When we talk about pop cosmopolitanism, we are most often talking
about American teens doing cosplay or listening to K‑Pop albums, not
church ladies gathering to pray for the success of a British reality
television contestant, but it is all part of the same process. We are
reaching across borders in search of content, zones which were used to
organize the distribution of content in the Broadcast era, but which
are much more fluid in an age of participatory culture and social
networks.

We live in a world where content can be accessed quickly from any
part of the world assuming it somehow reaches our radar and where the
collective intelligence of the participatory culture can identify
content and spread the word rapidly when needed. Susan Boyle in that
sense is a sign of bigger things to come — content which wasn’t
designed for our market, content which wasn’t timed for such rapid
global circulation, gaining much greater visibility than ever before
and networks and production companies having trouble keeping up with
the rapidly escalating demand.

Susan Boyle’s video was produced for a U.K.-only show but social media has allowed us to share it across that border. In the Convergent Friends movement, we’re discovering “content which wasn’t designed for our market”–Friends of all different stripes having direct access to the work and thoughts of other types of Friends, which we are able to sort through and spread almost immediately. In this context, the “networks and productions companies” would be our yearly meetings and larger Friends bodies.