This is precisely correct. I think the replies to you are missing a very central point (speaking as if the accusation of advocating Marxian Communism was a serious charge, too). Perhaps the important authors about the relationship between media and capitalism are the Frankfurt School, in particular Herbert Marcuse's works. I'm reading his book One-Dimensional Man at the moment.

He's advocating exactly what you are: democratic deployment of technology. How this relates to media is very interesting, and the idea that these problems exist merely quantitatively different in a possible Socialist society is a fundamental lack of imagination for qualitative change.

The other people replying to you forget a key component of history - that rationality is not fixed. Technology has the capability to change what humans consider rational, rationality is a process, a movement in which different societies have different views. The current rationality of late capitalism is what Marcuse terms technological rationality. That is, the rationality of production. This kind of rationality is the production for the sake of production, for the sake of profit. After all, what is more rational than developing machinery, streamlining it, making it more efficient, increasing the role of mechanization in society? Hardly anyone would disagree that these are wonderful advancements - however with them, they have brought rationality of production which pervades society everywhere. This rationality is actually irrational, but few see this. Advertising, planned obsolescence, extreme marketing, the working of the market into the education systems are all simply parts of the production process. Just more costs.

Artwork is affected by technological rationality. The old pieces of art often had an alienating component, that is to say, they displayed a clear break from the state of things, and a hope for a different kind of future, the outcast, the mastermind thief, the unemployed person, etc. all fulfilled a role that was outside of the system of rationality, acting against it; even when these roles were not glorified, they existed as an opposition to the system. Marcuse notes that in modern artwork, this notion has largely disappeared; the villains and outcasts are no longer outcasts, they are within the system but in the bottom rungs, and their opposition cannot be seen as clever, but it is only misguided. Their opposition to the bourgeois system from within is always shown as a false opposition, a threat to our notions of freedom conferred by technological rationality.

When you hear Bach, Freud, Marx etc. in the supermarket, he is stripped of his alienating or any kind of critical dimension. An element of his truth has been taken away by the new consideration in the light of technological rationality, reduced and sublimated into the totality.

Socialism, what you are advocating, carries with it a very different set of rationality in which man is liberated from the freedom of being a free economic subject, free from the bounded freedom of the welfare state. The welfare state, which many proponents of "soft capitasm" advocate is another form of repression of the individual, but in different forms. It is administered living, the restriction and control of the free time made available by technological advancement and control over the intelligence necessary to comprehend self-determination.

When we advocate Socialism, we do not mean a central party committee deciding what to read, we mean the liberation of people from the restrictions of the new rationality which insists in its own mode of living through our leisure time, our work time, our sexual enjoyment and artistic pursuit.