The Development of NSC

This chapter will focus entirely on the developed method. For this method to work effectively the practitioner must be aware of the theoretical positions, challenges and solutions discussed in the previous three parts as this helps to shift dispositional thinking and empowers radical openness. The author lists here the key competencies of the non-selective curator and how thinking about how it differs from a traditional selective process. Selective or traditional curatorial methods will begin with the expertise (and distinct cultural lens) of the museum curator. They will, with a sense of authority, select objects for a display that are informed by their dispositions as an expert in a particular subject. As discussed throughout this book, the curator is working from their own personal lens infused with knowledge formed by entrenched discourse formations as well as knowledge learnt from their institutional education. These dispositions or understandings of culture from bespoke perspectives can and will often be blind to alternative narratives and interpretations. The method of non-selective curation has been demonstrated to be an example of ‘meaningful co-curatorial participation’, if a thorough trust in its key elements of radical openness (hooks, b. (1989). Choosing the Margin as a Space of Radical Openness. Framework: The Journal of Cinema and Media, 36, 15–23. JSTOR.), languaging (Phipps, A. M., & Gonzalez, M. (2004). Modern Languages: Learning and Teaching in an Intercultural Field. SAGE) and non-selectivity are observed.