The seminar started with a general presentation of AKAD by Katja Grillner and of the three different groups/projects supported: Krets; Endlessness, movement, permanence and Los Angeles Islands.

During the initial Krets presentation an essential idea was the difference between considering the processes of architectural production as part of the work or only as instrumental and external to a final result. Another important concept was Krets' approach to technology in a way similar to some surrealist practices, which implies a displacement or misuse of technologies already part of our every day life and environment. In this sense the work was explained as instantiations in different contexts (exhibitions, workshops) of these and other related ideas.

Juha Huuskonen underlined the importance of self-organized groups, movements and scenes in the context of contemporary electronic culture; from the Demo scene in the beginning of the nineties to the Open Source community and its practices, including his own experiences through Katastro.fi or Pixelache in Finland. In relation to some of the political and cultural agendas observed, Huuskonen also explained the complex relations arising from the use of digital technology in creative processes, in which authorial demarcations blur between those making particular software and those using it.

Moderator Sven-Olof Wallenstein initiated the discussion on the relation between technological utopias, as in Constructivism, and the approaches exposed in the presentations. Other ideas debated were the apparent 'democratization' of the design process implied in some technologies and the problems of such idea, and the concept of technologically induced ambiguities, pointed to in some of the works.

In the work of Tommi Grönlund and Petteri Nisunen, installations often explore ideas related to meaning and randomness, and the forms in which those can be given a presence and perceived. An important concept introduced was that of inter-passivity, as a possible reaction to pervasive interactivity.

Peter Hagdahl proclaimed the relation between an artwork and the viewer's participation as one of the driving obsessions for his work. Photography and video lack any user input, while some forms of digital media allow for complex relations between the viewers and the artistic work. Hagdahl also suggested that the requirements of a particular situation might demand the development of specific technology, instead of the use of those already available. The discussion was initiated around the notion of inter-passivity, in which explicitly technology-based work creates an atmosphere in which people do not have any control. This proposes another tendency in which the artist demands action from the user and the user demands action from the artist, reaching a deadlock of passivity in which no one acts. Another track implied that the architect or artist turns into a system engineer, a transformation from actor to administrator and producer. This suggests the shift of control to a meta-level, as in Nicolas Bourriaud's idea of postproduction. The materiality of data, in constant fluctuation between the visible and the invisible, and the possibility of certain tectonics of information, was an approach to this matter. At a fabrication level, through the activation of information in different substances and their properties, as in the work of Servo, data in the form of binary numbers is transferred into stereolithographic molds and finally into plastic modules. In the different practices of the participants the processes of translation between the physical and the informational affect the ways in which work is produced; in some work the traditional limitations have been physical, with a shift into the informational realm, in other the informational is given an unconventional physical presence which structures the work differently.

Practice based Research in general addresses the relation between work produced as part of an artistic practice and associated research. The work may provide the instrumental value to the research, or it could have a mediating role. A general notion shared by all participants was the hybrid conditions of the work and the practice.

The seminar provided an occasion to discuss and contextualize Krets' concepts in relation to other similar practices. The invited guests touched on important issues from new angles. This dispersal of ideas also helped open up the discussion to the public, which further fuelled the reflective and critical conversation.

In order to provide an environment operating as a catalyst for discussion, within the panels but also incorporating the audience, Krets designed the set-up in a very simple but effective configuration. The panels were located in the center of a horse shoe formation of seats for the audience, facing each other, but also facing the audience in all directions. This allowed for eye contact, and close contact to the audience. In addition, the Urbantoys v.2 project (Krets commissioned by servo) was installed adjacent to the seminar area, allowing the audience to interact with one of the projects presented directly.