The uncanny valley—the unnerving nature of humanlike robots—is an intriguing idea, but both its existence and its underlying cause are debated. We propose that humanlike robots are not only unnerving, but are so because their appearance prompts attributions of mind. In particular, we suggest that machines become unnerving when people ascribe to them experience, rather than agency. Experiment 1 examined whether a machine’s humanlike appearance prompts both ascriptions of experience and feelings of unease. Experiment 2 tested whether a (...) machine capable of experience remains unnerving, even without a humanlike appearance. Experiment 3 investigated whether the perceived lack of experience can also help explain the creepiness of unfeeling humans and philosophical zombies. These experiments demonstrate that feelings of uncanniness are tied to perceptions of experience, and also suggest that experience—but not agency—is seen as fundamental to humans, and fundamentally lacking in machines. (shrink)

Human beings express affinity (Shinwa‐kan in Japanese language) in communicating transactive engagements among healthcare providers, patients and healthcare robots. The appearance of healthcare robots and their language capabilities often feature characteristic and appropriate compassionate dialogical functions in human–robot interactions. Elements of healthcare robot configurations comprising its physiognomy and communication properties are founded on the positivist philosophical perspective of being the summation of composite parts, thereby mimicking human persons. This article reviews Mori's theory of the Uncanny Valley and its (...) consequent debates, and examines "Uncanny" relations with generating healthcare robot conversational content with artificial affective communication (AAC) using natural language processing. With healthcare robots provoking influential physical composition and sensory expressions, the relations in human–healthcare robot transactive engagements are argued as supportive of the design and development in natural language processing. This implies that maintaining human–healthcare robot interaction and assessing the eeriness situations explained in the Uncanny Valley theory are crucial positions for healthcare robot functioning as a valuable commodity in health care. As such, physical features, language capabilities and mobility of healthcare robots establish the primacy of the AAC with natural language processing as integral to healthcare robot–human healthcare practice. (shrink)

Looking at the often remorseless, inhumane manner in which both the creators and guests approach the robotic hosts, this chapter argues that the integral concept of “humanity” is challenged and transformed in a discussion of Westworld. While the hosts of Westworld are, indeed, robotic, lacking human biological construction, they are made to look increasingly human. In Westworld, evidence of the uncanny valley is seen in the way in which the robot hosts evolve. Taking into consideration the inherent distinctions (...) between the hosts and the guests, the robots of Westworld can be understood as corresponding more accurately to the ideals of humanity and “human excellence” than the humans themselves. In the struggle and constant suffering of robots of Westworld to gain consciousness and regain their memories, the robots achieve a significant, unique aspect of humanity, quite distinct from the apparent humanity of the show's humans. (shrink)

Open peer commentary on the article “Perception-Action Mutuality Obviates Mental Construction” by Martin Flament Fultot, Lin Nie & Claudia Carello. Upshot: I contrast enactivist and ecological perspectives on some of the themes raised by the authors. I discuss some of their worries about the notion of sense-making and other epistemological aspects of enactivism.

The term “uncanny valley” goes back to an article of the Japanese roboticist Masahiro Mori. He put forward the hypothesis that humanlike objects like certain kinds of robots elicit emotional responses similar to real humans proportionate to their degree of human likeness. Yet, if a certain degree of similarity is reached emotional responses become all of a sudden very repulsive. The corresponding recess in the supposed function is called the uncanny valley. The present paper wants to (...) propose a philosophical explanation why we feel empathy with inanimate objects in the first place, and why the uncanny valley occurs when these objects become very humanlike. The core of this explanation—which is informed by the recently developing empirical research on the matter—will be a form of empathy involving a kind of imaginative perception. However, as will be shown, imaginative perception fails in cases of very humanlike objects. (shrink)

Stimuli that resemble humans, but are not perfectly human-like, are disliked compared to distinctly human and nonhuman stimuli. Accounts of this “Uncanny Valley” effect often focus on how changes in human resemblance can evoke different emotional responses. We present an alternate account based on the novel hypothesis that the Uncanny Valley is not directly related to ‘human-likeness’ per se, but instead reflects a more general form of stimulus devaluation that occurs when inhibition is triggered to resolve (...) conflict between competing stimulus-related representations. We consider existing support for this inhibitory-devaluation hypothesis and further assess its feasibility through tests of two corresponding predictions that arise from the link between conflict-resolving inhibition and aversive response: 1) that the pronounced disliking of Uncanny-type stimuli will occur for any image that strongly activates multiple competing stimulus representations, even in the absence of any human-likeness, and 2) that the negative peak of an ‘Uncanny Valley’ should occur at the point of greatest stimulus-related conflict and not (in the presence of human-likeness) always closer to the ‘human’ end of a perceptual continuum. We measured affective responses to a set of line drawings representing nonhuman animal-animal morphs, in which each continuum midpoint was a bistable image (Exp. 1), as well as to sets of human-robot and human-animal computer-generated morphs (Exp. 2). Affective trends depicting classic Uncanny Valley functions occurred for all continua, including the nonhuman stimuli. Images at continua midpoints elicited significantly more negative affect than images at endpoints, even when the continua included a human endpoint. This illustrates the feasibility of the inhibitory-devaluation hypothesis and the need for further research into the possibility that the strong dislike of Uncanny-type stimuli reflects the negative affective consequences of cognitive inhibition. (shrink)

This book gathers an interdisciplinary group of thinkers to ask if intersubjective acts of relating can be transferred to artificial beings without remainder. Using the uncanny valley model developed by Masahiro Mori, this significant contribution to performance philosophy presents a clear framework to consider aesthetic experience beyond mimesis.

It can be creepy to notice that something human-looking is not real. But can sensitivity to this phenomenon, known as the uncanny valley, be predicted from superficially unrelated traits? Based on results from at least 489 participants, this study examines the relation between nine theoretically motivated trait indices and uncanny valley sensitivity, operationalized as increased eerie ratings and decreased warmth ratings for androids presented in videos. Animal Reminder Sensitivity, Neuroticism, its Anxiety facet, and Religious Fundamentalism significantly (...) predicted uncanny valley sensitivity. In addition, Concern over Mistakes and Personal Distress significantly predicted android eerie ratings but not warmth. The structural equation model indicated that Religious Fundamentalism operates indirectly, through robot-related attitudes, to heighten uncanny valley sensitivity, while Animal Reminder Sensitivity increases eerie ratings directly. These results suggest that the uncanny valley phenomenon may operate through both sociocultural constructions and biological adaptations for threat avoidance, such as the fear and disgust systems. Trait indices that predict uncanny valley sensitivity warrant investigation by experimental methods to explicate the processes underlying the uncanny valley phenomenon. (shrink)

This paper extends Mori’s (IEEE Robot Autom Mag 19:98–100, 2012) uncanny valley-hypothesis to include technologies that fail its basic criterion that uncanniness arises when the subject experiences a discrepancy in a machine’s human likeness. In so doing, the paper considers Mori’s hypothesis about the uncanny valley as an instance of what Heidegger calls the ‘challenging revealing’ nature of modern technology. It introduces seeming autonomy and heteronomy as phenomenological categories that ground human being-in-the-world including our experience of (...) things and people. It is suggested that this categorical distinction is more foundational than Heidegger’s existential structures and phenomenological categories. Having introduced this novel phenomenological distinction, the paper considers the limits of Mori’s hypothesis by drawing on an example from science fiction that showcases that uncanniness need not only be caused by machines that resemble human beings. In so doing, it explores how the seeming autonomy-heteronomy distinction clarifies (at least some of) the uncanniness that can arise when humans encounter advanced technology which is irreducible to the anthropocentrism that shapes Mori’s original hypothesis. (shrink)

Horror movies have discovered an easy recipe for making people creepy: alter their eyes. Instead of normal eyes, zombies’ eyes are vacantly white, vampires’ eyes glow with the color of blood, and those possessed by demons are cavernously black. In the Academy Award winning Pan’s Labyrinth, director Guillermo del Toro created the creepiest of all creatures by entirely removing its eyes from its face, placing them instead in the palms of its hands. The unease induced by altering eyes may help (...) to explain the uncanny valley, which is the eeriness of robots that are almost—but not quite—human. Much research has explored the uncanny valley, including the research reported by MacDorman & Entezari, which focuses on individual differences that might predict the eeriness of humanlike robots. In their paper, they suggest that a full understanding of this phenomenon needs to synthesize individual differences with features of the robot. One theory that links these two concepts is mind perception, which past research highlights as essential to the uncanny valley. Mind perception is linked to both individual differences—autism—and to features of the robot—the eyes—and can provide a deeper understanding of this arresting phenomenon. In this paper, we present original data that links uncanniness to the eyes through aberrant perceptions of mind. (shrink)

Horror movies have discovered an easy recipe for making people creepy: alter their eyes. Instead of normal eyes, zombies’ eyes are vacantly white, vampires’ eyes glow with the color of blood, and those possessed by demons are cavernously black. In the Academy Award winning Pan’s Labyrinth, director Guillermo del Toro created the creepiest of all creatures by entirely removing its eyes from its face, placing them instead in the palms of its hands. The unease induced by altering eyes may help (...) to explain the uncanny valley, which is the eeriness of robots that are almost—but not quite—human. Much research has explored the uncanny valley, including the research reported by MacDorman & Entezari, which focuses on individual differences that might predict the eeriness of humanlike robots. In their paper, they suggest that a full understanding of this phenomenon needs to synthesize individual differences with features of the robot. One theory that links these two concepts is mind perception, which past research highlights as essential to the uncanny valley. Mind perception is linked to both individual differences—autism—and to features of the robot—the eyes—and can provide a deeper understanding of this arresting phenomenon. In this paper, we present original data that links uncanniness to the eyes through aberrant perceptions of mind. (shrink)

Horror movies have discovered an easy recipe for making people creepy: alter their eyes. Instead of normal eyes, zombies’ eyes are vacantly white, vampires’ eyes glow with the color of blood, and those possessed by demons are cavernously black. In the Academy Award winning Pan’s Labyrinth, director Guillermo del Toro created the creepiest of all creatures by entirely removing its eyes from its face, placing them instead in the palms of its hands. The unease induced by altering eyes may help (...) to explain the uncanny valley, which is the eeriness of robots that are almost—but not quite—human. Much research has explored the uncanny valley, including the research reported by MacDorman & Entezari, which focuses on individual differences that might predict the eeriness of humanlike robots. In their paper, they suggest that a full understanding of this phenomenon needs to synthesize individual differences with features of the robot. One theory that links these two concepts is mind perception, which past research highlights as essential to the uncanny valley. Mind perception is linked to both individual differences—autism—and to features of the robot—the eyes—and can provide a deeper understanding of this arresting phenomenon. In this paper, we present original data that links uncanniness to the eyes through aberrant perceptions of mind. (shrink)

Embodied interface agents are designed to ease the use of technology. Furthermore, they present one possible solution for future interaction scenarios beyond the desktop metaphor. Trust and believability play an important role in the relationship between user and the virtual counterpart. In order to reach this goal, a high degree of anthropomorphism in appearance and behavior of the artifact is pursued. According to the notion of the Uncanny Valley, however, this actually may have quite the opposite effect. This (...) article provides an analysis of the Uncanny Valley effect from a cultural and gender studies perspective. It invites readers to take a closer look at the narratives that influence the production of anthropomorphic artifacts. The article starts with a short introduction of the idea of the Uncanny Valley and gives a brief overview of current artifacts. Following this, a semiotic view on computer science is proposed, which in a further step serves as an epistemological grounding for a gender-critical rereading of the Turing test. This perspective will be supported by analyzing a classic story of user and artifact—E.T.A. Hoffmann’s narration of Olimpia. Finally, the special character of anthropomorphic artifacts is discussed by taking Freud’s concept of “Das Unheimliche”, as well as theories of identity formation into consideration, closing with a plea for a more diverse artifact production. (shrink)

Social robots are increasingly used in different areas of society such as public health, elderly care, education, and commerce. They have also been successfully employed in autism spectrum disorders therapy with children. Humans strive to find in them not only assistants but also friends. Although forms and functionalities of such robots vary, there is a strong tendency to anthropomorphize artificial agents, making them look and behave as human as possible and imputing human attributes to them. The more human a robot (...) looks, the more appealing it will be considered by humans. However, this linear link between likeness and liking only holds to the point where a feeling of strangeness and eeriness emerges. We discuss possible explanations of this so-called uncanny valley phenomenon that emerges in human–robot interaction. We also touch upon important ethical questions surrounding human–robot interaction in different social settings, such as elderly care or autism spectrum disorders therapy. (shrink)

This paper proposes extending the appearance of artefacts from human to zoomorphic on the basis of the uncanny valley phenomenon, while simultaneously realising the effects of bionic species, product realism, and gender differences on preschool children’s preferences for artificial animal appearances. In this study, animal toys were created as stimuli and a three-factor experiment was conducted with preschool children. Overall, the children demonstrated significantly stronger preferences for animal toys with extremely high or moderate realism compared with those with (...) extremely low realism. Specifically, the boys preferred the toys with extremely high realism, and the girls preferred those with moderate realism. We conclude with some suggestions regarding the direction of design guidelines for the appearance of artificial animals, to facilitate the design and creation of animal products that promote human–robot interactions and design education. (shrink)

This paper explores a technical unfinished half-method [Halbzeug] of a metaphorology of the technological other in its variations and the philosophical mise-en-scène of the techno-social uncanny. The roboticist Mori had revived the concept of a technological uncanny in human machine interaction in the spatial metaphor derived from a diagram of an uncanny valley in the reaction of a human being shaking an artificial hand in order to show why we feel a certain eeriness in relation to (...) technological artefacts, a topic that gains importance today to reflect human technological automata relations with robots/AI/Avatars that mimic and socially resonate with humans and may even drive further technological transhumanism. Although in an artefact design approach uncanniness is said to be avoided in the human-like automaton-human encounter this paper dwells on the critic of techno-social otherness avoidance by technological overcoming of obstacles and thus argues for a cybernetic uncanny that can’t be avoided. This paper introduces in a broader sense than Mori’s a philosophical dramaturgy of Emmanuel Levinas’ temporal notion of the relation to the other, including a preliminary metaphorological variation of the temporal techno-social uncanny. (shrink)

Social robots are marketed as human tools promising us a better life. This marketing strategy commodifies not only the labor of care but the caregiver as well, conjuring a fantasy of technoliberal futurism that echoes a colonial past. Against techno-utopian fantasies of a good life as one involving engineered domestic help, I draw here on the techno-dystopian television show Humans (stylized HUMⱯNS) to suggest that we should find our desires for such help unsettling. At the core of my argument is (...) a return of the “uncanny valley” problem, from its reformulation as an engineering/design problem to its origins as a psychosocial symptom of an unresolved, traumatic past. I conclude that our sense of the uncanny may be best understood as a moral capacity that should be honed rather than evaded. (shrink)