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Introduction The Uncanny Valley Hypothesis (hereafter UVH) has been formulated by Masahiro Mori (see [ 1 ]). Mori hypothesises that when we present a subject with a series of different human-like models (including robots) certain models would trigger negative reactions (uneasiness, eeriness). As he claims these will be almost human-like characters. We may imagine models presented in order, from least human-like (like e.g. robotic arm) to the most human-like ones on the X axis. On the Y axis we would present affinity level. According to Mori’s suggestion we

1 Introduction Artificial systems are often designed according to human expectations and simulate human-like appearance to improve ways of interaction or communication. But a certain phenomenon causes that observers of such realistic figures reject a very human-like artificial representation. The Uncanny Valley hypothesis suggested by the roboticist Masahiro Mori [ 29 ] describes the negative emotional reaction of a human towards figures or prosthetics that are not quite human-like. The term emerges from the function curve which illustrates the relationship

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References [1] Becker-Asano C., Ogawa K., Nishio S., and Ishiguro H. Exploring the uncanny valley with geminoid hi-1 in a real-world application. In Proceedings of IADIS International conference interfaces and human computer interaction , pages 121–128, 2010. [2] Clinton P. Review: ‘Polar Express’ a creepy ride. technology brilliant, but where’s the heart and soul?, November 2004. http://edition.cnn.com/2004/SHOWBIZ/Movies/11/10/review.polar.express/ . [3] Gallagher D. F. Digital actors in ‘Beowulf’ are just uncanny, November 2007. https

Introduction The uncanny valley (UV) hypothesis was introduced in 1970 by Japanese robotics professor Masahito Mori [ 1 ]. He tried to explain a decrease of affinity (likability) feeling as a result of contact with robots or humanoids very close to human appearance. Mori speculated that if robots and humanoids were ordered by its human-likeness, the affinity would increase proportionally with an exception of almost but not entirely human characters. For this exception, the emotional reaction would be negative, i.e. creepiness or eeriness would appear. This effect

Beyond the Uncanny Valley Inszenierung des Unheimlichen als Wunsch- und Angstbilder in der Serie Echte Menschen – Real Humans Marie-Hélène Adam & Julia Knif ka einLeitung Serien bilden einen Raum medialer Narration, in welchem sich uto- pische und dystopische Szenarien fiktional ausdifferenzieren. Durch High-Tech, Weltraum-Expeditionen oder Klone entstehen auch auf dem Fernsehbildschirm zunehmend Science-Fiction-Welten. Zum typischen Arsenal der Science-Fiction gehört die Figur des Roboters. Die Roboter infiltrieren üblicherweise menschliche Lebensräume

DCS | Digital Culture and Society | Vol. 4, Issue 1 | © transcript 2018 DOI 10.14361/dcs-2018-0105 Voices from the Uncanny Valley How Robots and Artificial Intelligences Talk Back to Us Tiina Männistö-Funk & Tanja Sihvonen Abstract Voice is a powerful tool of agency  – for humans and non-humans alike. In this article, we go through the long history of talking heads and statues to publicly displayed robots and fortune-tellers, as well as consumer-oriented products such as the late 19th century talking dolls of Thomas Edison. We also analyse the attempts at

6 Cyborg-Ableism beyond the Uncanny (Valley) The dream at the end of the day is be able to walk into a sporting goods store, like an REI, and pick up an exoskel- eton. . . . They’re like the jeans of the future. Russ Angold, founder of Ekso Bionics If you could redesign a body part, how would it look? Sophie de Oliveira Barata disappearing disability During my childhood in Japan, I often saw disabled war veterans, dressed in white, playing somber music on their accordions and guitars, and beseeching able-bodied shoppers for spare yen. Those with missing

93 OF GODS AND MONSTERS: SUPERNATURAL BEINGS IN THE UNCANNY VALLEY* RYAN HIGGINS THE JEWISH THEOLOGICAL SEMINARY OF AMERICA H. P. Lovecraft begins his 1927 essay on the state and nature of supernatural horror in literature by writing that “the oldest and strongest emotion of man is fear, and the oldest and strongest kind of fear is fear of the unknown.”1 This is a bold claim, and Love- craft was no anthropologist. But his statement is not unfounded in light of humanity’s enduring preoccupation with the other. In sa- cred texts, the other may be a

The Uncanny Valley and the Importance of Eye Contact Valentin Schwind1,2, Solveigh Jäger2 Institute for Visualization and Interactive Systems, University of Stuttgart1 Institute for Games, Stuttgart Media University2 Abstract The Uncanny Valley hypothesis describes the negative emotional response of human observers that is evoked by artificial figures or prostheses with a human-like appearance. Many studies have pointed out the meaning of facial features, but did not further investigate the importance of eye contact and its role in decision making

Sarah Bienko Eriksen Traversing the Uncanny Valley: Glámr in Narratological Space Abstract: This article explores the often cited “doubleness” of the outlaw-hero Grettir and the revenant Glámr. Using cognitive-semiotic theory, the article pro- poses that a shift in internal focalization—widely believed absent from the sagas—from Grettir to Glámr creates a narratological uncanniness that accounts for their seeming likeness.1 The Haunted Reader Glámr, one of the most famous of all medieval Icelandic fiends, has been char- acterized as a particularly effective