Concept: Uncanny valley
There are a number of psychological phenomena in which dramatic emotional responses are evoked by seemingly innocuous perceptual stimuli. A well known example is the ‘uncanny valley’ effect whereby a near human-looking artifact can trigger feelings of eeriness and repulsion. Although such phenomena are reasonably well documented, there is no quantitative explanation for the findings and no mathematical model that is capable of predicting such behavior. Here I show (using a Bayesian model of categorical perception) that differential perceptual distortion arising from stimuli containing conflicting cues can give rise to a perceptual tension at category boundaries that could account for these phenomena. The model is not only the first quantitative explanation of the uncanny valley effect, but it may also provide a mathematical explanation for a range of social situations in which conflicting cues give rise to negative, fearful or even violent reactions.
Cartoon characters are omnipresent in popular media. While few studies have scientifically investigated their processing, in computer graphics, efforts are made to increase realism. Yet, close approximations of reality have been suggested to evoke sometimes a feeling of eeriness, the “uncanny valley” effect. Here, we used high-density electroencephalography to investigate brain responses to professionally stylized happy, angry, and neutral character faces. We employed six face-stylization levels varying from abstract to realistic and investigated the N170, early posterior negativity (EPN), and late positive potential (LPP) event-related components. The face-specific N170 showed a u-shaped modulation, with stronger reactions towards both most abstract and most realistic compared to medium-stylized faces. For abstract faces, N170 was generated more occipitally than for real faces, implying stronger reliance on structural processing. Although emotional faces elicited highest amplitudes on both N170 and EPN, on the N170 realism and expression interacted. Finally, LPP increased linearly with face realism, reflecting activity increase in visual and parietal cortex for more realistic faces. Results reveal differential effects of face stylization on distinct face processing stages and suggest a perceptual basis to the uncanny valley hypothesis. They are discussed in relation to face perception, media design, and computer graphics.
Android robots are entering human social life. However, human-robot interactions may be complicated by a hypothetical Uncanny Valley (UV) in which imperfect human-likeness provokes dislike. Previous investigations using unnaturally blended images reported inconsistent UV effects. We demonstrate an UV in subjects' explicit ratings of likability for a large, objectively chosen sample of 80 real-world robot faces and a complementary controlled set of edited faces. An “investment game” showed that the UV penetrated even more deeply to influence subjects' implicit decisions concerning robots' social trustworthiness, and that these fundamental social decisions depend on subtle cues of facial expression that are also used to judge humans. Preliminary evidence suggests category confusion may occur in the UV but does not mediate the likability effect. These findings suggest that while classic elements of human social psychology govern human-robot social interaction, robust UV effects pose a formidable android-specific problem.
It is important for robot designers to know how to make robots that interact effectively with humans. One key dimension is robot appearance and in particular how humanlike the robot should be. Uncanny Valley theory suggests that robots look uncanny when their appearance approaches, but is not absolutely, human. An underlying mechanism may be that appearance affects users' perceptions of the robot’s personality and mind. This study aimed to investigate how robot facial appearance affected perceptions of the robot’s mind, personality and eeriness. A repeated measures experiment was conducted. 30 participants (14 females and 16 males, mean age 22.5 years) interacted with a Peoplebot healthcare robot under three conditions in a randomized order: the robot had either a humanlike face, silver face, or no-face on its display screen. Each time, the robot assisted the participant to take his/her blood pressure. Participants rated the robot’s mind, personality, and eeriness in each condition. The robot with the humanlike face display was most preferred, rated as having most mind, being most humanlike, alive, sociable and amiable. The robot with the silver face display was least preferred, rated most eerie, moderate in mind, humanlikeness and amiability. The robot with the no-face display was rated least sociable and amiable. There was no difference in blood pressure readings between the robots with different face displays. Higher ratings of eeriness were related to impressions of the robot with the humanlike face display being less amiable, less sociable and less trustworthy. These results suggest that the more humanlike a healthcare robot’s face display is, the more people attribute mind and positive personality characteristics to it. Eeriness was related to negative impressions of the robot’s personality. Designers should be aware that the face on a robot’s display screen can affect both the perceived mind and personality of the robot.
Human replicas may elicit unintended cold, eerie feelings in viewers, an effect known as the uncanny valley. Masahiro Mori, who proposed the effect in 1970, attributed it to inconsistencies in the replica’s realism with some of its features perceived as human and others as nonhuman. This study aims to determine whether reducing realism consistency in visual features increases the uncanny valley effect. In three rounds of experiments, 548 participants categorized and rated humans, animals, and objects that varied from computer animated to real. Two sets of features were manipulated to reduce realism consistency. (For humans, the sets were eyes-eyelashes-mouth and skin-nose-eyebrows.) Reducing realism consistency caused humans and animals, but not objects, to appear eerier and colder. However, the predictions of a competing theory, proposed by Ernst Jentsch in 1906, were not supported: The most ambiguous representations-those eliciting the greatest category uncertainty-were neither the eeriest nor the coldest.
One of the core features of autism spectrum disorder (ASD) is impaired reciprocal social interaction, especially in processing emotional information. Social robots are used to encourage children with ASD to take the initiative and to interact with the robotic tools to stimulate emotional responses. However, the existing evidence is limited by poor trial designs. The purpose of this study was to provide computational evidence in support of robot-assisted therapy for children with ASD. We thus propose an emotional model of ASD that adapts a Bayesian model of the uncanny valley effect, which holds that a human-looking robot can provoke repulsion and sensations of eeriness. Based on the unique emotional responses of children with ASD to the robots, we postulate that ASD induces a unique emotional response curve, more like a cliff than a valley. Thus, we performed numerical simulations of robot-assisted therapy to evaluate its effects. The results showed that, although a stimulus fell into the uncanny valley in the typical condition, it was effective at avoiding the uncanny cliff in the ASD condition. Consequently, individuals with ASD may find it more comfortable, and may modify their emotional response, if the robots look like deformed humans, even if they appear “creepy” to typical individuals. Therefore, we suggest that our model explains the effects of robot-assisted therapy in children with ASD and that human-looking robots may have potential advantages for improving social interactions in ASD.
Notwithstanding the significant role that human-robot interactions will play in the near future, limited research has explored the neural correlates of feeling eerie in response to social robots. To address this empirical lacuna, the current investigation examined brain activity using functional magnetic resonance imaging while a group of participants (n = 26) viewed a series of human-human interactions (HHI) and human-robot interactions (HRI). Although brain sites constituting the mentalizing network were found to respond to both types of interactions, systematic neural variation across sites signaled diverging social-cognitive strategies during HHI and HRI processing. Specifically, HHI elicited increased activity in the left temporal-parietal junction indicative of situation-specific mental state attributions, whereas HRI recruited the precuneus and the ventromedial prefrontal cortex (VMPFC) suggestive of script-based social reasoning. Activity in the VMPFC also tracked feelings of eeriness towards HRI in a parametric manner, revealing a potential neural correlate for a phenomenon known as the uncanny valley. By demonstrating how understanding social interactions depends on the kind of agents involved, the current study highlights pivotal sub-routes of impression formation and identifies prominent challenges in the use of humanoid robots.
The uncanny valley posits that very human-like robots are unsettling, a phenomenon amply demonstrated in adults but unexplored in children. Two hundred forty 3- to 18-year-olds viewed one of two robots (machine-like or very human-like) and rated their feelings toward (e.g., “Does the robot make you feel weird or happy?”) and perceptions of the robot’s capacities (e.g., “Does the robot think for itself?”). Like adults, children older than 9 judged the human-like robot as creepier than the machine-like robot-but younger children did not. Children’s perceptions of robots' mental capacities predicted uncanny feelings: children judge robots to be creepy depending on whether they have human-like minds. The uncanny valley is therefore acquired over development and relates to changing conceptions about robot minds.
For more than 40years, the uncanny valley model has captivated researchers from various fields of expertise. Still, explanations as to why slightly imperfect human-like characters can evoke feelings of eeriness remain the subject of controversy. Many experiments exploring the phenomenon have emphasized specific visual factors in connection to evolutionary psychological theories or an underlying categorization conflict. More recently, studies have also shifted away focus from the appearance of human-like entities, instead exploring their mental capabilities as basis for observers' discomfort. In order to advance this perspective, we introduced 92 participants to a virtual reality (VR) chat program and presented them with two digital characters engaged in an emotional and empathic dialogue. Using the same pre-recorded 3D scene, we manipulated the perceived control type of the depicted characters (human-controlled avatars vs. computer-controlled agents), as well as their alleged level of autonomy (scripted vs. self-directed actions). Statistical analyses revealed that participants experienced significantly stronger eeriness if they perceived the empathic characters to be autonomous artificial intelligences. As human likeness and attractiveness ratings did not result in significant group differences, we present our results as evidence for an “uncanny valley of mind” that relies on the attribution of emotions and social cognition to non-human entities. A possible relationship to the philosophy of anthropocentrism and its “threat to human distinctiveness” concept is discussed.
The Effect of Realistic Appearance of Virtual Characters in Immersive Environments - Does the Character’s Personality Play a Role?
- IEEE transactions on visualization and computer graphics
- Published 4 months ago
Virtual characters that appear almost photo-realistic have been shown to induce negative responses from viewers in traditional media, such as film and video games. This effect, described as the uncanny valley, is the reason why realism is often avoided when the aim is to create an appealing virtual character. In Virtual Reality, there have been few attempts to investigate this phenomenon and the implications of rendering virtual characters with high levels of realism on user enjoyment. In this paper, we conducted a large-scale experiment on over one thousand members of the public in order to gather information on how virtual characters are perceived in interactive virtual reality games. We were particularly interested in whether different render styles (realistic, cartoon, etc.) would directly influence appeal, or if a character’s personality was the most important indicator of appeal. We used a number of perceptual metrics such as subjective ratings, proximity, and attribution bias in order to test our hypothesis. Our main result shows that affinity towards virtual characters is a complex interaction between the character’s appearance and personality, and that realism is in fact a positive choice for virtual characters in virtual reality.