrement of his divine consorts, Mandarava and Yeshe Tsogyal. In the twilight language, it represents Yab-Yum.
The weapon's three severed heads denotes moksha from the three worlds (Trailokya); it has a rainbow sash representing the Five Pure Lights of the mahābhūta.
^ Robert Beer (1999). The Encyclopedia of Tibetan Symbols and Motifs. Serindia Publications. p. 250. ISBN 9780906026489.
^ A. V. Narasimha Murthy (2001). Hemakuta: Recent Researches in Archaeology and Museology : Shri C.T.M. Kotraiah Felicitation Volume, Volume 1. Bharatiya Kala Prakashan. p. 160. ISBN 9788186050484.
^ a b Beer, Robert (2003). The handbook of Tibetan Buddhist symbols. Serindia Publications. p. 102. ISBN 1-932476-03-2. Retrieved February 3, 2010.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Khaṭvāṅga&oldid=1003461813"
Weapons in Hindu mythology
Buddhist ritual implements
Weapons in Buddhist mythology
Articles needing additional references from November 2016
Articles containing Sanskrit-language text
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