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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

In Riley's (2005) conclusion, he sums up really well the evolution of tools like flash mobs in the collection and dissemination of information in a different ways are opening the door for more and more interaction and are driving the use of different technologies to spread messages to many people in a very short space of time. Through an expressive platform like Flash Mob performances, these groups of people getting together to tell their story in entertaining ways also reach out to the general community and provide a refreshingly different and more intelligently placed story telling method than is currently being utilised by the centralised media units that are used to disseminating data from a single source. These avenues for human expression break down the constraints imposed by plutocracy, industrialism and the expectations and moulding of the masses who are conditioned to believe that they are no better than mere servants of the rich minority who ultimately control everything, because money equals power and therefore privilege and status is more important and above the laws for everyday people. The use of the Flash Mobs is interesting because it takes an impromptu-like performance, engages the public in unplanned entertainment, and spreads a message that is delivered in a very entertaining way. The delivery of these performances is not only live, but is also filmed by spectators and organisers, and placed on websites like Youtube and spread to audiences worldwide. Examples of this include the St Patrick's Day performance at Central Station in Sydney Australia, which went viral worldwide within a day or two of being uploaded to Youtube. The use of online mediums like Youtube also means that statistical or quantitative data can be collected about the viewers or online audience, and used by the intellectuals in the planning of the next Flash Mob event. Riley, C. (2005). Flash-Mobs Are The New Public Intellectuals. Retrieved April 17, 2011, from http://www

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/

Torben (2010) discusses the evolution of flash mobs as a tool for viral video advertising. He discusses how major corporations, like T-Mobile utilised the buzz that these flash mob choreographed performances provide to their audiences, and their video went viral with over 20 million viewers. This very effective form of advertising does not go through official channels, but seems to grab the attention of the general public more than traditional and tired advertising is doing presently. The use of social media sites like Facebook to discuss and promote flash mob scenes give consumers a voice where there wasn't one before, driving technological evolution from an end-user perspective, and providing valuable feedback to manufacturers so that they can understand what their consumers want. There is no guesswork. Successful viral video campaigns like T-Mobile have shown that the use of flash mobs can drive interest in their product and can be spread with very little effort on their part, provided they get the entertainment factor right. As long as they make the flash mob performance entertaining enough, the message will spread to a wider audience than traditional advertising might achieve. Torben, R. (2010). Flash mobs in viral video advertising. Retrieved April 17, 2011, from http://www.torbenrick.eu/blog/social-media/flash-mobs-in-viral-video-advertising/

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

[Please Note: This comment is in two parts due to Diigo restrictions on length] Topic: Flash Mobs Rodriguez, an undergraduate at the University of Northern Texas examines many important aspects in relation to Flash Mobs, including how their significance, motivational factors for participation, and impact on society help shape their meaning and significance. A mixture of literature review, interviews, observation of online events, and online research contributed to Rodriguez' findings. Rodriguez found that "audience and social media played major roles in the organization and implementation of a flash mob." Rodriguez then examined his findings with relation to Habermas' "idea of the public sphere and lifeworld, Debord's idea of the spectacle, and culture jamming..." concluding that the "public sphere and lifeworld are modes of communication and knowledge production." Rodriguez included "culture jammers' in his study as he there were many similarities between their actions and those of flash mobs. He also discussed the idea that culture jammers take memes, or particular ideas, then change their meaning (Rodriguez, 2010, p. 6), in the hope that people will rethink political or human rights issues for themselves instead of just blinding accepting what their Government decides. Flash mobs were seen by Rodriguez to differ depending on their purpose but regardless of this difference they were all seen to "positively or negatively affect their lifeworld" (Rodriguez, 2010, p. 36). [Continued in the comment below]

[Continuation of comment above] If the flash mob's purpose was to promote a show, artist or product, then the intention was to "create [a] buzz" through instrumental rationality, reinforcing "the current consumerist ideology" permeating society (Rodriguez, 2010, p. 36). Those flash mobs without consumerist advertising as their purpose were found to be raising awareness of a social issue using communicative rationale. REFERENCES Rodriguez, A. (2010). Performing in the Public Sphere: Flash Mobs and Their Participants. TED Talks. Retrieved April 11, 2011 from the University of Texas: http://Rodriguez-Atilano-081210-SE.pdf

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

James Neill provides his personal insights on Flash Mobs, based on an interview with a journalist and research conducted through social media like Twitter. His discoveries point to flash mobbing as an activity that comes across as spontaneous, which is performed in public places, but that behind the scenes, take a lot of co-ordination and planning to prepare for the event. Flash mob peformances can be defined as being spontaneous, simple, peaceful, social and the message is spread virally through the use of technology like Youtube and social networking sites like Twitter and Facebook. The different types of flash mobs include smart mobs, reality tv set ups, rent a crowds and the like are mentioned in this article, but there is room to debate if these groups are actually flash mobs or not. One of the key elements of flash mobs is the way individualism has been stripped, and the group persona is adopted, even for a short tiime, but each individual member. In this way, they shift away from their individuality to embrace and portray the message being delivered by this organised crowd of entertainers. It is almost the adoption of a mob mentality, without the violence. Messages spread by groups are immediately more attention grabbing that by individuals, and so this could be the reason for the success and longevity of flash mob activities. These groups demand attention, and while they are entertaining and fun to listen to because they break the routine and inject something unique into everyday lives, by speaking with movement and song. Neill, J. (2007). On the Social Psychology of Flash Mobbing. Retrieved April 18, 2011, from http://7125-6666.blogspot.com/2007/10/flash-mobbing.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

[Please Note: This comment is in two parts due to Diigo restrictions on length] Topic: Flash Mobs Anderson conveys the self-fueling model of global innovation he calls "crowd-accelerated innovation," which is assisting individuals to improve in many areas as a result of watching videos online. The phenomenon of "Flash Mobs" has made use of global video facilities on popular sites such as "YouTube" to spread their message. One example of a self-fueling model of global innovation given by Anderson is of a group of extreme dancers who performed at the 2010 academy awards despite not having any formal dance training. Their dance moves were inspired by and copied from watching videos online. These isolated individuals have been able to connect and collaborate to share their new innovations due to the assistance of free online sites such as YouTube. Videos pack a huge amount of data into a few minutes. However our minds are more suited to understanding information from a few minutes of video as opposed to the traditional method of learning based on books and scientific peer-reviewed papers. Anderson believes that online video will one day surpass the ideas printed in books. He believes that there are a multitude of non-verbal subconscious cues that enhance the delivery of information through video publication that cannot be conveyed as adequately through a book or written transcription. These ideas are one of the reasons that TED talks have gained popularity in global education. The power of globally available videos has enhanced the popularity and effectiveness of flash mobs, which assists the organizers to spread their message more effectively. People are more likely to remember an idea or product if it has been delivered in an unusual way such as through a flash mob.

[Continuation of comment above] These ideas are one of the reasons that TED talks have gained popularity in global education. The power of globally available videos has enhanced the popularity and effectiveness of flash mobs, which assists the organizers to spread their message more effectively. People are more likely to remember an idea or product if it has been delivered in an unusual way such as through a flash mob. REFERENCES Anderson, C. (2010). How Web Video Powers Global Innovation. TED Talks. Filmed July 2010. Posted September 2010. Retrieved April 5, 2011, from: http://www.ted.com/talks/chris_anderson_how_web_video_powers_global_innovation.html

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

[Please note: This comment is in two parts due to Diigo restrictions on length] Topic of Study: Flash Mobs Eric Kluitenberg is a researcher studying the significance of new technologies. In this article, he "draws attention to a number of activist strategies to encourage public and private action in a hybrid space." Flash mobs are "semi-spontaneous public gatherings of groups of people...[not usually] known to one another, nondescript, with no determining characteristics [who] briefly perform some collective synchronous action, and then dissolve...back into 'the general public'..." who are alerted to "Directions and information about...[gatherings via]...text messages, or e-mails...with the aim of starting a chain reaction resulting in...an unpredictably large mob at a predetermined time and place" (Kluitenberg, 2006). Kluitenberg (2006, p. 8) believes that Flash Mobs and other earlier examples of mass public gatherings, street parties, and demonstrations, all highlight the fact that "we are living in a space in which the public is reconfigured by a multitude of media and communication networks interwoven into the social and political functions of space to form a 'hybrid space.' [Continued in the comment below]

[Continued from previous comment above] This unique explanation of why and how Flash Mobs and other spontaneous public gatherings occur is based on the fact that the 'traditional' space found in cities has now been "overlaid by electronic networks...creating a highly unstable system, uneven and constantly changing" (Kluitenberg, 2006, p. 8). Although I feel that Kluitenberg's rationale may be too removed from what is actually occurring in relation to Flash Mobs, I believe he is correct in stating that the increasing use of mobile communication technologies has assisted the rise of "new social morphologies...[such as]...the flash mob" (Kluitenberg, 2006, p. 8) and that this type of phenomenon is perhaps indicative of the transience of modern life and the way community spaces are employed in modern times. The populace is increasingly pressed for time and usually always on the move, so the phenomenon of flash mobs, in one sense, is a unique response to the temporality of modern suburban and city life. REFERENCES Kluitenberg, E. (2006). The Network of Waves: Living and Acting in a Hybrid Space. Retrieved April 5, 2010 from: http://www.socialbits.org/papers

This article describes various scenarios showing individuals and groups using technology to engage with traditional public spaces in socially and politically influential ways. As the author of this work explains, "traditional space is being overlaid by electronic networks such as those for mobile telephones and other wireless media"; and the resulting environments "...can not be properly understood without a very precise analysis of the structure of that space"(Kluitenberg, 2006. p8). By looking at the social and technological factors that allow these events to take place, we can understand how networks and collaboration projects are carried out in these 'hybrid spaces'. This way of analyzing a group's or individual's uses of technology in public spaces supports research from an article that I have posted to Diigo - 'The Internet is Here': Emergent Coordination and Innovation of Protest Forms in Digital Culture'. The author of this work states that 'as modes of social interaction... become increasingly rich it becomes easier for online culture to bleed into what William Gibson dubbed the "meatspace", and for events from the "meatspace" to reverberate back into the computer mediated world' (Underwood, P., Welser, H. 2011). While Underwood's paper investigates Anonymous' internal workings and uses of technology as they battled with the Church of Scientology in 2008, it also shows that Anonymous exists in what Kluitenberg's acknowledges as 'Space Flows', surviving on the "intangible flows of information, communication, services and capital"(Kluitenberg, 2006. p9). This is a benefit of Anonymous' decentralized networks and both articles reflect the fact that "the more decisions that are made at the 'nodes' ...instead of at the 'hubs' ..., the more chance there is of a space in which the sovereign subject is able to shape his or her own autonomy."(Kluitenberg, 2006. p14) Referneces Kluitenberg, E. (2006). The Network of Waves: Livi

Grant, W. J., Moon, B., & Busby Grant, J. (2010). Digital Dialogue? Australian Politicians' use of the Social Network Tool Twitter. Australia Journal of Political Science, 45(4), 579-604. Using the social network tool Twitter by Australian politicians has proven to be a common practice in Australian political arena. The analysis mentioned in the article, suggests that the politicians use the Twitter for political engagement and gaining of more political benefit. For politicians the Twitter is simply a good way of connecting with public. 'Engaging with community online is a great for me, as Premier, to get feedback on the decisions and actions of my government… Twitter in particular is a frank and spontaneous way for people to share views and thoughts - it's not filtered or tempered by second thoughts, it's raw and immediate, and its 24/7.' One of the authors' questions as part of their conducted analysis was 'Does Twitter offer us better ways to collectively shape our world, or is it instead a fragmentary, dangerous and disempowering distraction?' The obtained results were received from 152 Australian politicians and 477 random Australian Twitters. Data analysis suggested that Australian politicians are clearly engaging with Twitter and their broadcast tweeting is of higher number that of Australians in general. Collected data also suggested a pattern of tweeting that Australians in general follow politicians more than politicians follow them. The data analysis conclusion was the tweeting is used by Australian politicians for influencing the communities and for the benefit they may gain through the tweeting. The Twitter provides a tool for listening to the communities by the politicians and is a definitively a good access point to valuable feedbacks. Twitter's rapid connection between politicians and communities is one of the greatest benefits using the Twitter. The Twitter is providing a venue for Australian politicians, citizens and media to connect and sh

[Part 2] The report found that apart from tweets to broadcast information, there is a reasonably high level of 'retweeting' performed by politicians, retweeting is a micro-political act of endorsement. It also suggested that the number of people a politician follows loosely translates as the level to which that politician listens to the public. Politicians replying to tweets from non-politicians, however were found to be quite a low percentage of posts, suggesting that to date Twitter has not particularly facilitated an open political dialogue. References: Grant, W. J., Moon, B., and Busby Grant, J. (2010). Digital Dialogue? Australian Politicians' use of the Social Network Tool Twitter. Australia Journal of Political Science, 45(4), 579-604. DOI: 10.1080/10361146.2010.517176

Twitter as used by politicians stands at a crossroads. Held in scorn by many politicians, it is often derided as a trivial communications platform with a distinct lack of professionalism. This is well exampled by Julia Gillard's attack on Twitter fan Joe Hockey for daring to consult his 'tweets' for policy opinion. ""He can't govern the nation by tweet," (Courier Mail 2009). Akin to this is the British House of Commons ban on tweeter for apparently as the Deputy Speaker puts it "letting the outside world know what is going on (in parliament)". (Financial Post 2011) In contrast, is enthusiastic tweeting by politicians such as Federal member Joe Hockey and NSW Premier Barry O'Farrell. O'Farrrell in particular uses Twitter for daily political discourse with his constituents. Often offering further insight into policy matters or recent actions in media. With over 6000 Tweets (NSW MP Tweets 2011) O'Farrell has set a precedent for high-profile Australian politicians using Twitter as an effective medium. With Hockey being accused by Gillard over crossing the line between consulting and collaboration using Twitter, the evolving use of the service remains of great interest to the political world. References Julia Gillard hits Joe Hockey's Twitter usage (2009) Courier Mail. Accessed http://www.couriermail.com.au/news/national/julia-gillard-hits-joe-hockeys-twitter-usage/story-e6freooo-1225804950598 Twitter banned in British Parliament (2011) Financial Post. Accessed http://business.financialpost.com/2011/01/19/twitter-banned-in-british-parliament/ NSW MP Tweets (2011) Statistics about Barry O'Farrell on Twitter. Accessed http://nsw.mptweets.com.au/barry-ofarrell/