How can we know the dimension of justice within the Absolute?—Through art. 1 Classicist Henry Paolucci explains that “art” (along with religion and philosophy) “are in the end, for Hegel, ‘moments’ of absolute spirit.” 2 Similarly, philosopher William Desmond, in A Study of Hegel’s Aesthetics: Art and the Absolute , notes that “Art has an absolute dimension; indeed, it belongs together with religion and philosophy itself as one of the three highest modes of human meaning.” 3
Consonant with Hegelian reasoning, my specific argument in this volume is that the broadcast iterations of Star Trek allow us to comprehend significant aspects of justice. Therefore, Star Trek is the highest of high brow entertainment. 4
Humans speculate about the absolute (justice)—i.e., that which moves history forward and allows people to lead authentic lives. Precisely because justice (the absolute) is that which is and which isn’t, 5 art/imagination allows for justice to be conveyed in an intellectually and emotionally satisfying matter. 6 (Notably, the first known philosophy in the Western world [Plato’s Dialogues] was written in the form of narrative art.) Art, therefore, can supersede philosophy, with the latter serving to dissect/amplify what is accessed/depicted through the former. More specifically, art portrays the (normative) reasons of the world, and potentially how humans respond to them.
Analytic philosophy, whose adherents have historically ridiculed the idea of the absolute 7 —without positing any answers of their own for the movement of history 8 —is an obstacle to knowledge. Most specifically, art and the analyzing of the aesthetic are viewed by analytic philosophers as mainly outside of epistemology and ignorable as it relates to science. 9 Instead, the humanities is of a piece with the physical sciences 10 —as they both speculate about the absolute, the latter about its manifestation in matter and energy, whereas the former (in its finer forms) is speculation about the absolute as it pertains to human affairs (justice). 11 “Art may not have the precision of physics but, according to Hegel, it has as crucial a role in revealing to us an aspect of the [Absolute] Idea.” 12
The enduring popularity of Star Trek indicates the validity of the speculation portrayed in the franchise about justice. Put differently, the global success of the Star Trek validates the idea that the multiple series and movies, to an important degree, “capture” the essence of justice. Philosophy Professor Jack Kaminsky, drawing explicitly on Hegel’s theory of aesthetics, explains that “the artist tries to show men what kind of man would be the fullest expression of the Idea” (i.e., the Absolute). 13 A prime feature of the Star Trek franchise is the argument that humanity is “growing”—that is, becoming more rational, mature, caring, etc. (“the fullest expression of the Idea”).
The Evolution of Human Society
There is an emphasis on “personal growth” within literature, movies, television—where people grow to become more accepting, tolerant, mature. Arguably, the archetypal example of this is Mark Twain’s The Adventures of Huckleberry Finn , in which Huck overcomes the vile prejudices of the antebellum South to see and embrace Jim’s humanity. Thus, an important aspect of being an authentic person, according to the Absolute (as reflected in art), is being accepting, tolerant, and these values are key components of maturity (authenticity).
Human society as a whole is intellectually growing, emotionally maturing (i.e., becoming more rational) in Star Trek. Gene Roddenberry created the Star Trek franchise and was the prime creative force behind the original series (1966–1969) as well as the animated series (1973–1974) that followed. Toward the end of his life Roddenberry gave an extended interview where he did indicate that the totality of human history is a progressive telos (dialectic) (a la Hegel and Karl Marx). Roddenberry labeled humanity’s telos a “socio-organism”:
The usual way of the physical world is to progress towards unity. When life originated on this planet, it was a single-cell organism. And perhaps by accident, or need for survival, or some primal urge, these individual cells began to group together to form collectives, then units, then a corporate body. And that’s what happens on a larger scale with humans. They form groups – tribes, nations, and so on. … If you follow the thought logically, you can project a more complex interaction – perhaps a thinking body in which the individual units no longer function in any capacity as individuals. They may specialize, but not without the knowledge and cooperation of the whole group. It’s a kind of interdependence in which the whole is greater than the sum of its part. 14
Roddenberry pointed to “computers” (science, technology) as an advancement toward human unity—drawing people together through increased information and communication flows. Thus, the original series was very optimistic about computers, even as they were a nascent technology in the late 1960s (when Star Trek was produced). 15
Advancement of humanity’s “socio-organism” occurs through revolutionary events, moments, and under the overall rubric of the “progressive dialectic” (Chapter 3)—an ideation that is reflective of that of Georg Hegel and Karl Marx. 16 Star Trek is optimistic insofar as arguing that as global society accepts modernity; reason; science (i.e., the Enlightenment) through the progressive dialectic humans will collectively achieve a higher plane of intelligence; knowledge; and emotional maturity. (An optimism shared by Marx: in “communist society … the all-round development of the individual” will be achieved. 17 )
Interestingly, in the Star Trek franchise the evolving rationality, maturity of humanity is referred to most explicitly in the animated series. The episode “The Magicks of Megas-Tu” (1973) invokes the Salem witch trials. Old world “devils, warlocks, evil sorcerers” were the misunderstood, maligned, massacred aliens (Megans) that the Enterprise was now encountering. The Megans now fearful of humans, place Kirk et al. on trial: “These are the defendants, as representatives of the vilest species in all the universe, treacherous humanity.” In humanity’s defense Kirk explains: “in the centuries since the Salem witch trials we have learned. We try to understand and respect all life forms. … The records of the Enterprise are open for your inspection. All the history of Earth and the Federation is at your disposal.” In an effort to tap into the prejudices of humans, the Enterprise crew is told that the one Megan that has befriended, protected them is no less than “the Rollicker, the Tempter, Lucifer” himself. Kirk, reflecting modern, secular, humane reasoning, retorts: “We’re not interested in legend. He’s a living being, and intelligent life form. That’s all we have to know about him. We will not join in harming him.” The Megans decide to imprison Lucifer for eternity for aiding the Enterprise. Kirk risks death to protect, help Lucifer: “I have to, or you’ll become as bad as the Earthmen you fear. You’re acting out of terror instead of out of thought or respect.” This convinces the alien...