#eric parisot

[gothicseverance]

Every Gothic location, from the ruined castle to the flickeringly strip-lit psych ward, is ultimately founded upon and authorised by the place-making power of the grave.

—Graveyard Gothic

Art by @twinkskeletons 🖤

[usafphantom2]

French Air Force begs to receive 60 more Rafale fighters

Fernando Valduga By Fernando Valduga 08/08/2022 - 09:30 in Military

At a time when the war is hitting Europe and international tensions are high, the French Air and Space Force is calling for an increase in the Rafale air fleet. According to the number two leader of the Air Force, France should tender for 225 Rafale fighters instead of a current planned fleet of 185 aircraft. However, it is requesting confirmation in 2023 of a new order of 42 Rafales, delivered between 2027 and 2030.

The French Air and Space Force will have the same Rafale number as in 2016. The observations of General Stephan Mill, Chief of Staff of the French Aerospace Forces, are the last about the Rafale. “The Rafale fleet, the only multifunction fighter in the Air and Space Force, is at the 2016 levels and has just deactivated a squadron equipped with Mirage 2000-C. Restoring numbers in terms of air superiority and power projection requires firm command of the aircraft was necessary to achieve the 2030 operational objectives," he told deputies of the Defense Committee of the National Assembly on July 20.

Is the balance sheet doomed to failure? Dassault Aviation has practically not delivered a Rafale to France for almost four years (none in 2019, 2020 and 2021, with only one in 2022). The aircraft manufacturer delivered only one aircraft in 2017 and three in 2018. Over the six years (2017-2022), the Air Force has received only five Rafales. At the same time, 12 Air Force aircraft were sent to Greece as second-hand goods (6 in ?? 2021, 6 in 2022). Another 12 will be deployed to the Croatian Air Force in 2023. At the end of 2016, the Air Force had less than 100 Rafale (98) in its fighter fleet. Six units were delivered in 2016. According to the military programming law (LPM) 2019-2025, in early 2019, the French armies had 143 Rafales, including 41 Naval Rafale.

"The Air Force has not received any fighter delivery since 2018," the general confirmed to General Frédéric Parisot of the Air Force Division during a public hearing at the Defense Commission of the National Assembly. French aviators are expected to receive units by the end of 2022. Then he will deliver 13 aircraft a year from 2023 to 2025. "I delayed the delivery of the aircraft ordered by France, but it was purely for budgetary reasons, not for export reasons. France said that Eric Trappier, CEO of Dassault Aviation, when he announced the half-yearly results of his group on July 20, announced that 28 aircraft should have been delivered to France a long time ago, at the request of the French authorities, but it was postponed until the end of the year. From 2022, and especially from 2023, there will be 12 additional replacements for the 12 Greek aircraft that have been withdrawn from French stocks.

At the hearing before the Defense Commission of the National Assembly, Major General Frédéric Parisot, Chief of Staff of the Presidency, declared: "the Air Force had 750 fighter jets, but it was a single mission, he explained. On the other hand, Rafale allows us to fulfill our mission to go on missions with 225 aircraft." That's another 40 Rafales. Due to airspace congestion, it seems justified to monitor French airspace. "There are 14,000 air movements per day in France, and the number of drones increased from 400,000 in 2017 to 2.5 million in 2021," recalls General Frédéric Parisot.

But, according to the Air Force, it is the change in the context of international security that requires the strengthening of its means. The Baltic Sea region has to face the contested air power of countries with weak air forces. Then in 2022, the French Air Force will have 195 fighter jets, including 143 Rafale.

"In the last decade, 98 fighter jets, 24 tactical transport aircraft, 60 helicopters and 335 drones were shot down in Europe, long before the Ukrainian invasion that confirmed the resurgence of the struggle for air superiority," recalls the Air Force division general. Given the form of the Air Force, General Frédéric Parisot asks the following questions: "When should we choose? Between protecting the vital interests of the nation, the integrity of its airspace and the continuation of a normal struggle?, arguing that we must learn all the lessons of the war, particularly in Ukraine, and "seek the right balance between quantity and quality of equipment."

Faced with the possible decision to increase Rafale's fleet, the Air Force is requesting the confirmation of a new order for 42 Rafales in 2023, with deliveries between 2027 and 2030 of the order for 12 Rafale sold to Croatia and a more global order maturing in 2023 included 30 increased to 42 Rafale fighters whose delivery is scheduled between 2027 and 2030.

“But any increase in the Rafale fleet to replace the Mirage 2000 must be accompanied by a great effort in favor of aviation, designators pods and the ability to suppress enemy air defenses, which allow the Rafale to fulfill its missions in terms of combat and survival capacity, General Frédéric Parisot described.

Dassault Aviation planned to switch to a rate of three Rafales per month, but relied on this increase in order. "I would like a contract with France. I would like installment 5 to be signed," said aircraft manufacturer Eric Trappier leader. We are also looking forward to export contracts: "I think there are still other contracts that can be anticipated a little earlier," Dassault Aviation said.

Tags: Armée de l'air - French Air Force/French Air ForceMilitary AviationDassault AviationDassault Rafale

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Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in a specialized aviation magazine in Brazil and abroad. He uses Canon equipment during his photographic work in the world of aviation.

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[weirdletter]

The Cambridge History of the Gothic. Volume 1: Gothic in the Long Eighteenth Century, edited by Angela Wright and Dale Townshend, Cambridge University Press, 2020. Info: cambridge.org.

This first volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in Western civilisation, from the Goths' sacking of Rome in 410 AD through to its manifestations in British and European culture of the long eighteenth century. Written by international cast of leading scholars, the chapters explore the interdisciplinary nature of the Gothic in the fields of history, literature, architecture and fine art. As much a cultural history of Gothic as an account of the ways in which the Gothic has participated within a number of formative historical events across time, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From writers such as Horace Walpole and Ann Radcliffe to eighteenth-century politics and theatre, the volume provides a thorough and engaging overview of early Gothic culture in Britain and beyond.

Contents: List of Figures List of Tables Notes on Contributors Acknowledgments Introduction: The Gothic in/and History – Dale Townshend, Angela Wright and Catherine Spooner 1.1 The Goths in Ancient History – David M. Gwynn 1.2 The Term 'Gothic' in the Long Eighteenth Century, 1680‒1800 – Nick Groom 1.3 The Literary Gothic Before Horace Walpole's The Castle of Otranto – Dale Townshend 1.4 Gothic Revival Architecture Before Horace Walpole's Strawberry Hill – Peter N. Lindfield 1.5 Horace Walpole and the Gothic ��� Stephen Clarke 1.6 Shakespeare's Gothic Transmigrations – Anne Williams 1.7 Reassessing the Gothic / Classical Relationship – James Uden 1.8 'A World of Bad Spirits': The Terrors of Eighteenth-Century Empire – Ruth Scobie 1.9 In Their Blood: The Eighteenth-Century Gothic Stage – Paula R. Backscheider 1.10 Domestic Gothic Writing after Horace Walpole and before Ann Radcliffe – Deborah Russell 1.11 Early British Gothic and the American Revolution – James Watt 1.12 Gothic and the French Revolution, 1789–1804 – Fanny Lacôte 1.13 The Aesthetics of Terror and Horror: A Genealogy – Eric Parisot 1.14 Ann Radcliffe and Matthew Lewis – Angela Wright 1.15 The Gothic Novel Beyond Radcliffe and Lewis – Yael Shapira 1.16 Oriental Gothic: Imperial-Commercial Nightmares from the Eighteenth Century to the Romantic Period – Diego Saglia 1.17 The German 'School' of Horrors: A Pharmacology of the Gothic – Barry Murnane 1.18 Gothic and the History of Sexuality – Jolene Zigarovich 1.19 Gothic Art and Gothic Culture in the Romantic Era – Martin Myrone 1.20 Time in the Gothic – Robert Miles Select Bibliography Index

[vicemirrored-a]

"Returning to John Calvin's Institutes of the Christian Religion (1559), we are reminded of the paradox of two opposing principles within the believer:

the one filling him with delight in recognising the divine goodness, the other filling him with bitterness under a sense of his fallen state; the one leading him to recline on the promise of the Gospel, the other alarming him by the conviction of his iniquity; the one making him exult with the anticipation of life, the other making him tremble with the fear of death."

( Parisot, Eric. “Disinterring The Grave: Religious Authority, Poetic Autonomy and Robert Blair's Fideist Poetics.” Scottish Studies Review, vol. 8, no. 2, 2007, pp. 24–35. )

[eighteenthcenturyfiction]

ECF journal Summer 2022 issue

Read ECF at Project MUSE!

Articles:

Pity the Fool: Satire, Sentiment, and Aristocratic Vice in George Colman's The Suicide by Eric Parisot, pp. 393-414

Breakfast with "Her inky Demons": Celebrity, Slavery, and the Heroine in Late Eighteenth-Century British Fiction by Ruth Scobie, pp. 415-440

"Nursed under his own Eye": Co-Nursing Fathers and the Spectacle of Breastfeeding in the British Romantic Period by Virlana M. Shchuka, pp. 441-469

Reflections: "Eccentric Connections: Toward a Decolonial (Digital) Book History," by Stephen H. Gregg, pp. 471-482

[frtodaynews]

Quand certains fustigent «un ego pas possible», d'autres saluent la vision de Geoffroy Roux de Bézieux, le nouveau patron du Medef qui succède à Pierre Gattaz…

Elu mardi président du Medef, dont il est un pilier depuis cinq ans, Geoffroy Roux de Bézieux veut incarner un patronat moderne. — ERIC PIERMONT / AFP

C'est un «récidiviste», comme il aime à le dire. A 56 ans, Geoffroy Roux de Bézieux a créé plusieurs entreprises, tournées vers les nouvelles technologies, et déjà brigué la tête du Medef. Elu mardi président de l'organisation patronale, dont il est un pilier depuis cinq ans, Geoffroy Roux de Bézieux veut incarner un patronat moderne capable de répondre aux défis posés par un exécutif plus que dubitatif sur le rôle des partenaires sociaux.

Cette fois-ci est la bonne: élu à 55,8% des voix par l'Assemblée générale du Medef, Geoffroy Roux de Bézieux succède à Pierre Gattaz, contre qui il s'était présenté en 2013 avant de se rallier à lui en fin de course, sentant qu'il ne disposerait pas du nombre suffisant de soutiens au sein des fédérations pour l'emporter.

Merci à notre Assemblée Générale, aux fédérations, aux territoires et à tous nos adhérentes et adhérents pour leur confiance exprimée ce matin. Fier de pouvoir conduire aux destinées d’un @medef uni et rassemblé pic.twitter.com/tNUpYrwmcj

— G Roux de Bézieux (@GeoffroyRDB) July 3, 2018

Une fois adoubé, le patron de Radiall l'avait nommé vice-président chargé de la fiscalité et du numérique. Un poste privilégié à partir duquel il a pu lentement tisser sa toile et mener campagne bien avant son lancement officiel en janvier dernier, creusant notamment son sillon dans les territoires.

Commandos marine

L'engagement patronal de ce père de quatre enfants, né à Paris mais d'ascendance lyonnaise, remonte au milieu des années 2000, quand il prend la présidence d'une petite association patronale, Croissance Plus, qui fédère des chefs d'entreprises en forte croissance dans l'internet ou encore les télécoms. Alors âgé de 43 ans, ce diplômé de l'Essec et de Paris-Dauphine, qui s'est engagé à la fin de ses études pendant deux ans dans les commandos marine, l'unité d'élite de la Marine nationale, connaît bien le secteur des télécoms. Ayant débuté sa carrière chez l'Oréal, d'abord en Grande-Bretagne puis en Pologne où il ouvre une filiale du groupe de cosmétiques, il se lance dans l'entrepreneuriat en 1996 et crée The Phone House, une chaîne de magasins spécialisée dans la téléphonie mobile.

«Medef de propositions tourné vers le futur»

Il cède l'affaire à un fonds britannique en 2000 et quitte le groupe en 2004, année au cours de laquelle il crée une nouvelle société, Omea Telecom, qu'il revendra dix ans plus tard à Numericable pour 325 millions d'euros. En 2006, il devient le patron pour la France de Virgin Mobile, le groupe du milliardaire Richard Branson.

A la fin des années 2000, il fonde avec trois partenaires dont Pierre Kosciuzko-Morizet un fonds d'investissement, ISAI, présent notamment au capital de BlaBlaCar. Puis après avoir revendu Omea Telecom, il crée en 2014 avec son épouse Sabine Roux de Bézieux, rencontrée à l'Essec, Notus Technologies, un groupe qui a en particulier racheté l'entreprise d'huile d'olive haut de gamme Oliviers and Co. Parallèlement à cette activité, il brigue et remporte en 2008 la présidence de l'Unedic (assurance chômage), soutenu par la présidente du Medef de l'époque, Laurence Parisot, ce qui suscite des grincements en interne.

Un parcours patronal au long cours, donc. Malgré tout, cet homme aux yeux bleus et à l'allure décontractée, qui se déplace en scooter, veut renvoyer l'image d'un chef d'entreprise capable de «renouveler» l'organisation patronale pour qu'elle devienne un «Medef de propositions tourné vers le futur».

«Un ego pas possible»

Dans son programme, l'une de ses priorités est d'accompagner la transformation numérique des entreprises tricolores, en retard sur la question. «Il incarne un patronat un peu moderne, assez ouvert, déterminé», dit de lui Jacques Chanut, président de la Fédération française du bâtiment qui lui a apporté son soutien pendant la campagne. «Il a la vision du coup d'après», salue de son côté un dirigeant de fédération territoriale. Quand certains fustigent «un ego pas possible», Jacques Chanut décrit «un homme qui sait rassembler, chaleureux et qui sait affirmer ses convictions» et qualifie d'«injustes» les critiques de dilettantisme qui lui sont parfois adressées. «On n'est pas obligé d'être froid et rigide pour être sérieux», estime-t-il.

Passionné de rugby – son nez en témoigne – et de triathlon, ce catholique pratiquant gère aussi avec son épouse une fondation, Araok, qui soutient plusieurs causes, allant des Apprentis d'Auteuil aux orphelins du Niger.

20minutes Economie

The post Ancien commando marine, fan de rugby… Qui est le nouveau patron du Medef? appeared first on Nouvelles de la France.

[softpowermanual-blog]

Voici la toute première intervention SPM en octobre 2016 à New York. L’artiste Cari Gonzalez-Casanova et Lucienne Pereira placent des stickers anti-marketing directement sur des produits dans un supermarché. Les gens s’arrêtent, posent des questions, discutent et participent eux aussi à la campaign. 

Soft Power Manual (SPM) est un projet participatif initié par CGC avec la participation de: Ludovic Bernhardt, Nico Dockx, Badr El Hammami, Eric Giraud, Zuzanna Janin, Eirini Linardaki & Vincent Parisot, Eric Maillet, Joe Martin, Hervé Paraponaris, Susanne Strassman, Andrea Suzan, Jean-Paul Thibeau, Luca Vitone, Aleksandar Zaar

Dans un premier temps, le SPM kit a été distribué à des artistes dans plusieurs villes. La plate-forme internet https://softpowermanual.tumblr.com a été ensuite créée pour regrouper leurs interventions. 

Une partie du kit SPM est disponible gratuitement à La Villa Arson, Nice FRANCE (jusqu’au 30 avril) pendant  l’exposition Go Canny! Poétique du sabotage. 

Toute documentation des actions utilisant le kit, part toute personne, sera mise sur la plate-forme participative.

__________

New York, October 2016. In this video we see the first SPM intervention by Cari Gonzalez-Casanova and Lucienne Pereira as they place the anti-marketing stickers directly on products in a New York supermarket. 

Soft Power Manual (SPM) is a participatory project initiated by Cari Gonzalez-Casanova. Participating artists/writers/musician: Ludovic Bernhardt, Nico Dockx, Badr El Hammami, Eric Giraud, Zuzanna Janin, Eirini Linardaki & Vincent Parisot, Eric Maillet, Joe Martin, Hervé Paraponaris, Susanne Strassman, Andrea Suzan, Jean-Paul Thibeau, Luca Vitone, Aleksandar Zaar

For the first part of the project, an anti-marketing kit was created and distributed in different countries. An internet platform https://softpowermanual.tumblr.com was then created to collect the documentation of the interventions using the kit. 

Part of the kit is currently being distributed for free at the exhibition Go Canny! Poétique du sabotage at the Villa Arson, Nice FRANCE until April 30, 2017

[gothicseverance]

In the graveyard, chronological time is suspended and warped, bringing pasts and present into uneasy collision, altering our grip on reality.

—Graveyard Gothic

[weirdletter]

The Edinburgh Companion to Gothic and the Arts (Edinburgh Companions to Literature and the Humanities), edited by David Punter, Edinburgh University Press, 2019. Cover image by Irina Kharchenko, info: edinburghuniversitypress.com.

The Gothic in all its artistic forms and ramifications is traced from the medieval to the twenty-first century. From architecture, painting and sculpture through music, ballet, opera and dance to installation art and the graphic novel, each of the 33 chapters reflects on and weighs in on the ways in which the Gothic is taken up in the art forms and modes under examination. An Introduction discusses Gothic as a changing cultural form across the centuries with deep psychological roots. This is followed by sections on: architectural arts; the visual arts; music and the performance arts; the literary arts; and media and cultural arts.

Contents: List of Illustrations List of Contributors Introduction – David Punter     Part I: Architectural Arts 1. Gothic and Architecture: Morris, Ruskin, Carlyle and the Gothic legacies of the Lake Poets – Tom Duggett 2. Gothic and the Built Environment: Literary Representations of the Architectural Uncanny and Urban Sublime – Sara Wasson 3. Gothic and Design: The Geometrical Roots of Gothic Aesthetics in the Cologne Cathedral Choir – Robert Bork 4. Gothic and Sculpture: From Medieval Piety to Modern Horrors and Terrors – Peter N. Lindfield and Dale Townshend 5. Gothic and Installation Art: Spectral Materialities, Monstrous Ephemera – Katarzyna Ancuta　     Part II: The Visual Arts 6. Gothic and Earlier Painting: Nightmares and Premature Burials in Fuseli and Wiertz – Maria Parrino 7. Gothic, Caricature, Cartoon: Insatiable Nightmares – Franz Potter 8. Gothic and Portraiture: Resemblance and Rupture – Kamilla Elliott 9. Gothic and Surrealism: Subculture, Counterculture and Cultural Assimilation – Avril Horner 10. Gothic and Modern Art: The Experience of Ivan Albright – Antonio Alcalá González 11. Gothic and Photography: The Darkest Art – David Annwn Jones     Part III: Music and the Performance Arts 12. Gothic and Music: Scoring ‘Silent’ Spectres – Kendra Preston Leonard 13. Gothic and Opera: Overwhelming Passions and Irrational Dreams – Anne Williams 14. Gothic, Ballet, Dance: The Aesthetics and Kinaesthetics of Death – Steven Bruhm 15. Gothic and Contemporary Music: Dark Sound, Dark Mood, Dark Aesthetics – Isabella van Elferen     Part IV: The Literary Arts 16. Gothic and Graveyard Poetry: Imagining the Dead (of Night) – Eric Parisot 17. Gothic Chapbooks and Ballads: Making a Long Story Short – Doug Thomson and Wendy Fall 18. Gothic and Nineteenth-Century Poetry: Thresholds of Influence, Possibilities and Desire – Angela Wright 19. Gothic and Modern Poetry: The Poetics of Transgression – Maria Beville 20. Gothic and the Eighteenth-Century Novel: At Home in the English Style – Robert Miles 21. Gothic and the Nineteenth-Century Novel: The Art of Abjection – Jerrold E. Hogle 22. Gothic and Recent Fiction: Fears of the Past and of the Future – David Punter 23. Gothic and the Short Story: Revolutions in Form and Genre – Sarah Ilott 24. Gothic, Melodrama, Victorian Theatre: Gothic Drama to 1890 – Clive Bloom 25. Gothic and Modern Theatre: Staging Modern Cultural Trauma – Ardel Haefele-Thomas 26. Gothic and Children’s Literature: Wolves in Walls and Clocks in Crocodiles – Anna Jackson 27. Gothic and Young Adult Literature: Werewolves, Vampires, Monsters, Rebellion, Broken Hearts and True Romance – Gina Wisker     Part V: Media and Cultural Arts 28. Gothic and Cinema: The Development of an Aesthetic Filmic Mode – Xavier Aldana Reyes 29. Gothic and Television: The Monster in the Living Room – Linnie Blake 30. Gothic and Comics: From The Haunt of Fear to a Haunted Medium – Julia Round 31. Gothic and the Graphic Novel: From the Future Shocks of Judge Dredd to the Aftershocks of DC Vertigo – Stuart Lindsay 32. Gothic and Videogames: Playing with Fear in the Darkness – Dawn Stobbart 33. Gothic and Internet Fiction: Digital Affordances and New Media Fears – Neal Kirk Index