In Berkeley to San Francisco, Ken Jacobs records a commute through the Bay Area, using mirrored diplopic splitscreens and superimpositions to reconfigure the viewers’ vision. Released during the digital 3D boom of the late aughts, Berkeley to San Francisco creates the illusion of depth within a two-dimensional frame without the use of anaglyph or polarized glasses. As opposed to Jacobs’ eternalisms or his Nervous Magic Lantern performances, Berkeley to San Francisco requires audiences to establish the 3D effect themselves by modifying their sight with their fingers. To accomplish this feat, Jacobs recommends, “Look towards the screen while studying an upraised finger. Notice peripherally, that the two-images on screen have become one. Now direct your attention to the middle picture. Lower finger. Now you’re seeing 3D. Do not look at the 2D picture on either side. Stay with and investigate the new opening between them. Repeat procedure as needed.”