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вЂњAll these inventions just dovetailed perfectly by mid-century,вЂќ notes Douglas Heil, a professor and author of The Art of Stereography. Better yet, the photograph had recently been invented, which meant BrewsterвЂ™s stereoscope could display not just crude hand drawings, but vivid images captured from real life. Insert a card with stereo images -a вЂњviewвЂќ-and presto! A scene came alive. Wheatstone created a table-size device to demonstrate the effect, with a viewer that sent a unique image to each eye: the worldвЂ™s first stereoscope.ДЄ decade later, the scientist David Brewster refined the design, crafting a hand-held device you could raise to your eyes. This was, he noted, precisely how our vision works each eye sees a slightly different perspective. If you drew two pictures of something-say, a cube, or a tree-from two slightly different perspectives, and then viewed each one through a different eye, your brain would assemble them into a three-dimensional view.

In June 1838, the British scientist Charles Wheatstone published a paper describing a curious illusion heвЂ™d discovered. Why does VR get its hooks into our psyche? WhatвЂ™s so intense about 3-D? ThatвЂ™s a question people pondered back in the mid-19th century, when they peered into an exotic new tool for summoning virtual worlds: the stereoscope. VR, as the filmmaker Chris Milk proclaims, is вЂњan empathy machine.вЂќ By hijacking our entire field of vision, it has more persuasive power than TV, radio or any other previous medium. The high-tech age has given birth to many addictive new media, including websites, YouTube videos and endless text chat. Documentary filmmakers are flocking to shoot VR вЂњexperiences,вЂќ using newfangled 360-degree cameras. Doctors use it to show the ventricles of the heart artists create hallucinogenic visualizations game designers build immersive shoot-вЂ™em-ups and kookily creative tools like Tilt Brush, which lets you draw virtual sculptures in the air. As head-mounted devices-such as the Oculus Rift and HTC Vive-have dropped below $1,000 (or as low as $5 for Google Cardboard), more people than ever are peering into this new realm. VR, it seems, is finally edging into the mainstream. вЂњThey feel like theyвЂ™re in whatever world theyвЂ™ve been placed into.вЂќ вЂњItвЂ™s really deep immersion,вЂќ Herzog told me later. TheyвЂ™d read about this stuff and seen videos about it.

Later, when they put their headsets down, the students told Herzog they were stunned by the intensity of the experience-and how much more emotionally they intuited the brutal dislocations wrought by war.

(Full disclosure: I sometimes write for the New York Times Magazine too.) As HerzogвЂ™s students craned their necks around, they saw the swampy terrain of South Sudan and the dilapidated buildings where the Ukrainian children played.

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It was called вЂњThe Displaced,вЂќ and came courtesy of a free VR app launched by the New York Times Magazine, which you view by placing a phone in a Google Cardboard viewer.

The kids were viewing VR footage of refugee children whoвЂ™d fled war in South Sudan, Syria and Ukraine. But mentally, they were teleporting around the world. Their bodies, officially, were at Flood Brook School in Vermont, perched atop stools and set among a set of comfy couches, whiteboards and cubbies. If you walked into Charles HerzogвЂ™s classroom last spring, youвЂ™d have seen a peculiarly modern sight: middle schoolers all staring into virtual-reality gear. Jim NaughtenвЂ™s 2017 stereograph, The Toucans, mimics the look of a Victorian image.

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