I am a big fan of Meatyard, and his landscapes in particular. I do like the sound and motion photos, and my own photography involves a lot of photographs of tangled undergrowth, but my training as a physicist makes it very hard to just look at and enjoy this particular series.
In physics, if you see a repetition like the doubling that Meatyard uses in these images you immediately start to assign significance to the spacing and direction of the doubling. I need to be tired or otherwise intellectually decoupled to prevent what has become an instinctive reaction from kicking in. I admire the way that Meatyard has used a simple technique to excellent artistic effect, but like a Kabbalist confronted with a run of sixes on the dice, I can't help but look for over-complex or inappropriate hidden meaning.
mhv, the photograph is made up of two superimposed copies of the same picture. Mathematically, (i.e. if you wanted to achieve the same effect in d*g*t*l post-processing) the process is a convolution with a kernal consisting of two spikes - delta functions - whose seperation encodes the size and direction of the image doubling. MTFs are not really affected, but are used to actually perform such convolutions as the calculations are much faster in Fourier space.
Despite the above, my own response to Meatyard's work is largely a felt, poetic one. I love the way he combines high seriousness with wit and affection, and I find it inspiring that he managed so successfully to connect with artists and thinkers outside of the rather narrow world of photography.