Micah Hesse’s Types of Stereo presents us with the dialectics of three dimensional seeing. This way of seeing is the making of a constant combination between the perceptual and the cognitive. On the basis of the combination between the two cultural, social and political orders are formed. In turn, these orders inform our perception and cognition. One of the ways of producing a three dimensional screening is through the overlapping of the colors Blue and Red. The cultural meaning attributed to these two colors already provides an allegory for our perception of the world and the cognitive depth that this this perception offers. When the Red disappears we are faced with Blue flatness which offers itself as another kind of depth. No longer the expanding depth of field, but a depth which shades echo the immediate presence of the abyss.
In his unique dialectic way of combining the textual and visual Types of Stereo draws lines of free association between its subjects. Hesse transforms idioms and phrases into images to be viewed and examined visually. By this conversion to the visual, the meaning of the text changes, this new meaning is then examined and made into a new image, and so on. This circular logic sets into motion a wagon wheel of cross-referencing spokes that winds together stereotypical puns with various types of stereoscopic display; like the two component strands of film intertwining to form a single stereoscopic image, so does the pun, reversely, unzip itself into its dual meanings.