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The project investigates the Svinesund border crossing, which could be considered the most important Norwegian crossing in terms of logistics, complexity and history. Currently Svinesund is defined culturally by cross border consumerism, but the project reveals this crossing as a territory of forgotten historical value that continually fluctuates in character depending on the border condition at hand. Crisis and conflict are often the main factors that condition a border, together with the respective architecture that then occupies this space, such as the many forts that once controlled the area during Norways conflict with Sweden. As the border constantly changes, a border station is established in order to deal with extraordinary crisis situations that require large amounts of flexible space and different approaches related to the control of movement. If we recognise that these fluctuations peak and valley, then the station must be useful for other purposes when the border is not under significant strain. Therefore the typology of the plateau is utilised as an architecture that defines space without enclosing it. This architectural gesture appropriates the previous context of Hjelmkollen Fort, but with different intentions and on different terms. It takes advantage of the strategic point in the topography in order to establish a relationship with what one could call a landscape border that has territorial implications. The structure becomes a dialogue between landscape and form, which could be read as a direct reflection of what border architecture is. In a globalised world there is often a simultaneous need, and desire for more control and more freedom. The project there- fore poses the question as to whether an architecture can embody such a dichotomy?

Manuscript. Published version available at http://dx.doi.org/10.1080/14735784.2015.1122543 Orientations revealed as false presumably lead to the need for reorientation. Outside this economy, can there be utopian unorientation or ambiguous post-orientation? The self comes into being in a moment of disorientation, as Althusser's famous scene of being hailed by a policeman on the street makes clear. Althusser represses this moment, but what if we allow for its accompanying self-reflexivity? The fictional cities of China Miéville's The City & the City (2009) are set in a fragmented and multi-layered space characterised by displacement and disorientation. This theoretically informed police procedural emphasises disorientation through the form of the detective story and plays with genre orientations through its fantastic/science fictional elements. Most strikingly, it reifies our everyday practices of ignoring certain things around us, using a science fictional novum: the institutionalised practice of ‘unseeing’. The novel suggests that the seeing that paradoxically lurks behind unseeing creates disorientation, giving momentary glimpses of ambiguous post-orientations.

Frans Preumayr's nineteenth century virtuosic bassoon repertoire. An approach with a fine Grenser & Wiesner bassoon from Dresden: Issues of material and technique.What techniques and tools must be developed by period bassoonists in order to successfully approach the performance of Frans Preumayr's virtuosic repertoire? "A Very Fine Eleven-Keyed Stained Maple Bassoon by H. Grenser & Wiesner, Dresden, circa 1825" - as titled in an entry in a London auction catalogue - is one of the few surviving examples of a complete period bassoon with all its parts, offering valuable information for both period instrument builders and players today. This research project is based specifically on the unique opportunity that the Grenser & Wiesner instrument presents us with: an investigation of early nineteenth century bassoon works written for the Swedish virtuoso Frans Preumayr by composers such as Franz Berwald and Bernhard Henrik Crusell. Solutions for technical problems found in this repertoire are sought and described, and include a discussion of reed styles and fingering systems for the period bassoonist.

The cultural production of borders can be as read as referring to part of the economy, as an aesthetic site of creativity and border negotiation, and a cultural factor in the bordering process. The need to understand these cultural dimensions of borders and borderlands has lead to interdisciplinary interest in narratives, aesthetic forms, and cultural memory. Border poetics and related forms of spatial poetics can provide fruitful approaches to specific literary texts, films and other artworks, as well as to bordering in general. This special dossier for the Journal of Borderlands Studies presents papers from the 2008 ABS European conference in Kirkenes, which had “Cultural Production and Negotiation of Borders” as its theme and which brought together a wide range of researchers from both the social sciences and the humanities, raising questions about the role of culture in borderlands and also focusing on borders in Sub‐Arctic Europe. The following selection of papers addresses films, poetry, no...