Over time, this translation created an unintended link of the concept to Ernst Jentsch's psychoanalytic concept of the uncanny established in his 1906 essay On the Psychology of the Uncanny ( German: Zur Psychologie des Unheimlichen), which was then famously critiqued and extended in Sigmund Freud's 1919 essay The Uncanny (German: Das Unheimliche). Bukimi no tani was literally translated as uncanny valley in the 1978 book Robots: Fact, Fiction, and Prediction written by Jasia Reichardt. Robotics professor Masahiro Mori first introduced the concept in 1970 from his book titled Bukimi No Tani ( 不気味の谷), phrasing it as bukimi no tani genshō ( 不気味の谷現象, lit. The uncanny valley hypothesis predicts that an entity appearing almost human will risk eliciting cold, eerie feelings in viewers. The rising prevalence of technologies e.g., virtual reality, augmented reality, and photorealistic computer animation has propagated discussions and citations of the "valley" such conversation has enhanced the construct's verisimilitude. "Valley" denotes a dip in the human observer's affinity for the replica-a relation that otherwise increases with the replica's human likeness.Įxamples of the phenomenon exist among robotics, 3D computer animations and lifelike dolls. The concept suggests that humanoid objects that imperfectly resemble actual human beings provoke uncanny or strangely familiar feelings of uneasiness and revulsion in observers. In aesthetics, the uncanny valley ( Japanese: 不気味の谷, Hepburn: bukimi no tani ) is a hypothesized relation between an object's degree of resemblance to a human being and the emotional response to the object. Movement amplifies the emotional response.
The uncanny valley is the region of negative emotional response towards robots that seem "almost" human. Hypothesized emotional response of subjects is plotted against anthropomorphism of a robot, following Masahiro Mori's statements. For other uses, see Uncanny valley (disambiguation).
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