125:
78:
Naturalness is persuasive, artificiality is the contrary; for our hearers are prejudiced and think we have some design against them, as if we were mixing their wines for them. It is like the difference between the quality of
Theodorus' voice and the voices of all other actors: his really seems to be
99:
observes that "some artificial things are imitations of things in nature, and the imitation may use either the same basic materials as those in the natural object or quite different materials. Simon distinguishes between the artificial and the synthetic, the former being an imitation of something
136:
It is generally possible for humans, and in some instances, for computers, to distinguish natural from artificial environments. The artificial environment tends to have more physical regularity both spatially and over time, with natural environments tending to have both irregular structures and
116:
world, "everything is natural and nothing is artificial", because everything in the world (including everything made by humans) is a product of the physical laws of the world.
112:
created in a laboratory that is chemically indistinguishable from a naturally occurring sugar). Some philosophers have gone further and asserted that, in a
285:
Herman Kaken, "Recognition of
Natural and Artificial Environments by Computers: Commonalities and Differences", in Juval Portugali,
335:
137:
structures that change over time. However, on close observation it is possible to discern some mathematical structures and
370:
153:
108:
using a formula not found in nature), and the latter being a replication of something found in nature (for example, a
31:
193:
124:
35:
64:
Artificiality often carries with it the implication of being false, counterfeit, or deceptive. The philosopher
87:, as it may also reflect the ability of humans to replicate forms or functions arising in nature, as with an
299:
92:
129:
320:
Proceedings of the 18th annual conference on
Computer graphics and interactive techniques - SIGGRAPH '91
178:
222:
149:
101:
70:
141:, which can then be replicated to create an artificial environment with a more natural appearance.
341:
138:
331:
173:
145:
365:
323:
238:
96:
88:
52:) is the state of being the product of intentional human manufacture, rather than occurring
359:
345:
161:
113:
84:
198:
188:
183:
312:
217:
105:
65:
327:
17:
270:
Automatic
Extraction of Man-made Objects from Aerial and Space Images
157:
53:
123:
109:
30:"Artificial" and "Man-made" redirect here. For other uses, see
56:
through processes not involving or requiring human activity.
226:, (2004, Dover Publications, W.D. Ross, translator), p. 121.
83:
However, artificiality does not necessarily have a negative
144:
For example, by identifying and imitating natural means of
27:
State of being the product of intentional human manufacture
95:. Political scientist and artificial intelligence expert
268:
See generally, E. P. Baltsavias, A. Gruen, L. VanGool,
120:
Distinguishing natural objects from artificial objects
79:
that of the character who is speaking, theirs do not.
76:
8:
152:have been used to generate organic-looking
281:
279:
234:
232:
210:
132:model, produced using sharpen and blur.
311:Andrew Witkin, Michael Kassy (1991).
7:
25:
100:found in nature (for example, an
139:patterns in natural environments
287:Complex Artificial Environments
243:The Sciences of the Artificial
1:
313:"Reaction-diffusion textures"
32:Artificial (disambiguation)
387:
194:Synthetic (disambiguation)
29:
36:Man-made (disambiguation)
93:artificial intelligence
133:
81:
328:10.1145/122718.122750
179:Fake (disambiguation)
128:Pattern resembling a
127:
371:Artificial materials
322:. pp. 299–308.
256:Philosophical Papers
102:artificial sweetener
44:(the state of being
156:for more realistic
300:Reaction–Diffusion
272:, Volume 3 (2001).
134:
130:reaction–diffusion
289:(2006), p. 31-48.
174:Cultural artifact
146:pattern formation
16:(Redirected from
378:
350:
349:
317:
308:
302:
296:
290:
283:
274:
265:
259:
252:
246:
239:Herbert A. Simon
236:
227:
215:
148:, some types of
104:which generates
97:Herbert A. Simon
89:artificial heart
21:
386:
385:
381:
380:
379:
377:
376:
375:
356:
355:
354:
353:
338:
315:
310:
309:
305:
297:
293:
284:
277:
266:
262:
258:(1993), p. 342.
254:Qinglai Sheng,
253:
249:
237:
230:
216:
212:
207:
170:
122:
62:
39:
28:
23:
22:
15:
12:
11:
5:
384:
382:
374:
373:
368:
358:
357:
352:
351:
336:
303:
291:
275:
260:
247:
228:
209:
208:
206:
203:
202:
201:
196:
191:
186:
181:
176:
169:
166:
121:
118:
61:
58:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
383:
372:
369:
367:
364:
363:
361:
347:
343:
339:
333:
329:
325:
321:
314:
307:
304:
301:
295:
292:
288:
282:
280:
276:
273:
269:
264:
261:
257:
251:
248:
245:(1996), p. 4.
244:
240:
235:
233:
229:
225:
224:
219:
214:
211:
204:
200:
197:
195:
192:
190:
187:
185:
182:
180:
177:
175:
172:
171:
167:
165:
163:
159:
155:
151:
147:
142:
140:
131:
126:
119:
117:
115:
114:deterministic
111:
107:
103:
98:
94:
90:
86:
80:
75:
73:
72:
68:wrote in his
67:
59:
57:
55:
51:
50:anthropogenic
47:
43:
42:Artificiality
37:
33:
19:
319:
306:
294:
286:
271:
267:
263:
255:
250:
242:
221:
213:
143:
135:
82:
77:
69:
63:
60:Connotations
49:
45:
41:
40:
298:Greg Turk,
85:connotation
360:Categories
337:0897914368
205:References
199:Tamagotchi
189:Simulation
184:Homo faber
162:3D objects
46:artificial
18:Artificial
346:207162368
218:Aristotle
106:sweetness
66:Aristotle
54:naturally
223:Rhetoric
168:See also
154:textures
150:automata
71:Rhetoric
366:Culture
158:shading
344:
334:
342:S2CID
316:(PDF)
110:sugar
332:ISBN
34:and
324:doi
160:of
91:or
48:or
362::
340:.
330:.
318:.
278:^
241:,
231:^
220:,
164:.
74::
348:.
326::
38:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
