**9. Conclusion**

Holographic representational systems types such as the HOE, laser transmission hologram, reflection, rainbow, stereogram and printed synthetic stereogram have expanded the space of representation. They each accomplish this by using the support (holographic plane) the viewing zone, the replay light, the location of the image (behind, in front of or intersected by the support) and the properties of the subject to engage with the beholder in different spatial and temporal ways.

Holographic representational systems are chameleon-like; they can operate directly with real-world subject matter or draw from other pictorial systems rendered in a wide diversity of media ranging from film, photographs or arrays of computer graphic rendered frames composited within the holographic diffractive optic environment. The types of aperturing of the viewing zone between the beholder and the holographic plate introduce a non-visible formal element of great importance to the holographic representational system. In some cases the shapes of the viewing zones are echoed in the compositional structure of the work in abstract and literal ways.

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Like perspective, the range of positions available for viewing the subject is directly tied to the representation of the subject. These are inseparable elements, which form the image space/ viewing space continuum. However unlike perspective, where the ideal space for viewing is confined to a specific point along the x-axis, holographic representational systems range from full X, Y, Z mobility of the beholder to narrow long corridors, thin wide strips and trapezoids.

The fundamental property which all holographic representational systems share is that they precipitate and reciprocate the movement of the beholder with further visual information distributed in space and time. From the above mentioned examples it is clear that the additional information gained by the beholder from moving though the viewing zone, rather than confirming the *simulacra* and *hyperreality* of the subject, can equally be used to introduce ambiguities of tone, colour, space and time which challenge initial assumptions. As Zeki argues:

…the capacity to give multiple interpretations is not a separate faculty invented or used by the artist. It is instead tied to a general capacity of the brain to give several interpretations, to instill meaning by applying several concepts, a capacity that is important for art in its role of acquiring knowledge. It is on this physiological basis that the prized quality of ambiguity in art is built (Zeki, 2009).
