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This article was published in the Fibreculture Journal[1], a peer reviewed Australian Journal. Nicholson (2005) in this article is primarily focused on mobile communications role in FlashMobs. According to Nicholson (2005) the popularity of FlashMobs and its cultural significance was based upon three practices. It was the conjuncture of individuals communicating via mobile phone, sending text via mobiles and the public performance aspects that were significant. The article discusses various historical events associated with FlashMobs and there are links being formed between FlashMobs and the anti-globalization movement. The more organised FlashMob events were highlighted when journalists capturing a FlashMob outnumbered participants. Nicholson (2005) focused on the concept of "one to many" which has similarities and overlaps with the anti-globalisation movement. The examples used by Nicholson (2005) support this theory that FlashMobs and anti-globalisation, especially in their communication styles are similar. Nicholson (2005) cites Tom (2003) who states that FlashMobbing is, "the power of many, in the pursuit of nothing". Politically motivated FlashMob events ultimately have a pursuit of an outcome and thus questions if the examples given are FlashMob events. Nicholson's (2005) examples certainly allow for exploration of the mobile communication but it isn't entirely focused on the FlashMob phenonomen. The variety of examples on the other hand does allow for the argument that a FlashMob is bounded within the spectacle of the event, activism, being experimental with a prank all rolled into one. This article demonstrates that mobile telephone technology has had a direct influence on the FlashMob culture. The article also implies that the culture of FlashMob events is a past activity which has past it's used by date. Nicholson (2005) doesn't explain how or why this is a past activity and leaves this aspect of FlashMob culture unanswered in her article. Footnote

This is an unpublished paper that has been linked to Maxter[1] an online community with links to the Media, Art & Text PhD program known as MATX. The MATX program is linked to the Virgina Commonwealth University (VCU) [2]. It would not be generally considered a reliable resource as a key article in an academic piece it is a well written piece including clear historical information into FlashMobs. Garland (2010) is able to use a recent event of students rioting to distinguish rioting organised via technology contrasted against the original FlashMob at Macy's in 2003. Garland (2010) has a focus on the original Macy's event as organised by Wasnik throughout the article. The question of why people are participating in FlashMob events is also considered. This paper also considers how cooperation and participation by individuals is implied when they participate in a FlashMob. The participation of a FlashMob allows individuals to remain anonymous through the free exchange of information, even the creator of the original FlashMob, Wasnik was able to remain anonymous. It was after FlashMob phenonomen became commericalized Wasnik felt comfortable revealing his identity and role in the original Macy's FlashMob. Throughout the article Garland (2010) draws connections between FlashMob and SmartMob, supporting and citing Rhinegold, agreeing that FlashMobs were part of SmartMobs. There is also an interesting connection drawn between FlashMobs and Flux Art [3]. Despite the article being unpublished key areas of FlashMob are clearly explored. Garland (2010) takes a wide approach to FlashMob and widely explores various aspects. There is a strong reliance on the experience of Wasnik in proving the differences between FlashMob, SmartMob and rioting organised through social media which is the main weakness of this article, which otherwise addressed the topic soundly. Footnotes [1] http://matxer.org [2] http://www.vcu.edu/ [3] http://www.fluxus.org/12345678910.html

Bonnie McGreer (2010) writes an interest piece article that introduces the concept of using a FlashMob to the business reader. FlashMob is summarised in the article by David Southall, President & Chief Executive of Innovations Federal Credit Union[1]; as, "...a group of people come together suddenly, do a certain act, and then they go away just as suddenly, as if nothing ever happened." (p.16). The article is based on two events, both in the business banking sector, staging independent FlashMob performances with different approaches. With Innovations using a grass roots approach towards staging, eventually two, FlashMob performances. Participants were recruited using Facebook[2] and then allowed participants to join group rehearsals when they could make it. As well as providing a DVD of the dance choreographed by a local radio DJ. Contrasted with the ING Direct Canada[3] Flash Mob approach which was a more professional publicity stunt. ING hired a professional choreographer and dancers to perform their FlashMob. McGreer (2010) raises the question of the ING approach is more of a Flash-Performance, rather than a FlashMob. The article also highlights that professionals were used to record the performances which were posted to YouTube[4] but there was no aggressive marketing campaign at the event location. The subtly of the advertising component of the FlashMob was done best by Innovations, who only revealed their brand approximately half way through. This article is a credible general reference for academic research. Whilst the piece is from a credible source it is a generalist approach to the topic of FlashMob but demonstrates that even at a generalist level, the difficulty in defining of a FlashMob is highlighted. Footnotes [1] http://www.innovationsfcu.org/index-flash.asp [2] www.facebook.com [3] www.ingdirect.ca [4] www.youtube.com

This article was published in the Aether[1], Journal of Media Geography in 2010. It should be noted that whilst the article is written in an academic style Aether is not a commonly recognised Journal. The editors are academics at three different recognised universities giving credibility to this boutique publication. This paper argues that all FlashMob events are a form of protest. Salmond (2010) contrasts between illegal dance parties or Raves and 21st Century FlashMob events. One similarity between Flash Mobs and Raves is the creation of an instant community. This community in raves and Flash Mobs is the taking of land that is not being used and using it for public good, similar to the squatters culture. Salmond (2010) cites Coco (2008) stating, "The individuals became tied together under a group interest, creating a connection and bond whilst sharing in a local event." (p.92). The ubiquity of technology is discussed throughout the article reinforcing that technology has assisted in the development and promotion of FlashMob events. Salmond (2010) also looks to introduce variances on the FlashMob such as SmartMob and Protest Cell. The SmartMob is a more structured and organised event with a clearly defined purpose or cause, which can be on a global scale. The protest cell is the using of ring tones to protest against the decided cause. Salmond (2010) attempts to connect the legislation designed to stop illegal raves in the UK and apply it to the illegality of FlashMob events. This correlation is fragile but is not the main focus of the paper. There is a strong reliance by Salmond (2010) on the illegal nature of FlashMob events and less on the artistic performance aspect. Footnotes [1] http://130.166.124.2/~aether/index.html

Flash mobs have been around since 2003, the full power of their reach has not really been felt until a mix of social media like Facebook and Twitter came into effect to help to coordinate events and spread the word. A mix of this and viral video tools like Youtube help to spread the story worldwide in a very short time frame. The organisation of early flash mob performances used to rely on text messages to spread the message. However, these days the internet and social media have made the coordination and the spreading of the message much quicker and it allows for many more networking opportunities. Costs of performances and production are kept to a minimum, with no need to buy air time. An interesting side-effect of viral videos these days is that the video will most often be displayed on television for free anyway, doing away with the need to pay for advertising air time, and has given rise to television programs dedicated to flash mob tv in places like Germany (Flashmob.tv, 2011). Flashmob.tv, (2011). The Show. Retrieved from http://www.flashmob.tv/en/the_show.php

This resource, found in the Char Valiant School Newspaper, discusses flash mobs. Flash mobs, a more recent occurrence, are a group of people who meet at a predetermined public location to do a spontaneous performance (often something of a theatrical nature like a song or dance), and then disperse into the crowd at the end. Flash mobs are usually instigated online, using various forms of online media to organise and coordinate the event. This can include mobile phones, email, and social networking sites. Although these "events started out as a way for these groups to mock the conformity of the general population", they have "instead become a symbol of spontaneity and fun around the world"(CharValiant, 2011). Flash Mobs have also become a form of advertising. T-Mobile has used this form of theatrics to their advantage, using them in several of their advertisements. Carolyn Thomas (2010) talks in her article about how T-Mobile is becoming synonymous with flash mobs, showing that the marketing campaign is working as people are instantly remembering the company name and linking it with the campaign. Australia is also getting on the flash mob advertising bandwagon, with the latest "Australian Cancer Council Biggest Morning Tea" launch at Brisbane's Queen Street Mall on the 18th April, 2011 (Cancerqld, 2011) and the viral Sydney Mardi Gras campaign filmed on Bondi Beach (RockYourBox, 2009). Although the link between public resource computing and flash mobs is tenuous at best, as another current form of online collaboration it is still well worth a mention. As public resource computing relies heavily on word-of-mouth advertising to increase its member numbers by using things like social-networking sites, so too does flash mob advertising rely on "going viral" through similar word-of-mouth usage.

Written by Caci Murphy, a Senior at Chartiers Valley High School(CharValiant, 2011), this resource is not necessarily as reliable a source as perhaps other more researched papers. Although well written, and factually accurate, a high school senior would be lacking both the technological knowledge and life experience to give an accurate view point to make this an authoritative resource. Cancerqld. (2011). Australia's Biggest Morning Tea Flash Mob. Retrieved from http://www.youtube.com/watch?v=w07Nq2h55Xo CharValiant. (2011). The CharValiant Staff. Retrieved from http://www.cvnewspaper.com/staff/ CharValiant. (2011). Flash Mobs: The Feel Good Phenomenon of the 21st Century. Retrieved from http://www.cvnewspaper.com/news/2011/03/14/flash-mobs-the-feel-good-phenomenon-of-the-21st-century/ RockYourBox. (2009). Say Cheese! Flash Mob On Bondi Beach [OFFICIAL]. Retrieved from http://www.youtube.com/watch?v=Ao4DkbGbxl0 Thomas, C. (2010). T-Mobile and the flash mob marketing phenomenon. Retrieved from http://ethicalnag.org/2010/11/04/flash-mob/

This article is based on the premise that cities are responsible for destroying social bonds and "rendering man isolated from, fearful of, hostile to, and manipulative of his fellow man" (Fischer as cited in Kaulingfreks & Warren, 2010). It is this view that drives planners to create artificial structures in an attempt to have citizens involve themselves in community affairs. The authors use the example of Rotterdam where a there is a program of community forming (http://www.opzoomermee.nl) to show this idea that something needs to be done to create a sense of community. (2010, p. 213). The authors then look at how the unmanaged process of flash mobs may offer an alternative to the formal organisation structures of organisation in the city environment. They draw on the work of Jean Luc Nancy and suggest that flash mobs challenge the "traditional understanding of community through technology enabled organising" (Kaulingfreks & Warren, 2010, p. 220). In fact through the use of the Internet, email and texting people are able to act together without giving up any of their individuality. In a magazine interview Bill Wasik, the instigator of flash mob said: The flash mob affords an opportunity for doing something and yet completely sidesteps the whole process of discussing how it is going to happen. It's just; 'Here's this opportunity, and if you agree with it, you can come in on it, and its going to be very quick' (Heaney, n.d) A flash mob becomes an ephemeral community; it is formed for a specific purpose and then disbands once that purpose has been fulfilled. It is a network structure rather than a traditional hierarchy and is based on a common interest.

Professor Ruud Kaulingfreks, University of Leicester, School of Management (Kaulingfreks, n.d.) and Professor Samantha Warren, University of Essex - Essex Business School (Warren, n.d.) have written this paper titled, SWARM: Flash mobs, mobile clubbing and the city (Kaulingfreks and Warren, 2010). Both professors have written a number of articles on topics involving organisation and culture. As written above by Hans Dusink, "They draw on the work of Jean Luc Nancy and suggest that flash mobs challenge the "traditional understanding of community through technology enabled organising" (Kaulingfreks & Warren, 2010, p. 220). In fact through the use of the Internet, email and texting people are able to act together without giving up any of their individuality" (Dusink, 2011). By understanding this, it can also be related to the petitioners that act through the Avaaz organisation. To sign up to the Avaaz community, only a name, an email, a country and postcode is required information. The name could be any name or even a nickname. Individual's identities are hidden from each other. Even though you can see the count of actions taken, it is impossible to know who did exactly what action. Concurrently, a hard-copy signed petition is not that much different. Which individual can verify every signature on a page and who is going to read through and check every written address one-by-one to ensure actual authenticity? Both Avaaz and flash mobs use digital interaction to let their members know what is happening and the location; however, Avaaz continues to exist after action is taken, moving onto new causes and plights whereas the basis of flash mobs is to 'flash' congregate then dissipate after their action. References: Avaaz.org. (2011).The World in Action. Retrieved from http://www.avaaz.org/en Dusink, H. (2011). SWARM: Flash mobs, mobile clubbing and the city - Culture and Organizati

This article was interesting as it also considered the impact of music in FlashMobs. Salmond (2010) in their article, "The Power of Momentary Communities" discusses how rave parties have similarities to FlashMob events through the creation of an instant community. Just as Salmond (2010) uses the rave party example Kaulingfreks & Warren (2010) have explored mobile clubbing, with individuals dancing to their music of choice. It should be noted that the lack of amplification, due to those listing to their individual songs may do so in a "silent disco" manner would allow such a gathering. Salmond (2010) raises the legality of events, at night time, with 100 or more people listening to amplified music. Mobile clubbing is supported by Salmond (2010) as more FlashMob as there is an artistic component which is key according to Wasnik. The comment of Jocelyn Peuker (2011) who introduces the Avaaz.org (2011) community highlights that there is a crossover between the SmartMob and the FlashMob. Avaaz facilitates with anonymity but could be considered a more SmartMob type of activity as those signing a petition are doing so in an asynchronous manner. With those signing the petition in with a desire for an outcome to be achieved, moving further away from the art aspect. Salmond (2010) argues that it is structure and organisation would allow one to consider Avaaz to be more SmartMob than FlashMob. As in many aspects of technology the exact line and distinction is hard to be drawn but notwithstanding this Avaaz is a facility service that would benefit both FlashMob and SmartMob events, whilst maintaining anonymity.

The origin of flash mobs is credited to Bill Wasik who emailed friends in June 2003 to gather in the home furnishing department of Macy's in Manhattan. More than a 100 people began discussing whether to purchase a 'love rug' for their fictitious commune and then dispersed as quickly as it had formed (Hewitt, 2003). Flash mobs are defined in the Oxford dictionary as "a public gathering of complete strangers, organized via the Internet or mobile phone, who perform a pointless act and then disperse again" (Oxford University Press, 2011). Advertising agencies now utilise flash mobs to promote commercial products. This article discusses the Saatchi and Saatchi award winning T-Mobile advertisement "Life is for sharing" (posted to Youtube by jonjonbaker, 2009). Rather than focusing on how mobile phones and social media are used to organise a flash mob, the discussion here is about how this same media is used to create "viral traction - the ability to be widely forwarded to millions of viewers almost instantly" (Thomas, 2010). The advertisement itself shows bystanders utilising their mobile devices to share photos with their friends as well as ringing them to talk about the experience. As the title of the advertisement says "life is for sharing". Nick Burcher wrote in his blog Personal thoughts on the evolution of media and advertising that "advertisers are creating events to push user generated content coverage, a physical community made virtual. The event drives the Conversation, rather than the other way round as Wasik intended" (Burcher, 2009). Flash mobbing has become more than Wasik first imagined. On this case it has been utilised to raise brand awareness, but the same techniques can also be used to promote political opinions.

Hans this is a very interesting article and ties in with the article I found by McGreer (2010) who discussed the business response to FlashMobs. Whilst two different approaches were used the one constant was the use of professional film crew to use the footage for uploading. The question McGreer raises is when it no longer has the artistic element, which Wasnik defines an event as a FlashMob, are commercial applications really FlashPerformances? McGreer, B. (2010). Give Them something to talk about. US Banker. Retrieved from ProQuest Database.

Hans this is a very interesting article and ties in with the article I found by McGreer (2010) who discussed the business response to FlashMobs. Whilst two different approaches were used the one constant was the use of professional film crew to use the footage for uploading. The question McGreer raises is when it no longer has the artistic element, which Wasnik defines an event as a FlashMob, are commercial applications really FlashPerformances? McGreer, B. (2010). Give Them something to talk about. US Banker. Retrieved from ProQuest Database.

The Social Issues Research Centre (SIRC) is an independent, non-profit organisation that conducts research on social and lifestyle issues. It aims to provide balanced perspectives on social issues and to promote rational debate based on evidence rather than ideology (Social Issues Research Centre, 2011) . In this paper Elanor Taylor, a social researcher, tries to understand the nature of flash mobs and whether they are just for fun or whether they are potentially a new form of protest movement. Sean Savage, credited with naming flash mobs (2006) is quoted as saying that "If anyone tells you they know what the point is, they either don't know what they are talking about, or they're lying" (as cited in Taylor, 2003) . Taylor provides a set of instructions for a London flash which reveal a "combination of military efficiency, complete anonymity, rapid communication and organisation by internet"(Taylor, 2003). The motivation to attend is this left up to the individual. Taylor indicates that there are some, such as the website why-war.com (Why War?, 2003) and cyclist activist group Critical Mass (Carlssson, 2011a) that would like to see flash mobs put to a political purpose rather than be apolitical.

Chris Carlsson, founder of Critical Mass wrote: Critical Mass is a movement with no leaders or formal organization behind it. No one in charge - which is another way of saying "everyone is in charge!" There are as many ideas about what Critical Mass is as there are participants (2011b) Taylor questions whether this can actually happen: "what use is a political protest with no-figure head?" (2003). In light of recent events in Iran and Egypt I think Taylor has been a little premature in discounting flash mobs as a form of political protest. Carlssson, C.(2011a). Critical Mass. Retrieved from http://www.sfcriticalmass.org/ Carlssson, C. (2011b, January 26). Critical Mass & Radical Politics: A Forum [Web log post]. Retrieved from http://www.sfcriticalmass.org/page/2/ Savage, S. (2006, March 29). Flash Mob Flashback . Cheesebikini? [Web log post]. Retrieved from http://www.cheesebikini.com/2006/03/29/flash-mob-flashback/ Social Issues Research Centre.(2011). About SIRC. Retrieved from http://www.sirc.org/about/about.html Taylor, E. (2003). Dadaist lunacy or the future of protest? : An introduction to the world of flash-mobbing. Social Issues Research Centre. Retrieved from http://www.sirc.org/articles/flash_mob.shtml Why War? (2003, August 1). An Introduction to Swarming and the Future of Protesting [Web log post]. Retrieved from http://www.why-war.com/features/2003/07/swarming.html

Are FlashMobs Collaborative Behavior? The question arises as to whether or not FlashMobs are truly collaborative behavior. While there is definitely a conversation taking place and a resultant activity, this resultant activity does not have a specific achievement or productive task to complete. A talk from Howard Reingold (Rheingold, 2005) describes the history of human collaboration and has some ideas about the potential benefits of worldwide social collaborative behavior. This talk also includes a discussion of social dilemmas: the prisoner's dilemma and the tragedy of the commons. These are important factors in understanding why people collaborate or co-operate. Collaboration is the basis for bringing together the knowledge, experience and skills of multiple persons to contribute to the development of a new product, idea or activity. Collaboration is a more effective problem solving solution than individuals performing narrow tasks in support of a defined plan or programme. Essential requirements for effective collaboration include early involvement and the availability of resources to effectively collaborate. This uses a culture that supports teamwork, cooperation and collaboration as well as co-location or virtual co- location and some form of collaboration technology. Flashmobs seem to lack the problem solving aspects of true collaborative behaviour. It is more a themed social gathering than a co-operative task solving exercise. Works Cited Rheingold, H. (2005, February). Howard Rheingold on collaboration. Retrieved April 7, 2011, from Ted: http://www.ted.com/talks/lang/eng/howard_rheingold_on_collaboration.html

A community based website that consolidates the activities of Flash Mobbers around the world into a single portal. The resourceful website provides a central point of contact for people who create flash mobs, for people who are entertained by them and for those planning and for those who want to be a part of this intellectual movement. The website allows people to register and collaborate with other flash mob fans, keeping subscribers informed on event dates, locations, latest videos, flash mob events, a calendar and forum. Flash mobs not only allow people to enjoy the entertainment factor, but the developers of the flash mobs also drive the use of different technologies, such as websites, choreography, video editing, and the use of social media to spread the message. Entertaining and thought-provoking flash mob performances usually end up going viral, but along the way, these viral videos collect important demographic information about those who view the videos. Mashflob.com: The Worldwide Flashmob Community! (2011). Retrieved April 17, 2011, from http://www.mashflob.com/

Virág Molnár is an Assistant Professor of Sociology at the New School for Social Research in New York. Her interest is in the impact of mobile communications on urban culture. This article first puts flash mobs into an historical perspective by suggesting that its roots lie with the Italian Futurists of 1910 and further cultivated during the 20th century by avant-garde art groups such as Dadaists . More recently there have been the Youth International Party (Yippies) in the US. (Molnár, 2009) As Molnár points out the things that all these groups have in common with modern flash mobs is that there is no formal membership or hierarchy and they are able to utilise the media effectively. The difference lies in the use of new media such as blog, social networks and mobile phones (2009). Rheingold points out that these tools lower the threshold of participation as it no longer required participants to actually know each other (2003, p. xii). Molnár then identifies and describes 5 types of flash mob based either on their form of sociality or their function. They are: 'atomised' flash mobs, interactive flash mobs, performance flash mobs, political flash mobs and advertising flash mobs (2009). Flash mobs, although organised online are only able to be carried out by people in close proximity to one another or as Molnár describes it "able to make the leap from cyberspace to urban space" (2009). These events are generally recorded and posted to sites like YouTube in order to both popularise the event and to get feedback. "Online reporting has indeed largely been responsible for the rapid global diffusion of flash mobs," and "has been crucial in institutionalizing and legitimizing this new form of sociability"(Molnár, 2009).

Continuation of original comment. As a blog post on Turtle Sociology wrote "The globalization of flash mobs underscores two vital notes: the viral-like nature of technology, and the universal desire to break free from social norms… all flash mobs seem to elicit joy in their bold, unprompted natures"(2010). References: Molnár, V. (2009). Reframing Public Space Through Digital Mobilization: Flash Mobs and the Futility(?) of Contemporary Urban Youth Culture. Retrieved from http://isites.harvard.edu/fs/docs/icb.topic497840.files/Molnar_Reframing-Public-Space.pdf Rheingold, H. (2003). Smart Mobs : The next socal revolution. New York: Basic Books. Retrieved from http://books.google.com.au/books?hl=en&lr=&id=lX9QKNbO0nkC&oi=fnd&pg=PR9&dq=smart+mobs+the+next+social+revolution&ots=wvkWcKOAIx&sig=00EWrYtEyAwqRmnYNth77Sclr8o#v=onepage&q=smart%20mobs&f=false Turtle Sociology. (2010, October 6). The Universal Phenomenon of Flash Mobs [Web log post]. Retrieved from http://turtlesoc.wordpress.com/2010/10/06/the-universal-phenomenon-of-flash-mobs/

Thanks for continuing your comment Hans. That last quote really sums it up well. I quite like how you have highlighted the fact that flash mobs underscore the 'viral-like nature of technology' in addition to the joy flash mobs elicit as a result of their impromptu nature. All that is needed is a quick search through YouTube for 'flash mobs' to see the views of popular flash mob videos reach the millions, as well as to read how well they have been received globally. Thanks again, Tessa