“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 digital technology on humanity along with an inhabiting media ecology is a subject of immediate relevance and importance. Building upon events and knowledge from the twentieth-century, the twenty-first-century (i.e., vectoral-age) has seen unprecedented development and deployment of advanced digital technology. Our configuration with digital technology is transforming how we think of ourselves, understand our world, and interact with others. Recognizing the embedded global architecture of computer mediation, visualizing technology, and the underlying role of profit generation compels one to reflect on the integration, interdependence, and dynamism of our relationship with digital technology—a phenomena that inflects our everyday and shapes our contemporary human experience.
        Trevor Embury’s research and body of work facilitates investigations into our contemporary media ecology. Specifically, how design, as a mode of organization, constructs forms of power and control through the mechanisms of visual representation and participatory exploitation in the broader context of how the social is entangled with the material, and how digital technology, as a mode of production, instrumentalizes, circulates, and sustains these transactions. In The Right To Look, Nicholas Mirzoeff stated that “visuality is both a medium for the transmission and dissemination of authority, and a means for the mediation of those subjects to that authority.” From this theoretical perspective, his work aims to question and understand these relationships by looking more profoundly at the role of design, its evolution, effects, and forms within a techno-material manifestation.

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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.