Art movements such as Op-Art, Kinetic Art, Light Art and Conceptual Art have been predecessors as well as contemporary tendencies to the use of holography as an art media. Apart from the obvious historical nexus, there are relevant technical, formal and significant similarities and differences in relation to some of the works created by relevant artists as well as to the main features of those art tendencies. This paper explains the conclusions on a study from a triple semiotic approach: lexical, semantic and pragmatic. On the other hand, holography is an art media, such as painting, sculpture, printmaking, photography, cinema, etc. Like all of these, holography offers some essential features that are unique and representative of the possibilities of the media itself. In this paper we explore those features as well as some key issues in relation to the aesthetics of holography media. An ontological review is undertaken for contextualizing holography according to the Perception Aesthetic, the Participative Aesthetic and the Generative Aesthetic related concepts. Finally, in order to contextualize holography in relation to the most contemporary art tendencies, we explore the relationship between holography and digital media. As photography forced painting to redefine itself in the nineteenth century, nowadays computers have a similar effect on both traditional and other emerging artistic media such as holography. According to experts in the field, some of the most outstanding characteristics of digital media are: Immateriality, Reproducibility, Time Essence, Interactivity and Non-Linearity. This paper explores the possibilities offered by holography in that emerging digital framework.
