“Technological rationality reveals its political character as it becomes the great vehicle of better domination, creating a truely totalitarian universe in which society and nature, mind and body are kept in a state of permanent mobilization for the defense of this universe” (Marcuse, 1964).

The captivity of modern technology on humanity is a subject of immediate relevance, interest, and importance. Building upon events and knowledge from the twentieth-century, the twenty-first-century (i.e., information civilization) has seen an unprecedented increase in the development and ubiquity of advanced digital technologies. From the global architecture of computer mediation to monitored consumer behaviour and visualizing technology—the many forms of modern technology are bolstered by capitalist business models that inflect our everyday and shape our contemporary human experience.
                Trevor Embury’s research and body of work facilitates investigations into how design, as a mode of organization, sustains forms of power and control through the mechanisms of representation and exploitation (the role of image, language, and participation in the broader context of social control) and how modern technology, as a mode of production, circulates and enables these transactions. His work aims to question existing cultural forms and their operations to encourage individual action and generate collective dialogue on such salient topics.

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His practice is situated within the domain of research-creation—connecting artistic and academic research practices through scholarly inquiry, visual experimentation, and critical reflection. His methods and perspectives engage critical discourse in fields ranging from cultural studies to information science rendered through the lens of graphic design.
        His work consists of printed matter, photography, video, and site-specific installations.



Marcuse, Herbert. One-dimensional Man: Studies in the Ideology of Advanced Industrial Society. Boston: Beacon Press, 1964. Print. p.18.