I am working on our families archive

Banners, Useful and Beautiful.

From their base in West Wales, activists, artists and lecturers Thalia and lan Campbell not only make banners for a wide range of organisations, but also run workshops where they help people to make their own banners.

The Campbells have been making banners since 1978 and helped to promote the revival of the traditional women’s craft of sewn banners, following in the tradition of William Morris, the Suffragettes the Cooperative Women’s Guild and the Association of International Artists.

Thalia and lan have held office and been involved in the Labour Party and the Trade Union Movement as well as in Non Governmental Organisations. They were founder members of Arts for Labour an organisation for artists who support the party and party members who support the Arts. The making of banners brought their interests in politics and art together.

They were originally inspired in the 1970’s by an exhibition of trade union banners in Edinburgh Scotland and in 1978 by the then Liberal leader Jo Grimond who prophesied that,

“the country was about to enter a new dark ages with the use of the new technology.”

So they thought they would light up the new dark ages with bright and informative banners. The banners were used on marches, at conferences, rallies and at public meetings.

They also organised three major travelling exhibitions. 100 Years of Womens Banners, The Ribbon of Life, an exhibition of American peace and Justice material and Each for all All for Each, an exhibition of banners from the Cooperative Movement to celebrate 150 years of the Rochdale Pioneers who set up the first Cooperative store.

Sewn banners are easy to fold, pack and to transport. Many of the hundreds of banners they have made have travelled the world, to Italy, Germany, Austria, Holland, Finland Australia, USA, Canada, S America, The Ex French South Pacific Islands, New Zealand, China, Romania, Bulgaria, Turkey, Russia, Ukraine, Kazakhstan and continue to do so.

https://opencollective.com/campbellarchive

Thalia D. Campbell, B.A. Hons., Cert. Ed.

Education:

Torquay Girl’s Grammar School, 1948-1956
Matlock Teacher’s Training College, 1956-1958: Received Teaching Certificate from Nottingham University Institute of Education with Distinction in Art. Subsidiary subject: Music.
University College of Wales, Aberystwyth, 1973-1976: Bachelor of Arts with Honors in Visual Arts.

Employment:

Infant Teacher at William Crane Infants School, Nottingham.
Head of Art Dept. at Convent High School, Southampton.
Design Lecturer at Southampton College of Art.
Art Teacher at Ladies of Mary Convent, Scarborough. General Studies Lecturer at Scarborough Technical College.
Home teacher of handicapped child.
Conducted W.E.A. Art Classes in Yorkshire villages.
Extra Mural Tutor at University College of Wales.
Involved in two Community Art Projects with The Centre for Alternative Technology, Machynlleth.
Freelance researcher and Exhibition organizer.

Artistic Contributions:

Etcher, Painter, Screenprinter, and Designer.
Founder member of Torbay Art Group, 1959-65.
Exhibited works at various galleries including The Gabrowski Gallery, London, in 1958 and 1959.
The exhibition “Images of Men” at the I.C.A. London.
Part of the group that set up the precursor of the Women’s Artists Slide Library and the women’s art magazine F.A.N., Feminist Art News.
Chair of Artists and Designers in Wales, Aberystwyth, 1981-1982.
Visiting artist in schools for the Inner London Education Authority.
Speaker at various conferences including LLafur, Welsh Society of Labour History, and History Workshop 23 at Salford University.

Exhibitions and Projects:

Organized and raised funding for “100 Years of Women’s Banners” exhibition, which toured extensively across the UK and abroad.
Involved in numerous exhibitions and projects including ones at Coventry City Art Gallery, Oriel Theatre Clywd, Mold, Bristol City Council Chamber, and many more.

Consultancy and Advocacy:

Consults with Trades Unions and provides advice on the conservation of their artifacts.
Deposited extensive artistic and political archives with the National Library of Wales.
Negotiating major commissions with Northern College, Wentworth Castle, Barnsley, and with Bradford University and Dept of Peace Studies.
Organized events and platforms for various causes including childcare workers, Labour Party, and the Museum of Labour History, Liverpool.

Additional Information:

Provided valuation and conservation advice service to organizations.
Interviewed on local and national radio and TV programs.
Currently planning exhibitions and lectures in Australia.
Involved in numerous exhibitions and projects, borrowing items from various museums, galleries, and organizations, including schools, offices, and factories.

THALIA. D. CAMPBELL B.A. Hons.Cert. Ed.

Education.

1948 1956 Torquay Girl’s Grammar School.

60 levels and 2 A levels Geography, and Art (with distinction).

1956 1958. Matlock Teacher’s Training College.

Teaching Certificate, Nottingham University Institute of Education, with Distinction in Art. Subsidary subject, Music.

1973 1976. University College of Wales. Aberystwyth.

BA.Hons. Visual Arts.

Employment.

1. Infant Teacher. William Crane Infants School. 2.

Nottingham.

2. Head of Art Dept. Convent High School, Southampton. 3. Design Lecturer, Southampton College of Art.

4. Art Teacher. Ladies of Mary Convent, Scarborough. General Studies Lecturer, Scarborough Technical

5.

College.

6. Home teacher Of Handicapped Child.

7. W.Ε.Α. Art Classes in Yorkshire villages.

8. Extra Mural Tutor. University College of Wales.

9. Two Community Art Projects with The Centre for Alternative Technology. Machynlleth.

10. Freelance researcher and Exhibition organiser.

I am an Etcher, Painter, Screenprinter, and Designer. Founder member of Torbay Art Group, 1959-65.

With works on loan to Torquay Town Council for 8 years.

Member of the Midland Group of Artists. 1956,57,58. Nottingham. Member of Artists International Association. Lisle St.

Leicester Square. London. 1958,59. Exhibited at The Gabrowski Gallery. London. 1958,59.

Works in “Pictures for Schools”, Cumberland. Works in Scarborough Art Gallery, permanent Collection.

I was one of the initiators and organisers of the exhibition “Images of Men” at the I.C.A. London, which then travelled to several other galleries..

I was part of the same group of women who also set up the precursor of the Womens Artists Slide Library and the womens art magazine F.A.N., FEMINIST ART NEWS.

Chair of Artists and Designers in Wales. Aberystwyth.

1981-1982. (one and a half years.) Member 1975-82. 1988. Visiting artist in schools for the Inner London Education Authority.

Visiting Lecturer at Art Colleges, speaker at LLafur, Welsh Society of Labour History, at Gregynog Womens Studies Colloquia, International Conference, National Association of Teachers of English, 1989, History Workshop 23 at Salford University 1989, and for Kaleidoscope a Womens Fortnight of Events in Liverpool 1989.

Exhibitions:

1959. December. Umbrella Club Coventry. 1969. May. Theatre Royal York.

1988/89. two banners “Subversive Stitch.” in the touring exhibition

1987/88. one banner in the touring exhibition “Flying Colours.”

1989. A Banner in the exhibition “A Stitch in Time”, at the Peoples Palace, Glasgow.

I have researched, raised funding forjand organised, 100 YEARS OF WOMENS BANNERS, EXHIBITION, which has been at, a GRADE 2 TRAVELLING

NOVEMBER 1984. COVENTRY CITY ART GALLERY. 1986. ORIEL, THEATRE CLYWD, MOLD. N. WALES.

AUGUST JAN/FEB.

1987. BRISTOL CITY COUNCIL CHAMBER. GLYN WYCKHAM GALLERY. BRISTOL UNIVERSITY.

FEB/MAR.

1987. PLAYHOUSE GALLERY. HARLOW. ESSEX.

APRIL.

1987. HUDDERSFIELD POLYTECHNIC. YORKS. 1987.CYFARTHA CASTLE MUSEUM. MERTHYR TYDFIL.

JULY.

SEPTEMBER

1987.CHAPTER ARTS CENTRE.CARDIFF.

SEPT/OCT.

1987.CITY ARTS CENTRE EDINBURGH. SCOTLAND.

OCT/NOV.

1987. CITY ART GALLERY DUNDEE. SCOTLAND.

NOV.87/JAN 1988. CITY ART GALLERY. SWANSEA.WALES.

FEB/MAR. APR/MAY

1988. CITY ART GALLERY. STIRLING. SCOTLAND

. 1988. COVENTRY CITY LIBRARIES. 1988. ISLINGTON LIBRARIES.LONDON.

JUNE.

1988 THE COOPER GALLERY. BARNSLEY. YORKS.

JULY/AUG.

1989. LLANTARNAM GRANGE ARTS CENTRE. CWMBRAN. 1989. THE LONG GALLERY, NORTHERN COLLEGE,

FEBRUARY.

MARCH.

WENTWORTH HOUSE, STAINBOROUGH, BARNSLEY. APRIL/MAY. 1989. THE INDUSTRIAL MUSEUM. BRADFORD. YORKS.

SCOTLAND.

SEPTEMBER 1989. CIVIC CENTRE, SPORTS CENTRE, THEATRE, AND

NOVEMBER. 1989. SUMMERLEES HERITAGE CENTRE. COATBRIDGE,

ARTS CENTRES, SWINDON.WILTSHIRE.

MARCH 1990. OXFORD TOWN HALL, MUSEUM, AND LIBRARY.

SEPTEMBER 1990. ABERGAVENNY MUSEUM, BUILDINGS. AND OTHER PUBLIC

IN THE PLANNING STAGES BRIGHTON, LEICESTER, NOTTINGHAM, CLEVELAND, LIVERPOOL AND BIRMINGHAM.

I provide a valuation and conservation advice service to organisations.

Since 1986 I have organised and carried out projects, for Bristol City Council, Leamington Spa Womens Groups, Battersea Labour Party, Liverpool AND Manchester Childcare Workers, Coventry Trades Council, the Museum of Labour

History, Liverpool. British Banners and American Ribbon the Textiles Festival Bradford April 1900. pieces on show at

In November 1989 I worked on a Civic to celebrate the fortieth anniversary of Basildon, and in and 1990 A project Community College. Liverpool. Community Project the new town of with Rotunda

In November 1988 I went on a research and lecture tour to Chicago and Milwaukee, U.S.A.

The American Embroidery Exhibition has been on show at The Pankhurst Centre Manchester, Shrewsbury Abbey and various conferences, church events and rallies and was on display in the House of Commons from February 17th 23rd.1990.

I arranged sponsorship for Justine Merritt from Grand Junction, Colarado, the originator of the Ribbon Project to visit Britain and open the exhibition at the House of Commons and I arranged a week of public platforms for her at meetings in CAMBRIDGE, BASILDON, SUTTON, BRISTOL, ABERYSTWYTH, BANGOR AND BEXLEY HEATH. The Ribbon Exhibition at The House of Commons was Featured on T.V. Wales at Westminster.

The Ribbon Exhibition will be at:

The Smith Art Gallery, Stirling. SCOTLAND. August 17th – Sept 2nd. 1990.

Coleg Harlech. N.Wales. October 5TH 19TH 1990. I am negotiating a lecture tour and exhibitions with various Colleges and Galleries in Australia.

March 1989, Artist in Residence at the International Conference of the National Association for the Teachers of English, at the the University College of Swansea.

In 1987 and 1989 I was a speaker at the International Banner Makers Conferences at the Polytechnic in Huddersfield and St Johns College. York.

We are negotiating a major commission with Northern College, Wentworth Castle, Barnsley, and with Bradford University, and with Bradford University Dept of Peace Studies.

We are consultants to Trades Unions, we advise on the conservation of their artefacts.

Our extensive artistic and politcal archives are being deposited with the National Library of Wales, preliminary discussions on organising a Welsh version of my exhibition 100 YEARS OF WOMENS BANNERS, in the Gallery at the National Library Aberystwyth, have taken place this would use material from my extensive documentary collection in the National Library and material from other museums in Wales.

I HAVE RESEARCHED PRODUCED AND EDITED EXHIBITION CATALOGUES, WRITTEN PRESS RELEASES, AND PRODUCED POSTERS.

I HAVE USED MATERIAL AND EXHIBITS FROM MUSEUMS, GALLERIES, ARCHIVES, ORGANISATIONS AND INDIVIDUAL COLLECTIONS

FOR MY EXHIBITIONS. IN THIS COUNTRY AND ABROAD. I HAVE RESEARCHED, RAISED

FUNDS, AND SPONSORSHIP, FOR THESE EXHIBITIONS. I HAVE BEEN INTERVIEWED ON LOCAL AND NATIONAL RADIO AND T.V.. WOMANS HOUR, AND CURRENT AFFAIRS AND NEWS PROGRAMMES.

IN CONJUNCTION WITH THE EXHIBITION WITH CITY GALLERIES, COUNCILS, AND ART CENTRES, I HAVE ORGANISED EVENTS WITH NATIONAL, INTERNATIONAL, AND LOCAL SPEAKERS.THESE EVENTS WITH POETRY, SONGS AND REFRESHMENTS HAVE ATTRACTED AS MANY AS 800 PEOPLE.

ON SCOTTISH T.V. POOTAGE OF MY WORK HAS BEEN USED IN A RECENT QUIZ SHOW, AND ON “LEFT RIGHT AND CENTER”.

THE EVENTS AT THE EXHIBITION IN COATBRIDGE WERE SHOWN IN THE NATIONAL T.V. PROGRAMME ON GLASGOW 1990.

I HAVE OTHER POTENTIALLY POPULAR TOPICAL GENERAL THEME EXHIBITIONS IN THE RESEARCH AND PLANNING STAGE.

100 YEARS OF WOMENS BANNERS.

Exhibition items borrowed from..

The Aberystwyth Museum.

Newport Museum. South Wales.

The South Wales Miners Library. Swansea.

Manchester City Libraries . The Tolson Museum. Huddersfield.

The Cooper Gallery. Barnsley.

Cooperative Womens Guild, National Offices in Scotland

and England.

The Cooperative Retail Services London. Branches of the Cooperative Movement.

Cyfartha Castle Museum. Merthyr Tydfil

The Peoples Palace. Glasgow.

Huntley House Museum. Edinburgh..

The Fawcett Library, London.

The Peace Pledge Union.

The Womens Institute

The Towns Womens Guild.

Also from Trade unions, Community Sewing Groups, Churches, other organisations and individuals.

OCTOBER 1989.

SCHOOLS OFFICES FACTORIES

PLEASTN AND wish

COAD RAIL AIR SEA WATOY

The Supremacy of Capital: A Fundamental Challenge in the Era of #ClimateChaos

In today’s world, the supremacy of capital stands as a pillar holding up our societies and institutions. This assertion, though seemingly simple, carries implications for our understanding of power dynamics, economic structures, and the urgent need for change in the face of #climatecrisis. This encapsulates a recognition that economic interests, particularly those of capitalists and corporations, wield immense influence over all aspects of human life.

Firstly, let us look into the idea of the supremacy of capital. At its core, this term speaks to the authority held by an ideological “class” holding money and wealth in our globalized society. It reflects economic imperatives that take precedence over social, environmental, and ethical considerations. In this paradigm, profit maximization becomes the objective, driving decision-making at individual, corporate, and governmental levels. As a result, we witness the consolidation of power and wealth in the hands of a few, while vast segments of society are left marginalized and disenfranchised.

The influence of capital extends beyond economic realms, permeating into the fabric of our social and cultural bodies, we can feel this in liberal ideology. Which is traditionally associated with notions of individual freedom, free markets, and limited government intervention, but with #neoliberalism becoming entwined with the supremacy of capital, every context, liberal economic policies prioritize the interests of corporations and the wealthy, reinforcing existing power structures.

The supremacy of capital is not a neutral or uncontested phenomenon. Instead, it is underpinned by a religiose adherence to certain beliefs and ideologies that serve to uphold the status quo. This religiosity manifests in a dogmatic acceptance of capitalist principles, often to the detriment of alternative worldviews and dissenting voices. It fosters a culture of unquestioning obedience to market forces and economic growth, even in the face of mounting evidence of their adverse impacts on society and the environment.

The urgency of addressing the supremacy of capital is underscored by the existential threat of #climatechange. The hashtag #Climatechaos serves as a poignant reminder of the chaotic and disruptive effects of global warming on our planet. From extreme weather events to biodiversity loss and rising sea levels, the consequences of climate change are already being felt across the globe. Yet, capital continues to impede meaningful action on this front, as short-term profit motives take precedence over long-term sustainability and resilience.

In light of these challenges, the principle of #KISS – Keep It Simple, Stupid – offers a clarion call for action. It urges us to confront the fundamental issue at hand: the dominance of capital in our societies. While the solution to this complex problem may not be simple or straightforward, acknowledging its existence is the crucial first step towards effecting change. We must challenge the religiose reverence for capital and advocate for alternative economic models that prioritize people and the planet over profit.

In conclusion, the supremacy of capital stands as a challenge in the era of #climatechaos. By understanding and addressing this, we can pave the way for a more sustainable future. It is past time to break free from the shackles of capitalist ideology and forge a path towards a world where the well-being of humanity and the environment takes precedence over corporate interests #KISS

OMN – improving the tech landscape

A “native” path to composting the tech mess lies in understanding and addressing the underlying issues. A breakdown of a social tech path:

Explore Relevant #OMN Hashtags: Look into hashtags like #geekproblem and #fashernista to find discussions and insights that address the problems you’re facing. These hashtags can provide valuable perspectives and solutions if you use them based on collective experience.
Investigate OGB: Check out the URL https://hamishcampbell.com/outreaching-the-ogb-what-is-the-project/ with #OGB (Open Governance Body) to access project descriptions and learn about initiatives aimed at addressing the challenges you are encountering. While the coding site may be temporarily down, the project descriptions can still offer valuable insights.
Understand the 4opens: Familiarize yourself with the concept of #4opens, which serves as a framework for addressing many of the issues present in the tech ecosystem. The 4opens provide principles for building more open, transparent, and inclusive digital platforms.

By delving into these #OMN resources and frameworks, you gain a deeper understanding of the issues and discover pathways toward solutions. Collaborating with others who share goals and values amplifies the impact of efforts in improving the tech landscape.

And please “don’t be a prat” thanks.

People in activism

In the coming era of #climatechaos the problem of #mainstreaming thinking and people will become a MUCH bigger issue that we need to mediate. The “common sense” they often bring is the #deathcult a strong problem we do need to do something with, the #NGO crew and “activists” who worship this cult.

There is also the issue that needs mediating of the parasitic activists who push #fahernista paths in the grassroots movements. These guys are BAD friends, there are a lot of them. They are “native” being a part of the tribe, in this it’s a question of balance to take a good path.

OK, what more can we say on this?

The mess we keep making of #FOSS governance

It’s disheartening to see a community platform like #Trustroots https://trustroots.org facing challenges with governance, with issues and tensions among its contributors https://github.com/trustroots-community/trustrots/issues?q= and here https://trustroots.community/ This situation is messy and underscores the importance of establishing healthy governance practices within community-driven projects to ensure their long-term sustainability and effectiveness.

The case of Trustroots alongside the earlier issue of #CouchSurfing are a cautionary tale about the pitfalls of traditional feudalistic #FOSS foundation/ #NGO models for open-source projects. These models may initially foster collaboration and innovation, but easily become susceptible to internal conflicts and power struggles over time.

The #OGB (Open Governance Body) is an alternative approach rooted in a grassroot and inclusive history and ethos. By embracing “producer” sortation, decentralized decision-making and community-led initiatives, projects like #OGB aim to avoid the pitfalls associated with hierarchical governance structures https://hamishcampbell.com/?s=OGB

Examining case studies like Trustroots and CouchSurfing offer insights into the complexities, and outcomes, of managing community platforms and the importance of fostering #4opens transparent, inclusive, and participatory governance to sustain healthy and thriving communities.

We can’t keep making this same mess.

A conversation that circles

Too often I find my self in conversations that revolve around the intersection of technology and social issues, with one view emphasizing the importance of practical solutions to real-world problems, while the other highlights the underlying social dynamics that shape technological landscapes these “solutions” are often supposed to be addressing.

The first prioritize pragmatic immediate problem-solving, expressing a preference for concrete solutions to specific issues rather than what they see as abstract or philosophical discussions. They are dismissive of broader social critiques, such as the thinking that contemporary code is influenced by capitalist structures and the easy “solution” is likely actually the problem.

The second argues that technological problems are inherently intertwined with social factors. That understanding the human and social dimensions of technology is essential for effective problem-solving in this path. And that avoiding this is a problem, likely a #geekproblem

Overall, this conversation touches upon the complex relationship between technology and society, highlighting differing perspectives on how to approach and address challenges in these paths. We need to move action past this mess making to make more change and challenge real.

https://opencollective.com/open-media-network

Reminder about the hashtag family

A breakdown of the #OMN hashtags and how they are typically used as a social change and challenge project that we need:

#dotcons: This hashtag refers to corporate centralized platforms, such as social media networks, that prioritize profit and control over users, data and content. It’s often used in discussions about the negative effects of centralization on the internet and the importance of decentralization.
#fashernista: This hashtag combines “fashion” and “lifestyle” and is used to criticize trends or behaviours that promote #mainstreaming unthinking consumerist paths, behaver and ideas in popular and counter culture.
#stupidindividualism: This hashtag critiques the current use of the ideology of individualism, which prioritizes individual gain and ignores collective well-being. It’s often used to highlight the negative effects of prioritizing individual interests over those of society as a whole.
#neoliberalism: Neoliberalism is an economic and political ideology that emphasizes free-market capitalism, deregulation, privatization, and limited government intervention. This hashtag is used in discussions about the effects of neoliberal policies on society, such as income inequality and the erosion of public services.
#deathcult: This hashtag is used metaphorically to describe neoliberal ideologies that prioritize profit and power over human well-being, environmental sustainability and social justice. It’s frequently associated with critiques of #climatechaos capitalism, consumerism, and imperialism, its the mess we live in today.
#NGO: This stands for “Non-Governmental Organization” and refers to non-profit organizations that operate independently of government control. This hashtag is used in discussions #mainstreaming roles of NGOs and people who think like NGO’s in not being brave enough to address social, environmental, and humanitarian issues.

And on the positive side:

#openweb: This hashtag celebrates the principles of openness, decentralization, and inclusivity on the internet. It’s often used in discussions about the importance of preserving and promoting a “native” open and accessible web for everyone. This is #web01
#4opens: This hashtag is used to promote transparency, collaboration, and community-driven development in software and technology projects. It should be used to JUDGE projects.

Each of these hashtags serves as a shorthand for broader discussions and concepts, allowing people to participate in and contribute to conversations around these topics on the #openweb and inside the #dotcons it’s about linking.

#KISS

Should we ban TikTok

The #dotcons are about ideological control (advertising) of information for profit, #TikTok is likely one of the most advanced on this path.

Whether to ban TikTok is part of the #mainstreaming mess and significant within the wider context of the move back to the #openweb

Some considerations:

Impact on Ideological Control: TikTok, like other #dotcons social media platforms, shapes public discourse and pushes #neoliberal and #stupidindividualism ideological agenda and control. Banning #TikTok could disrupt the control exerted by centralized platforms over the flow of information and content moderation policies. However, it’s essential to consider whether banning TikTok is the most effective way to address concerns about ideological control, as users will mostly simply migrate to other #dotcons with the same issues.
Privacy and Data Control: TikTok faces scrutiny over its data practices and ties to the Chinese government, raising concerns about privacy and data security. This is a normal issue with any state bound #dotcons. Banning TikTok might address these concerns by limiting the collection and dissemination of user data to the replacement state, the USA. However, it’s important to explore alternative measures, such as regulatory oversight and #4opens requirements, to protect user data without resorting to a ban.
Innovation and Competition: Banning TikTok could stifle innovation and competition in the #dotcons, limiting the diversity of #techshit platforms available to users. This has implications for content creators, influencers, and businesses that rely on TikTok for outreach and monetizable engagement. Instead of a ban, maybe fostering competition and growing alternative, decentralized platforms (like the #Fediverse) would promote innovation and diversity in the social media ecosystem in a better way?
Freedom of Expression: Banning TikTok raises concerns about freedom of expression, as it restricts digital surfs ability to share content and engage with others slaves on the platform. While TikTok faces criticism for its content moderation practices, outright banning the platform may not be an appropriate solution. Instead, data portability and interoperability as combined efforts would address harmful content and promote healthy online discourse, thus focus on regulatory measures and community-driven initiatives rather than a ban.
Broader Societal Implications: Banning TikTok could have broader societal implications, particularly for younger generations who are active users of the platform. It’s important to consider the social and cultural significance of TikTok as a platform for #fashernista creativity, self-expression, and community-building. Efforts to mitigate potential harms associated with TikTok should prioritize education, digital literacy, and awareness-raising initiatives of real alternatives rather than simply national propaganda agender.

In conclusion, whether to ban TikTok involves weighing concerns about ideological control, interoperability, privacy, innovation, freedom of expression, and wider social implications. While banning TikTok may address some of these concerns, alternative approaches, such as #4opens, regulatory oversight, #openweb competition promotion, and community-driven initiatives, would likely ensure a more balanced and effective response.

We need to move past these illogical gatekeepers.

Who gets to decide what this place is? How are we being represented

“An important distinction is slowly being uncovered about the definition of the term “#Fediverse.” Who is it that gets to decide what this place is? How are we being represented?”

https://mastodon.social/deck/@fdrc_ff@www.foxyhole.io/112435833670527639

The lack of discussion about the nature of the space the #fediverse occupies raises questions about representation and identity within this #openweb “native” network.

Ownership by Communities: The fediverse offers a way to build the internet by communities, in contrast to centralized #dotcons social networks that prioritize monetization over community well-being. By decentralizing governance, the fediverse empowers people to take control of their online spaces and relationships.
Audience and Adoption: The fediverse is valuable for those who are hostile and disillusioned with monetized social networks and seek ways to connect with real change/challenge comunertys. While some are eager to explore alternatives, others face limitations or challenges in transitioning to the fediverse. Nonetheless, the slow growth of communities within the fediverse is essential for building a strong “native” foundation for decentralized networking.
Governance and Community: A key distinction of the fediverse lies in its shared governance model, where people have a say in how their communities are shaped. This contrasts with centralized social networks, where governance decisions are made by a central authority that does not align with community interests. People are drawn to the fediverse for its emphasis on inclusivity and people’s agency, allowing individuals and social groups to express themselves without fear of censorship or coercion.
Coexistence with Centralized Networks: The fediverse does not require people to opt out of centralized social networks entirely. Instead, people can maintain connections on both networks while stepping to decentralized networking. This allows people to become familiar with the fediverse’s culture and its advantages.
Website Design and Accessibility: With the foundational #4opens principles of the fediverse defined, the focus shifts to website design that reflects these values. Accessibility, both in terms of physical access and cultural understanding, is prioritized to ensure that the platform is inclusive and user-friendly, in sharp contrast to too much of the bad #UX history of #FOSS coding.

The fediverse represents a shift towards community-driven, decentralized networking, offering an alternative to #dotcons. By prioritizing people’s and community agency, inclusivity, and accessibility, the fediverse creates spaces where people can connect and express themselves. Let’s reboot the #openweb as a start, we could try calling this #web1.5

On the subject of activism, “don’t be a prat” is a good start.

Images of protest posters

Thalia and Ian Campbell have been #makinghistory throughout their life’s, by collecting an amazing collection of posters that we have divided into categories below:

Peace Posters
https://photos.app.goo.gl/Csvttwcur7hzkH6HA

Labour and Trade Union Posters
https://photos.app.goo.gl/Csvttwcur7hzkH6HA

Feminist Posters
https://photos.app.goo.gl/LMCQHpJYkj4GUXog8

Counter Culture
https://photos.app.goo.gl/8V4S2skG15EDcrBh9

Branding – 4opens collective identity and values of the network.

#Branding in the #Fediverse raises considerations about effectively communicate the identity and values of a decentralized network while preserving its diverse and inclusive core.

* Purpose of Branding: Branding serves different purposes for different organizations within the Fediverse. It is a way to assert control and ownership over the platform/network, but it can also be used to communicate identity and values to people and potential adopters.

* Instance Branding vs. Project Branding: Shifting the focus from project branding to instance branding give’s more control to the communities using and running the instances. This decentralized approach allows for customization and fosters inclusivity within the Fediverse.

* Impact of Strong Branding: Strong branding by developers and platforms overshadows the diversity of instances and communities within the Fediverse. It limits collaboration and customization, threatening the very decentralization that is at the centre of the path.

* Scale of Branding: Branding is used at different scales within the Fediverse, from single instances to suppliers of federated services. While branding can facilitate onboarding and accessibility, it may also pose a threat to decentralization if single entities gain dominating influence over the network.

* Balancing Accessibility and Freedom: Visual identities play a crucial role in guiding new people to the Fediverse and communicating its values. However, a strong branding presence may restrict the freedom of expression of instances and communities. It’s important to balance accessibility and freedom when designing branding solutions.

* Community Acceptance: New branding solutions should be organically accepted by the majority of communities within the Fediverse. The current logos are tolerated because they communicate an idea without imposing a single identity or viewpoint. New branding should aim to achieve the same balance to build “native” community acceptance.

The #fediverse, is “native” to the #openweb balancing accessibility with the preservation of diversity and expression. Branding solutions should be community-driven and strive to represent the #4opens collective identity and values of the network. We should be VERY questioning of ONLY strong code base branding as a path to grow this #4opens space.

“don’t be a prat” springs to mind.

Development of technology in a community-centric direction

Shaping technology to empower people and building to their needs is core to create an inclusive and democratic digital environment. We need technology that prioritizes people and customization first:

User-Centric Design: Technology should be designed with the people in mind, focusing on usability, accessibility, and flexibility. This means involving people in the design process and incorporating their feedback to create technology meets real needs, process and preferences.
Open Source and Open Standards: Embracing #4opens principles promotes transparency, interoperability, and people’s control. By making source code freely available and adhering to open standards, developers empower people to modify and customize the technology they are building according to wider social requirements.
Decentralization: Moving away from centralized platforms and embracing decentralized architectures fosters community and resilience in the digital ecosystem. Decentralized technologies empower people to have control over their digital lives and communities, stepping away from reliance on large corporations and promoting a more democratic online environment.
Education and Empowerment: Educating people about technology and creating tools and resources to shape and customize to their needs is essential. By fostering digital literacy, people can understand and thus take control of their digital experiences, to create a more informed and engaged user base.
Community Engagement: Engaging with communities and building collaboration and thus co-creation leads to the development of technology that reflects the diverse needs and perspectives of people. By building inclusive and participatory processes, developers can ensure that technology serves the interests of the community.

In the context of the #Fediverse and #openweb reboot, prioritizing these principles helps to steer the development of technology towards a more community-centric and empowering direction of real use. By stepping away from the #dotcons tech that pre-shapes people’s behaviour and embracing a more participatory and inclusive approach, we build a digital ecosystem that serves the needs of people.

#KISS is a good start on this path.