its potential in performance and theorists are now beginning to predict the new performance hierarchies. He then begins to discuss three scenarios based on this new immergence of performance and democracy and what he predicts by using these three scenarios what the future entails because of this performance. The first being an extension of today's society he calls this ‘clean torture’ (McKenzie, 2005:2) which entails; stun guns, stress position and highly public human rights initiatives. He calls this ‘torture as usual’ (McKenzie, 2005:2). He addresses the second scenario as ‘society of the spectacle of the Scaffold’ (McKenzie, 2005:2) of which entails politicians becoming ‘security obsessed’ (McKenzie, 2005:2) because of the increasing danger of terrorism. This meaning the theatre of torture goes public as civilians begin to support ‘enhanced interrogation techniques’ (McKenzie, 2005:2). The final scenario McKenzie discusses is ‘A world without torture’ (McKenzie, 2005:2). He explores the avenues we need to explore to abolish torture on a global mass. He argues that international human rights have helped develop clean torture techniques rather than the brutal torture techniques developed in earlier decades. Society In 2005 McKenzie wrote another article titled ‘Hacktivism and Machinic Performance’ in which he attempted to define both terms in context to the social climate of today. He referred to his book ‘Perform or Else’ when he defines Hacktivism: ‘the emergence of political activism within digital environments, primarily but not exclusively, the Internet’. McKenzie's goal has been to theorise the performance of hacktivism in hope of connecting his research on electronic civil disobedience to his ongoing performance research. Whilst being interested in cultural performances such as performance art and political theatre, McKenzie has focused on the relationships between cultural performance and ‘high performance’ technologies and ‘peak performance’ organisations. As well as being interested in these three performances (cultural, organisations and technological) McKenzie is most interested in performance as the defining modality of power in contemporary society. He goes on to define machinic performances as ‘arising when different processes ‘recur’ or communicate across diverse systems, thereby creating performances that escape subjective control and even objective analysis...They happen at multiple sites through multiple agents, both human and technological. Machinic performances pose a real challenge to study, as to research a machinic performance is perhaps to become part of it’. McKenzie suggests that two areas where machinic performance was most visible are interface design and socio-technical systems. In new media interface