The initial premise of this paper is that the structure of a proof is inherent in the definition of the proof. Side conditions to deal with the discharging of assumptions means that this does not hold for systems of natural deduction, where proofs are given by monotone inductive definitions. We discuss the idea of using higher order definitions and the notion of a functional closure as a foundation to avoid these problems. In order to focus on structural issues we introduce a more abstract perspective, where a structural proof theory becomes part of a more general theory of functional closures. A notion of proof equations is discussed as a structural classifier and we compare the Russell and Ekman paradoxes to illustrate this.

As “artistic research” is establishing itself as a field of academic research, a branch of academic research, it is only natural that we ask what it is all about. Not only from the outside trying to understand this “new” member of the academic research family, but also from within the field itself discussing directions, defining new research programs, mapping out sub fields and sorting out ideological matters. Results is clearly a key issue here. What is common here, irrespectively of the artistic subject in question, is that the result comes in the form of suggestions. Methods, techniques and programs are not propositions stating facts, but suggestions about ways, and directions, of working. If that is the characteristics, and nature of result content, what is the bearer, what is it that brings forth the result? In all three cases it makes perfectly sense to think of the bearer in terms of text providing for general presentations, descriptions, explanations and discussions. But what is missing in such a more general presentation is what suggestive and convincing examples bring forth; expressional implications. If it is a performance, an intervention, a painting, a piece of music, a film, a theater play, a building, a text etc that display methods, techniques, programs by example, then it is in the design of the performance, the intervention, the piece of music, the film, the theater play, the building, the text etc that the result, with respect to expressional implications, resides.

With a foundation in artistic practice, the Ambience´11 conference was organised as a meeting place where researchers from digital architecture, smart textiles, new media art and interaction design communities could come together to discuss and share ideas on the new expressional crossroads of art and technology and to take new ideas back to their own communities. As post modernism slowly fades away, a new interest in the expressional possibilities of constructions, techniques and materials, as well as the craftsmanship of artistic work, is becoming more and more visible in artistic practices. It is like revisiting “free” modernistic experimentation not bound by the utopian systems and dogmas targeted by post modernistic critique.

The Ambience’11 conference focuses on the intersections and interfaces between technology, art and design. The first international conference in the Ambience series was held in Tampere, Finland in 2005. In Tampere the basic theme was “Intelligent ambience, including intelligent textiles, smart garments, intelligent home and living environment”. In Borås 2008 it was “Smart Textiles – Technology & Design” in focus and in Borås 2011 it is the new expressional crossroads where art, design, architecture and technology meet.