Sorenson’s essay charts her artistic history with stereographic computer technology as well as mapping it historically. She cites Sir Charles Whetstone with the discovery of the principles of stereopsis, which was necessary to the development of stereographic rendering. Sorenson, tells us that the idea of stereopis, and stereographic that became available due to the advances in computer technology, can be traced back to ideas put forth from Da Vinci. However, it is in the latter 20th century that the 2D surface can become 3D. Sorenson maps the development of the stereoscopic 3D technology, through her participation in the creation of software and hardware from her first ideas of what she calls … “an advanced light based art form- a 3D kind of painting that would come off the canvas…”(41). In particular, Sorenson maps  the development of her work titled Maya. Importantly, for Sorensen, the development of technology must also be balanced with artistic endeavors to make the …. “fusion of art and technology a vital part of human experience….”(47). Additionally, Sorenson sees the development of stereoscopic works of art as challenging the predominance of the 2D work of art in our culture.

Sorenson, Vibeke with Robert Russett. “Computer Stereographics: The Coalescence of Virtual Space and Artistic Expression”. Leonardo, Vol. 32 No1 (1999) pp. 41-48.