The Builders Association has everything going for it.The company has a brainy director (Marianne Weems) who wields deconstructionist erudition like a pair of nunchaku; a striking team of actors; and a technical savvy that blows all the other gearheads out of the water. The association has made a name for itself all over the globe, touring like devil with cutting-edge collectives like moti roti and dbox. And, yet, in all that dazzle and activity, the group can’t seem to make a play.

Their latest show, “Super Vision,” follows the Builders’s usual formula. They pose a question – always one that has just captured the zeitgeist’s imagination – then throw some very simple stories and some very complicated tech at it. Ms. Weems and team (the “conception” credit lists five people) have an unerring nose for salient techno-cultural issues: “Super Vision” addresses identity theft and “dataveillance,” the two favorite paranoias of our online society.

Above a proscenium-wide computer desk, a long lozenge of stage appears. Glowing like a laptop screen, the shallow space allows actors to perform while standing in front of (and sometimes inside of) computer projections. Everything from a living room to a playing child are virtually created, appearing on the backdrop or on the shoji-like screens that glide in front of the action. Incredibly simple stories go with this complex circuitry – a traveler faces increasingly invasive passport control, a father steals his son’s identity to apply for loans, and a woman in New York talks on a link-up to her fading Sri Lankan grandmother.

To say that the narratives are anemic would be an understatement. The three storylines never interact or inform one another, and often lapse into repetition. Our traveler (Rizwan Mirza), for instance, does give up more and more information to his visa interrogators, but we essentially see him in the same scene three times. Only the creepy prologue by Tanya Selvaratnam strikes the right Big-Brotherish tone; she implies that she has read all our credit-card statements, and will be using the information as she sees fit.

Much is made visually of the “data ghosts” that follow us from passport counter to banking transaction – animated “nodes” from a thumbprint, a Mapquest search, and a credit-card application all multiply and flock around the humans. All the cool noodlings by composer Dan Dobson and visuals courtesy of dbox (headed up by James Gibbs) and video designer Peter Flaherty could make for a very nice music video, actually. But at the piece’s heart, where a text or a directorial vision might be, there is a vacuum. And 75 minutes is a very long time to watch a screen saver, even without the flying toasters.

Until December 3 (30 Lafayette Avenue, Brooklyn, 718-636-4100).