Four Arguments for The Elimination of Television

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Other people from Kelvin's life appear in the lab. He encounters the re-created memories of the other two astronauts; relatives, old friends, toys, scraps of long-abandoned clothing, technical equipment, potted plants, dogs, dwarfs from a childhood circus, fields of grass. Things are strewn wildly about as the visitors from Earth try to figure out what to do with all the real/unreal stuff that keeps appearing from their memories. The space station takes on the quality of a dream, a carnival, a lunatic asylum.

The scientists consider returning to Earth as the others have. Kelvin favors this move as he feels his sanity slipping, yet he realizes that to leave means "killing" his rediscovered wife. Back on Earth she will be a memory, much as Earth has become in this space station. She understands this, and it is a source of anguish for both of them.

No one among the scientists or their mental creations can control what will happen. Without concrete reality, which is to say, contact with their planetary roots, they are adrift in their minds: insane. All information has become believable and not believable at the same time. It has become arbitrary. There is no way to separate the real from the not-real. Although the astronauts know this, since there is nothing that is not arbitrary, except each other, all information is equal. It is impossible to determine which information to act on.

Solaris has made the astronauts its subjects. They cannot defend themselves from the images the planet makes concrete. In the end, the men have no choice but to accept all information as real. Kelvin goes through a long cycle of Earth images, from childhood to his present space-station life. He is in his father's house again, but he is also in space. It rains again, but now the rain is indoors. It might as well be. He cannot distinguish. He accepts.

Finally, the message of the film is clear. The process of going insane began long before the launch into space. It began when life moved from nature into cities. Kelvin's ride from woods to city to space was a ride from connection to disconnection, from reality to abstraction, a history of technology, setting the conditions for the imposition of reconstructed realities by a single powerful force.

A generation ago both George Orwell and Aldous Huxley wrote twentieth-century classics on this same theme. Both 1984 and Brave New World have been analyzed and reanalyzed, but with each turn of the technology screw, they take on new levels of meaning and relevance.

In Orwell's 1984, the central technique of oppression is the absolute control of all kinds of information, both in the traditional sense—news, books, language—and also in the sense of information from the environment.

A suffocatingly narrow language, Newspeak, is imposed. It has no vocabulary to express many ideas and human feelings, and without expression, they begin to atrophy.

Every room contains a television set which constantly floods people's minds with martial music, news of military achievements and the despicable actions of the leader of the Underground, Goldstein.

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