Chris de Selincourt

Where is the Mind of the Media Editor? An analysis of Editors as Intermediaries of the Cinematic Experience
Supervisors: Prof Robert Pepperell, Dr Gary Pritchard (external)
Research group: Experiential Research Atelier (ERA)

At the heart of our experience with media we find some form of editing process. This now applies to both creation and appreciation of media. Most artworks are realised through some sort of editing process, usually involving the development of an image or idea to a point where the maker or makers are satisfied that their intentions are being expressed. Anyone looking for meaningful experiences in the media saturated environment of our so-called information age will also face decisions about what is essential and non-essential information. These encounters describe a fundamental human activity of discerning what is relevant from what is not. Somehow, we find specific events in the foreground of our perceptual field, and the significance of events is given meaning through the subjective experience. At the point of this experience spectators and makers of cinema find themselves entangled in the curious relationship between mental and physical phenomena.

My research is directed towards the editing experience and the development of editing techniques. I am interested in how editors’ understanding of experience is made manifest through its extension into media. Through their practice editors work has often been seen as an analogue to subjective experience. Their highly developed understanding of temporal objects, editing technology and their own perceptual apparatus provides ‘non-linguistic’ accounts of intentionality, perception and attention that both challenge and confirm accounts of conscious experience developed through cognitive science. In life the editing of experience often goes unnoticed. In film reviews characters, dialogue, performances and story generally take center stage; editing exists almost invisibly, yet it is what holds the cinematic experience together. Editing brings continuity and cohesion to what might otherwise be a chaotic, meaningless assortment of events. Despite their unique perspective on our engagement with media the editors knowledge is rarely analysed. The editors’ expertise sits as a useful, but often overlooked, contribution to debates over the apparent unity of conscious experience and our relation to cinematic media. Links to home page or other relevant site:

Publications/Exhibitions/Conferences, etc.

de Selincourt, C (2012) Locating the New Media Editor. Presented at: 4th NECS Graduate Workshop, Identities in Motion New Visual Media Strategies June 2012. Lisbon, Portugal. Universidade Nova de Lisboa .

de Selincourt, C (2012) Where is the Mind of the Editor? Presented at: LUX/ICA Biennial of Moving Images. May 2012. London, UK. ICA.

de Selincourt, C (2012) The Frame of Attention. Presented at: 2nd WIRAD Symposium for Emerging Art & Design Researchers. March 2012. Cardiff, UK. Published in the proceedings.

de Selincourt, C (2012) On Finishing Machines. Presented at: The End of …?
An Interdisciplinary Conference on the Study of Motion Pictures. January 2012. Canterbury, UK University of Kent.

de Selincourt, C. and Jackson, P. (2010) An Ideal Art School? Presented at: Enhancing Curricula 2010 5th CLTAD International Conference, Challenging the curriculum: exploring discipline boundaries in art, design and media. April 2010. Berlin, Germany. Published in the proceedings.