Eyes on the Brain

A neurobiologist explores the amazing capacity of the brain to rewire itself at any age.

Stereo Secrets

Stereograms provide more than just parlor tricks.

When Oliver Sacks first published my stereovision story as "Stereo Sue," he ended the article with my description of seeing a snowfall in 3D for the first time. Ever since then, I have wanted a snowfall stereogram. So, recently, I contacted Dmytro Bezsmertnyy (aka 3Dimka) of http://www.hidden-3d.com who made me a beautiful stereogram. I've now posted it on my website, www.stereosue.com. With a button click, you can even animate the stereogram and see the snowflakes falling.

Actually, the stereo snowfall is two steregrams in one. The background and the snowflakes each make up a wallpaper or floater stereogram. To see the depth in these images, look through the stereogram. For help with seeing stereograms, click here.

Wallpaper stereograms contain repeating patterns. When you look through the stereogram, one eye looks at a point in one pattern while the other eye looks at the same point in the adjacent but slightly different pattern. Your brain combines the image from each eye into a single scene seen in stereo depth. You may have experienced the same depth effect when looking at repeating patterns in a rug, on surface tiles, or on wallpaper.

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Charles Wheatstone first explained the mechanism behind stereoscopy in 1838, but, 1200 years earlier, an ancient group of monks may have developed an intuitive feel for stereo viewing. These monks created and copied stunning illuminated manuscripts such as the Book of Durrow, the Lindisfarne Gospels, and the Book of Kells. These books were known for their beautiful, precise, and complex geometric designs, some of which seem too fine and precise to have been drawn with the naked eye. How did the monks create and copy them? 

Dr. John Cisne of Cornell University has pointed out that many of these drawings include repeating patterns.

from http://precedings.nature.com/documents/3994/version/1/files/npre20093994...

 

The artists may have fused the neighboring and overlapping elements in their designs just as you fuse adjacent images in a wallpaper stereogram. If the elements popped out or receded in depth, then the monks knew that the elements did not match precisely or were not evenly spaced. Adjustments in the drawing could then be made. The monks never revealed their secret. They may even have used the 3D effect of the repeating images to add a special beauty and mysteriousness to the manuscripts.

 



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Susan R. Barry, Ph.D., is a professor of neurobiology in the Department of Biological Sciences at Mount Holyoke College and the author of Fixing My Gaze (June, 2009).

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