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 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 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

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