Remote Viewing is a performance and responsive installation presenting human and camera interactions as a site for contemplation. We live in an era of technological vision - and technological bodies. In contemporary forms of representation, what we "see" has often been subject to complex forms of mediation. Noxious Sector proposes a dislocation of bodies and of vision and an experiment in visual intervention. Focusing on the technology of drones as agents of remote vision and interaction, Remote Viewing is a meditation - part visual, part conceptual - on the status of vision, bodies, and technology in the 21st century. Drones are as much floating heads as they are predatory machines, and to emphasize this conflation is to begin to interrogate the logic of surveillance for its relationship to an embodied ethics of virtual behaviour.

Noxious Sector is a formalized forum for informal inquiry. An ongoing collaboration amoung Canadian artists Jackson 2Bears, Ted Heibert, an Doug Jarvis, Noxious Sector projects are dedicated to the exploration of questions of the imaginative, the paranormal, and the absurd. Our work attempts to redefine the meaning of artistic possibility through extended propositions that challenge consensual norms while provoking stimulating forums for dialogue and discourse. We propose projects informed by the concepts, speculations and propositions they provide, with particular focus on works that creatively challenge the boundaries between the imaginary and the everyday. Building from stories of strange science and the paranormal, Noxious Sector projects are monuments from which to wonder about the creative possibilities of speculative living. Seen philosophically, our work is inspired by the theories of the French playwright Alfred Jarry (1837-1907) who is credited with the invention of pataphysics: "the science of imaginary solutions". We think such solutions (with their emphasis on the imaginary) are most befitting for a contemporary age in which even theoretical physics concedes to a pervasive need for uncertainty, acknowledging that the simple historical parameters of truth and falsity are long longer adequate for our understandings of life or the world. Instead, from a pataphysical perspective, scientific uncertainty is also a license to imagine - with the caveat that a contemporary imagination must confront the impossible itself if it is to remain salient in face of scientific advance. This, in other words, is not a call for plausible propositions or responsible creativity but rather a noxious disagreement with the very imperative towards certainty in the first place.