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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/

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/

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

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

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

Spencer Ackerman is an American national security reporter and blogger. This article appeared in Wired magazine's national security blog, Danger Room. In this article, Ackerman describes how in late January, 2011, the Egyptian president, Hosni Mubarak, responded to hundreds of thousands of anti-government demonstrators protesting on the Egyptian streets by shutting off the internet and mobile phone access. The purpose of this was to keep the activists from organising further protests. This move did not work however, and the protesters didn't disperse. They did not have access to Facebook and Twitter, but instead took to the streets and protested in the traditional way. Al Jazeera, and other satellite news networks kept the public worldwide focused on the events. Mubarak then "began a brutal crackdown, with regime loyalists targeting dissidents and foreign journalists alike." (Ackerman, 2011) Despite the crackdown, says Ackerman, "the world still had viral-ready video footage of the truth of Egypt's precarious uprising", some of which can be viewed by clicking on the images in the article. A particular comment by a young female street protestor featured in one of the videos was interesting: "It's not about the internet," she said, "it's about the needs and demands of the Egyptian people". REFERENCE: Ackerman, S (February 4, 2011) Prayers, Protest, Police Brutality: Raw Videos From Egypt's Uprising Wired Retrieved 8th April, 2011 from http://www.wired.com/dangerroom/2011/02/cairo-protest-videos/?pid=345

References: Ackerman, S. (2011). Prayers, Protest, Police Brutality: Raw Videos From Egypt's Uprising. Wired. Retrieved from http://www.wired.com/dangerroom/2011/02/cairo-protest-videos/?pid=345 Kravets, D. (2011). What's Fueling Mideast Protests? It's More Than Twitter. Wired. Retrieved from http://www.wired.com/dangerroom/2011/01/social-media-oppression/

The spotlight on the Northern Africa has been reignited on 15 April 2011 by release of the letter signed by US, British and French leaders. US President Barack Obama, British Prime Minister David Cameron and French President Nicolas Sarkozy have said in a joint letter that there can be no peace in Libya while Muammar Gaddafi stays in power. They want to put a stop to the terrible horrors at Gaddafi's hands. The joint letter holds out the prospect of reconstruction for Libya with the help of the "UN and its members" (http://www.bbc.co.uk/news/world-africa-13090646). The 'domino effect' political situation in Northern Africa has been closely watched by the whole world. The Egypt attracted attention not just for its political protests but how the country's Internet and its services were shut down by its government during the protests. This demonstrates a level of power government can have over its people and communication. At the time of revolution the Egypt's dictator Hosni Mubarak messages and intentions were clear to grasp by anyone paying attention to politics: It is me 'Hosni Murabak' who controls the power in this country including the media; shutting down of the Internet and its services will put a stop to a fast communication platform for Egypt's people and connection with rest of the world; Egypt doesn't want any interferences from other countries, this is 'our revolution'; we will sort it out and I will stay in power as long as possible. According to Spencer Ackerman 'Suddenly, a protest movement that used Facebook pages and Twitter hashtags to coordinate and push its message out was back to the old-fashioned methods of street politicking'. However, according to other media coverage the Twitter was found as most powerful tool in network communication during the Egypt's Internet service government shut down. (e.g. Bergstrom, G. (2011). Egypt: The First Twitter

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.