See, this is kinda why I don't like it so much when Treklit gets into the politics of the Federation and Earth. We all have very different ideas on how to reach utopia. TOS had the best idea when they purposefully never showed Earth, and avoided the issue. That way, we can come together, and overlook the fact that to some, salvation comes by way of torture.
Is that really what a show that's supposed to be about a more humane, egalitarian, liberated future ought to do? Just declare it done and avoid talking about how it happens and how people can make their society a genuinely better place?
Or does a work of art advocating for a more humane future have a moral obligation to actually take some stances and say that something things are incompatible with that better way of life?
Sci, you are very knowledgeable about Political Science, to be sure, but your idea about the purpose of Art makes me wonder how much you got to study it.
Art does not exist to serve the state, to serve humanity, or any other therapeutic reason. Art is simply expression, and it refelcts the mind of the artist. Some artists do serve their state, some criticize their states, and some are totally apolitical.
The worth of a work of art to other people is clearly different than the worth to the artist. To the latter, the value exists
a priori. And vice versa, to the former the value is
a posteriori.
How that works with Trek would go like this: beforehand Roddenberry gets an idea (not just a thought, but a full idea bursts across his mind containing images, sounds, feelings, and it happens instantaneously), he then focuses on the execution of his idea. If he stops to ask, what is the social ramification, how am I doing what Aristotle thinks I am supposed to do, can my artwork make this world a better place, he will ruin it. I am speaking partly from my reading because I'm a lousy writer, but I am also somewhat speaking from experience. I think it was Twain who said something like, no man who ever set out to write a book to convince other people of anything was ever successful. You can't. Who reads Juvenal anymore? Who would want to? Even the Divine Comedy suffers from this mistake, as we can no longer read it without a roadmap. The artist is first concerned with execution and then by publicization.
Afterwards, the public has its opinions. And tied in with those opinions are all the personal things that each different person brings to the work, making it so we each actually conceive as we perceive. Picard's desk comes from the old homestead. KRAD writes that, and we each see a different desk. Some may feel different feelings about their big brother, a family member who is dead, a nephew, or maybe skip right over it. The Federation does not use money. Some want it explained, asking how can this possibly be? But that was never the point. The idea he got hit by, that he had to bring into the world, was a "what if", not a "how", and it is only those who themselves bring their own ideas about money to the show who get distracted from appreciating what he did make and focus on the feasibility of the premise.
Which is totally fine, for them. For me, appreciation of art involves understanding the artist, his motives, and trying to see out his eyes, and that means letting go of my own ego sometimes, which is why I like Art so much. But to others, they are in a dialogue with the artists, and they don't want to let go of their own egos, so they criticize and either extol the virtues of those they agree with, or condemn those who don't agree with them. That's OK. It's just reality. It's the environment an artist lives within.
So, no. Artists have no special moral obligations whatsoever beyond the ordinary moral obligations of all of us. Especially since we generally abuse the best of them, unfortunately.
All that artists do is execute their visions to the best of their ability.
Let That Be Your Last Battlefield... it's about racism, right? Or is that just what we bring to it? These two guys are like starbelly sneeches. Clearly Roddenbarry and Suess had ulterior motives, right? Well, yes, the visions they had included the idea of starbellies and moon cookie faces, and the stupidity of superficial responses, but they didn't get that from moral obligations. It just happened to ring true to them, and therefore they needed to make it real.
I am just totally lost here... I think I wrote myself into a corner... what was I trying to say?
Yeah, that there may seem to be some sense of
noblesse oblige going on here, but it's not from a sense of moral obligation to society, as Aristotle claimed, but from a personal need. Plato knew this. That's why he wanted to exile them.
In the end, yes, we do end up pointing to some works after-the-fact and saying that they had a positive impact on their society, but it has been shown many times that if you set out to accomplish that, you will certainly fail. All you can do is write within your own sense of right and wrong.
I doubt that David Mack, with Destiny, was writing a morality tale to encourage people to learn to know their enemies, and that only one who fully understood them could finally defeat the Borg. Perhaps that idea does exist in his mind. It's in The Art of War. But I doubt that was his intent. He probably "saw" the whole story in a glimpse, then watched it develop in his mind, and felt compelled to propose it to Marco because it tugged at his brain.
(I can already hear the writers jumping in to tell me how far off my guesses are! LOL!)
OK... I'm out of steam...