Just came across this, and thought it was interesting:
A little over two years ago, Jacobin Magazine published this article, "Four Futures" by Peter Frase, about different manifestations Socialism and Capitalism might take in the future, and it draws upon pop culture imagery to help illustrate its speculations. One of the influences it draws upon is Star Trek. (In a recent primer pubished as a result of Jacobin making the New York Times, managing editor Connor Kipatrick calls the article "socialism for Star Trek: The Next Generation fans.")
Some quotes:
A little over two years ago, Jacobin Magazine published this article, "Four Futures" by Peter Frase, about different manifestations Socialism and Capitalism might take in the future, and it draws upon pop culture imagery to help illustrate its speculations. One of the influences it draws upon is Star Trek. (In a recent primer pubished as a result of Jacobin making the New York Times, managing editor Connor Kipatrick calls the article "socialism for Star Trek: The Next Generation fans.")
Some quotes:
Peter Frase said:But getting past wage labor economically also means getting past it socially, and this entails deep changes in our priorities and our way of life. If we want to imagine a world where work is no longer a necessity, it’s probably more fruitful to draw on fiction than theory. Indeed, many people are already familiar with the utopia of a post-scarcity communism, because it has been represented in one of our most familiar works of popular culture: Star Trek. The economy and society of that show is premised on two basic technical elements. One is the technology of the ‘replicator’, which is capable of materializing any object out of thin air, with only the press of a button. The other is a fuzzily described source of apparently free (or nearly free) energy, which runs the replicators as well as everything else on the show.
The communistic quality of the Star Trek universe is often obscured because the films and TV shows are centered on the military hierarchy of Starfleet, which explores the galaxy and comes into conflict with alien races. But even this seems to be largely a voluntarily chosen hierarchy, drawing those who seek a life of adventure and exploration; to the extent that we see glimpses of civilian life, it seems mostly untroubled by hierarchy or compulsion. And to the extent that the show departs from communist utopia, it is because its writers introduce the external threat of hostile alien races or scarce resources in order to produce sufficient dramatic tension.
The mutation of the property form, from real to intellectual, catalyzes the transformation of society into something which is not recognizable as capitalism, but is nevertheless just as unequal. Capitalism, at its root, isn’t defined by the presence of capitalists, but by the existence of capital, which in turn is inseparable from the process of commodity production by means of wage labor, M-C-M’. When wage labor disappears, the ruling class can continue to accumulate money only if they retain the ability to appropriate a stream of rents, which arise from their control of intellectual property. Thus emerges a rentist, rather than capitalist society.
Suppose, for example, that all production is by means of Star Trek’s replicator. In order to make money from selling replicated items, people must somehow be prevented from just making whatever they want for free, and this is the function of intellectual property. A replicator is only available from a company that licenses you the right to use one, since anyone who tried to give you a replicator or make one with their own replicator would be violating the terms of their license. What’s more, every time you make something with the replicator, you must pay a licensing fee to whoever owns the rights to that particular thing. In this world, if Star Trek’s Captain Jean-Luc Picard wanted to replicate his beloved "tea, Earl Grey, hot", he would have to pay the company that has copyrighted the replicator pattern for hot Earl Grey tea.