Thermal-mechanical analysis of flexible substrates during lead-free solder reflow

This paper presents modeling results about the performance of flexible substrates when subjected to higher lead-free reflow temperatures. Both adhesiveless and adhesive types of polyimide substrates were studied. Finite element (FE) models of flex substrates were built, two copper tracks located in the centre of the substrate was considered. The thermal induced shear stress in the flex substrate during the lead-free reflow process was studied and the effect of the design changes including the track thickness, flex thickness, and copper width were studied. For both types of flexes, the one of most important variables for minimizing damage to the substrate is the height of the copper tracks. The height of flex and the width of copper track show less impact. Beside of the geometry effects, the increase in reflow peak temperature can also result in a significant increase in the interfacial stress between the copper track and flex. Higher stresses were identified within the adhesive flex due to the big CTE mismatch between the copper and adhesive/dielectric

To tremble the zero: art in the age of algorithmic reproduction

'To Tremble the Zero: Art in the Age of Algorithmic Reproduction' is a philosophic, political and sensuous journey playing with (and against) Benjamin's 'Art in the Age of Mechanical Reproduction'. In an age inundated by the 'post-': postmodernity, posthuman, post art, postsexual, post-feminist, post-society, post-nation, etc, 'To Tremble the Zero' sets out to re/present the nature of what it means to do or make 'art', as well as what it means to be or have 'human/ity' when the ground is nothing other than the fractal, and algorithmically infinite, combinations of zero and one. The work will address also the unfortunate way in which modern forms of metaphysics continue to creep 'unsuspectingly' into our understanding of contemporary media/electronic arts, despite (or perhaps even because of) the attempts by Latour, Badiou, or Agamben especially when addressing the zero/one as if a contradictory 'binary' rather than as a kind of 'slice' or (to use Deleuze and Guattari) an immanent plane of immanence. This work argues that by retrieving Benjamin, Einstein, Gödel, and Haraway, a rather different story of art can be told.