Television and Radio |

Imagine that you have two copies of a movie and two television sets. One copy is on Blu-ray and you pair that with a high-definition television — an HDTV. The other copy is on standard DVD, which you’ll watch on a standard-definition television. You synchronize both videos and watch the results.

The difference in image quality between the two sets should be obvious. The HDTV’s picture should look crisper and have colors far more vibrant than the standard counterpart. We’ve reached the peak of video quality — or have we?

When we talk about HDTVs, we’re really talking about image resolution. The picture on a television set is composed of millions of tiny dots of light called pixels. Standard-definition televisions have a resolution of 480. That means approximately 480 horizontal lines from the top of the screen to the bottom generate the images you see.

High-definition televisions pack more lines of pixels to create images. On the low end of the high-definition standard in the United States you have approximately 720 lines of pixels. On the high end, you have approximately 1,080 lines of pixels. Manufacturers are slowly phasing out the 720-line models in favor of the 1,080-line ones.

Using more pixels to create an image results in a smoother picture. Imagine you’re given a stack of green and brown squares of paper. You’re told you have to build a picture of a tree using the squares exactly as they are. If the squares of paper are large, your tree is going to look blocky with lots of jagged edges. But if you have smaller squares of paper, the tree will look smoother and more natural.

That’s what high-definition television does. It’s not just the number of pixels in the image — it’s the size of each individual pixel. As you pack more pixels into a screen, you have to make the pixels themselves smaller. In turn, the television will produce smoother images.

But is 1080 the best resolution possible? Could you buy a television set that packed even more pixels together? Would it make a difference? And would you be able to find programming that conformed to the higher resolution? Let’s find out.

Some people know what they want and try really hard to get it,” says TV on the Radio multi-instrumentalist Dave Sitek. “We’d rather write a song about robots fucking.” This oddball aesthetic is apparent on the band’s debut CD, Desperate Youth, Blood Thirsty Babes, a cool collage of electronic fuzz, jazz skronk, doo-wop vocals and dark pop.

The group’s mishmash of styles can be credited, in part, to singer Tunde Adebimpe’s unusual upbringing. Adebimpe spent several years of his childhood in Nigeria, where his father worked as a social worker. “We’d listen to Fela Kuti, and Indian and Pakistani music,” he says. “I remember getting a copy of the Beach Boys’ Smile and not being able to wrap my head around it. I loved it, but I was just like, ‘Is it music?’ ” After high school, Adebimpe moved to New York to pursue a filmmaking career. He rented a room in Brooklyn with Sitek, who was selling acrylic paintings and producing local bands such as the Yeah Yeah Yeahs and Liars.

“He was a weird motherfucker,” Sitek says of Adebimpe. “There was no question we were gonna do something together.” The two made some demos, took their name from a friend’s random suggestion and set out gigging after adding Kyp Malone as another noisemaker (the band recently added a drummer and a bassist for its live shows).

TVOTR recorded much of Desperate Youth by improvising for hours, then picking out the best parts. Unable to play an instrument, Adebimpe used a pedal that allowed him to sing over his own beat-boxing. But for its entire chaotic sprawl, the album is still a coherent paean to youthful confusion.

Despite the band’s surprise success, Sitek claims TVOTR don’t plan on getting more professional. “We don’t have the attention span to find the ‘right’ way of doing things,” Sitek says. “And we’re highly susceptible to caffeine.”