Journal articles on the topic 'Ecole des HEC Montréal'

Following the massacre of fourteen women at Ecole Polytechnique, in December 1989, the content (affective, social, religious, feminist, and anti-masculinist) of 690 condolence messages written by the public at two French universities (Université de Montréal and Université du Québec à Montréal) were compared. The results show that this event did not trigger a homogeneous social reaction, but rather different ones, according to sex and university, suggesting that social investment factors play a role in the codification of events related to public deaths.

Groundwater quality management requires a good understanding of the contaminant migration phenomena within the porous media. A horizontal experimental tank (gross area of 63 m2) was built at Ecole Polytechnique de Montréal. An automatic data acquisition system, developed around a Timex-Sinclair ZX81 microcomputer, monitors, through 30 probes located in observation wells, the migration of a saline tracer. The dispersive properties of a limestone aggregate are derived from the spatial and temporal distribution of the tracer concentration. Key words: groundwater, quality, dispersion coefficient, automatic data acquisition, experimental tank, laboratory model, microcomputer.

RÉSUMÉ Ce texte présente l’évolution de la tribu des économistes québécois de langue française depuis 75 ans comme une histoire faite de trois grandes discontinuités : (1) le passage de l’économie politique à la coexistence pacifique entre trois curies (HEC, Laval et Montréal) dans l’après Seconde Guerre mondiale; (2) la consolidation des trois curies en deux phratries en coexistence hostile (SCSE et ASDEQ) dans les années soixante-dix et (3) l’éclatement des phratries en clans définis par les issues dans les années récentes. On montre que la réunification de la tribu est possible, mais que les progrès risquent d’être lents.

Résumé L’influence exercée par Henri Desroche sur le processus d’internationalisation des sciences sociales au Québec, du milieu des années 1960 à celui des années 1980, a pris corps de part et d’autre de l’Atlantique. Au Québec même, d’abord, où H. Desroche interviendra principalement à l’École des HEC de Montréal et dans les universités de Sherbrooke et de Rimouski. À Paris également, où de nombreux étudiants québécois vont suivre son enseignement et placer leur recherche sous sa direction au sein du Collège coopératif. L’analyse se fonde sur l’hypothèse selon laquelle la constitution de ses réseaux québécois tient à la relative homologie structurale entre l’individu Desroche, dans son propre parcours personnel et dans ses orientations intellectuelles et praxéologiques, et la culture politique d’un Québec de la fin ou d’après la Révolution tranquille en quête de nouveaux repères en matière d’action collective.

RésuméCet article traite de l’épistémè de la connaissance économique au Québec à partir des médiateurs et des médiations sociales qui la construisent. L’approche adoptée est celle d’une sociologie de la connaissance à partir du cadre d’analyse des contradictions « fondamentales et flagrantes » proposé par H. Arendt caractérisant la transition à la modernité. À partir de cette approche est reconstruite la localisation sociale des premiers penseurs de l’économie, É. Montpetit et E. Minville, située à travers le savoir religieux issu de leur socialisation et le cadre de pensée de l’universalisme économique acquis de par leur éducation. Il est montré que ces activités de connaissance mettent en jeu un travail lié à des publications mais aussi des dispositifs, des réseaux, des revues, travail dont l’analyse permet de comprendre la genèse hétérodoxe de la pensée économique au Québec dans son lieu principal, les HEC de Montréal.

This article focuses on the academic perseverance of Permanent Resident University Students (PRUS) in the three post-secondary institutions that make upCampus Montréal(University of Montreal, HEC Montreal, and Polytechnique Montreal). Returning to school is often framed as a way for new immigrants to update their education and level the playing field in order for them to gain access to the same labor market opportunities as those who are born in the host society. We present the results of a study carried out with 426 respondents of an online survey and 44 participants of group interviews with recent PRUS in Montreal. Using the concepts of acculturation process and (mis)trust, this qualitative inductive analysis highlights the main constraints experienced by the respondents, which is reflected in their social representations of the integration process and their decision to return to university. In this context, and given the apparent inequalities in terms of intergroup relations, returning to university might in fact be detrimental to their stated goal of rapid and successful integration into the host society, particularly the labor market. Consequently, in a migratory context, the return to university might, in fact, have a demoralizing effect since the experience foreshadows the barriers, systemic or otherwise, that these professionals may encounter in their efforts to enter the labor market.

Abstract:The École des Hautes Études Commerciales de Montréal (HEC) held its first classes in September, 1910. The academic program which was transplanted from Belgium was chosen by Quebec political leaders. Its content was aimed at training men for the diplomatic corps and international commerce. Montreal businessmen saw no need to hire men with such training. It took nearly fifty years of conflict between the Montreal business community and conservative forces within Quebec society before this legacy was overcome. Eventually, candidates were better schooled to give them a chance to become leaders in the Quebec business community. HEC’s early history is a mirror of a wider struggle to gain equal recognition for practical training in medicine, engineering, and business which faced strong resistance from an elite trained in the humanistic tradition.Résumé:L’École des hautes études commerciales de Montréal (HEC) a offert ses premier cours en septembre 1910. Son programme d’études, emprunté à la Belgique, a été choisi par des chefs politiques québécois. Il visait à former des diplomates et des spécialistes du commerce extérieur. Pour leur part, les hommes d’affaires montréalais ne voyaient pas l’utilité d’embaucher des diplômés avec ce genre de formation. Il a fallu presque cinquante ans de conflit entre la communauté des affaires montréalaise et les forces conservatrices dans la société québécoise pour triompher de cet héritage. À la longue, la formation des étudiants de l’École s’améliora et ils purent avoir davantage d’opportunités pour devenir des membres importants du milieu d’affaires québécois. L’histoire des débuts de la HEC reflète une lutte plus grande encore pour une reconnaissance équivalente de la formation professionnelle que ce soit en médecine, en génie ou dans le commerce de la part d’une élite formée à la tradition humaniste.

Background information Sandscript was programmed with the web application « Tchat-scene », created by Carol-Ann Braun and the computer services company Timsoft (). It organizes a data-base of raw material into compositions and sequences allowing to build larger episodes. Multimedia resources are thus attributed to frames surrounding the chat space or to the chat space itself, thus “augmented” to include pre-written texts and graphics. Sandscript works best on a PC, with Internet Explorer. On Mac, use 0S9 and Internet Explorer. You will have to download a chat application for the site to function. Coded conversation General opinion would have it that chat space is a conversational space, facilitating rather than complicating communication. Writing in a chat space is very much influenced by the current ideological stance which sees collaborative spaces as places to make friends, speak freely, flip from one “channel” to another, link with a simple click into related themes, etc. Moreover, chat users tend to think of the chat screen in terms of a white page, an essentially neutral environment. A quick analysis of chat practices reveals a different scenario: chat spaces are highly coded typographical writing spaces, quick to exclude those who don’t abide by the technical and procedural constraints associated with computer reading/writing tools (Despret-Lonné, Gentès). Chatters seek to belong to a “community;” conversely, every chat has “codes” which restrict its membership to the like-minded. The patterns of exchange characteristic of chats are phatic (Jakobson), and their primary purpose is to get and maintain a social link. It is no surprise then that chatters should emphasize two skills: one related to rhetorical ingenuity, the other to dexterity and speed of writing. To belong, one first has to grasp the banter, then manage very quickly the rules and rituals of the group, then answer by mastering the intricacies of the keyboard and its shortcuts. Speed is compulsory if your answers are to follow the communal chat; as a result, sentences tend to be very short, truncated bits, dispatched in a continuous flow. Sandscript attempts to play with the limits of this often hermetic writing process (and the underlying questions of affinity, participation and reciprocity). It opens up a social space to an artistic and fictional space, each with rules of its own. Hyper-linked dialogue Sandscript is not just about people chatting, it is also about influencing the course of these exchanges. The site weaves pre-scripted poetic content into the spontaneous, real-time dialogue of chatters. Smileys and the plethora of abbreviations, punctuations and icons characteristic of chat rooms are mixed in with typographical games that develop the idea of text as image and text as sound — using Morse Code to make text resonate, CB code to evoke its spoken use, and graphic elements within the chat space itself to oppose keyboard text and handwritten graffiti. The web site encourages chatters to broaden the scope of their “net-speak,” and take a playfully conscious stance towards their own familiar practices. Actually, most of the writing in this web-site is buried in the database. Two hundred or so “key words” — expressions typical of phatic exchanges, in addition to other words linked to the idea of sandstorms and archeology — lie dormant, inactive and unseen until a chatter inadvertently types one in. These keywords bridge the gap between spontaneous exchange and multimedia content: if someone types in “hi,” an image of a face, half buried in sand, pops up in a floating window and welcomes you, silently; if someone types in the word “wind,” a typewritten “wind” floats out into the graphic environment and oscillates between the left and right edges of the frames; typing the word “no” “magically” triggers the intervention of an anarchist who says something provocative*. *Sandscript works like a game of ping-pong among chatters who are intermittently surprised by a comment “out of nowhere.” The chat space, augmented by a database, forms an ever-evolving, fluid “back-bone” around which artistic content is articulated. Present in the form of programs who participate in their stead, artists share the spot light, adding another level of mediation to a collective writing process. Individual and collective identities Not only does Sandscript accentuate the multimedia aspects of typed chat dialogues, it also seeks to give a “ shape” to the community of assembled chatters. This shape is musical: along with typing in a nickname of her choice, each chatter is attributed a sound. Like crickets in a field, each sound adds to the next to create a collective presence, modified with every new arrival and departure. For example, if your nick is “yoyo-mama,” your presence will be associated with a low, electronic purr. When “pillX” shows up, his nick will be associated with a sharp violin chord. When “mojo” pitches in, she adds her sound profile to the lot, and the overall environment changes again. Chatters can’t hear the clatter of each other’s keyboards, but they hear the different rhythms of their musical identities. The repeated pings of people present in the same “scape” reinforce the idea of community in a world where everything typed is swept away by the next bit of text, soon to be pushed off-screen in turn. The nature of this orchestrated collective presence is determined by the artists and their programs, not by the chatters themselves, whose freedom is limited to switching from one nick to another to test the various sounds associated with each. Here, identity is both given and built, both individual and collective, both a matter of choice and pre-defined rules. (Goffman) Real or fictitious characters The authors introduce simulated bits of dialogue within the flow of written conversation. Some of these fake dialogues simply echo whatever keywords chatters might type. Others, however, point else where, suggesting a hyper-link to a more elaborate fictionalized drama among “characters.” Sandscript also hides a plot. Once chatters realize that there are strange goings on in their midst, they become caught in the shifting sands of this web site’s inherent duality. They can completely lose their footing: not only do they have to position themselves in relation to other, real people (however disguised…) but they also have to find their bearings in the midst of a database of fake interlocutors. Not only are they expected to “write” in order to belong, they are also expected to unearth content in order to be “in the know.” A hybridized writing is required to maintain this ambivalence in place. Sandscript’s fake dialogue straddles two worlds: it melds in with the real-time small talk of chatters all while pointing to elements in a fictional narrative. For example, “mojo” will say: “silting up here ”, and “zano” will answer “10-4, what now? ” These two characters could be banal chatters, inviting others to join in their sarcastic banter… But they are also specifically referring to incidents in their fictional world. The “chat code” not only addresses its audience, it implies that something else is going on that merits a “click” or a question. “Clicking” at this juncture means more than just quickly responding to what another chatter might have typed. It implies stopping the banter and delving into the details of a character developed at greater length elsewhere. Indeed, in Sandscript, each fictional dialogue is linked to a blog that reinforces each character’s personality traits and provides insights into the web-site’s wind-swept, self-erasing world. Interestingly enough, Sandscript then reverses this movement towards a closed fictional space by having each character not only write about himself, but relate her immediate preoccupations to the larger world. Each blog entry mentions a character’s favorite URL at that particular moment. One character might evoke a web site about romantic poetry, another one on anarchist political theory, a third a web-site on Morse code, etc… Chatters click on the URL and open up an entirely new web-site, directly related to the questions being discussed in Sandscript. Thus, each character represents himself as well as a point of view on the larger world of the web. Fiction opens onto a “real” slice of cyber-space and the work of other authors and programmers. Sandscript mixes up different types of on-line identities, emphasizing that representations of people on the web are neither “true” nor “false.” They are simply artificial and staged, simple facets of identities which shift in style and rhetoric depending on the platform available to them. Again, identity is both closed by our social integration and opened to singular “play.” Conclusion: looking at and looking through One could argue that since the futurists staged their “electrical theater” in the streets of Turin close to a hundred years ago, artists have worked on the blurry edge between recognizable formal structures and their dissolution into life itself. And after a century of avant-gardes, self-referential appropriations of mass media are also second nature. Juxtaposing one “use” along another reveals how different frames of reference include or exclude each other in unexpected ways. For the past twenty years much artwork has which fallen in between genres, and most recently in the realm of what Nicolas Bourriaud calls “relational aesthetics.” Such work is designed not only to draw attention to itself but also to the spectator’s relation to it and the broader artistic context which infuses the work with additional meaning. By having dialogue serve as a hyper-link to multimedia content, Sandscript, however, does more. Even though some changes in the web site are pre-programmed to occur automatically, not much happens without the chatters, who occupy center-stage and trigger the appearance of a latent content. Chatters are the driving force, they are the ones who make text appear and flow off-screen, who explore links, who exchange information, and who decide what pops up and doesn’t. Here, the art “object” reveals its different facets around a multi-layered, on-going conversation, subjected to the “flux” of an un-formulated present. Secondly, Sandscript demands that we constantly vary our posture towards the work: getting involved in conversation to look through the device, all while taking some distance to consider the object and look at its content and artistic “mediations.” (Bolster and Grusin, Manovitch). This tension is at the heart of Sandscript, which insists on being both a communication device “transparent” to its user, and an artistic device that imposes an opaque and reflexive quality. The former is supposed to disappear behind its task; the latter attracts the viewer’s attention over and over again, ever open to new interpretations. This approach is not without pitfalls. One Sandscript chatter wondered if as the authors of the web-site were not disappointed when conversation took the upper hand, and chatters ignored the graphics. On the other hand, the web site’s explicit status as a chat space was quickly compromised when users stopped being interested in each other and turned to explore the different layers hidden within the interface. In the end, Sandscript chatters are not bound to any single one of these modes. They can experience one and then other, and —why not —both simultaneously. This hybrid posture brings to mind Herman’s metaphor of a door that cannot be closed entirely: “la porte joue” —the door “gives.” It is not perfectly fitted and closed — there is room for “play.” Such openness requires that the artistic device provide two seemingly contradictory ways of relating to it: a desire to communicate seamlessly all while being fascinated by every seam in the representational space projected on-screen. Sandscript is supposed to “run” and “not run” at the same time; it exemplifies the technico-semiotic logic of speed and resists it full stop. Here, openness is not ontological; it is experiential, shifting. About the Authors Carol-Ann Braun is multimedia artist, at the Ecole Nationale Superieure des Telecomunications, Paris, France. EmaiL: carol-ann.braun@wanadoo.fr Annie Gentes is media theorist and professor at the Ecole Nationale Superieure des Telecomunications, Paris, France. Email: Annie.Gentes@enst.fr Works Cited Adamowicz, Elza. Surrealist Collage in Text and Image, Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Augé, Marc. Non-lieux, Introduction à une Anthropologie de la Surmodernité. Paris: Seuil, 1992. Bolter, Jay David and Richard Grusin. Remediation, Understanding New Media. Cambridge: MIT Press, 2000. Bourriaud, Nicholas. Esthétique Relationnelle. Paris: Les Presses du Réel, 1998. Despret-Lonnet, Marie and Annie Gentes, Lire, Ecrire, Réécrire. Paris: Bibliothèque Centre Pompidou, 2003. Goffman, Irving. Interaction Ritual. New York: Pantheon, 1967. Habermas, Jürgen. Théorie de l’Agir Communicationnel, Vol.1. Paris: Fayard, 1987. Herman, Jacques. “Jeux et Rationalité.” Encyclopedia Universalis, 1997. Jakobson, Roman.“Linguistics and Poetics: Closing statements,” in Thomas Sebeok. Style in Language. Cambridge: MIT Press, 1960. Latzko-Toth, Guillaume. “L’Internet Relay Chat, Un Cas Exemplaire de Dispositif Socio-technique,” in Composite. Montreal: Université du Québec à Montréal, 2001. Lyotard, Jean-François. La Condition Post-Moderne. Paris: les Editions de Minuit, 1979. Manovitch, Lev. The Language of New Media. Cambridge: MIT Press, 2001. Michaud, Yves. L’Art à l’Etat Gazeux. Essai sur le Triomphe de l’Esthétique, Les essais. Paris: Stock, 2003. Citation reference for this article MLA Style Braun, Carol-Ann & Gentes, Annie. "Dialogue: a hyper-link to multimedia content." M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>. APA Style Braun, C. & Gentes, A. (2004, Jul1). Dialogue: a hyper-link to multimedia content.. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>