The manipulation of the television paradigm, that is the only household appliance capable of irresistibly attract our immediate attention, as well as the real-time display of images, represents a serious challenge to the veracity of television images. Even on this, in fact, is based propaganda and the turbidity of the minds, that is apparent on inscalfibilità the flow of images and their format, or sull'indurre a sort of pulpit from which are unquestionable truth uttered the almost absolute, or however impossible to challenge directly. Aristarkh Chernyshev Moscow is an artist from that time he devoted himself to a decoding of the television model through the use of hardware changes. New Age of Television is the set of its projects, including some presented at ' 2004 edition of the Readme . Inevitable to think of Nam June Paik, of which the author is well aware, but thirty years from the insights of Korean-New York transformations hardware are no longer induced by external tools craft, but they are integrated into the chip, grafted to 'of its internal mechanisms, or getting filtered out by other hardware specially built. And this is evident in particular from two installations: 'Final Adjustment' in which the TV is surrounded by padding with sensors, which struck like a lot of boxers for training changes with each blow the effect of distortion of the images, and the 'real virtuality helmet', a helmet that filters in various ways, external images presenting the eyes through various filters, the mapping in acid colors are rendered in ASCII characters (the latter in collaboration with Alexei Shulgin). In this way, the unstoppable flow of the images is twisted in the first case in various shapes and in the second case turns personal vision of things through direct intervention that stands between the recovery and the transmission before our eyes, in a healthy perverting the natural relationship of trust between moving images and viewer.