**5. Conclusions**

Dependent on scientific developments and on access to expensive, complex and fragile equipment, artistic experimentations in holography are often difficult to grasp. Beyond all difficulties related to holography, accessibility is the key, not only for artists to produce holographic artworks, but also for people to see holograms in galleries and museums. Too often I have heard comments reducing holography to a technological curiosity or gadget. Obviously, this view is limitative and superficial. It ignores the singularity of the holographic *dispositif* and its impact on our relationship, physically and emotionally, with space, time and color. Furthermore, it obliterates the transformative nature of holography in the context of our history of artistic representation.

The artistic images that we create using various mediums, from painting to computer graphics, from photography to Virtual Reality, from cinema to its expanded forms, are all based on a long geometrical tradition. Holography is only a few decades old and distances itself from this tradition. Showing my holograms to people unaccustomed to the particularities of the holographic *dispositif,* I often had to tell them to move to appreciate the depth, the kinetic effects, the distortions, the variations. Viewers often approach a hologram the same way they do with any other 2D image displays, from a fixed single angle of view. In his text on *The cinema of attraction*, Tom Gunning identifies the early years of cinema as a time when the main objective was to show something in a different manner than theatre. Since its beginning, a lot of holograms have been "holograms of attraction", showing basic 3D or a peculiar visual effect. Much experimentation is still needed to develop a new visual language based on the attributes of the holographic *dispositif,* and artists must create new narrative forms that take advantage of its functions. Looking into the holographic art of the past decades, and the recent developments in technological and aesthetical possibilities that it offers, I think that we can apply to holography what Gunning states about cinema: "*Every change in film history implies a change in its address to the spectator, and each period constructs its spectator in a new way."* (Gunning 2006).

Holography opens a window on an optical field breaking with centuries of imposed points of view and linear narrative forms. Moving from a dioptric model to a catoptric model, and then to a diffractive model, holography reaches into a new world of image making, where light, space and time are tangible materials.

**Funding:** This research paper didn't receive external funding.

**Acknowledgments:** I wish to thank Miss Mary Harman for her help in correcting the text and her support.

**Conflicts of Interest:** The authors declare no conflict of interest.
