Mona Lisa's Smile

One of the things I found fascinating about one of this week's readings, Remediation by Bolter and Grusin, is that though it is much newer than some of our other texts it seemed - to me at least - singularly outdated.  The analysis and examination of virtual reality, a term I don't believe I have actually heard

since 1997, dated the text and made me question it's relevance in today's socially networked world. Of course the themes that Bolter and Grusin explore are evergreen in their nature. The ongoing cycle of re-interpreting, ie remediating older media onto new forms is timeless and especially relevant in the digital space. However I found their particular vehicle of analysis distracting. Interestingly I found the work of McLuhan, written some 50 years ago, prior even to the introduction of the personal computer, infinitely more relevant to discussions of emerging media. How interesting?  

The purpose of this post, however, is to explore the goal of remediation. If remediation could be said to have an overarching "goal" it would be to improve upon preceding media in some tangible way. Of course this is a grossly simplified definition that assumes a collective participation on the part of technological innovators worldwide. However, generally when new tech toys are sold to the public marketing claims never fail to tout how they improve upon prior technology. The smartphone improves upon the cell phone, which improved upon the wired phone, which improved upon the telegraph and so on.  Naturally the definition of "improvement" is highly subjective. However remediation in it's attempt to transcribe older media onto new forms often amounts to not much more than an attempt make  it better in some way. Consider for a moment the Mona Lisa.

I'm pretty sure this isn't what came to mind at the mention of Da Vinci's

seminal work. The talking Mona Lisa is an animated interactive piece currently

on display in Singapore's Alive Gallery. The goal of the Alive Gallery is

literally to bring historical works of art to life.  Viewers can actually

interact with the paintings and ask them questions and the paintings will

respond. Here are a few of the questions one can ask Mona Lisa:

Why don't you have any eyebrows?

Why is your smile so popular?

Where were you painted?

What is in the background?

All inquiries that if posed by anyone other than an eight year old talking to an animated object might be considered quite rude.  My question is: Is this an improvement or an abomination? I suppose it depends on whom you ask.  This particular gallery came up for discussion in a previous semester with about half of the class thinking it quite cool, and the other half ready to tar and feather the gallery owners. On the one hand I can see the appeal of making high art accessible to an audience that it has never reached before. However I do have serious concerns as to that audience's ability to appreciate the work if it literally has to be able to talk back to them first.

The traditionalist in me says that paintings aren't supposed to move or talk. (Also I can't help but picture Da Vinci spinning in his grave at what has been done to his work.) But is this interpretation completely lacking in value? Maybe. Maybe not. I can envision a youngster getting some knowledge out of being able to interact with a work of art, like gaining historical context, or learning about the artist. The problem, at least as I see it, comes in that exhibits like this also foster a disrespect for the aura of the work. A large part of the value of the piece lies in it's ambiguity. Who's to say that whomever programs Mona Lisa's response to the question about her smile has any idea why it's so popular? Or if she is even smiling? Art historians have been debating that for centuries. The answer to that particular question could never be anything more than a highly subjective interpretation. I doubt, however, that an audience of small children, will be sophisticated enough to make that distinction for themselves. Moreover, I wonder if in presenting talking works of art we are setting these kids on a path to a lifetime of disregard for the intrinsic value of the piece, and art itself. I'm not so sure that remediation worked here. Yes it did make the art interactive but at what cost? For me one thing is for certain, my kids (when I have them) will never have a conversation with Mona Lisa if I can help it.