Judd, Mike; Brindley, Keith (1999-03-31). Soldering in electronics assembly. ISBN 9780750635455. Archived from the original on 2013-06-20 . Retrieved 2011-08-19. Bombardment with atomic particle beams can remove surface layers at a rate of tens of nanometers per minute. The addition of hydrogen to the plasma [ which?] augments the removal efficiency by chemical mechanisms. [ citation needed]

In An evening with Fluxus women: a roundtable discussion, hosted at New York University on 19 February 2009 by Women & Performance: a journal of feminist theory and the Department of Performance Studies, a passage from Mieko Shiomi reads "...the best thing about Fluxus, I think, is that there was no discrimination on the basis of nationality and gender. Fluxus was open to anyone who shared similar thoughts about art and life. That's why women artists could be so active without feeling any frustration." [91] :370 Cotter, Holland (6 July 2006). "Dada's Women, Ahead of Their Time". The New York Times. Archived from the original on 4 January 2017 . Retrieved 17 May 2022. Any of these categories may be no-clean, or not, depending on the chemistry selected and the standard that the manufacturer requires. Fluxus Movement, Artists and Major Works". Archived from the original on 19 October 2015 . Retrieved 6 October 2015.

Flux-Coated Solder Preforms". Indium.com. 2011-08-15. Archived from the original on 2011-07-19 . Retrieved 2011-08-19.

Active atmospheres are relatively common in furnace brazing; due to the high process temperatures the reactions are reasonably fast. The active ingredients are usually carbon monoxide (possibly in the form of combusted fuel gas) and hydrogen. Thermal dissociation of ammonia yields an inexpensive mixture of hydrogen and nitrogen. [ citation needed] The concept of heat flux was a key contribution of Joseph Fourier, in the analysis of heat transfer phenomena. [3] His seminal treatise Théorie analytique de la chaleur ( The Analytical Theory of Heat), [4] defines fluxion as a central quantity and proceeds to derive the now well-known expressions of flux in terms of temperature differences across a slab, and then more generally in terms of temperature gradients or differentials of temperature, across other geometries. One could argue, based on the work of James Clerk Maxwell, [5] that the transport definition precedes the definition of flux used in electromagnetism. The specific quote from Maxwell is: An event score, such as George Brecht's "Drip Music", is essentially a performance art script that is usually only a few lines long and consists of descriptions of actions to be performed rather than dialogue. [121] [122] [123] Fluxus artists differentiate event scores from " happenings". Whereas happenings were sometimes complicated, lengthy performances meant to blur the lines between performer and audience, performance and reality, event performances were usually brief and simple. The event performances sought to elevate the banal, to be mindful of the mundane, and to frustrate the high culture of academic and market-driven music and art. Amongst the earliest pieces that would later be published by Fluxus were Brecht's event scores, the earliest of which dated from around 1958/9, and works such as Valoche, which had originally been exhibited in Brecht's solo show 'Toward's Events' at 1959. Corrosivity – the promotion of corrosion by the flux and its residues. Most active fluxes tend to be corrosive at room temperatures and require careful removal. As activity and corrosivity are linked, the preparation of surfaces to be joined should allow use of milder fluxes. Some water-soluble flux residues are hygroscopic, which causes problems with electrical resistance and contributes to corrosion. Fluxes containing halides and mineral acids are highly corrosive and require thorough removal. Some fluxes, especially those based on borax used for brazing, form very hard glass-like coatings that are difficult to remove.

The Leaders of Fluxus

Robinson, Julia (Winter 2009). "Abstraction to model: George Brecht's events and the conceptual turn in art of the 1960s". October. 127: 77–108. doi: 10.1162/octo.2009.127.1.77. JSTOR 40368554. S2CID 57562781. In the 1950s New York music scene there could be discerned many issues related to the post-war disenchantment experienced by many throughout the developed world. Such disillusionment in itself presented a case for commitment to Buddhism and Zen in everyday matters such as mental attitude, meditation, and approach to food and body care. It was also felt, however, that there was a general need for a more radical artistic sensibility. The themes of decay and of the inadequacy of the idea of modernity in artistic fields were adopted, partly from Duchamp and Dada and partly from consciousness of the uneasiness of living in contemporary society. Unlike other artistic styles, it was not restricted to any specific medium, materials, or methods. These art pieces ran the gamut from paintings and sculptures to musical compositions and performance art. Anything that fit the wild, free-spirited nature of the community and challenged preconceived artistic notions was welcome. Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning. [32] [33]

Fluxus was founded by George Maciunas. The precise start date is debated but can be narrowed down to between 1960 and 1963. The initial members first sparked the idea in 1959 during a John Cage workshop. This initial interaction is sometimes referred to as “Proto-Fluxus.” Johnson, Ken (23 September 2011). "Liberating Viewers, and the World, With Silliness". The New York Times (exhibition review). Archived from the original on 17 April 2017 . Retrieved 17 May 2022. Yoshimoto, Midori; Knowles, Alison; Schneemann, Carolee; Seagull, Sara; Moore, Barbara; Shiovitz, Brynn Wein; Yoshimoto, Midori; Pittman, Alex (November 2009). "An evening with Fluxus women: a roundtable discussion". Women & Performance: A Journal of Feminist Theory. 19 (3): 369–389. doi: 10.1080/07407700903399524. S2CID 194022721. Maciunas wanted to establish collective workshops, food-buying cooperatives and theaters to link the strengths of various media together and bridge the gap between the artist community and the surrounding society' Other reactive atmospheres are also in use. Vapors of formic acid and acetic acid are the most commonly used. Carbon monoxide and halogen gases (for example carbon tetrafluoride, sulfur hexafluoride, or dichlorodifluoromethane) require fairly high temperatures for several minutes to be effective. [ citation needed]

Synonyms

Society of American Silversmiths". Silversmithing.com. Archived from the original on 2010-12-01 . Retrieved 2010-03-02.

zinc chloride, which at high temperatures reacts with moisture, forming oxychloride and hydrochloric acidFluxus events included audience participation as a way of involving the public in the making of art. Such was the 1970 Fluxfest Presentation of John Lennon and Yoko Ono, where Maciunas made paper masks of John Lennon and Yoko Ono for the audience to wear. With this act, Maciunas shifted the role of the viewer from observer to performer .The use of the audience as the focus of the piece was a logical extension of his idea that, "anything can substitute for art and anyone can do it...the value of art-amusement must be lowered by making it unlimited, mass-produced, obtainable by all and eventually produced by all." Fluxus! 50 Jahre Fluxus. Werner Esser, Steffen Engle, Staatsgalerie Stuttgart, 2012. ISBN 978-3-86442-032-0. Charlotte Moorman and Nam June Paik "The Originale" ". YouTube. Archived from the original on 31 December 2018 . Retrieved 27 November 2016. Baas, Jacquelynn, Friedman, Ken Fluxus and the Essential Questions of Life. Chicago and Hanover, NH: University of Chicago Press and Hood Museum of Art, 2011. ISBN 978-022-60335-9-4.