Fact-checked by Grok 2 weeks ago

Artificiality

Artificiality is the quality or state of being artificial, denoting something produced or contrived by human effort, skill, or design, often in imitation of natural forms or processes, rather than arising spontaneously in nature.^[1] This concept encompasses a wide range of human creations, from tools and artworks to complex systems like artificial intelligence and synthetic organisms, distinguishing them from purely natural phenomena. In philosophical terms, artificiality traces its roots to ancient Greek thought, where it was linked to techne (craft or art) as a human means of imitating or supplementing physis (nature), blending utility and aesthetic imitation to produce objects that extend human capabilities.^[2] Over time, Judeo-Christian influences framed artificiality as a secular counterpart to divine creation, emphasizing human autonomy in forming realities from existing materials, while modern existential views portray humans themselves as inherently artificial beings who self-construct their existence and thereby generate artificial entities.^[2] This evolution highlights artificiality not merely as opposition to the natural but as an integral aspect of human ontology, where "the artificial is the real" in shaping lived experience.^[2] In scientific contexts, artificiality refers to systems synthesized by humans to achieve specific purposes or adaptations to environments, serving as interfaces between inner designs and outer conditions, as articulated in foundational works on design and cognition.^[3] Pioneering thinker Herbert A. Simon defined artificial things as those "synthesized (though not always or usually with full forethought) by man," which may imitate natural appearances in function or form while operating in open-ended settings beyond direct control.^[4] Contemporary fields like artificial intelligence and synthetic biology further exemplify this by constructing autonomous entities—such as neural networks inspired by biology or engineered organisms via genetic manipulation—that blur boundaries between natural and artificial, often prioritizing biological mimicry for enhanced functionality.^[5] These developments underscore artificiality's role in advancing human understanding and innovation, while raising ethical questions about autonomy, unintended consequences, and the redefinition of life itself.^[5]

Fundamentals

Definition

Artificiality is the quality or state of being artificial, referring to entities, objects, systems, or phenomena that are intentionally created or shaped by human design to fulfill specific purposes, in contrast to those arising spontaneously through natural processes. This encompasses both tangible artifacts, such as synthetic materials or machines, and abstract constructs, like simulated behaviors or organizational structures, all of which depend on human agency for their inception and function. Central attributes of artificiality include intentional design, whereby humans synthesize components to adapt to environments and achieve goals; replication or imitation of natural forms, often using different materials or processes to mimic natural appearances or behaviors while serving human ends; and ongoing reliance on human intervention for creation, maintenance, or operation, even if the entity later functions autonomously in open contexts.^[5] These characteristics highlight artificiality's purposeful nature, bounded by natural laws yet directed by human creativity and rationality. The term "artificial" derives from the Latin artificialis, meaning "belonging to art" or "made by skill," emphasizing skillful human making (ars) rather than mere opposition to the natural.^[6] This etymological root underscores that artificiality involves craft and technique, distinguishing it from terms like "synthetic," which may imply chemical composition without the broader connotation of human intent.^[6]

Etymology and Historical Development

The term "artificiality" derives from the Latin artificialis, meaning "of or belonging to art," formed by combining ars (skill or craft) with facere (to make or do), and entered English in the late 14th century via Old French artificiel. The noun "artificiality," denoting the quality or state of being artificial, first appeared around 1535, derived directly from "artificial" plus the suffix -ity.^[6]^[7] In antiquity, the concept originated in Greek philosophy, where thinkers like Aristotle differentiated natural entities (physis), which possess an intrinsic principle of motion and rest directed toward an end, from artificial ones (techne or poiesis), human-made imitations of nature lacking such inherent agency and relying on external craft for purpose. This framework influenced medieval philosophy, particularly through Thomas Aquinas, who in his commentary on Aristotle's Physics Book II, described natural things—such as animals and plants—as having an active, internal principle of motion (e.g., growth or locomotion), while artificial things, like beds or tools, exhibit motion only accidentally through their natural materials and depend on human art as an extrinsic cause imitating nature's teleology.^[2]^[8] The Renaissance marked an expansion of artificiality through mechanical arts, as inventors like Leonardo da Vinci engineered automata—such as his mechanical knight—that simulated human and animal movements via clockwork and levers, embodying the era's humanistic ideal of artifice as a creative extension of natural forms and sparking early reflections on the boundaries of life. By the 19th century, industrialization transformed the notion, associating artificiality with mass-produced, standardized goods in factories, which secularized and democratized human creation, shifting emphasis from artisanal skill to mechanical replication detached from divine or metaphysical origins.^[9]^[2] Over time, usage evolved from antiquity's neutral portrayal of craft as a subordinate imitation of nature to 20th-century connotations of systemic simulation, particularly in cybernetics, where Norbert Wiener's 1948 framework equated artificial feedback mechanisms in machines with natural ones in organisms, viewing both as communicative systems for control and adaptation. This progression reflected broadening societal views, from philosophical hierarchies of creation to technological parity between human-made and organic processes.^[2]

Conceptual Distinctions

Natural versus Artificial

The distinction between natural and artificial entities forms a foundational binary in ontology and philosophy of nature, where the natural refers to phenomena originating through processes independent of human intervention, such as biological evolution or geological formations.^[10] In contrast, artificial entities arise from deliberate human design and engineering, involving the imposition of form or function on materials or systems.^[11] This opposition highlights a core divide: natural processes unfold according to inherent principles, while artificial ones rely on external agency to achieve their ends.^[11] Philosophically, this binary traces back to ancient Greek thought, particularly Aristotle's differentiation between physis (nature) and techne (artifice or craft). Aristotle defined nature as an internal principle of motion and rest, enabling entities like plants or animals to develop and act according to their intrinsic capacities without external imposition.^[11] Techne, by comparison, represents an external principle of production, where human skill shapes matter into artifacts, such as a sculptor forming a statue from stone.^[11] In modern ontology, this distinction extends through thinkers like Martin Heidegger, who critiqued technology's "enframing" (Gestell) of the world, wherein nature is revealed not in its autonomous essence but as a calculable "standing-reserve" of resources for human exploitation.^[12] Heidegger argued that this technological framing transforms natural entities into ordered, manipulable stocks, altering their ontological disclosure.^[13] To illustrate the divide, consider rivers as natural formations shaped by geological and hydrological processes over millennia, embodying self-sustaining dynamics without human input.^[10] In opposition, dams exemplify artificial constructs, engineered by humans to redirect and control water flow for purposes like power generation.^[11] Similarly, deoxyribonucleic acid (DNA) represents a natural entity, evolved through biological mechanisms to encode genetic information across organisms.^[10] Genetic engineering, however, introduces artificial intervention by human techniques to modify DNA sequences, creating altered organisms for specific traits.^[14] These examples underscore how the natural-artificial opposition delineates origins and agency in entity formation.

Criteria for Classification and Challenges

Classifying objects as artificial or natural relies on several key criteria, primarily centered on origin, composition, and function. Regarding origin, artificial objects are typically those intentionally produced by human agents or craft, in contrast to natural objects that arise spontaneously without deliberate intervention.^[15] This distinction traces back to Aristotelian philosophy, where natural entities possess an internal principle of motion and change, while artificial ones depend on external craftsmanship for their existence.^[15] Composition further differentiates the two: artificial entities often involve the synthesis or modification of materials into non-naturally occurring forms, such as alloys or polymers, whereas natural ones consist of elemental or unaltered substances found in the environment.^[15] Function provides another lens, emphasizing whether an object is designed to mimic or serve purposes independent of natural processes; for instance, a tool crafted to extend human capabilities qualifies as artificial if its primary role is not inherent to its materials' spontaneous behavior.^[15] These criteria, however, face significant challenges in application, particularly with hybrid entities that blur the boundaries. Selectively bred plants, such as modern corn varieties derived from teosinte through human-guided artificial selection, complicate classification because they combine spontaneous genetic variation with intentional human intervention, raising questions about whether the resulting organism is truly artificial or merely an accelerated natural evolution.^[16] Similarly, back-breeding efforts like those producing Heck cattle to approximate extinct aurochs illustrate how human-directed reproduction can create entities that retain biological continuity with natural ancestors while exhibiting artificial traits, challenging the origin criterion.^[17] Scale introduces additional ambiguities, as seen in nanotechnology where atomic manipulation—such as engineering molecular switches from biphenyl or synthesizing nanomotors inspired by bacterial flagella—operates at levels mimicking natural self-assembly processes, thereby naturalizing artifacts and artificializing nature.^[18] Subjective interpretation exacerbates these issues, as the natural-artificial divide depends on the observer's perspective. A bird's nest, constructed with evident avian intent to shelter offspring, might be deemed "artificial" from the bird's functional viewpoint, akin to human architecture, yet it is universally classified as natural due to its non-human origin and spontaneous emergence within ecological contexts.^[15] This relativity highlights how criteria like function can shift based on anthropocentric biases, complicating objective classification. Philosophical debates further underscore these challenges, particularly through reductionism in science, where interpretations at quantum levels portray all matter as emergent from probabilistic interactions that could be seen as "artificial" if manipulated equivalently by human technology, eroding the foundational natural-artificial binary.^[18] Legal implications amplify this tension, as patent law distinguishes inventions—human-made artificial creations eligible for protection—from discoveries of naturally occurring phenomena, which are ineligible to avoid monopolizing nature.^[19] For example, the U.S. Supreme Court in Association for Molecular Pathology v. Myriad Genetics ruled that isolated DNA sequences are unpatentable products of nature unless markedly different through synthetic alteration, illustrating how the natural-artificial threshold determines intellectual property rights.^[20] As of 2025, ongoing legislative efforts, such as the Patent Eligibility Restoration Act (PERA), aim to reform Section 101 of the Patent Act to provide greater clarity on eligibility for innovations in biotechnology and artificial intelligence that blur natural and artificial boundaries.^[21] These debates reveal the criteria's limitations, prompting ongoing philosophical inquiry into whether the distinction is metaphysically robust or merely a practical heuristic.^[15]

Connotations and Perceptions

Positive Connotations

Artificiality is frequently regarded as a hallmark of human ingenuity, manifesting in creations that extend capabilities beyond natural constraints and drive societal progress. Artifacts born from artificial processes, such as advanced medical prosthetics, restore functionality to individuals with limb loss, enabling active lifestyles and reducing device abandonment rates through innovations like osseointegration and targeted muscle reinnervation.^[22] These developments not only enhance motor control and sensory feedback but also symbolize collaborative advancements in engineering and medicine that elevate quality of life for amputees.^[22] Likewise, synthetic fabrics illustrate this ingenuity by offering durable, versatile materials that streamline production and lower costs, thereby democratizing access to modern textiles and fostering design innovation.^[23] Beyond mere replacement, artificiality positively connotes the augmentation of natural systems, particularly in challenging environments like space exploration. Artificial ecosystems in habitats, such as those designed for lunar missions, create closed-loop cycles for recycling water, oxygen, and waste, thereby promoting sustainability and minimizing reliance on Earth-based resupplies.^[24] These engineered biospheres simulate Earth-like conditions using controlled plant growth and resource management, enhancing mission viability while providing psychological benefits akin to natural immersion for astronauts.^[25] By optimizing efficiency in resource-scarce settings, such systems underscore artificiality's role in harmoniously extending human presence without exhaustive depletion. In cultural contexts, artificiality has been celebrated as a pinnacle of mastery in design and engineering, especially within 20th-century modernism. The Bauhaus movement exemplified this by embracing synthetic materials like steel, concrete, and glass to craft functional forms that prioritized utility and spatial innovation over ornamental tradition.^[26] Architects such as Walter Gropius viewed these artificial elements as superseding natural raw materials, enabling slender structures and transparent enclosures that redefined architectural progress and embodied human control over form.^[27] This philosophical embrace highlighted artificiality's empowering potential to reshape everyday environments through ingenious, industrially scalable creation.^[28]

Negative Connotations

The concept of artificiality often carries connotations of inauthenticity and superficiality, portraying human-made objects or behaviors as imitations that lack the depth or genuineness of natural counterparts. In consumer culture, plastic imitations of organic materials, such as faux leather or synthetic gems, are frequently criticized for devaluing authentic resources by flooding markets with cheap alternatives that prioritize appearance over substance, leading to a broader cultural disdain for "fake" products that undermine traditional craftsmanship.^[29] Philosophically, this perception echoes Jean-Jacques Rousseau's critique in his Discourse on the Origin of Inequality, where artificial social constructs and luxuries foster inauthenticity by encouraging individuals to prioritize external appearances and status over innate human qualities, resulting in alienation from one's true self. Environmental and ethical concerns further amplify negative views of artificiality, highlighting its potential for ecological disruption and dehumanization. Over-reliance on artificial materials like plastics has led to widespread pollution, with over 450 million tonnes produced annually as of 2024 contributing to 1.8 billion metric tonnes of greenhouse gas emissions in 2019 (3.4% of the global total), with emissions rising since.^[30] This harms marine life through ingestion and entanglement, as mismanaged waste enters oceans—for example, an estimated 500,000 tonnes of microplastics from laundry microfibers annually.^[30] As of 2025, global efforts like the UN Intergovernmental Negotiating Committee on Plastic Pollution have adjourned without consensus on a treaty, while reports estimate annual economic losses from plastic-related health and environmental damage exceeding $1.5 trillion, further fueling negative views.^[31]^[32] In ethical domains, artificial simulations such as AI-driven empathy tools raise fears of dehumanization by reducing complex human interactions to algorithmic approximations, potentially eroding genuine emotional connections and reinforcing stereotypes in therapeutic contexts.^[33] Social critiques of artificiality often link it to class associations and historical backlash, viewing it as a mechanism that masks inequality while provoking resistance. Counterfeit luxury goods, as artificial status symbols, gain appeal amid rising income inequality, allowing lower-income consumers to mimic elite appearances and achieve perceived egalitarian value, yet this perpetuates a cycle where superficial emulation distracts from underlying socioeconomic disparities.^[34] Historically, the Romantic movement in the 19th century rejected industrial artificiality as a dehumanizing force, with artists like J.M.W. Turner depicting nature's sublime power overwhelming mechanized symbols to critique the era's rapid urbanization and loss of organic harmony.^[35]

Applications and Examples

In Science and Technology

In materials science, artificiality is exemplified by the development of synthetic polymers that mimic and surpass natural materials in functionality and scalability. Bakelite, the first fully synthetic plastic, was invented by Belgian-American chemist Leo Hendrik Baekeland in 1907 through the polymerization of phenol and formaldehyde, creating a thermosetting resin ideal for electrical insulation and molded products due to its heat resistance and durability.^[36] This breakthrough enabled mass production of non-corroding, lightweight components, fundamentally transforming manufacturing processes. Advancing into the 2020s, nanomaterials like graphene composites have introduced artificial enhancements at the atomic scale; for example, incorporating graphene nanoplatelets into ceramic matrices boosts thermal conductivity and electrical properties, facilitating applications in high-performance electronics and energy storage.^[37] In biology and medicine, artificiality enables the engineering of biological systems to restore or augment natural functions, often through prosthetic or genetic interventions. The Jarvik-7 total artificial heart, implanted on December 2, 1982, by surgeon William DeVries in patient Barney Clark, represented the first permanent cardiac replacement device, powered by external compressed air and sustaining life for 112 days despite complications like thromboembolism.^[38] This pneumatic polyurethane device, with dual ventricles mimicking natural pumping, paved the way for modern ventricular assist devices. Complementing such mechanical innovations, gene editing via CRISPR-Cas9, demonstrated in 2012 by Jennifer Doudna and Emmanuelle Charpentier, allows artificial intervention in DNA by using a programmable RNA-guided endonuclease to cleave specific genomic sequences, enabling precise repairs for genetic disorders like sickle cell anemia.^[39] In computing and artificial intelligence, artificiality centers on creating systems that replicate cognitive processes, from logical reasoning to pattern recognition. The field's origins trace to the 1956 Dartmouth Summer Research Project, organized by John McCarthy, Marvin Minsky, Nathaniel Rochester, and Claude Shannon, where participants proposed machines capable of using language, forming abstractions, and solving problems reserved for humans, coining the term "artificial intelligence" and sparking decades of research in symbolic and neural approaches.^[40] By the 2020s, large language models like OpenAI's GPT series have embodied advanced artificial cognition; GPT-3, released in 2020 with 175 billion parameters, generates coherent text and performs tasks such as translation and summarization by predicting sequences from vast datasets, achieving human-level performance in benchmarks like natural language understanding. Cyber-physical systems further integrate this artificial intelligence with physical actuation, as seen in autonomous robotics developments by 2025, where AI-driven platforms like Boston Dynamics' Atlas perform complex manipulations and navigation without human oversight, relying on real-time sensor fusion and reinforcement learning for industrial and exploratory tasks.^[41] As of 2025, recent advancements highlight artificiality's expansion into quantum and environmental domains. Quantum artificial systems simulate subatomic particles and dynamics infeasible on classical computers; for instance, researchers at the University of California, Berkeley, used IBM quantum processors to model elusive fermionic particles, revealing interactions in materials like superconductors that inform quantum material design.^[42] In climate engineering, artificial carbon capture technologies have scaled up, with innovations like gas diffusion electrode-based electrochemical membrane reactors achieving over 90% CO2 removal from flue gases at low energy costs, supporting net-zero emissions in industrial settings.^[43]

In Arts and Culture

In the visual and performing arts, artificiality has been explored through constructed illusions that challenge perceptions of reality. Salvador Dalí's 1931 painting The Persistence of Memory exemplifies surrealism's use of man-made distortions, featuring melting pocket watches draped over natural forms to symbolize the fluidity and artificiality of time, evoking a dreamlike subversion of everyday objects.^[44] This work, rooted in Dalí's "paranoiac-critical method" of inducing hallucinations, blends organic and fabricated elements to question the boundaries between the real and the invented. In the 2020s, digital art has embraced AI-generated imagery, with projects like Botto producing algorithmically created visuals sold as NFTs, allowing collectors to own unique, machine-constructed pieces that blur authorship and authenticity. Literature and media have long depicted artificial worlds as metaphors for human ambition and isolation. Mary Shelley's 1818 novel Frankenstein established the archetype of artificial life through Victor Frankenstein's creation of a sentient being from assembled body parts, raising enduring questions about the ethics of man-made existence and its consequences for society.^[45] This theme persists in contemporary cyberpunk narratives, such as Chloe Gong's 2025 novel Coldwire, which portrays a dystopian future where humanity escapes a collapsing physical world into virtual realities governed by corporate control, highlighting simulated environments as both refuge and prison. Artificiality manifests in social and cultural impacts by reshaping traditions and identities through deliberate human inventions. In fashion, the introduction of synthetic dyes revolutionized aesthetics and accessibility; William Henry Perkin's 1856 discovery of mauveine, the first aniline-based colorant derived from coal tar, enabled vibrant, affordable fabrics that democratized bold hues previously limited to natural sources, influencing global trends from Victorian gowns to modern textiles.^[46] Similarly, man-made rituals and symbols foster collective identity: Kwanzaa, created in 1966 by Maulana Karenga to celebrate African heritage amid the Black Power movement, incorporates principles like unity and creativity through communal feasts and symbols such as the kinara candle holder, reinforcing cultural pride for African American communities. Monuments like the Statue of Liberty, a fabricated gift from France unveiled in 1886, embody ideals of freedom and opportunity, serving as an artificial beacon that has shaped immigrant narratives and national identity in the United States. As of 2025, contemporary trends underscore artificiality's role in preserving and debating culture. Virtual reality reconstructions of ancient sites, such as the immersive 3D models of Italy's earthquake-damaged Amatrice and Accumoli towns, enable global audiences to experience lost heritage, fostering emotional connections to history without physical intervention.^[47] These tools, like UNESCO's Dive into Heritage platform, virtually rebuild sites in the Arab States region, allowing interactive exploration that revives architectural details and narratives for education and tourism.^[48] Meanwhile, debates on authenticity intensify around social media filters, with AR beauty enhancements accused of promoting superficial ideals that exacerbate body dysmorphia among young users, prompting calls for unfiltered content to reclaim genuine self-expression.^[49] This tension echoes broader negative connotations of artificiality as superficial, yet it also drives a cultural shift toward valuing raw, unaltered representations in online spaces.

References

[1]
artificiality noun - Definition, pictures, pronunciation and usage notes
artificiality · the fact of being made to copy something natural, rather than being real. the artificiality of theatre. Questions about grammar and vocabulary?
[2]
On Artificiality - Rafael Capurro
Aug 27, 2017 · Only because we are ourselves artificial, we are also able to create artificial things. In terms of existential philosophy we can say that our ...Missing: definition | Show results with:definition
[3]
The Sciences of the Artificial - MIT Press
Simon characterizes an artificial system as an interface between two environments—inner and outer. These environments lie in the province of “natural science,” ...Missing: definition artificiality
[4]
(PDF) Review of 'The Sciences of the Artificial' (Simon, H. A.; 1969)
Aug 6, 2025 · 1) Artificial things are synthesized (though not always or. usually with full forethought) by man. · 2) Artificial things may imitate appearances ...Missing: artificiality | Show results with:artificiality
[5]
A New Definition of “Artificial” for Two Artificial Sciences
Jun 1, 2021 · A4: The artificial is what is humanly constructed, often in a natural model, also through the manipulation of natural systems and processes, and ...
[6]
Artificial - Etymology, Origin & Meaning
Late 14c. origin from Latin artificialis, meaning "of or belonging to art," derived from artificium (skill, work of art) and artifex (craftsman, maker).
[7]
artificiality, n. meanings, etymology and more | Oxford English ...
There are three meanings listed in OED's entry for the noun artificiality, one of which is labelled obsolete. See 'Meaning & use' for definitions.
[8]
Thomas Aquinas: Commentary on Aristotle's Physics, Book II
Further he says 'in which it is' in order to differentiate nature from artificial things in which there is motion only per accidens. Then he adds 'Primarily' ...
[9]
From Renaissance Anthropomorphic Automata to Artificial Life and ...
Jun 11, 2024 · Renaissance automata arguably laid the groundwork for the future concept of artificial life. These early creations sparked a fascination with ...
[10]
Natural Kinds - Stanford Encyclopedia of Philosophy
Sep 17, 2008 · This article divides philosophical discussions of natural kinds into four areas: metaphysics, epistemology, philosophy of science, and philosophy of language.Missing: artificiality | Show results with:artificiality
[11]
Aristotle's Natural Philosophy
May 26, 2006 · Nature, according to Aristotle, is an inner principle of change and being at rest (Physics 2.1, 192b20–23). This means that when an entity moves ...
[12]
https://plato.stanford.edu/entries/heidegger/#5.2
[13]
https://plato.stanford.edu/entries/heidegger/#QCT
[14]
Philosophy of Systems and Synthetic Biology
Jun 8, 2017 · This entry aims to clarify how systems and synthetic biology contribute to and extend discussions within philosophy of science.
[15]
Artifacts - Stanford Encyclopedia of Philosophy
Jul 18, 2018 · Those that exist by nature have their origin in themselves, whereas those that exist by craft have their origin in the craftsperson—specifically ...
[16]
Artificial Selection and Domestication: Modern Lessons from ...
Jan 14, 2009 · The present article reviews ten lessons about evolution that can be drawn from the modern understanding of domestication and artificial selection.
[17]
Philosophy and ethics of de-extinction - PMC - PubMed Central
In this essay, we explore the philosophical and ethical issues concerning de-extinction. ... Back-breeding uses selective breeding to bring back ancestral traits ...
[18]
HYLE 15-1 (2009): Nature and Artifact in Nanotechnologies
Nanotechnology blurs the boundaries between nature and artifact. This seemingly clear and simple statement suggests that nanotechnology generates new underlying ...
[19]
2106-Patent Subject Matter Eligibility - USPTO
First, the claimed invention must be to one of the four statutory categories. 35 U.S.C. 101 defines the four categories of invention that Congress deemed to be ...
[20]
Patenting nature—a comparative perspective - Oxford Academic
Oct 1, 2018 · The natural/artificial distinction is not, however, satisfying as a theoretical matter or helpful as legal guidance. Once the Court ...<|control11|><|separator|>
[21]
Technological Advances in Prosthesis Design and Rehabilitation ...
Recent advances in prosthesis technology, surgical innovations, and enhanced rehabilitation appear promising for patients with limb loss.
[22]
Synthetic Fibers: Revolutionizing Fashion Production
### Summary: Synthetic Fibers as Innovation, Efficiency, and Progress in Textiles
[23]
From space back to Earth: supporting sustainable development with ...
Feb 18, 2021 · The closed loop concerns all resources and materials within the artificial habitat. Just like there is e.g. a carbon cycle on Earth, there is a ...<|separator|>
[24]
Key factors in developing controlled closed ecosystems for lunar ...
The extraterrestrial controlled ecosystem can be considered as a closed cycle in which humans can exchange energy and materials in space in a sustainable way ( ...
[25]
The Bauhaus, 1919–1933 - The Metropolitan Museum of Art
Oct 1, 2016 · The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883–1969). Its core objective was a radical concept.Missing: mastery | Show results with:mastery
[26]
Walter Gropius’ The New Architecture and the Bauhaus (1925)
### Summary of Walter Gropius’ Quotes on Architecture and Modern Materials in Bauhaus (1925)
[27]
The Impact of Human Ingenuity - The ISF Academy
Jun 2, 2023 · There is no doubt that life has been constantly shaped and reshaped by artefacts wrought by human ingenuity.
[28]
Early Plastics as Imitations of Organics | maggiecp
Plastics have been used to copy organic gem materials. Because they are light and warm to the touch, plastics can make convincing copies of many of the ...
[29]
Everything you need to know about plastic pollution - UNEP
Apr 25, 2023 · Overall, 46 per cent of plastic waste is landfilled, while 22 per cent is mismanaged and becomes litter. Unlike other materials, plastic does ...Missing: artificial | Show results with:artificial
[30]
https://www.unep.org/news-and-stories/story/everything-you-need-know-about-plastic-pollution
[31]
The egalitarian value of counterfeit goods: Purchasing counterfeit ...
Jul 1, 2024 · The present research demonstrates a novel driver of the growing demand for counterfeit luxury goods: perceptions of income inequality.
[32]
The Industrial Revolution and Romanticism - Niels Bohr Institutet
Mar 28, 2014 · In art, Romanticism can be seen as a reaction against the rationalism that had been dominant in the 18th century, and Neoclassicism's more ...
[33]
Bakelite® First Synthetic Plastic - American Chemical Society
By the early summer of 1907, Baekeland changed his focus from trying to create a wood coating to trying to strengthen wood by actually impregnating it with a ...Man-made Polymers... · Leo Baekeland and the... · Properties and Uses of Bakelite
[34]
High-Performance Advanced Composites in Multifunctional Material ...
Dec 7, 2024 · Using graphene nanoplatelets has been a good idea because they can improve the thermal and electrical properties of the ceramic matrix. This ...
[35]
Evolution of Artificial Hearts: An Overview and History - PMC - NIH
Before its first successful transplantation in 1982, the Jarvik 7 was tested in clinical trials. Barney Clark, the first recipient of the Jarvik 7 lived for 112 ...
[36]
A Programmable Dual-RNA–Guided DNA Endonuclease ... - Science
Jun 28, 2012 · Our study reveals a family of endonucleases that use dual-RNAs for site-specific DNA cleavage and highlights the potential to exploit the system for RNA- ...
[37]
Artificial Intelligence (AI) Coined at Dartmouth
In 1956, a small group of scientists gathered for the Dartmouth Summer Research Project on Artificial Intelligence, which was the birth of this field of ...
[38]
Top 10 robotics developments of April 2025 - The Robot Report
May 6, 2025 · April 2025 was full of big changes for the robotics industry, including shake-ups at large companies, new deployments, and the announcement of this year's RBR ...
[39]
Scientists Use Quantum Computers to Simulate Elusive Particles
Feb 3, 2025 · Researchers used quantum computers to simulate fermionic particles crucial for understanding materials, chemistry and high-energy physics.Missing: artificial | Show results with:artificial
[40]
UH Researchers Unveil Breakthrough in Carbon Capture
Aug 21, 2025 · By engineering the gas diffusion electrodes, the team was able to achieve more than 90% CO₂ removal, nearly 50% more than traditional EMAR ...
[41]
Salvador Dalí. The Persistence of Memory. 1931 | MoMA
### Summary of The Persistence of Memory by Salvador Dalí
[42]
Frankenstein: Why Mary Shelley's 200-year-old horror story is ... - BBC
Oct 14, 2025 · The two central archetypes Mary Shelley brought to life, the "creature" and the overambitious "mad scientist", lurched and ranted their way ...
[43]
The colourful chemistry of artificial dyes - Science Museum
Apr 9, 2019 · The synthetic dye boom started with mauveine, the purple dye discovered in 1856 by 18-year-old chemist William Henry Perkin.
[44]
Can immersive technologies rebuild heritage and sense of place ...
This study explores the role of Virtual Reality (VR) in post-disaster recovery, focusing on the earthquake-affected towns of Amatrice and Accumoli, Italy.
[45]
Dive into Heritage - UNESCO World Heritage Centre
Project Vision. To create an innovative digital platform for everyone for exploration, education, safeguarding, monitoring and virtual reconstruction purposes.Missing: ancient | Show results with:ancient
[46]
What College Students Think About Beauty Filters and Their Impact ...
Mar 21, 2025 · College students share how AR beauty filters affect their self-perception and how they lead to unfavorable comparisons of physical beauty.