Why is there no magnification allowed in Silo?
Table of Contents
Introduction
The dystopian genre is characterized by its exploration of a grim and unfavorable future, often depicting societies that are tyrannical, technophobic, and lack fundamental human freedoms. In the television series "Silo," this oppressive atmosphere is epitomized by the prohibition of magnification beyond a certain power. This rule underlines a broader theme: the fear of technological and scientific advancements, which the authorities manipulate to maintain control and enforce ignorance. This essay will explore this prohibition in detail, highlighting its implications, and compare this technophobic approach with attitudes towards technology in other dystopian works such as Aldous Huxley's "Brave New World," George Orwell's "1984," and Margaret Atwood's "The Handmaid's Tale."
Prohibition of Magnification in "Silo":
In "Silo," a prominent and mysterious rule disallows the use of magnification beyond a certain power. This prohibition, part of an oppressive social contract called "The Pact," effectively impedes the residents from gaining in-depth scientific knowledge and curbs intellectual curiosity. By controlling access to such resources, the ruling body discourages investigation into the environment outside the Silo, ensuring the inhabitants remain complacent, thus promoting a stagnant social structure. It reiterates the society's fear of technology, where a seemingly innocuous magnifying glass or microscope becomes a symbol of forbidden knowledge and potential rebellion. Moreover, the prohibition reflects a broader theme in dystopian fiction: the manipulation of knowledge and technology as a means of maintaining social order.
Comparative Analysis:
"Silo" and "Brave New World": In Huxley's "Brave New World," technology is not seen as a threat but rather as a tool for societal control. Technological advancements in genetic engineering and conditioning are used to ensure the social hierarchy remains unchallenged. Unlike "Silo," where technology is feared and suppressed, "Brave New World" portrays a society that embraces technology to engineer obedience and suppress individuality. While both societies use technology to maintain order, the approach differs: one suppresses, the other manipulates.
"Silo" and "1984": The attitudes towards technology in "Silo" bear significant resemblances to Orwell's "1984". In both narratives, technology is seen as a potential source of rebellion and is consequently monitored and restricted. In "1984," the government uses telescreens not for the dissemination of knowledge but for surveillance and propaganda, much like the restriction of magnification in "Silo" prevents knowledge expansion. Both societies exhibit a deep-seated fear of technology, viewing it as a threat to the established order rather than a tool for progress.
"Silo" and "The Handmaid's Tale": In Atwood's "The Handmaid's Tale," technology takes a backseat, with the society regressing to traditional values to maintain control. The fear of technology is not explicit, yet its absence reflects a similar phobia. Like "Silo," the prohibition of technology serves to maintain ignorance and control. However, while "Silo" strictly forbids advanced magnification, "The Handmaid's Tale" strips away technology entirely, reflecting a different degree of technophobia.
Conclusion:
In conclusion, the fear of technology is a recurring theme in dystopian narratives. In "Silo," the prohibition of magnification serves as a symbol of this fear, restricting knowledge expansion and perpetuating ignorance to uphold an oppressive societal structure. This technophobia varies across dystopian fiction: from the blatant restriction in "Silo" and surveillance in "1984," to the exploitative embrace in "Brave New World" and complete eradication in "The Handmaid's Tale". Regardless of the approach, the underlying premise remains the same - technology, or the lack thereof, serves as a tool for control, reflecting dystopian societies' deep-seated fear of change and rebellion.
