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: http://instantandflux.tumblr.com/ https://vimeo.com/user5018117/videos
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