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A film of the event, UbuWeb". Archived from the original on 10 February 2012 . Retrieved 15 June 2012.

Held, John Jr. Where the Secret is Hidden: Collected Essays Breda: TAM-Publications Netherlands, 2011. A number of artists in the group were interested in setting up Flux communes, intending to 'bridge the gap between the artist community and the surrounding society' [93] The first of these, La Cédille qui Sourit or The Cedilla That Smiles, [94] was set up in Villefranche-sur-Mer, France, by Robert Filliou and George Brecht, 1965–1968. Intended as an 'International Centre of Permanent Creation', the shop sold Fluxkits and other small wares as well as housing a 'non-school', boasting the motto "A carefree exchange of information and experience. No students, no teachers. Perfect licence, at times to listen at times to talk." [95] In 1966, Maciunas, Watts and others took advantage of new legislation drafted to regenerate the area of Manhattan known as 'Hell's Hundred Acres', soon to become rebranded as SoHo, allowing artists to buy live/work spaces in an area that had been blighted due to a proposed 18-lane expressway along Broome Street. [93] Led by Maciunas, plans were laid to start a series of real-estate developments in the area, designed to create an artists' community within a few streets of the FluxShop on Canal Street. Rosin has good flux properties. A mixture of organic acids ( resin acids, predominantly abietic acid, with pimaric acid, isopimaric acid, neoabietic acid, dihydroabietic acid, and dehydroabietic acid), rosin is a glassy solid, virtually nonreactive and noncorrosive at normal temperature, but liquid, ionic and mildly reactive to metal oxides at molten state. Rosin tends to soften between 60–70°C and is fully fluid at around 120°C; molten rosin is weakly acidic and is able to dissolve thinner layers of surface oxides from copper without further additives. For heavier surface contamination or improved process speed, additional activators can be added.

Fluxus is both an avant-garde artistic movement and a community of like-minded artists with a shared goal to experiment with, challenge, and go against the grain of traditional art and societal mores. Also known as"Intermedia," the movement has also been used to describe the purposefully strange, counter-cultural mindset of the artists who practiced it. Electromigration and growth of whiskers between nearby traces, aided by ionic residues, surface moisture and a bias voltage Activity – the ability to dissolve existing oxides on the metal surface and promote wetting with solder. Highly active fluxes are often acidic or corrosive in nature. Fluxus was a loose confederation of international artists in the 1960s working in performance, painting, sculpture, poetry, experimental music, and even correspondence art (art sent through the postal service). It was often, though not exclusively, political in tone. Fluxus works shared similarities with the “Happenings” of Allan Kaprow, particularly in the way they blurred distinctions between art and life. In doing so, Fluxus transformed art from an object of aesthetic contemplation to a gesture of political action. The actions of these artists laid the groundwork for Conceptual art and performance art in the decades to come, and Fluxus shared members with other movements, such as Neo-Dada and video art. Metallurgy in southern South America, Smelting, p. 1659-60" (PDF). Archived from the original (PDF) on October 10, 2010 . Retrieved 2011-08-19.

George Maciunas poster for Ono/Lennon Fluxus events at 18 North Moore Street called GRAPEFRUIT FLUXBANQUET Proto-Performance Art [ edit ] The name was defined by Lithuanian / American artist George Maciunas in 1961, derived from the Latin word Fluxus, which means flowing, a reference the ever-changing nature of the group and its varying activities. He described the group as ‘the fusion of Spike Jones, vaudeville, gag, children’s games and Duchamp.’ Among the various group members were Joseph Beuys, Nam June Paik, John Cage, Daniel Spoerri and Yoko Ono. The Origins of FluxusRaoul Hausmann, quoted in Maciunas & Ay-O 1998, p.40. Letter dated 4 November 1962, according to Kellein 2007, n. 47, p. 65