Metallic bonding / 2010 / Kazumasa Tsuihiji / Coulage On Cardboard

OLYMPUS DIGITAL CAMERA
OLYMPUS DIGITAL CAMERA

The almost-free electron model was eagerly taken up by some researchers in this field, notably Hume-Rothery, in an attempt to explain why certain intermetallic alloys with certain compositions would form and others would not. Initially his attempts were quite successful. His idea was to add electrons to inflate the spherical Fermi-balloon inside the series of Brillouin-boxes and determine when a certain box would be full. This indeed predicted a fairly large number of observed alloy compositions. Unfortunately, as soon as cyclotron resonance became available and the shape of the balloon could be determined, it was found that the assumption that the balloon was spherical did not hold at all, except perhaps in the case of caesium. This reduced many of the conclusions to examples of how a model can sometimes give a whole series of correct predictions, yet still be wrong.

The free-electron debacle showed researchers that the model assuming that the ions were in a sea of free electrons needed modification, and so a number of quantum mechanical models such as band structure calculations based on molecular orbitals or the density functional theory were developed. In these models, one either departs from the atomic orbitals of neutral atoms that share their electrons or (in the case of density functional theory) departs from the total electron density. The free-electron picture has, nevertheless, remained a dominant one in education.

The electronic band structure model became a major focus not only for the study of metals but even more so for the study of semiconductors. Together with the electronic states, the vibrational states were also shown to form bands. Rudolf Peierls showed that, in the case of a one-dimensional row of metallic atoms, say hydrogen, an instability had to arise that would lead to the breakup of such a chain into individual molecules. This sparked an interest in the general question: When is collective metallic bonding stable and when will a more localized form of bonding take its place? Much research went into the study of clustering of metal atoms.

As powerful as the concept of the band structure proved to be in the description of metallic bonding, it does have a drawback. It remains a one-electron approximation to a multitudinous many-body problem. In other words, the energy states of each electron are described as if all the other electrons simply form a homogeneous background. Researchers like Mott and Hubbard realized that this was perhaps appropriate for strongly delocalized s- and p-electrons but for d-electrons, and even more for f-electrons the interaction with electrons (and atomic displacements) in the local environment may become stronger than the delocalization that leads to broad bands. Thus, the transition from localized unpaired electrons to itinerant ones partaking in metallic bonding became more comprehensible.

19.7.2020

Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object

Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object…

13.9.2020

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper…

11.9.2020

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect 

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect …

11.9.2020

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object…

11.9.2020

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper…

3.9.2020

 

psychotechnicはツイヒジカズマサの作品で構成されたウェブサイト。

対比地 一正  ツイヒジカズマサ  Kazumasa Tsuihiji

日本の美術家、コンテンポラリー・アーティスト、アートディレクター。群馬県太田市出身。
コンテンポラリーアートの分野に限り、アーティストネーム”Johnny Mnemonic”を使用、さらに表現方法のバリエーションに合わせてJMがイニシャルの作家名を多数使用する。
(Kazumasa Tsuihiji 対比地一正 ツイヒジカズマサ Johnny Mnemonic

CAREER

*1980 日本大学芸術学部在学中よりフリーランス・イラストレーターとしてのキャリアをスタートその後あらゆるメディアで視覚伝達の仕事に携わる
*1981 New York ・THE SOCIETY OF ILLUSTRATORS 23 INTERNATIONAL EXHIBITIONにおいてEXCELLENCE AWARD を受賞
*1983 SOLO EXHIBITION・電通ギャラリー
*1984 朝日広告賞・表現技術部門賞(イラストレーション)
*1985 朝日広告賞・不動産部門賞
*1986 SOLO EXHIBITION・(銀座アートギャラリー)
*1989 アートレップ・ファンデーション(New York City)に作家登録。海外での活動を開始
*1991 第8回ATP賞・グランプリ(フジテレビ・『カノッサの屈辱』美術担当)
*1994 SOLO EXHIBITION・SPACE YUI (ARTWORK BY KAZUMASA TSUIHIJI)
*1995 SOLO EXHIBITION・PINPOINT GALLERY (WINGS)
*1995 第12回ATP賞・グランプリ(フジテレビ・『料理の鉄人』美術担当)
*2000   SIEGRAPHオープニングムービーを制作
*2010  View of FIVE・Gallery art point
*2011  Abstraction・Gallery art point
*2011   Larotica 2011・Gallery art point
*2011   EXHIBITION EARTH By HEART・Gallery art point
*2012  EXHIBITION FIVE 3・Gallery art point
*2013  EXHIBITION FIVE 4・Gallery art point
*2014  EXHIBITION FIVE 5・Gallery art point
*2015  EXHIBITION FIVE 6・Gallery art point
*2016  EXHIBITION FIVE 7・Gallery art point
*2017  EXHIBITION FIVE 8・Gallery art point

ADITIONAL CAREER

*1984〜1995 日本大学芸術学部美術学科・非常勤講師
*1987〜1998 WALT DISNEY ENTERPRISE JAPAN・オーソライズドアーティスト(フィニッシング)
*1995〜2000 FICCE UOMO・オーソライズドデザイナー(グラフィック)
*2000〜2003 S2EDITION (New York City) 及び KS fine art (New York City)のプロデュースにより、全米アートショウに出品
*2006〜Johnny Mnemonicとしてコンテンポラリーアートの作品制作を開始する

URL

http://www.psychotechnic.net