Music provided by Frank Schultz and Scott Burland
Here are a few blurbs a few nice people wrote:
“Against the lengthening shadows of Finanacial Zombification and Gigantism, the ominous darkening horizon of Climate Change/species extinction, and the technomodification of human soma and psyche stands the new Fort!/da? release. Perhaps in order not to scare folks too much, it doesn’t argue for the most part on the reality or not of the UFO phenomena (whatever that is ), it instead posits the thesis of the increasing UFOification of the human sphere through a series of allusive essays on camouflage, mimicry and hoaxing, on apocalypse and the messianic impulse, the drone and other aspects of the uncanny in a thick unrelenting theoretical stew set up as a failed art exhibit.”
Reader, University of Muri
In a series of successive cultural interventions of which Fort!/Da? is only the latest iteration, Robert Cheatham has sought to keep alive alternative models and modes of thought about the human condition, modes that belong to no single intellectual camp, though interdisciplinarity reigns supreme in all his enterprises.
French and Italian philosophers are likely to find themselves keeping company with novelists, poets, and UFO researchers, with the results always happily unpredictable. Cheatham is indefatigable in his quest to unveil or reveal or point obliquely to the reasons that human beings know—or think they know and fail to know—and act—or are acted upon or kept from acting as they are kept from knowing. Social psychology and epistemology collide with the intrinsic boundaries of science and the implications of all of the above as transmitted through thinkers and artmakers both reputable and (in some quarters) disreputable. Intellectual transgression and the legacy of the literary avant-garde are both alive and if not well, then certainly kicking in the domains defined by Fort!/Da? and companions.
One memorable video collaboration with Chea Prince carries his early interest in alternative media into the realm of experimental videography in a form that simultaneously recalls the best of the classic generation of at-the-edge film and video makers and depends upon the fruits of the digital revolution that Cheatham has done his best both to promote (as an early adopter of whatever technical innovations his finances or capacity for invention permitted) and to interpret.
The continuation of the multi-contributor journal Perforations, returned from web-access-only to hard copy courtesy of today’s print-on-demand revolution of the word, is testimony to Cheatham’s willingness to operate at the limits for the sake of intellectual exploration. He deserves our plaudits, and our money. “
Jerry Cullum, editor-at-large, Art Papers
Perforations 33 gathers Sean Q. Beeching’s wry meditation on lost-and-found camouflage; an entire subsection whose elements all ponder drones in their every aspect; and the irreal fictions (fictions?) of Nicholas Charis, among other unexpected (save in its own pages) literary fauna.
— Ed Hall, photo editor of Noplaceness: Art in a Post-Urban Landscape and author of the forthcoming novel Chimera Island