The immediacy of the button-pushing activity mentioned earlier is itself a fetishization of labour, an extraction of the social labour which constitutes the buttons, panels, and world of Star Trek itself, and therefore part of the very structure which threatens to substitute mere representation for agency. We could look here at the material layout of the Enterprise, following Foucault: its division into "functional sites" which help to code a space that might be used for casual conversation, the plotting of revolution, and so on. The social order is represented as pregiven, the coordination of large masses of labour runs interruptedly; the power/individuality they are offered is only a recapitulation of their situation of calculated and concealed colonization through representation.The image itself, in the logic of representation of the pure performative, serves as its own justification. As Debord writes, "spectacle presents itself as something enormously positive, indisputable, and inaccessible. It says nothing more than, 'that which appears is good, and that which is good appears.'"