The Coalition ballroom was packed with four hundred noisy fithteen-year-olds. Johnston hated every single one of them. His brand had been slowly slipping for years and this once successful beamter had been reduced to giving the adult introduction seminar to children on the eve of their Passing. Had he not be loyal? Had he not consumed double, no, triple the recommended dosage of Brandsulin and Flucermol? Had he not tried harder than anyone to build his personal brand?
Johnston stepped out onto the stage and remained quite motionless until he was quite sure that he had their undivided attention.
Set in 2059, The Passing is a performance that explores a society designed by advertising executives, biochemists, spies, startups and fashion bloggers: the worst possible people to take on building a better world for us all to live in. The Passing describes a future where too much time and trust have been placed in the products of middle-upper-class white men: The Coalition.
These men came for us: first, they came for our labour, then they came for our money, then they came for our attention and now they’re demanding our obedience. They teased us with the tools for fame, fortune and influence but they hooked us up to compliance and control. In their world “shopping is freedom” and influence is king, currency and law. They’ve built products such as Hot Homes to imprison us, Bradnsulin and Flucermol to sedate us and created a nanotech chemical algorithm called RACHEL – the one algorithm to rule us all.
The Passing asks the audience to imagine a much better future than the one the performance describes and asks them to have a long hard think about the trajectory our society and how our relationship with technology, media and how the never-ending cult of influence is propelling us towards something darker than we have ever known before.
The Passing asks the audience to reconsider their subservience addiction.