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Friedman, Ken. 2012. "Freedom? Nothingness? Time? Fluxus and the Laboratory of Ideas." Theory, Culture, and Society, vol. 29, no. 7/8, December, pp. 372–398. doi: 10.1177/0263276412465440 Friedman, Ken (December 2012). "Freedom? Nothingness? Time? Fluxus and the Laboratory of Ideas - Ken Friedman, 2012". Theory, Culture & Society. 29 (7–8): 372–398. doi: 10.1177/0263276412465440. S2CID 144894255. Archived from the original on 23 April 2021 . Retrieved 23 April 2021. {{ cite journal}}: CS1 maint: bot: original URL status unknown ( link) Armstrong, Elizabeth, ed. (1993). "The Occasion of the Exhibition". In the Spirit of Fluxus. Minneapolis: Walker Art Center. p.24. ISBN 9780935640403.

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] Maciunas and his friend Henry Flynt tried to get the Fluxus people to march around outside the circus with white cards that said Originale was bad. And they tried to say that the Fluxus people who were in the circus weren't Fluxus any more. That was silly, because it made a split. I thought it was funny, and so first I walked around with Maciunas and with Henry with a card, then I went inside and joined the circus; so both groups got angry with me. Oh well. Some people say that Fluxus died that day—I once thought so myself—but it turned out I was wrong. [63] 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. 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.Paull, Silke, and Hervé Würz, eds. "How We Met or a Microdemystification". AQ 16 [Special Issue], (1977) Kotz, Liz (Spring 2001). "Post-Cagean aesthetics and the 'event' score". October. 95 (95): 55–89. JSTOR 779200. Laynor, Gregory (2016). The Making of Intermedia: John Cage to Yoko Ono, 1952 to 1972. Vol.78-03A. University of Washington. English, Brian Reed. Ann Arbor. pp.(94). ISBN 978-1-339-94191-2. OCLC 1257952914. {{ cite book}}: CS1 maint: location missing publisher ( link) Fluxus Movement, Artists and Major Works". Archived from the original on 19 October 2015 . Retrieved 6 October 2015. Common high-activity activators are mineral acids, often together with halides, amines, water or alcohols:

For successful soldering and brazing, the oxide layer has to be removed from both the surfaces of the materials and the surface of the filler metal preform; the exposed surfaces also have to be protected against oxidation during heating. Flux-coated preforms can also be used to eliminate flux residue entirely from the soldering process. [14] Corrosivity, which is mostly due to the aggressive compounds of the activators; hygroscopic properties of the flux residues may aggravate the effects

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The solvents required for post-soldering cleaning of the boards are expensive and may have adverse environmental impact 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 Why use flux when soldering?". Engineering and Component Solution Forum - TechForum │ Digi-Key. 2019-07-03 . Retrieved 2021-07-09. Some of the earliest known fluxes were sodium carbonate, potash, charcoal, coke, borax, [1] lime, [2] lead sulfide [3] and certain minerals containing phosphorus. Iron ore was also used as a flux in the smelting of copper. These agents served various functions, the simplest being a reducing agent, which prevented oxides from forming on the surface of the molten metal, while others absorbed impurities into slag, which could be scraped off molten metal. [4]

Bhardwaj, Hari C. (1979). Aspects of Ancient Indian Technology (use of lime as a flux). Motilal Banarsidass. ISBN 81-208-3040-7. Archived from the original on 2017-11-03 . Retrieved 2011-08-19. Toop, David (5 May 2016). Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970. Bloomsbury Publishing USA. p.294. ISBN 9781441102775. Archived from the original on 23 April 2021 . Retrieved 25 October 2020. Fluxus emerged in the wake of Neo-Dada art in the 1950s. With a focus on political, nonsensical and anti-art ideas, artists looked to the anarchic spirit of Dadaism and Futurism, particularly their provocative performances and events, and to Duchamp’s ‘ readymade’ sculptures.a b "MoMA, Interactive exhibitions". Archived from the original on 4 September 2012 . Retrieved 28 June 2012. An immediate predecessor of Fluxus, according to Maciunas, was the Gutai group which promoted art as an anti-academic, psychophysical experience, an "art of matter as it is" as explained by Shiraga Kazuo in 1956. Gutai became connected with a sort of artistic mass-production, anticipating Fluxus's trademark, i.e., ambiguity between the cultivated and the trivial, between high and low. Indeed, avant-garde art in Japan tended toward informal rather than conceptual elements, radically opposing the extreme formality and symbolism found in Japanese art. Charlotte Moorman and Nam June Paik "The Originale" ". YouTube. Archived from the original on 31 December 2018 . Retrieved 27 November 2016.