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7h THREE-DIMENSIONAL MOTION PICTURES When a scene Is viewed binocularly, the foveas of both eyes scan the same details simultaneously. The areas immediately surrounding these details are naturally hazy in both eyes, the merging of these hazily-seen sur roundings resulting in a new impression with a "mixed" perspective, the confusion and haziness of which,^ how ever, Is not much greater than in each retinal image separately. It seems clear, therefore, that while details are seen sharply and as well-defined entities, they are sur rounded by a vaguely-perceived background which is a mixture of the perspectives seen by the eyes separately. This hazy, mixed perspective, and the doubling effects occurring farther away from the sharp foveal impres sions, are experienced as the stereoscopic perspective. The sharply observed cortical image, composed of details viewed binocularly, is assembled in an amazingly fast manner. It is the writer's opinion that the binocular sensa tion of depth, solidity and space results from the fact that the sharply-seen cortical image is not a merger of two dissimilar images but is rather an image built up in the manner described from details, each one of which was seen in merged, stereoscopic surroundings. The passing years witnessing no advance in the understanding of the nature of stereoscopic vision as such, there developed the conviction in the minds of workers in the art that three-dimensional vision could be attained only by the merger in the brain of two separate parallaxially-different images. They ignored the simple fact that one-eyed drivers apparently are as good judges of space and distance as are two-eyed drivers, and that there are first-rate tennis players and other athletes who hit the ball consistently, despite the lack of stereo vision.