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THREE-DIMENSIONAL MOTION PICTURES J^i been taken for granted by workers in the industry, and has served to account for the illusion of motion on the motion picture screen, it was left to Terry Ramsaye, in his book A Million and One Nights, to advance the theory which he termed "persistance of optical imagi nation" and we are giving you his word for word argu ment in favor of his theory. "Ever since the first attainment of the projected film picture the simple statement of the principle of "persistance of vision" has been accepted generally as the complete explanation of the motion picture. That is too simple and easy to be true. After all, seeing a motion picture is something more and rather different from just piling one optical impression on top of an other in the eye. True persistance of vision, or the holding of an image in the mind's eye until the next arrived to take its place, would result more likely in a jar between the successive phases of motion pre sented by the screen record. In rapid motions which are well portrayed on the screen this jar would be considerable." "Following the researches of the experimental psy chologists we must admit that the eye can only see what is there to be seen, namely a series of still pictures. The mind does not rest. By simile we may say that the screen shows the eye a row of dots and that the visual imagination makes a continuous line of it. We often, elsewhere than the screen, think we see motion where none exists. There assuredly is no motion on the screen." "The successive still pictures of the object in motion appear merely to supply cues to an altogether mental process by which we build our impression of seeing it move. It would seem that there is something in our experience of seeing actual objects in actual motion which helps us to see movies, always in a forward direction. An exception to this progressively forward impression occurs in the common screen phenomenon