Uncanny valley - Wikipedia. An empirically estimated uncanny valley for static robot face images[1]In aesthetics, the uncanny valley is a hypothesized relationship between the degree of an object's resemblance to a human being and the emotional response to such an object.

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The concept of the uncanny valley suggests that humanoid objects which appear almost, but not exactly, like real human beings elicit uncanny, or strangely familiar, feelings of eeriness and revulsion in observers.[2]Valley denotes a dip in the human observer's affinity for the replica, a relation that otherwise increases with the replica's human likeness.[3]Examples can be found in robotics, 3. D computer animations, and lifelike dolls among others. With the increasing prevalence of virtual reality, augmented reality, and photorealistic computer animation, the 'valley' has been cited in the popular press in reaction to the verisimilitude of the creation as it approaches indistinguishability from reality.

In aesthetics, the uncanny valley is a hypothesized relationship between the degree of an object's resemblance to a human being and the emotional response to such an. MRC is a diversified global media company with operations in filmed entertainment, television programming and original digital content. The company is the industry.

Etymology[edit]The concept was identified by the robotics professor Masahiro Mori as Bukimi no Tani Genshō (不気味の谷現象) in 1. The term was first translated as uncanny valley in the 1.

Robots: Fact, Fiction, and Prediction, written by Jasia Reichardt,[5] thus forging an unintended link to Ernst Jentsch's concept of the uncanny,[6] introduced in a 1. On the Psychology of the Uncanny."[7][8][9] Jentsch's conception was elaborated by Sigmund Freud in a 1. The Uncanny" ("Das Unheimliche").[1. Hypothesis[edit]. In an experiment involving the human lookalike robot Repliee Q2 (pictured above), the uncovered robotic structure underneath Repliee, and the actual human who was the model for Repliee, the human lookalike triggered the highest level of mirror neuron activity.[1. Mori's original hypothesis states that as the appearance of a robot is made more human, some observers' emotional response to the robot become increasingly positive and empathetic, until it reaches a point beyond which the response quickly becomes strong revulsion. However, as the robot's appearance continues to become less distinguishable from a human being, the emotional response becomes positive once again and approaches human- to- human empathy levels.[1.

This area of repulsive response aroused by a robot with appearance and motion between a "barely human" and "fully human" entity is the uncanny valley. The name captures the idea that an almost human- looking robot seems overly "strange" to some human beings, produces a feeling of uncanniness, and thus fail to evoke the empathic response required for productive human–robot interaction.[1. Theoretical basis[edit]A number of theories have been proposed to explain the cognitive mechanism underlying the phenomenon: Mate selection. Automatic, stimulus- driven appraisals of uncanny stimuli elicit aversion by activating an evolved cognitive mechanism for the avoidance of selecting mates with low fertility, poor hormonal health, or ineffective immune systems based on visible features of the face and body that are predictive of those traits.[1. Mortality salience. Viewing an "uncanny" robot elicits an innate fear of death and culturally- supported defenses for coping with death’s inevitability..

P]artially disassembled androids.. A mechanism with a human façade and a mechanical interior plays on our subconscious fear that we are all just soulless machines. Androids in various states of mutilation, decapitation, or disassembly are reminiscent of a battlefield after a conflict and, as such, serve as a reminder of our mortality. Since most androids are copies of actual people, they are doppelgängers and may elicit a fear of being replaced, on the job, in a relationship, and so on. The jerkiness of an android’s movements could be unsettling because it elicits a fear of losing bodily control."[1.

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Pathogen avoidance. Uncanny stimuli may activate a cognitive mechanism that originally evolved to motivate the avoidance of potential sources of pathogens by eliciting a disgust response. The more human an organism looks, the stronger the aversion to its defects, because (1) defects indicate disease, (2) more human- looking organisms are more closely related to human beings genetically, and (3) the probability of contracting disease- causing bacteria, viruses, and other parasites increases with genetic similarity."[1. The visual anomalies of androids, robots, and other animated human characters cause reactions of alarm and revulsion, similar to corpses and visibly diseased individuals.[1. Sorites paradoxes. Stimuli with human and nonhuman traits undermine our sense of human identity by linking qualitatively different categories, human and nonhuman, by a quantitative metric, degree of human likeness.[1.

Violation of human norms. The uncanny valley may "be symptomatic of entities that elicit a model of a human other but do not measure up to it".[1. If an entity looks sufficiently nonhuman, its human characteristics are noticeable, generating empathy. However, if the entity looks almost human, it elicits our model of a human other and its detailed normative expectations. The nonhuman characteristics are noticeable, giving the human viewer a sense of strangeness.

In other words, a robot stuck inside the uncanny valley is no longer judged by the standards of a robot doing a passable job at pretending to be human, but is instead judged by the standards of a human doing a terrible job at acting like a normal person. This has been linked to perceptual uncertainty and the theory of predictive coding.[2.

Religious definition of human identity. The existence of artificial but humanlike entities is viewed by some as a threat to the concept of human identity.[2. An example can be found in the theoretical framework of psychiatrist Irvin Yalom. Yalom explains that humans construct psychological defenses in order to avoid existential anxiety stemming from death. One of these defenses is specialness, the irrational belief that aging and death as central premises of life apply to all others but oneself.[2. Cops Season 14 Episode 26. The experience of the very humanlike "living" robot can be so rich and compelling that it challenges humans' notions of "specialness" and existential defenses, eliciting existential anxiety. In folklore, the creation of human- like, but soulless, beings is often shown to be unwise, as with the golem in Judaism, whose absence of human empathy and spirit can lead to disaster, however good the intentions of its creator.[2.

Conflicting perceptual cues. The negative effect associated with uncanny stimuli is produced by the activation of conflicting cognitive representations. Perceptual tension occurs when an individual perceives conflicting cues to category membership, such as when a humanoid figure moves like a robot, or has other visible robot features. This cognitive conflict is experienced as psychological discomfort (i. Several studies support this possibility. Mathurand Reichling found that the time subjects took to gauge a robot face's human- or mechanical- resemblance peaked for faces deepest in the uncanny valley, suggesting that perceptually classifying these faces as "human" or "robot" posed a greater cognitive challenge.[1] However, they found that while perceptual confusion coincided with the uncanny valley, it did not mediate the effect of the uncanny valley on subjects' social and emotional reactions—suggesting that perceptual confusion may not be the mechanism behind the uncanny valley effect. Burleigh and colleagues demonstrated that faces at the midpoint between human and non- human stimuli produced a level of reported eeriness that diverged from an otherwise linear model relating human- likeness to affect.[2.

Yamada et al. found that cognitive difficulty was associated with negative affect at the midpoint of a morphed continuum (e. Ferrey et al. demonstrated that the midpoint between images on a continuum anchored by two stimulus categories produced a maximum of negative affect, and found this with both human and non- human entities.[2.