Conundrum is a multi disciplinary discussion group where artist and scientists meet to provide answers to a research challenge. I presented my Conundrum: Measuring the gasp: can you create a system to calculate if images affect an audience? on the 28 February 2008 at Arts Club in Mayfair, London as part of my research in to the power of the artist’s print.
To see where the next meeting will be follow the link http://www.arts.ac.uk/alumni/41437.htm

The overall conclusion of the evening’s discussion consolidated that the making of the work comes first, and the measuring later. Even the measuring can become a part of the creative outcom.Nevertheless, the mystery ,and power, must remain with the image .
Then Dr.John Clark, Research Co-ordinator, London Metropolitan University Business School pointed out that perhaps- not all things need to be measured. I am still weighing up his comment…..

The participants added:

The gasp is appropriated
‘The image is appropriated by a community and reaches a powerful engagement when the image become the focus and locus of that community Thereby, distribution and dissemination could be a way of measuring the gasp.’
Dr.John Phillips, Director of London Printmaking Studio

The gasp has been consumed
‘Yet, art now is not a gasp- it is a cool and mediated response as mass media has converted the image into consumption. The very set – up of the gallery is a passive engagement – especially when being given headphones and told what to look at and how to look.
People don’t gasp when looking at art - as they don’t feel on top of the game.‘
Miriam Green,Senior Lecturer in Business studies

The organised gasp
‘Looking at Rothko at Tate Modern has been made into a religious experience – the room ordains a hush and the viewer the is made to ‘worship’ the work. A gasp would occur where your are not in the mindset of art worship.
A gasp happens when you escape reverence.

Measuring the gasp –is an anxious object. According Robert Fry People spend 50 seconds reading the caption and 10 seconds looking at the work. Galleries are empty and cold and there’s pressure to not to react as one is being watched. Instead- one reacts internally only. That’s an organised type of ‘gasp’
Victoria Bennet, Art in The Capital

An hierarchy of gasps
‘The gasp is sociologically set up for reverence – if that was to be removed, then the gasp would occur. The critic’s ‘gasp’ is deemed the most valuable. We don’t trust our own gasping.
Perhaps- if explanations were not given, the image has to live on its own.
Richard Osborne, Author and lecturer UAL

Young at Art gasps
‘One way to effectively measuring the ‘gasp’ is to take 14 year olds who have never been to an art gallery – you see, and hear the gasp – every time! Allowing the ’gasp’ to happen – is down to the confidence of the curator. When 14-year olds are brought in – through Young at art- the it is very much down to the curator to enable a series of gasps to be allowed and noticeable. Mysterious things happen – if and when the teenagers can move around, and make noise- they don’t like the silence. Measuring the gasp has to take place in a space where the viewer is comfortable – where you can allow for the image to confront you.’
Beth Anderson, Project manager and Consultant Creative

Following the gasp on the floor and creating a Gasp Pathway
‘Measuring the gasp could be done by observing how much time the viewer spends in front of an image- and to track the steps away and to the work . A Gasp Pathway would track a migratory audience and turn the ‘gaze’ into a physical movement and a pattern on the floor. ‘
Kasia Kwiatowska, Painter

Gasp variables
‘The gasp could be measured by creating a matrix for analysis drawing on the ones mentioned in the discussion where many variables were revealed, such as attention, interest, and emotional impact. Categories labelled ‘1. imminent time’ then ‘ 2 – prolonged time.” Also, add audience characteristics – such as age, education and background. Obtain the ‘gasps variables’ by asking fro verbal response and belated responses returning to the viewer later after the show’s completion’.
Ian Ladd, Mathematician and PhD Student

The aftermath of the gasp
‘The image which had the most impact on me, was a small Polaroid in a show long ago. It was only afterwards, that I came to think of it, and in my minds eye, it made me look closer. Maybe it made me an artist.’
Bex Singleton Photographer