Mark Wolf, in The Video Game Theory Reader, compares video games with the Abstract Expressionism of Action Painters, such as Jackson Pollack. Wolf qoutes Harold Rosenberg, who wrote in 1952 that “At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than a space in which to reproduce, redesign, analyze, or “express” an object, actual or imagined. What was to go on the canvas was not a picture, but an event”…”what the made the games interesting; like certain video installation pieces, one could affect the image onscreen in real time and watch it change”.(Wolf page 48) I think that the differences between interaction between artist and artwork, and audience and artwork could be collapsing as we increase the agency of video screens. Moreover, these interactions take place in space, rather than on screen, and so Cube, Domestic Tension and the paintings of Jackson Pollack share an increasing similarity in that the interaction in space escapes flat-plain (canvas, video screen). Wolf ultimately argues for abstraction as a way to offering more diverse range of experiences in games. I think that he tries to draw an overly strict division between games and interactive art(Wolf p.49).
This idea of escaping into altered spaces and away from the screen goes back to at least classical spaces. For example Oliver Grau talks about the Villa dei Misteri in the ruins of Pompei. In it a entire room was painted so as to evoke the cult of Dionysus. Aside from surrounding visitors with images set on ceiling, floor and all four walls, the paintings suggest the characters of nymphs, satyrs and dyads are actually stepping into the space where the spectator/participants watch(Grau p.26). As digital interactions weren’t possible at that time, getting loaded on wine was the method of heightening the interaction.
Cube’s use of a visually shifting space seems to echo that. Grau explicitly connects similar historical art works and environments with contemporary interactive spaces. His conclusion is that regardless of the available technology, people have always tried to achieve temporary utopia. This makes me think that this escape includes from the prosaic affects and origins of the technologies that make these illusions possible. This also suggest much has gone into escaping narrow screens in favour of more totalising works.

Grau, Oliver. Virtual Art:from illusion to immersion. Cambridge, MA. MIT press 2003

Wolf, Mark J. P.  “Abstraction in the Video Game” in The Video Game Theory Reader, Bernard Perron, ed. accessed 27 Nov 2012