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Background: Traditional research methods often involve a lengthy process, but the emergence of flash mobs as an innovative data collection method offers the potential to gather substantial data within a short time frame. Flash mobs draw inspiration from the concept of large groups organizing through the internet or mobile devices to perform a prearranged action in public. In healthcare research, flash mobs serve as research organizing method to investigate clinically relevant questions on a large scale within a limited period. Aims: This study aims to present a study protocol for a scoping review that comprehensively maps the existing literature on the use of flash mobs as a data collection method in healthcare research. Methods: The review will follow established guidelines and include steps such as identifying the research question, identifying relevant studies, selecting studies, charting the data, and collating and summarizing the results. The review will utilize databases, manual screening of additional sources, and covidence for study selection and data charting. The findings will be summarized using descriptive statistics and a descriptive synthesis of qualitative data. The review protocol has been registered with the Open Science Framework. Results: The results of this scoping review will provide insights into different flash mob designs, motivations, and the data collection process, contributing to the development of high‐quality flash mob data collections in healthcare research. [ABSTRACT FROM AUTHOR]

A mob is an event that is organized via social media, email, SMS, or other forms of digital communication technologies in which a group of people (who might have an agenda) get together online or offline to collectively conduct an act and then disperse (quickly or over a long period). In recent years, these events are increasingly happening worldwide due to the anonymity of the internet, affordability of social media, boredom, etc. Studying such a phenomenon is difficult due to a lack of data, theoretical underpinning, and resources. In this research, we use the Agent-Based Modeling (ABM) technique to model the mobbers and the Monte Carlo method to assign random values to the factors extracted from the theory of Collective Action and conduct many simulations. We also leverage our previous research on Deviant Cyber Flash Mobs to implement various scenarios the mobber could face when they decide to act in a mob or not. This resulted in a model that can simulate mobs, estimate the mob success rate, and the needed powerful actors (e.g., mob organizers) for a mob to succeed. We finally evaluate our model using real-world mob data collected from the Meetup social media platform. This research is one step toward fully understanding mob formation and the motivations of its participants and organizers. [ABSTRACT FROM AUTHOR]

Objective: Nutritional status assessment, dysphagia evaluation and enteral feeding decision are important determinants of prognosis in acute neurovascular diseases. Materials and Methods: NöroTek is a point prevalence study conducted with the participation of 87 hospitals spread across all health sub regions of Turkey conducted on 10-May-2018 (World Stroke Awareness Day). A total of 972 hospitalized neurovascular patients [female: 53%, age: 69+-14; acute ischemic stroke in 845; intracerebral hematoma (ICH) in 119 and post-resuscitation encephalopathy (PRE) in 8] with complete data were included in this sub-study. Results: Gastrostomy was inserted in 10.7% of the patients with ischemic stroke, 10.1% of the patients with ICH and in 50% of the patients with PRE. Independent predictors of percutaneous endoscopic gastrostomy (PEG) administration were The National Institutes of Health Stroke Scale score at admission [exp (β): 1.09 95% confidence interval (CI): 1.05-1.14, per point] in ischemic stroke; and mechanical ventilation in ischemic [exp (β): 6.18 (95% CI: 3.16-12.09)] and hemorrhagic strokes [exp (β): 26.48 (95% CI: 1.36-515.8)]. PEG was found to be a significant negative indicator of favorable (modified Rankin's scale score 0-2) functional outcome [exp (β): 0.032 (95% CI: 0.004-0.251)] but not of in-hospital mortality [exp (β): 1.731 (95% CI: 0.785-3.829)]. Nutritional and swallowing assessments were performed in approximately two-thirds of patients. Of the nutritional assessments 69% and 76% of dysphagia assessments were completed within the first 2 days. Tube feeding was performed in 39% of the patients. In 83.5% of them, tube was inserted in the first 2 days; 28% of the patients with feeding tube had PEG later. Conclusion: The NöroTek study provided the first reliable and large-scale data on key quality metrics of nutrition practice in acute stroke in Turkey. In terms of being economical and accurate it makes sense to use the point prevalence method.

O filme espanhol La Tribu permite explorar possibilidades de significado em diferentes meios ou mídias dentro da narrativa. Logo no início, um vídeo viral expõe o protagonista, Fidel, à humilhação pública, resultando em sua demissão e divórcio. Em paralelo à sua ruína e depressão, um cantor faz sucesso com um reggaeton inspirado nele, além de um videoclipe com coreografia. O objetivo é descrever um total de quatro processos de tradução intersemiótica ou adaptação: de vídeo para notícia, de vídeo para canção, de canção para coreografia em videoclipe, de videoclipe para flash mob. Com base em conceitos como tradução intersemiótica (Jakobson 2003 [1969]), as refrações de Lefevere (2012 [2000]) e Uma teoria da adaptação (2013) de Linda Hutcheon e Siobhan O’Flynn, torna-se possível ter diferentes perspectivas sobre cada uma das formas de adaptação no filme. O método é o estudo de caso, que considera contexto e especificidades do filme.

Copyright of Avant is the property of Centre for Philosophical Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or “kinesthetic empathy”, “mirror neurons” in neuroscience as well as philosophical reflections on affect.

Copyright of Turkish Journal of Neurology / Turk Noroloji Dergisi is the property of Galenos Yayinevi Tic. LTD. STI and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: To explore what matters to patients on the day of surgery, to describe how a flash mob study was conducted in a perioperative setting and to provide recommendations for future studies adopting the flash mob design., Design: Flash mob study., Methods: On June 6 to June 7, 2023, a 24-hour flash mob study was carried out in eight Danish perioperative units. Eligible for inclusion were adult patients scheduled for elective or acute surgery. After giving informed consent, patients answered two qualitative questions: what mattered to them on the day of surgery, and whether the staff were aware of this. Data were analyzed using content analysis. Patient characteristics were presented using descriptive statistics., Findings: Patients expressed a need to feel safe and cared for, be informed, and to receive proper anesthesia and postoperative care. Twenty-nine percent had not told health care staff, most often because they had not been asked about what mattered to them and because they did not want to be a nuisance., Conclusions: The flash mob study was feasible and provided insight into patients' perspectives on the day of surgery. To gain insight into what matters on the day of surgery, health care professionals must actively ask patients. Furthermore, the flash mob proved to be an opportunity to create attention to what matters to patients on the day of surgery., Competing Interests: Declaration of Competing Interest All authors declare no conflict of interest., (Copyright © 2024 The American Society of PeriAnesthesia Nurses. Published by Elsevier Inc. All rights reserved.)

Since the year 2003, the term "flash mob" has been studied in various disciplines and was referred to by various media outlets to describe various events. The term "flash mob" originally meant to describe a phenomenon in which a group of people assembles in a public space, perform a seemingly random act, then quickly disperse. This phenomenon was expected to die just like other types of public performances, e.g., the eighties' raves. However, this phenomenon is still alive and became widespread in various forms. Since this phenomenon was new, mentioned in the media, and depended on technology, it is unwise to assume that everyone knows its exact meaning. Many traditionalist flash mobbers become concerned that the global diffusion of flash mobs has diluted their original meaning. So, in this summative, chronological, and by topic literature review article, we explore the disciplines in which this term was used; then investigate its various forms and propose the term "Mob" to be the root term so we can categorize its various forms (branches) and eliminate ambiguities; and prove that this phenomenon still exists. Finally, we try to shed light on what is missing from the literature and what needs to be studied in the future with regard to this topic. [ABSTRACT FROM AUTHOR]

Проблема деакадемизации классической музыки и расширения ее открытости для массового слушателя - одна из краеугольных в современной культуре. Многие представители «высокого» искусства настойчиво ищут пути преодоления разрыва между вкусами обывателя и установками серьезного искусства. Повсеместными становятся творческие объединения академических музыкантов и деятелей массовой культуры, все активнее смешение языковых средств популярной музыки и классического наследия. На примере деятельности студенческих коллективов Новосибирской государственной консерватории им. М.И. Глинки демонстрируются, с одной стороны, возможности включения элитарного искусства в повседневную городскую среду, а с другой - способы выхода горожан из будничных условий посредством соприкосновения с «высоким» искусством. Флешмобы, исполнение академической музыки в уличных (площадных) условиях, в том числе с привлечением звезд поп-сцены, свидетельствуют о желании популяризировать и коммерциализировать музыкальную классику, возвысить и одухотворить, используя ее ресурсы и выразительные возможности, массовое искусство. Кроме того, в статье обсуждается проблема изменений привычных акустических условий исполнения академической музыки в открытом пространстве и на неконцертных площадках, что вносит значительные коррективы в звучание музыки.

Flash mobs are commonly portrayed in the media as light-hearted events intended to surprise bystanders. Meanwhile, academic literature features a number of explicitly political interpretations of flash mobs. However, to date, no empirical study has addressed why individuals organize and take part in the internationally spread mass events organized by the most popular contemporary flash mob incarnation, the Urban Playground Movement (UPM). In this paper, we place Budapest's UPM on an entertainment practice versus social movement mobilization spectrum. Our interviews with the leaders of the largest Hungarian UPM organization show that the functioning of the UPM in Budapest heavily relies on social movement continuity, where organizers see their events as ways to reclaim public spaces and to prefigure more social cities. However, among participants surveyed at the most notable yearly UPM event, the International Pillow Fight Day, we found fun as the primary motivation for participation, thus showing movement discontinuity. We conclude that the UPM in Budapest is a collective action, but not a social movement. Secondly, we find that the UPM exhibits 'thin' diffusion both in its reliance on individual activists over coalitions and in its usage of commercial social media as its diffusion infrastructure. Lastly, our results show that UPM collectives can act as 'containers' of social movement frames, implying that these playful groups could function as vehicles in the spread of protest in movement milieus. Our key finding that UPM is not a social movement contradicts the numerous academic interpretations of flash mobs as outright political events. [ABSTRACT FROM AUTHOR]

In questo paper propongo due pratiche di artivismo nate nel XXI secolo: il flash mob ambientalista e il “teatro di paesaggio” del collettivo di ricerca Dom. Scelgo come metodo di analisi la teoria della performance elaborata da Turner e Schechner in cui essa è forma espressiva, nonché strumento di analisi del sociale. Vorrei evidenziare come queste“alleanze di corpi” nello spazio (Butler 2017) usino strategie estetiche, reminiscenze del teatro agit prop e di guerrilla (Milohnić 2005; Loewe 2015) e si alleino ai nuovi media diventando delle smart mob. L’intento di accostare queste azioni al “teatro di paesaggio” di Dom intende mettere in luce “gli usi politici del teatro”(De Marinis 2020) perché in queste performance “simpoietiche”(Haraway 2020) i co-creatori dell’opera sono le forze animali, vegetali e atmosferiche in gradodi ridimensionare e ricollocare l’umano, istanza comune all’attivismo ambientalista.

In the post we will analyses different types and form of persuasive communication, which affects the control of the socio-economic space of modern society by using consumer behavior of subjects and objects of socio-economic processes, forming certain behavioral installments in the economic consciousness of people.

The article analyzes the newest formats of socio-political protests. The postmodern forms of political activity are examined on the example of events in Ukraine since the beginning of the Revolution of Dignity. The creativity of the newest non-violent forms of protests (performances, flash mobs, installations, etc.), which were carried out in the revolutionary period and during the subsequent occupation of the part of the territory of Ukraine was proven. It is substantiated that political action in the postmodern reality is provocative and is based on game, ritual and symbolism. The perception of political events through the prism of spectacularity is emphasized.

For the past few years, on Sundays during the Easter period, groups of Catholics fill city squares (parks, shopping centres and the like) and celebrate the liturgy giving a testimony to Christian life. Very often these places are crossroads of trade, leisure, entertainment and commute trails, hence the celebrations raise actual bewilderment in busy passers-by. Suddenly, by imposing sacral references on the spaces of the profanum, they become symbolic places, the embodiment of a living Church on the move. The article attempts to read these specific meetings in the context of cultural phenomena: a theatre play, a live performance act, flash mobs, and others. The article also contemplates the construction of meaning of such space interpreted anew through the prism of these forms of evangelisation. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of using the Internet as a tool of unification of efforts and positions of extremist organizations. The author emphisizes the fact that the Internet and social networks allow to create new, previously unknown mechanisms of public mobilization, in particular to organize a large number of people using flashmob. The article presents a brief overview of the quality characteristics of the sites of criminals, attracting the attention of people, and ways of organizing people into extremist groups in social networks. The author concludes that the shortage of legal forms of influence on the socio-political situation creates preconditions for self-organization of young people online and in reality. To overcome this situation, the author identifies a number of factors that determine peculiarities of extremism development in the youth environment.

This essay explores the political implications of the flash mob dance in Dhaka, Bangladesh performed in response to the 2012 global viral sensation of South Korean rapper PSY’s “Gangnam Style” music video. The global fame of “Gangnam Style” has much to do with its success online and in the U.S. popular music industry. It, however, also solicited suspicion from popular culture critics that the images of comical PSY worked successfully thanks to unchecked consumption of the racial stereotypes of Asian men. While recognizing these problems as more than valid, this essay simultaneously calls for a more transnational and inter-Asian understanding of the material to argue for a productive quality of PSY’s performance. Using “refraction” as a mode of thinking about inter-Asian circulation of pop culture, this essay considers the flash mob performed in Dhaka, Bangladesh as an important yet underexplored case study that shows different performative practices associated with “Gangnam Style” deeply rooted in historicity of colonialism and nationalism. The case study shows that the circulation of “Gangnam Style” materialized through a performance in Dhaka enlarged contemporary discourse among young urban Bangladeshi spectators around Bangladeshiness and its cultural identity. This complicated an easy assumption about “Gangnam Style” and its success in the U.S. mainstream pop culture, while simultaneously displacing the Bangladeshi cultural subjects from the immobile position of “the Other.” [ABSTRACT FROM AUTHOR]

El presente artículo plantea la apropiación de las acciones colectivas, concretamente del flash mob, como método de enseñanza-aprendizaje enmarcado en los actuales acontecimiento/retos sociales y que permite, por un lado, la formación integral del alumnado universitario y, en segundo lugar, la adquisición de un amplio paquete competencial que define el perfil profesional del maestro y maestra de Educación Primaria en la Sociedad del Conocimiento. En él se expone la dinámica llevada a cabo para su integración en el escenario docente, así como, las pautas necesarias para planificar y diseñar una metodología activa que trabaje con diversos agrupamientos del alumnado.

Esse artigo levanta questões que se abrem a partir do tema da diversidade nos centros urbanos: o multiculturalismo, a tecnologia, as mobilizações e conscientizações sociais nos centros urbanos através dos eventos de flashmob. O advento da tecnologia parece ter contribuído imensamente para o multiculturalismo dos centros urbanos. Práticas contemporâneas de agregação social estão usando as tecnologias para ações denominadas de flashmob que reúnem muitas pessoas, as vezes multidões, que realizam um ato em conjunto e rapidamente se dispersam. Essas práticas podem ter finalidades artísticas, como uma performance, ou ter um objetivo mais engajado, de cunho político-ativista. Flash mob é uma aglomeração instantânea de pessoas em um local público para realizar determinada ação inusitada que chame a atenção das outras pessoas. Esta ação se utiliza das mídias sociais para despertar o rápido interesse para causas nada convencionais. O que se produz a partir dos flash mobs são acontecimentos efêmeros que se formam e se desfazem em minutos ou, até mesmo em segundos, no espaço citadino.

The article describes the analysis of social network influence on social consciousness forming. The examples of connection between international politic courses and events and blogosrheres’ virtual activity are given. Due to the analysis made, authors point at negative consequences following the information wars’ dissemination.

In an effort to increase interaction and brand exposure, marketers have recently begun using flash mobs as a marketing device. This exploratory paper combines a conceptual discussion of flash mobs in a marketing context with a number of studies to understand how marketers are currently using flash mobs and, more importantly, if flash mobs are an effective tool of communication and persuasion? This paper categorizes flash mobs as a subsection of guerilla marketing, and provides a historical and cultural analysis of the phenomenon. The first study, a content analysis ofbrandedflash mobs on YouTube, shows that branded flash mobs are primarily used to promote entertainment, retail and travel organizations, that the majority of branded flash mobs are dance performances, and that they normally take place in a plaza or inside a mall. Through several in-depth interviews (studies 2a, 2b, and 2c), the paper then presents an examination of the intervolved behavior and motivations of branded flash mobs stakeholders: the producers, the audience, and the participants. Implications for the marketing manager are noted and areas of future research are offered. [ABSTRACT FROM PUBLISHER]

Copyright of Hileya: Scientific Bulletin / Gileya is the property of GILEYA Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The largest Chilean student movement after the return of democracy emerged during 2011, with structural demands about the educational system, such as an end to profit in education, and free education of quality. A key element of the reach of the students was the intensive use of online platforms as a means of organization, dissemination, and debate. Therefore, the objective of this study is to analize the “online trust networks” Tilly’s concept penetrated by procedures of the online society and the use of the internet, focusing on a particular form of collective action, that of flash mobs. The methodology used is qualitative analysis, using semi-structured interviews and focus groups with the leaders and organizers of the flash mobs, as well as leaders of the student movement in general. As a result of this exploratory research, ῝online trust networks῞ configured from online platforms that make it possible to link unknown individuals together around a common goal are observed. These specific ῝online trust networks῞ of the flash mobs arise quickly, with strong ties for their execution but weak in their permanence and dissolution. [ABSTRACT FROM AUTHOR]

Copyright of Hileya: Scientific Bulletin / Gileya is the property of GILEYA Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hileya: Scientific Bulletin / Gileya is the property of GILEYA Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Chilean students' rebellion emerged in 2011 within the wave of global protests. Even though it is an organized movement, with roots in a specific historical context, it shares with the global movement the use of new media technologies, the appropriation of public spaces, and the concern for democracy and equality. The movement deploys flexible forms of organization and mobilization such as flash mobs, in the case analyzed in this article, the GenkiDama for Education. The students create a narrative based on the famous Manga series Dragon Ball Z to reframe the conflict between students and government. As Manga fans, they open up participation to other less politically defined identities. The flash mob moment works as a communicative event in which the narrative is put into place and strengthens a sense of community in the streets of Santiago de Chile. To analyze the connections between the fictional narrative of Manga and the use of the public space, we draw on Michel de Certeau's theory on spatial practices and the function of stories and place/space. Spatial practices during the flash mob challenge the social and spatial order in order to represent a symbolic victory of the students over the political system. [ABSTRACT FROM AUTHOR]

This research examined how social self-efficacy, collective self-esteem, and need to belong can be used to predict teens’ use of social media. The particular focus was on how these social psychological variables together with social media use account for variation in teens’ participation in a flash mob – an exemplar of 21st-century collective action. Empirical data come from a survey of teens in a major Midwestern city in the USA. Teens’ need to belong was positively associated with the amount of time they reported spending on social networking sites, even when controlling for gender, race, and household socio-economic status. Both teens’ social self-efficacy and time spent on YouTube were positively associated with their intention to participate in a flash mob in the future. These and other findings are discussed in the context of the role of social media in youth culture and collective action. [ABSTRACT FROM PUBLISHER]

This article explores the productive role of provocation in YouTube publics in the context of two culturally and geographically situated visual events that took place in New Zealand throughout 2011. Through qualitative analysis of the extensive comments fields for the two videos, the article examines the nature of participatory acts associated with what has been called at different times flaming, hating or trolling. The article argues that such acts can only be properly understood within their cultural and geographic context and in their ability to affect and extend ‘agonistic’ publics. The analysis addresses online passion, conflict and vitriol through the notion of ‘acts of citizenship’, as productive forms of provocation. [ABSTRACT FROM PUBLISHER]

Increasingly, political actors have to act in online communication environments. There they meet overlapping networked publics with different levels of participatory cultures and varying expectations of participation in the (re)making and co-production of political content. This challenges political actors used to a top-down approach to communication. Meanwhile, online users are increasingly politically involved as legislatures all over the world become more active in regulating communication environments online. These new political actors often share participatory practices and have high levels of new media skills. Now they are challenged to adapt these bottom-up participatory cultures to the traditional political environment. This paper examines these adaption processes by examining three examples from the campaign for the German federal election of 2009. These examples include the attempt of Germany's conservative party (CDU) to encourage their supporters to adapt participatory practices, the German Social Democrats' (SPD) top-down production and distribution of online content that mimicked the look and feel of user-generated content, and the bottom-up emergence of political flash mobs.

A sociedade contemporânea é marcada pelas comunicações mediadas pelos serviços disponibilizados pela Internet e pelos serviços móveis de comunicação. Neste contexto o conceito de Web 2.0 proliferou como matriz das novas dinâmicas da comunicação on-line, atribuindo à cooperação, à colaboração e ao estabelecimento de relações rizomáticas a essência dos rituais da co-presença no espaço virtual. Com este artigo visa-se reflectir sobre os rituais de interacção no seio das redes sociais on-line e dos designados smart e flash mobs e problematizar se esses rituais de interacção são promotores de comunicação ou se incrementam uma colaboração paradoxal ou (quase)-incomunicação.

Flash mobs have spread, like wildfire, across the globe in recent years fuelling new uses of urban public space. The media has wondered if these events are simply pointless pranks, creative public performances, or mass social experiments in community building. Existing research emphasizes only the vital role of digital communications technology in the mobilization process. In contrast, this analysis shows through a broad range of examples from New York, London, Berlin, Budapest to Tokyo that these nascent forms of collective action are also important to examine because they provide insight into the intersection and interaction between new communications media and changing uses of physical urban space. It situates flash mobs in a historical context, constructs a basic typology of flash mob activity based on extensive Internet research, and theorizes it as a new form of sociability. It also explores how these examples of urban creativity have inspired commerce and politics to rediscover urban space, increasingly borrowing the organizational techniques of flash mobs in marketing campaigns and social protests. [ABSTRACT FROM AUTHOR]

This essay offers a genealogy/history of flash mobs, a form of performance that emerged on the streets of New York City in 2003. Through the construction of both a comparative analysis with the traditional archive, as well as a performative genealogy based upon the work of Michel Foucault and Joseph Roach, I reveal a network of specific practices and behaviors linking flash mobs to the historical avant-garde and other less-acclaimed sites of performance, as well as examining the particular characteristics of flash mobs that make them unique performance events. [ABSTRACT FROM PUBLISHER]