“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 concept of the public and intellectual discourse is under attack and is being replaced by the motives and permutations of a pervasive spirit contouring not only the making of culture but also the standardization of work, education, thought, and action. This mutability and subsequent captivity by digital technology 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 indivisible configuration with such technology is transforming how we think of ourselves, understand our world, and interact with others. Recognizing the embedded global architecture of computer mediation, persuasive technology, visualizing technology, and the underlying role of the consumer-spectator compels one to reflect on the integration, interdependence, and dynamism of our relationship with it—a phenomena that inflects our everyday and shapes our contemporary human experience.
        Trevor Embury’s research and body of work facilitate investigations into the political project of design and its entanglement within a techno-social system. Specifically, how design, as a mode of organization, constructs forms of power and control through tactical mechanisms of visual representation, language, and participatory exploitation in the broader context of how the political is entangled with the material, and how digital technology, as a mode of production, instrumentalizes, circulates, and sustains these transactions, ultimately, being employed to design seeing and thinking. In The Right To Look, Nicholas Mirzoeff states 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.”
         His work aims to problematize, speculate, and visualize notions of agency, mediation, instrumentalism, participation, and knowledge in an effort to reflect on and evaluate how these relationships condition and affect our social structures and actions. His work includes printed matter, photography, video, and site-specific installations and should be regarded as a means rather than an end providing no solutions or answers but new perspectives and whereby design may be recognized as a form of critical inquiry.

His practice is situated within the domain of research-creation—connecting artistic and academic research practices through scholarly examination, 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.