"The utopian currents of socialism, although themselves historically grounded in the critique of the existing social organization, can rightly be called utopian to the extent that they reject history--namely the real struggle taking place, as well as the passage of time beyond the immutable perfection of their picture of a happy society--but not because they reject science. On the contrary. the utopian thinkers are completely dominated by the scientific thought of earlier centuries. They sought the completion of this general rational system: they did not in any way consider themselves disarmed prophets, since they believed in the social power of scientific proof and even, in the case of Saint-Simonism, in the seizure of power by science. "How did they want to seize through struggle what must be proved?" asked Sombart. The scientific conception of the utopians did not extend to the knowledge that some social groups have interests in the existing situation, forces to maintain it, and also forms of false consciousness corresponding to such positions. This conception did not even reach the historical reality of the development of science itself, which was oriented largely by the social demand of agents who selected not only what could be admitted, but also what could be studied. The utopian socialists, remaining prisoners of the mode of exposition of scientific truth, conceived this truth in terms of its pure abstract image--an image which had been imposed at a much earlier stage of society. As Sorel observed, it is on the model of astronomy that the utopians thought they' would discover and demonstrate the laws of society. The harmony envisaged by' them, hostile to history, grows out of the attempt to apply to society the science least dependent on history. This harmony is introduced with the experimental innocence of Newtonianism, and the happy destiny which is constantly postulated "plays in their social science a role analogous to the role of inertia in rational" (Materiaux pour une théorie du prolétariat)."
--Guy Dubord, The Society of the Spectacle