Furthermore, this constraint and limitation of the parameters of television broadcast to extremely high frequencies-which frees up the field for a large bandwidth of transmission and is met with the quality of a capital’s urban provincialism, its first consequence-forces the transmitted image down a path of research for a perfection oriented toward technical quality, i.e. toward the adoption of a high definition. Favored by the initial circumstances, this adoption of a certain code of values creates a normativity that reinforces the conditions that have contributed to it and that legitimizes them after the fact: high definition will make the correct transmission at a great distance even more haphazard. Broadcasting in high definition will lead to the production of expensive apparatuses, and those who build them will have to be that much more careful in how they produce and sell this technology. High- definition technology resides at the extreme limit of what can be commercialized and requires an enormous amount of direct advertising to a specific public wealthy enough to afford living in an urban area rather than a rural one. This then leads to a psychosocial morphology and dynamic that summarize and stabilize the concept and institution of television; from the capital toward the large populated centers, guided bundles (modulated by frequency and on decimetric waves) are sent forth that transmit programs of distraction over the countryside and towns of a secondary order, which are powerless to participate in this starshaped network radiating from Paris. The veritable limits of the concept of television are thus psycho-social; they are defined by the closure of a cycle of recurrent causalities that create a type of psycho-social interior milieu endowed with homeostasis due to a certain internal regulation by the assimilation and disassimilation of technologies, procedures, and artists who are recruited through commandeering and bound together by a mechanism of self-defense comparable to that of various closed societies. Particular self justifying myths are put forth: the research of the sharpness of the image is proclaimed to be more valuable than the research of color attempted by other nations, and in order for this research to justify itself, the distinctive traits of the French people are invoked, who are enamored with clarity and precision and detest the poor taste of color prints, considered only to be suitable for primitives or children. Logical contradiction is accepted here, for this thought is guided by affective and emotive themes; the superiority of sharpness over color is therefore invoked in the name of technical perfection, whereas a simple calculation of the quantity of information required to transmit a colored image and a colorless image and an examination of the degree of complication of the apparatuses used in both cases lead to the inverse result.