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| 63. |
- Willim, Robert
(författare)
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Evoking imaginaries : Art probing, ethnography and more-than-academic practice
- 2017
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Ingår i: Sociological Research Online. - : SAGE Publications. - 1360-7804. ; 22:4, s. 208-231
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Tidskriftsartikel (refereegranskat)abstract
- I discuss and argue for combinations of artistic practice and cultural analysis, for meta- disciplinary and serendipitous endeavours that can entangle art and ethnographic research. These combinations can be understood as practices that are more-than-academic. I define the artistic side of this combinatory work as art probing. Art probes have a double function. First, they can instil inspiration and be possible points of departure for research, and, second, they can be used to communicate scientific concepts and arguments beyond the scope of academic worlds. According to this point of view, artistic and scientific output should be seen as provisional renditions oriented towards different audiences and as part of an extended open-ended art of inquiry. When working with this more-than-academic practice, a number of stakeholders are involved, ranging from academic professionals to art institutions, museums and visitors of art exhibitions, and performances. I will discuss how I understand ethnography as part of this process and in relation to practices of art probing.
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| 65. |
- Willim, Robert, et al.
(författare)
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Extra allt
- 2006
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Ingår i: Överflöd. Mellan minnesvärt och bortglömt - Kulturens årsbok 2006. - 9187054329 ; , s. 133-138
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Bokkapitel (populärvet., debatt m.m.)
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| 66. |
- Willim, Robert
(författare)
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Fieldnotes
- 2013
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Fieldnotes is an exploration of imaginary geographies. It is a series of surreal short films examining how the concept of ethnographic fieldnotes can be related to places, situations and the way ethnography is communicated. Each film in the series is also an evocation, based on video recorded at a single location at a single time. The video is then composited and soundtracked into a surreal account, and then given a name that says something about the filmed location (the place of fieldnoting), but the title should be more evocative than describing.The idea is to not reveal the exact location where the images are captured, instead the Fieldnotes are parts of an emerging imaginary layering that to some extent coincides with the world and how people experience it.The three parts of Fieldnotes are Veiled Hotel, Wet Market and Straight Jetty. These were screened at Ethnographic Terminalia 2013 – Exhibition as Residency in Chicago as well as at Beyond the Frame: The Future of the Visual in an Age of Digital Diversity in Stockholm March 2014.
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| 67. |
- Willim, Robert, et al.
(författare)
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Frammanande ljud
- 2011
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Ingår i: Kulturens årsbok 2011: Musik. - 0454-5915. - 9789187054020 ; , s. 42-55
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Bokkapitel (populärvet., debatt m.m.)
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| 68. |
- Willim, Robert
(författare)
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Framtid.nu : flyt och friktion i ett snabbt företag
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- For some years the new economy in Sweden was to a high extent represented by a couple of new and fast growing companies. One of these was the Internet consultancy Framfab (Framtidsfabriken). The company became synonymous with the unusual and exciting, a new kind of business, new products and new attitudes. In national media Framfab was mostly represented by its C.E.O. Jonas Birgersson, who in often spectacular ways presented the company. During a proportionately short period (1995-2000) Framfab grew from a couple of persons to a multinational corporation. The company was introduced on the Stockholm stock exchange list and enjoyed a huge success. But in the spring of 2000 a downward spiral started. The company began to decline as fast as it had grown. In my study I use Framfab to examine processes of change in the Internet sector of the new economy. My aim is to analyse the conditions for a so-called fast company, which Framfab was often called. For some time, being a fast company became synonymous with being a successful company conquering the future. The rhetorics was concentrated on the importance of reaching what could be called escape velocity from the old economy, which was represented by older corporations (at Framfab called ?respirators?). In the strivings to reach escape velocity notions of flow and friction, forces that supported or prevented the rate of change, became important. Using one of Framfab's offices (the Ideon office), as point of departure I analyse how the rhetorics on speed was related to practices in the office. I especially focus on the development of a product called Brikks. It is a portal-like concept, which emerged from the work with a website (www.chatb.com) that Framfab constructed for the Telecom Company Ericsson. In the launching and presentation of the product Brikks and the company Framfab, images of the young company were conjured up by highlighting the possibilities given by digital media. One of the most important of these media was the networked computer. It was the central means of production in Framfab as well as a kind of dream machine. The high-speed journey into the new network society/economy was going to be achieved with computers. One of the main questions of the study is: what was possible to do with the computers in a fast company? The book examines how the computers were vehicles for change and acceleration, but how they also inhibited powers, which slowed down a fast company.
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