creating the canon
DESCRIPTION
this is my book from type3/experimental typography class it's about the uncanny valleyTRANSCRIPT
x-axis
y-axis
0,0origin
UNDERSTANDING OUR REACTION TO THE MACHINEThoughts on smart white paper from the think on paper series of promotions from French paper.
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
x-axis
y-axis
-0,0origin
[COMMON]
FILES=65
ROOT=044,850,C:\UNCANNY\COMMAND\DATA.SYS
[MENU]
REM *********START MENU*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]
loading……002%
x-axis
y-axis
-0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
-0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
-0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
-0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581
x-axis
y-axis
-0,0origin
loading……016%
[COMMON]
FILES=40
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20
RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256:
x-axis
y-axis
0,0origin
[COMMON]
FILES=40
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
[COMMON]
FILES=40
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20
RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256:
[COMMON]
FILES=40
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]
[COMMON]
FILES=40
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
START UPINFORMATION LOADSMART WHITE PAPER
[COMMON]
FILES=40
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):
x-axis
y-axis
0,0origin
C R E A 0 0 0 T H E 1 0 1 1 1 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 C A N 0 0 1 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 1
THE UNCANNY VALLEY
FAMILIARITY
MOVMENT
MACHINE
x-axis
y-axis
0,0originIt is said that
God created man in his own image, Likewise men strive to create in their own image until the day comes that man is able to create life.
x-axis
y-axis
-0,0origin
Despite all of it’s flaws, hum a n i t y h a s m a n a g e d to adva n c e i t s e l f t o t h e p o i n t w h e r e s c i e n t i s t and engineers can cre a t e l i f e l i k e m a c h i n e known as r o b o t s . T h e s e m a c h i n e s p o s s e s s abilities reneging form s i m p l e t a s k s s u c h a s moving small object to more comp l e x t a s k s such as defusing bom b s . E v e r y a d v a n c e m e n t in robotics closes the gap b e t w e e n m a n , a n d robot just a bit mo r e . S o o n t h e d a y w i l l c o m e when the appearance of a ma c h i n e w i l l b e indistinguishab l e f o r m t h a t o f a h u m a n . T h e question at hand i s , h o w w i l l h u m a n i t y a s a whole react to these huma n l i k e m a c h i n e s .
1 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 1 1 1 1 0 1 1 0 0 1 1 0 0 0 1 0 0 0 0 0 1 0 1 0 0 1 0 0 1 0 0 1 0 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 1 1 0 0 1 1 0 1 1 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1
0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 1 1 0 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 1 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 0 0 1 1 1 0 1 1 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 1
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0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 1 1 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 0 1 0 1 0 1 1 1 0 0 1 0 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 1 0 0 0 1 1 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 0 0 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0
0 0 1 1 0 1 0 0 1 0 1 1 0 0 1 1 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 0 0 0 1 1 0 1 0 0 1 0 1 1 0 1 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 0 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 1 1 0 1 1 0 1 1 1 0 0 1 1 0 1 1 1 1 0 1 1 1 0 1 1 1 0 1 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 0 0 1 1 0 1 1 1 1 0 1 1 0 0 0 1 0 0 1 1 0 1 1 1 1
0 0 1 1 1 0 0 1 1 0 0 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 0 1 0 1 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 0 0 1 1 0 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 1 1 0 1 1 1 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 0 0 1 1 0 1 0 0 1
1 0 1 1 0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 1 0 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 0 1 1 0 0 1 1 1 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 1 1
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1 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 1 1 1 1 0 1 1 0 0 1 1 0 0 0 1 0 0 0 0 0 1 0 1 0 0 1 0 0 1 0 0 1 0 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 1 1 0 0 1 1 0 1 1 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1
0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 1 1 0 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 1 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 0 0 1 1 1 0 1 1 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 1
1 0 0 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 1 1 0 1 1 0 0 0 1 1 0 0 1 1 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 1 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 1 1 0 1 1 1 1 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 1 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 1 1 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0
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0 0 1 1 1 0 0 1 1 0 0 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 0 1 0 1 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 0 0 1 1 0 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 1 1 0 1 1 1 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 0 0 1 1 0 1 0 0 1
1 0 1 1 0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 1 0 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 0 1 1 0 0 1 1 1 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 1 1 . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
x-axis
y-axis
-0,0origin
INDUSTRIAL ROBOT
HUMANOID ROBOT
STUFFED ANIMAL
50%
The ro
bot
he w
ord
robot w
as in
troduced to
the p
ublic
by C
zech w
riter K
are
l Čapek in
his p
lay R
.U.R
. (Rossu
m’s U
nive
rsal R
obots), w
hic
h p
rem
iere
d in
1921. Th
e p
lay b
egin
s in a
facto
ry that m
akes a
rtificia
l people
calle
d ro
bots, b
ut th
ey a
re c
lose
r to
the m
odern
ideas o
f andro
ids a
nd c
lones, c
reatu
res w
ho c
an b
e m
istaken fo
r hum
ans.
They c
an p
lain
ly thin
k fo
r them
selve
s, though th
ey se
em
happy to
serve
. At
issue is w
heth
er th
e ro
bots a
re b
ein
g e
xplo
ited a
nd th
e c
onse
quences o
f their tre
atm
ent.
Masa
hiro
Mori
Masa
hiro
Mori (Č ČČ; M
ori M
asa
hiro
, born
1927) is a
Japanese
robotic
ist note
d fo
r his p
ioneerin
g w
ork
on th
e e
motio
nal re
sponse
of
hum
ans to
non-h
um
an e
ntitie
s, as w
ell a
s for h
is view
s on re
ligio
n a
nd ro
bots. @
In 19
70, M
ori p
ublish
ed “
Bukim
i No Ta
ni”
(English
title: Th
e
Uncanny Va
lley) in
Energ
y. The a
rticle
forw
ard
ed th
e h
ypoth
esis th
at a
s robots b
ecom
e m
ore
hum
anlik
e, th
ey a
ppear m
ore
fam
iliar u
ntil a
poin
t is reached a
t whic
h su
btle
imperfe
ctio
ns o
f appeara
nce m
ake th
em
look e
erie
. The o
bse
rvatio
n le
ad M
ori to
the b
elie
f that
robot b
uild
ers sh
ould
not a
ttem
pt to
make th
eir c
reatio
ns o
verly life
like in
appeara
nce a
nd m
otio
n. @
In 19
74, M
ori
publish
ed Th
e B
uddha in
the R
obot: a
Robot En
gin
eer’s Th
oughts o
n S
cie
nce a
nd R
elig
ion in
whic
h h
e d
iscusse
d th
e m
eta
physic
al im
plic
atio
ns o
f
robotic
s. In th
e b
ook, h
e w
rote
“I b
elie
ve ro
bots h
ave
the b
uddha-n
atu
re w
ithin
them
--that is, th
e p
ote
ntia
l for a
ttain
ing
buddhahood”. @
In 19
88, M
ori fo
unded th
e first n
atio
n-w
ide ro
bot-b
uild
ing c
om
petitio
n in
Japan a
nd h
as w
idely p
rom
ote
d ro
bot c
om
petitio
ns in
the ye
ars sin
ce th
en. =
Mori is c
urre
ntly
pre
sident o
f the M
ukta
Rese
arc
h In
stitute
, whic
h h
e fo
unded in
Tokyo
in o
rder to
pro
mote
his vie
ws o
n re
ligio
n a
nd ro
bots. Th
e in
stitute
also
pro
vides c
onsu
ltatio
n o
n th
e u
se o
f auto
matio
n a
nd ro
botic
s in in
dustry.
1 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 1 1 1 1 0 1 1 0 0 1 1 0 0 0 1 0 0 0 0 0 1 0 1 0 0 1 0 0 1 0 0 1 0 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 1 1 0 0 1 1 0 1 1 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 1 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 1 1 1 0 1 0 1 0 1 1 0 1 1 0 1
0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 1 1 0 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 0 0 1 0 1 1 0 0 1 1 1 0 1 1 0 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 1 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 0 1 0 0 0 1 1 1 0 1 1 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 0 1
1 0 0 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 1 1 0 1 1 0 0 0 1 1 0 0 1 1 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 1 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 1 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 1 1 0 1 1 1 1 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 1 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 1 0 1 1 1 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0
0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 1 0 0 0 0 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 1 1 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 0 1 0 1 0 1 1 1 0 0 1 0 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 1 1 0 1 1 0 0 0 0 1 0 1 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 1 0 0 0 1 1 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 0 0 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0
0 0 1 1 0 1 0 0 1 0 1 1 0 0 1 1 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 0 0 0 1 1 0 1 0 0 1 0 1 1 0 1 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 0 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 0 1 1 0 1 1 0 1 1 1 0 0 1 1 0 1 1 1 1 0 1 1 1 0 1 1 1 0 1 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 0 0 1 1 0 1 1 1 1 0 1 1 0 0 0 1 0 0 1 1 0 1 1 1 1
0 0 1 1 1 0 0 1 1 0 0 1 0 1 1 1 0 0 0 1 0 0 0 0 0 0 1 0 1 0 1 0 0 0 1 1 0 1 0 0 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 0 1 0 0 0 0 0 0 1 1 0 1 1 0 1 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 1 0 1 1 0 1 0 0 0 0 1 1 0 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 0 0 0 1 1 0 1 1 1 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 1 1 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 0 0 0 0 1 0 1 1 0 0 0 1 0 0 1 1 0 1 0 0 1
1 0 1 1 0 0 0 1 1 0 1 0 0 1 0 1 1 1 0 1 0 0 0 1 1 0 1 0 0 1 0 1 1 0 0 1 0 1 0 1 1 1 0 0 1 1 0 0 1 0 0 0 0 0 0 1 1 1 0 0 1 0 0 1 1 0 0 1 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 0 1 0 1 1 0 0 1 1 1 0 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 0 1 1 0 0 1 1 1 . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
x-axis
y-axis
0,0origin
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
The uncanny valley is a
hypothesis that when robots
and other facsimiles of
humans look and act almost
like actual humans, it
causes a response of revulsion
among human observers.
The “valley” in question is a
dip in a proposed graph
of the positivity of human
reaction as a function of a
robot’s lifelikeness. It was
introduced by Japanese
roboticist Masahiro Mori
The valley
X-AXIX = HUMAN LIKENESSY-AXIS = FAMILIARITY
MOVINGSTILL
THE UNCANNY VALLEY
HEALTHY PERSON
CORPSE PROSTHETIC HAND
100%W
hat is U
ncanny
The U
ncanny (G
er. D
as U
nheim
liche -- lite
rally, “
un-h
om
e-ly”
) is a Fre
udia
n
concept o
f an in
stance w
here
som
eth
ing c
an b
e fa
milia
r, yet fo
reig
n a
t the sa
me tim
e,
resu
lting in
a fe
elin
g o
f it bein
g u
ncom
forta
bly stra
nge. @
Because
the
uncanny is fa
milia
r, yet stra
nge, it o
ften c
reate
s cognitive
disso
nance w
ithin
the
experie
ncin
g su
bje
ct d
ue to
the p
ara
doxic
al n
atu
re o
f bein
g a
ttracte
d to
,
yet re
pulse
d b
y an o
bje
ct a
t the sa
me tim
e. Th
is cognitive
disso
nance o
ften le
ads to
an
outrig
ht re
jectio
n o
f the o
bje
ct, a
s one w
ould
rath
er re
ject th
an ra
tionalize
.
x-axis
y-axis
-0,0origin
loading……032%
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
x-axis
y-axis
0,0origin
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
TITLE PAGE
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20
RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384:
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
x-axis
y-axis
-0,0origin
CREAT–ING THE CANON
Understanding the our reaction to the machine
DATA BOOTDATA BOOTDATA BOOT
START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY
TITLE PAGE HYPOTHESES THEORETICAL BASIS
VALLEY VALLEY
SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD
x-axis
y-axis
0,0origin
CREAT–ING THE CANON
2%SYSTEM LOAD
4%DATA BOOT
6%DATA BOOT
8%DATA BOOT
10%DATA BOOT
12%DATA BOOT
14%DATA BOOT
16%SYSTEM LOAD
18%START UP
20%START UP
22%INFORMATION LOAD
24%INFORMATION LOAD
26%SMART WHITE PAPER
28%SMART WHITE PAPER
29%THE VALLEY
30%THE VALLEY
32%SYSTEM LOAD
33%TITLE PAGE
34%TITLE PAGE
36%SYSTEM LOAD
38%HYPOTHESES
40%HYPOTHESES
42%THEORETICAL BASIS
44%THEORETICAL BASIS
45%SYSTEM LOAD
46%VALLEY OF FAMILIARITY
48%VALLEY OF FAMILIARITY
50%VALLEY OF FAMILIARITY
52%VALLEY OF FAMILIARITY
54%SYSTEM LOAD
56%EFFECTS OF MOVEMENT
58%EFFECTS OF MOVEMENT
60%ESCAPE BY DESIGN
62%ESCAPE BY DESIGN
64%SYSTEM LOAD
68%INDUSTRIAL ROBOT
70%INDUSTRIAL ROBOT
72%ANDROID
74%ANDROID
76%TRANSHUMANISM
78%TRANSHUMANISM
80%SYSTEM LOAD
82%THE SIGNIFICANCE
84%THE SIGNIFICANCE
86%SYSTEM LOAD
88%INFORMATION BOOT
90%INFORMATION BOOT
92%PRODUCTION NOTES
94%PRODUCTION NOTES
96%FRENCH PAPER COMPANY
98%FRENCH PAPER COMPANY
100%SYSTEM LOAD
VALLEY VALLEY
EFFECTS OF MOVEMENTESCAPE BY DESIGN
INDUSTRIAL ROBOTANDROIDTRANSHUMANISM
THE SIGNIFICANCE OF THE UNCANNY
INFORMATION BOOTPRODUCTION NOTESFRENCH PAPER COMPANY
SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD
x-axis
y-axis
-0,0origin
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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
x-axis
y-axis
0,0origin
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
loading……036%
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
HYPOTHESES THEORETICAL BASIS
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
x-axis
y-axis
-0,0origin
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
Mori’s hypothesis states that
as a robot is made more
humanlike in its appearance
and motion, the emotional
response from a human being
to the robot will become
increasingly positive and
empathic, until a point is
reached beyond which the
response quickly becomes
that of strong repulsion.
However, as the appearance
and motion continue to
become less distinguishable
from a human being, the
emotional response becomes
positive once more and
approaches human-to-human
empathy levels. @ This
area of repulsive response
aroused by a robot with
appearance and motion
between a “barely-human”
and “fully human” entity is
called the uncanny valley.
The name captures the idea
that a robot which is “almost
human” will seem overly
“strange” to a human being
and thus will fail to evoke the
empathetic response required
for productive human-robot
interaction.
Hypothesis
ROBOT
What is almost human
What is empathy
Empathy is the capacity to recognize or understand another’s state of mind or emotion. It is often
characterized as the ability to “put oneself into another’s shoes”, or in some way experience
the outlook or emotions of another being within oneself. Empathy does not necessarily
imply compassion, or empathic concern because this capacity can be present in context of
compassionate or cruel behavior.
Interaction between humans and robots
Human-robot interaction (HRI) is the study of interactions between people (users) and robots. HRI is multidisciplinary
with contributions from the fields of human-computer interaction, artificial intelligence, robotics, natural language
understanding, and social science (psychology, cognitive science, anthropology, and human factors). @ Robots
are, or soon will be, used in such critical domains as search and rescue, military battle, mine and bomb detection,
scientific exploration, law enforcement, entertainment, and hospital care. Such robots must coordinate their
behaviors with the requirements and expectations of human team members; they are more than mere tools but
rather quasi-team members whose tasks have to be integrated with those of humans. @ The basic goal of HRI is
to develop principles and algorithms to allow more natural and effective communication and interaction between
humans and robots. Research ranges from how humans will work with remote, tele-operated unmanned vehicles to
peer-to-peer collaboration with anthropomorphic robots. Many in the field of HRI study how humans collaborate and
interact and use those studies to motivate how robots should interact with humans.
x-axis
y-axis
0,0origin
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
MD2:
cc1
08304d211818fae20ee8ee5d4c17
9MD
4: c
95141ad51fa8cb763c93f9bad7131b
8MD
5: 8
074cd0673fc72ff28cd177b56e2a1c
5CR
C 8,
ccitt, 16, 32 : 6e, 64c, 19db
, 26
e9d3
ef
CRYP
T (f
orm: $ MD5? $ SALT $ CRYPT):
$1$6
rIgz
Py7$twrImiEjtpmh3QBtucVeK/
(f
orm: SALT[2] CRYPT[11]):
pscp
q18x
PWMpU
SHA1
: 5a
a5f039478e9ea0aeca31781e6381
047e
5836
56RI
PEMD
-160:
48
bd3f
be 737d5589 d6e4a869 2dcab81
b ed
fc92
27SH
A2-2
56:
9e
320b
73ad311f1f56e121609e89d336
ce
d664
e3a105e91d0e215e865d7e5a3d
SHA2
-384
:
3ae4
08125d5a501f36c8f75f876fe42e
f8
bc3f
3257a7da03cb135420a2903027
9c
6bf8
ed4ad31847253e9b5eec24e264
SHA2
-512
:
552b
7d33e13b4478d0d800709693e181
e8
23a5
163a974b61278643c121cae856
8d
5f5e
49c8e65b375d40bd157ed55b65
d8
c385
4059143a582c40b8f2c7b62c3f
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A ROBOT DOING A GOOD JOB AT PRETENDING TO BE A HUMAN
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Theoretical basis The phenomenon can be
explained by the notion that,
if an entity is sufficiently
non-humanlike, then the
humanlike characteristics
will tend to stand out and be
noticed easily, generating
empathy. On the other hand,
if the entity is “almost
human”, then the non-human
characteristics will be the
ones that stand out, leading
to a feeling of “strangeness”
in the human viewer. In other
words, a robot stuck inside
the uncanny valley is no
longer being judged by the
standards of a robot doing a
good job at pretending to be
human, but is instead being
judged by the standards of a
human doing a terrible job
at acting like a normal
person. @ Another possibility
is that seriously ill individuals
and corpses exhibit many
visual anomalies similar to
the ones seen in humanoid
robots and so elicit the same
alarm and revulsion. The
reaction may become worse
with robots since there is no
overt reason for it to occur,
whereas distaste for the sight
of a corpse is a feeling easy
to understand. It is sometimes
regarded as possible that
the “uncanny valley” effect
evolved as a means of
instinctively identifying and
ostracizing humans that might
prove breeding and long-term
care detrimental to the group.
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
Hum
anoid
Robot
A H
um
anoid
Robot is a
robot w
ith its o
vera
ll appeara
nce b
ase
d o
n th
at o
f the h
um
an b
ody. In
genera
l hum
anoid
robots h
ave
a
torso
with
a h
ead, tw
o a
rms a
nd tw
o le
gs, a
lthough so
me fo
rms o
f hum
anoid
robots m
ay m
odel o
nly p
art o
f the
body, fo
r exam
ple
, from
the w
aist u
p. S
om
e h
um
anoid
robots m
ay a
lso h
ave
a ‘fa
ce’, w
ith ‘e
yes’ a
nd ‘m
outh
’. Andro
ids a
re
hum
anoid
robots b
uilt to
rese
mble
a m
ale
hum
an, a
nd G
ynoid
s are
hum
anoid
robots b
uilt to
rese
mble
a h
um
an
fem
ale
, how
eve
r the te
rm ‘A
ndro
id’ is o
ften u
sed in
refe
rence to
both
sexes.
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VALLEY
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[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20
RIPEMD-160:
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There are mathematical
functions of the form y =f(x)
for which the value of y
increases (or decreases)
continuously with the value
of x. For example, as the
effort x increases, income
y increases, or as a car’s
accelerator is pressed, the
car moves faster. This kind of
relationship is ubiquitous and
easily understood. In fact,
it covers most phenomena,
so we might think that this
function can represent all
relations. That is why people
are usually upset when faced
with some phenomenon it
cannot represent. @ Climbing
a mountain is an example
of a function that does not
increase continuously: a
person’s altitude y does
not always increase as the
distance from the summit
decreases owing to the
intervening hills and valleys.
I have noticed that, as robots
appear more humanlike, our
sense of their familiarity
increases until we come to a
valley. I call this relation the
“uncanny valley.”Recently
there are many industrial
robots, and as we know
the robots do not have
a face or legs, and just
rotate or extend or
contract their arms, and
they bear no resemblance
to human beings. Certainly
the policy for designing
these kinds of robots is
based on functionality.
From this standpoint,
the robots must perform
functions similar to those
of human factory workers,
but their appearance is
not evaluated. If we plot
these industrial robots on a
graph of familiarity versus
appearance, they lie near the
origin (see Figure 1). So they
bear little resemblance to a
human being, and in general
people do not find them to be
familiar. But if the designer of
a toy robot puts importance
on a robot’s appearance
rather than its function, the
robot will have a somewhat
humanlike appearance with
a face, two arms, two legs,
and a torso. This design lets
children enjoy a sense of
familiarity with the humanoid
toy. So the toy robot is
approaching the top of the
first peak.
Valley of familiarity
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0001 01101100 01101100 01100101 10 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 0 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001
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0001 01101100 01101100 01100101 10 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 0 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001
1001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00 01101001 01101100 01101001 01100001 01110010 01101001 100 01111001 01010110 01100001 01101100 01101100 01100101 01111001 00100000 01101111 01100110 00100000 01100110 01100001 01101101 01101001 01101100 01101001 01100001 01110010 01101001 01110100 01111001 01010110 01100001 01101100
industria
l robot
An in
dustria
l robot is o
fficia
lly defin
ed b
y ISO a
s an a
uto
matic
ally c
ontro
lled, re
pro
gra
mm
able
, multip
urp
ose
manip
ula
tor p
rogra
mm
able
in th
ree o
r more
axes. Th
e fie
ld o
f robotic
s may
be m
ore
pra
ctic
ally d
efin
ed a
s the stu
dy, d
esig
n a
nd u
se o
f robot syste
ms fo
r manufa
ctu
ring (a
top-le
vel d
efin
ition re
lying o
n th
e p
rior
defin
ition o
f robot). @
Typic
al a
pplic
atio
ns o
f robots in
clu
de w
eld
ing, p
ain
ting, iro
nin
g, a
ssem
bly, p
ick a
nd p
lace, p
ackagin
g a
nd p
alle
tizing, p
roduct in
spectio
n, a
nd te
sting, a
ll
accom
plish
ed w
ith h
igh e
ndura
nce, sp
eed, a
nd p
recisio
n.
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Of course, human beings themselves lie at the final goal of robotics, which is why we make
an effort to build humanlike robots. For example, a robot’s arms may be composed of a
metal cylinder with many bolts, but to achieve a more humanlike appearance, we paint
over the metal in skin tones. These cosmetic efforts cause a resultant increase in our
sense of the robot’s familiarity. Some readers may have felt sympathy for handicapped
people they have seen who attach a prosthetic arm or leg to replace a missing limb. But
recently prosthetic hands have improved greatly, and we cannot distinguish them from real
hands at a glance. Some prosthetic hands attempt to simulate veins, muscles, tendons,
finger nails, and finger prints, and their color resembles human pigmentation. So maybe
the prosthetic arm has achieved a degree of human verisimilitude on par with false teeth.
But this kind of prosthetic hand is too real and when we notice it is prosthetic, we have a
sense of strangeness. So if we shake the hand, we are surprised by the lack of soft tissue
and cold temperature. In this case, there is no longer a sense of familiarity. It is uncanny.
In mathematical terms, strangeness can be represented by negative familiarity, so the
prosthetic hand is at the bottom of the valley. So in this case, the appearance is quite
human like, but the familiarity is negative. This is the uncanny valley. @ I don’t think a
bunraku puppet is similar to human beings on close observation. Its realism in terms of size,
skin, and so on, does not approach that of a prosthetic hand. But when we enjoy a puppet
show in the theater, we are seated far from the puppets. Their absolute size is ignored, and
their total appearance including eye and hand movements is close to that of human beings.
So although the puppets’ body is not humanlike, we can feel that they are humanlike owing
to their movement. And from this evidence I think their familiarity is very high. @ From the
above maybe readers can understand the concept of the uncanny valley. So in the following
I consider the relationship between movement and the uncanny valley.
Valley of familiarity
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The a
rtificia
l limb
An a
rtificia
l limb is a
type o
f pro
sthesis th
at re
pla
ces a
missin
g e
xtre
mity, su
ch a
s arm
s or le
gs. Th
e typ
e o
f
artific
ial lim
b u
sed is d
ete
rmin
ed la
rgely b
y the e
xte
nt o
f an a
mputa
tion o
r loss a
nd lo
catio
n o
f the m
issing e
xtre
mity.
Artific
ial lim
bs m
ay b
e n
eeded fo
r a va
riety o
f reaso
ns, in
clu
din
g d
isease
, accid
ents, a
nd c
ongenita
l defe
cts. A
congenita
l defe
ct c
an c
reate
the n
eed fo
r an a
rtificia
l limb w
hen a
perso
n is b
orn
with
a m
issing o
r dam
aged lim
b. In
dustria
l,
vehic
ula
r, and w
ar re
late
d a
ccid
ents a
re th
e le
adin
g c
ause
of a
mputa
tions in
deve
lopin
g a
reas, su
ch a
s larg
e
portio
ns o
f Afric
a. In
more
deve
loped a
reas, su
ch a
s North
Am
eric
a a
nd Eu
rope, d
isease
is the le
adin
g c
ause
of a
mputa
tions.
Cancer, in
fectio
n a
nd c
ircula
tory d
isease
are
the le
adin
g d
isease
s that m
ay le
ad to
am
puta
tion.
Japanese
bunra
ku p
uppet
Bunra
ku, a
lso k
now
n a
s Nin
gyČ jČru
ri, is a fo
rm o
f traditio
nal Ja
panese
puppet th
eate
r, founded in
Osa
ka in
1684. B
unra
ku p
uppets ra
nge in
size fro
m tw
o-a
nd-a
-half to
four fe
et ta
ll or m
ore
,
dependin
g o
n th
e a
ge a
nd g
ender o
f the c
hara
cte
r and th
e c
onve
ntio
ns o
f the sp
ecific
puppet tro
upe. Th
e p
uppets o
f the O
saka tra
ditio
n te
nd to
be so
mew
hat sm
alle
r
ove
rall, w
hile
the p
uppets in
the A
waji tra
ditio
n a
re so
me o
f the la
rgest a
s pro
ductio
ns in
that re
gio
n te
nd to
be h
eld
outd
oors. @
The h
eads a
nd h
ands o
f traditio
nal p
uppets a
re c
arve
d b
y
specia
lists, while
the b
odie
s and c
ostu
mes a
re o
ften c
onstru
cte
d b
y puppete
ers. Th
e h
eads c
an b
e q
uite
sophistic
ate
d m
echanic
ally. In
pla
ys with
supern
atu
ral
them
es, a
puppet m
ay b
e c
onstru
cte
d so
that its fa
ce c
an q
uic
kly tra
nsfo
rm in
to th
at o
f a d
em
on. Le
ss com
ple
x h
eads m
ay h
ave
eye
s that m
ove
up a
nd d
ow
n, sid
e to
side o
r
clo
se, a
nd n
ose
s, mouth
s, and e
yebro
ws th
at m
ove
.
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
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For creatures, including robots, movement is generally a sign of life. Adding movement changes
the shape of the uncanny valley by exaggerating the peaks and valley. For the industrial robot,
the impact of movement is relatively slight because we see it as just a machine. If it stops moving,
it just stops working. But if programmed properly to generate humanlike movements, we can enjoy
some sense of familiarity. Humanlike movement requires similarity of velocity and acceleration.
Conversely, if we add movement to a prosthetic hand, which is at the bottom of the uncanny valley,
our sensation of strangeness grows quite large. Some readers may know that recent technology
has enabled prosthetic fingers to move automatically. A commercially available prosthetic hand
made with the highest technique was developed in Vienna. To explain how it works, the intention
to move the forearm, even if missing, produces current in the arm muscles that can be detected
by an electromyogram. So the prosthetic hand detects the current by means of electrodes and
amplifies the signal to activates a small motor in the prosthetic arm to move the fingers. This hand
can move in a way that causes some healthy people to feel uneasy. If you shook a woman’s hand
with this hand in a dark place, the woman must be shocked! @ Since these effects are apparent
for just a prosthetic arm, the strangeness will be magnified if we build an entire robot. You can
imagine going to a work place where there are many mannequins: if a mannequin started to move,
you might be shocked. This is a kind of horror. @ In the World Expo held in Osaka, the robots
displayed a more elaborate design. For example, one robot has 29 artificial muscles in the face
to make humanlike facial expressions. According to the designer, laughing is a kind of sequence
of face distortions, and the distortion speed is an important factor. If we cut the speed in half,
laughing looks unnatural. This illustrates how slight variations in movement can cause a robot,
puppet, or prosthetic hand to tumble down into the uncanny valley.
The m
achin
e
A m
achin
e is a
ny d
evic
e th
at u
ses e
nerg
y to p
erfo
rm so
me a
ctivity. In
com
mon u
sage, th
e m
eanin
g is th
at
of a
devic
e h
avin
g p
arts th
at p
erfo
rm o
r assist in
perfo
rmin
g a
ny typ
e o
f work
. A sim
ple
machin
e is a
devic
e th
at
transfo
rms th
e d
irectio
n o
r magnitu
de o
f a fo
rce w
ithout c
onsu
min
g a
ny e
nerg
y. The w
ord
“m
achin
e” is
derive
d fro
m th
e La
tin m
achin
a.
Electro
myo
gra
phy
(EMG) is a
techniq
ue fo
r eva
luatin
g a
nd re
cord
ing th
e a
ctiva
tion sig
nal o
f musc
les.
EMG is p
erfo
rmed u
sing a
n in
strum
ent c
alle
d a
n e
lectro
myo
gra
ph, to
pro
duce a
record
calle
d a
n e
lectro
myo
gra
m. A
n e
lectro
myo
gra
ph d
ete
cts th
e e
lectric
al p
ote
ntia
l
genera
ted b
y musc
le c
ells w
hen th
ese
cells c
ontra
ct, a
nd a
lso w
hen th
e c
ells a
re a
t rest.
The effects of movement
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
x-axis
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We hope to design robots or
prosthetic hands that will not
fall into the uncanny valley.
So I recommend designers
take the first peak as the
goal in building robots rather
than the second. Although the
second peak is higher, there
is a far greater risk of falling
into the uncanny valley. We
predict that it is possible to
produce a safe familiarity by
a nonhumanlike design. So
designers please consider
this point. A good example
is glasses. Glasses do not
resemble the real eyeball,
but this design is adequate
and can make the eyes more
charming. So we should follow
this principle when we design
prosthetic eyes. We can
create an elegant prosthetic
hand ? one that must be
fashionable. Artist who makes
statues of Buddhas created
a model of a human hand
that is made from wood. The
fingers bend at their joints.
Escape by design The hand has no finger print,
and it assumes the natural
color of wood. But we feel it
is beautiful and there is no
sense of the uncanny. Maybe
wooden hand can serve as a
reference for future design.
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3d
x-axis
y-axis
-0,0origin
loading……064%
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
INDUSTRIAL ROBOTANDROIDTRANSHUMANISM
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
x-axis
y-axis
-0,0origin
Axes
The m
ost c
om
monly u
sed ro
bot c
onfig
ura
tions a
re a
rticula
ted ro
bots, S
CARA ro
bots a
nd C
arte
sian c
oord
inate
robots, (a
ka g
antry
robots o
r x-y-z ro
bots). In
the c
onte
xt o
f genera
l robotic
s, most typ
es o
f robots w
ould
fall in
to th
e c
ate
gory o
f robotic
arm
s (inhere
nt in
the
use
of th
e w
ord
manip
ula
tor in
the a
bove
-mentio
ned IS
O sta
ndard
). Robots e
xhib
it varyin
g d
egre
es o
f auto
nom
y.
Industria
l robot
Som
e ro
bots a
re p
rogra
mm
ed to
faith
fully c
arry o
ut sp
ecific
actio
ns o
ver a
nd o
ver a
gain
(repetitive
actio
ns) w
ithout va
riatio
n
and w
ith a
hig
h d
egre
e o
f accura
cy. Th
ese
actio
ns a
re d
ete
rmin
ed b
y pro
gra
mm
ed ro
utin
es th
at sp
ecify th
e d
irectio
n, a
ccele
ratio
n, ve
locity,
decele
ratio
n, a
nd d
istance o
f a se
ries o
f coord
inate
d m
otio
ns.
applic
atio
ns
Oth
er ro
bots a
re m
uch m
ore
flexib
le a
s to th
e o
rienta
tion o
f the o
bje
ct o
n w
hic
h th
ey a
re o
pera
ting o
r eve
n th
e ta
sk th
at h
as to
be p
erfo
rmed o
n th
e o
bje
ct itse
lf, whic
h th
e ro
bot m
ay e
ven n
eed to
identify. Fo
r exam
ple
, for m
ore
pre
cise
guid
ance, ro
bots o
ften c
onta
in
machin
e visio
n su
b-syste
ms a
ctin
g a
s their "
eye
s", lin
ked to
pow
erfu
l com
pute
rs or c
ontro
llers. A
rtificia
l inte
lligence, o
r what
passe
s for it, is b
ecom
ing a
n in
cre
asin
gly im
porta
nt fa
cto
r in th
e m
odern
industria
l robot.
x-axis
y-axis
0,0origin
An industrial robot is
officially defined by ISO as
an automatically controlled,
reprogrammable, multipurpose
manipulator programmable
in three or more axes. The
field of robotics may be
more practically defined
as the study, design and
use of robot systems for
manufacturing (a top-level
definition relying on the prior
definition of robot). @ Typical
applications of robots include
welding, painting, ironing,
assembly, pick and place,
packaging and palletizing,
product inspection, and
testing, all accomplished with
high endurance, speed, and
precision. we know the robots
do not have a face or legs,
and just rotate or extend
or contract their arms, and
they bear no resemblance
to human beings. Certainly
the policy for designing
these kinds of robots is
based on functionality.
From this standpoint,
the robots must perform
functions similar to those
of human factory workers,
but their appearance is
not evaluated. If we plot
these industrial robots on a
graph of familiarity versus
appearance, they lie near the
origin (see Figure 1). So they
bear little resemblance to a
human being, and in general
people do not find them
to be familiar.
Industrial robot
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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
x-axis
y-axis
0,0origin
The a
ndro
id
Andro
ids a
re a
staple
of sc
ience fic
tion. A
uth
ors h
ave
use
d th
e te
rm a
ndro
id in
more
dive
rse
ways th
an ro
bot o
r cyb
org
. In so
me fic
tional w
ork
s, the d
iffere
nce b
etw
een a
robot a
nd a
ndro
id is o
nly th
eir a
ppeara
nce, w
ith a
ndro
ids b
ein
g m
ade to
look lik
e h
um
ans o
n
the o
utsid
e b
ut w
ith ro
bot-lik
e in
tern
al m
echanic
s. In o
ther sto
ries, a
uth
ors h
ave
use
d th
e w
ord
“andro
id” to
mean a
wholly o
rganic
, yet a
rtificia
l, cre
atio
n. O
ther fic
tional
depic
tions o
f andro
ids fa
ll som
ew
here
in b
etw
een.
An android is a robot
designed to look and act
human. Though the word
derives from a gender-specific
root, its usage in English
is usually gender neutral;
the female counterpart,
gynoid, is generally used
only when the female
gender is a distinguishing
trait of the robot. The term
was first mentioned by St.
Albertus Magnus in 1270
and was popularized by the
French writer Villiers in his
1886 novel L’Ève future,
although the term “android”
appears in US patents as
early as 1863 in reference
to miniature humanlike toy
automations. @ depending
on how realist a Android is
designed determines where
it will fall on the graph. If
the is not realistic it will
come before we reach the
uncanny valley. It may look as
if it has emotions and other
human characteristics, but
will be unmistakably machine.
@ on the other hand if the
Android is too realistic in
its design , there is a large
chance it will fall in to the
valley instead of overcoming
it. Once the Android starts
talking an a large about
of human characteristics,
we stop judging its on the
standards of a machine, but
the standards of a human,
thus making any abnormalities
stand out a lot.
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
Android
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f
MD2: cc108304d211818fae20ee8ee5d4c179MD4: c95141ad51fa8cb763c93f9bad7131b8MD5: 8074cd0673fc72ff28cd177b56e2a1c5CRC 8, ccitt, 16, 32 : 6e, 64c, 19db, 26e9d3ef
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$6rIgzPy7$twrImiEjtpmh3QBtucVeK/ (form: SALT[2] CRYPT[11]):pscpq18xPWMpU
x-axis
y-axis
-0,0origin
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
Jamais Cascio
Jamais Cascio is a San Francisco Bay Area-based writer and ethical futurist. In the 1990s, Cascio worked
for the futurist and scenario planning firm Global Business Network. In 2003, he co-founded the popular
environmental website Worldchanging, where he was a primary contributor. @ At Worldchanging, he covered
a broad variety of topics, from energy and climate change to global development, open source, and bio- and
nanotechnologies. In early 2006, he left Worldchanging, and now blogs at Open The Future, a title based on
his WorldChanging.com essay, ‘The Open Future’. @ He currently serves as the Global Futures Strategist for
the Center for Responsible Nanotechnology, is a Fellow at the Institute for Ethics and Emerging Technologies,
and is a Research Affiliate at the Institute for the Future. @ Cascio is also known as a speculative futurist,
having written two books for the GURPS science fiction role-playing game series “Transhuman Space”, Broken
Dreams (2002) and Toxic Memes (2003). @ Cascio’s work could be classified as techno-progressive. He speaks
and writes frequently on the use of future studies as a tool for anticipating and managing environmental and
technological crises.
The p
ost
hum
an a
nd p
ost
-hum
an
A p
ost
hum
an o
r post
-hum
an i
s, a
ccord
ing t
o t
he t
ransh
um
anis
t th
inkers
, a h
ypoth
eti
cal fu
ture
bein
g “
whose
basi
c c
apacit
ies
so r
adic
ally
exceed
those
of pre
sent
hum
ans
as
to b
e n
o longer
unam
big
uousl
y hum
an b
y our
curr
ent
standard
s.” @
The d
iffe
rence b
etw
een t
he p
ost
hum
an
and o
ther
hyp
oth
eti
cal so
phis
ticate
d n
on-h
um
ans
is t
hat
a p
ost
hum
an w
as
once a
hum
an,
eit
her
in i
ts lif
eti
me o
r in
the lif
eti
mes
of
som
e o
r all o
f it
s
dir
ect
ancest
ors
. As
such,
a p
rere
quis
ite f
or
a p
ost
hum
an i
s a t
ransh
um
an,
the p
oin
t at
whic
h t
he h
um
an b
ein
g b
egin
s su
rpass
ing
his
or
her
ow
n lim
itati
ons,
but
is s
till r
ecognis
able
as
a h
um
an p
ers
on o
r si
milar.
IMPROVE THE ABILTTIES OF THE HUMAN BODY
x-axis
y-axis
0,0origin
According to writer Jamais
Cascio, a similar “uncanny
valley” effect could show
up when humans begin
modifying themselves with
transhuman enhancements
(cf. body modification),
which aim to improve the
abilities of the human
body beyond what would
normally be possible, be it
eyesight, muscle strength,
or cognition. So long as
these enhancements remain
within a perceived norm of
human behavior, a negative
reaction is unlikely, but once
individuals supplant normal
human variety, revulsion
can be expected. However,
according to this theory,
once such technologies
gain further distance from
human norms, “transhuman”
individuals would cease to
be judged on human levels
and instead be regarded as
separate entities altogether
this point is what has been
dubbed posthuman, and it is
here that acceptance would
rise once again out of the
uncanny valley.
Transhumanism
IMPROVE THE ABILTTIES OF THE HUMAN BODY
x-axis
y-axis
-0,0origin
loading……080%
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
THE SIGNIFICANCE
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):
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FILES=45
ROOT=044,850,C:\UNCANNY\COMMAND\DATA.SYS
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REM *********MENU*************************************
MENUITEM=1, DATA LOAD
MENUITEM=2, THE UNCANNY VALLEY
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[1]
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The significance of the uncanny In Figure 1, a healthy person is at the top of the second peak. And when we die, we fall into
the trough of the uncanny valley. Our body becomes cold, our color changes, and movement
ceases. Therefore, our impression of death can be explained by the movement from the
second peak to the uncanny valley as shown by the dashed line in the figure. We might be
happy this line is into the still valley of a corpse and that of not the living dead! I think
this explains the mystery of the uncanny valley: Why do we humans have such a feeling of
strangeness? Is this necessary? I have not yet considered it deeply, but it may be important
to our self-preservation. @ We must complete the map of the uncanny valley to know what
is human or to establish the design methodology for creating familiar devices.
Our s
elf-p
reserv
atio
n
Self p
rese
rvatio
n is p
art o
f an a
nim
al’s in
stinct th
at d
em
ands th
at th
e o
rganism
survive
s. Pain
and fe
ar a
re p
arts o
f this m
echanism
. Pain
cause
s disc
om
fort so
that th
e o
rganism
is inclin
ed to
stop th
e p
ain
. Fear c
ause
s the o
rganism
to se
ek sa
fety a
nd m
ay c
ause
a re
lease
of a
dre
nalin
e w
hic
h h
as th
e e
ffect o
f incre
ase
d stre
ngth
and h
eig
hte
ned se
nse
s such
as h
earin
g, sm
ell, a
nd sig
ht.
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loading……086%
[COMMON]
FILES=65
Country=044,850,C:\WINDOWS\COMMAND\country.sys
[MENU]
REM *********Start Menu*************************************
MENUITEM=1, SYSTEM LOAD
MENUITEM=2, THE UNCANNY VALLEY
INFORMATION BOOTPRODUCTION NOTES
FRENCH PAPER COMPANY
REM ***********OPTIONS*************************************************
MENUCOLOR=15,0
MENUDEFAULT=2 ,4
[1]MD2: 5e8cf6f6d7e3a9eba2fe3519c0677dd7MD4: 86b5a1fbc045e22210cacb0db27937a1MD5: ddf3c04f66236bc1b162405e8982cfe0
CRC 8, ccitt, 16, 32 : 1, b5e4, bb2, 559f3071
CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):
psNdqZtgCGKHY
SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20
RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363d
x-axis
y-axis
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MD2: cc108304d211818fae20ee8
ee5d
4c17
9MD4: c95141ad51fa8cb763c93f9
bad7
131b
8MD5: 8074cd0673fc72ff28cd177
b56e
2a1c
5CRC 8, ccitt, 16, 32 : 6e, 6
4c,
19db
, 26
e9d3
ef
CRYPT (form: $ MD5? $ SALT $
CRY
PT):
$1$6rIgzPy7$twrImiEjtpmh3QBt
ucVe
K/ (form: SALT[2] CRYPT[1
1]):
pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31
781e
6381
047e
5836
56RIPEMD-160:
48bd3fbe 737d5589 d6e4a869
2dc
ab81
b ed
fc92
27SHA2-256:
9e320b73ad311f1f56e121609e
89d3
36 ced664e3a105e91d0e215e865d
7e5a
3dSHA2-384:
3ae408125d5a501f36c8f75f87
6fe4
2e f8bc3f3257a7da03cb135420a2
9030
27 9c6bf8ed4ad31847253e9b5eec
24e2
64SHA2-512:
552b7d33e13b4478d0d8007096
93e1
81 e823a5163a974b61278643c121
cae8
56 8d5f5e49c8e65b375d40bd157e
d55b
65 d8c3854059143a582c40b8f2c7
b62c
3fD2: cc108304d211818fae20ee8e
e5d4
c179
MD4: c95141ad51fa8cb763c93f9
bad7
131b
8MD5: 8074cd0673fc72ff28cd177
b56e
2a1c
5CRC 8, ccitt, 16, 32 : 6e, 6
4c,
19db
, 26
e9d3
ef
CRYPT (form: $ MD5? $ SALT $
CRY
PT):
$1$6rIgzPy7$twrImiEjtpmh3QBt
ucVe
K/ (form: SALT[2] CRYPT[1
1]):
pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31
781e
6381
047e
5836
56RIPEMD-160:
48bd3fbe 737d5589 d6e4a869
2dc
ab81
b ed
fc92
27SHA2-256:
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
x-axis
y-axis
0,0origin
MD2: cc108304d211818fae20ee8
ee5d
4c17
9MD4: c95141ad51fa8cb763c93f9
bad7
131b
8MD5: 8074cd0673fc72ff28cd177
b56e
2a1c
5CRC 8, ccitt, 16, 32 : 6e, 6
4c,
19db
, 26
e9d3
ef
CRYPT (form: $ MD5? $ SALT $
CRY
PT):
$1$6rIgzPy7$twrImiEjtpmh3QBt
ucVe
K/ (form: SALT[2] CRYPT[1
1]):
pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31
781e
6381
047e
5836
56RIPEMD-160:
48bd3fbe 737d5589 d6e4a869
2dc
ab81
b ed
fc92
27SHA2-256:
9e320b73ad311f1f56e121609e
89d3
36 ced664e3a105e91d0e215e865d
7e5a
3dSHA2-384:
3ae408125d5a501f36c8f75f87
6fe4
2e f8bc3f3257a7da03cb135420a2
9030
27 9c6bf8ed4ad31847253e9b5eec
24e2
64SHA2-512:
552b7d33e13b4478d0d8007096
93e1
81 e823a5163a974b61278643c121
cae8
56 8d5f5e49c8e65b375d40bd157e
d55b
65 d8c3854059143a582c40b8f2c7
b62c
3fD2: cc108304d211818fae20ee8e
e5d4
c179
MD4: c95141ad51fa8cb763c93f9
bad7
131b
8MD5: 8074cd0673fc72ff28cd177
b56e
2a1c
5CRC 8, ccitt, 16, 32 : 6e, 6
4c,
19db
, 26
e9d3
ef
CRYPT (form: $ MD5? $ SALT $
CRY
PT):
$1$6rIgzPy7$twrImiEjtpmh3QBt
ucVe
K/ (form: SALT[2] CRYPT[1
1]):
pscpq18xPWMpU
SHA1: 5aa5f039478e9ea0aeca31
781e
6381
047e
5836
56RIPEMD-160:
48bd3fbe 737d5589 d6e4a869
2dc
ab81
b ed
fc92
27SHA2-256:
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
x-axis
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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
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x-axis
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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .
Cover
Full bleed
Four color process
190 lb
page 001-002
Full bleed photo
Four color process
100 lb
page 004-005
Full bleed photo
Four color process
100 lb
page 006-007
Full bleed photo
Four color process
100 lb
page 008-009
Full bleed photo
Four color process
100 lb
page 010-011
Full bleed photo
Four color process
100 lb
page 012-013
Full bleed color wash
Four color process
100 lb
page 014-015
pms 3324
Four color process
100 lb
page 016-017
Full bleed photo
Four color process
100 lb
Production notes
Design
Juancarlos Henriquez
Copywriting
Juancarlos Henriquez
Printing
Four color offset
Binding
Perfect bound
Paper
Smart White by French Paper
page 018-019
Full bleed photo
Four color process
100 lb
page 020-021
Full bleed photo
Four color process
100 lb
page 022-023
Full bleed color wash
Four color process
100 lb
page 024-025
Full bleed color wash
Four color process
100 lb
page 026-027
Full bleed photo +color wash
Four color process
100 lb
page 028-029
60% color wash
Four color process
100 lb
page 030-031
pms 3445
Four color process
100 lb
page 032-033
full bleed wash pms 3445
Four color process
100 lb
page 034-035
pms 3445
Four color process
100 lb
page 036-037
full bleed photo
Four color process
100 lb
page 038-039
full bleed photo
Four color process
100 lb
page 040-041
20% color wash
Four color process
100 lb
page 042-043
20% color wash
Four color process
100 lb
page 044-045
50% color wash
Four color process
100 lb
page 046-047
50% color wash
Four color process
100 lb
page 048-049
full bleed photo
Four color process
100 lb
page 050-051
photo + pms 4565
Four color process
100 lb
page 052-053
full bleed photo
Four color process
100 lb
page 054-055
30& color wash
Four color process
100 lb
page 056-057
full bleed photo
Four color process
100 lb
page 058-059
full bleed photo
Four color process
100 lb
page 060-061
10% color wash
Four color process
100 lb
page 060-061
full bleed photo
Four color process
100 lb
page 062-063
pms 2334
Four color process
100 lb
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[COMMON]
FILES=01
ROOT=044,850,C
:\UN
CANN
Y\CO
MMAN
D\PA
PER.
SYS
[MENU]
REM *********P
APER
MEN
U***
****
****
****
****
****
****
**********
MENUITEM=1, DA
TA L
OAD
MENUITEM=2, TH
E UN
CANN
Y VA
LLEY
REM **********
*OPT
IONS
****
****
****
****
****
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*********************
MENUCOLOR=15,0
MENUDEFAULT=2
,4
[1]
x-axis
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0,0origin
Dur-
O-T
one
At
French P
aper,
we w
ork
ove
rtim
e t
o g
ive d
esi
gners
and a
rt d
irecto
rs a
like a
n h
onest
alt
ern
ati
ve t
o s
heets
of
the o
verl
y-sl
ick,
mid
dle
-managem
ent
vari
tey.
Th
at'
s w
hy
we b
ase
d o
ur
Dur-
O-T
one lin
e o
n t
he k
inds
of
eve
ryday
uti
lita
rian p
apers
that
have
made A
meri
ca g
reat.
Th
e fi
rst
auth
enti
c i
ndust
rial papers
deve
loped s
pecifi
cally
for
pri
nta
bilit
y, F
rench B
utc
her,
New
spri
nt,
Packin
g,
Pri
mer
and B
lackto
p n
ot
only
delive
r consi
stent
resu
lts,
they
pull t
heir
ow
n w
eig
ht
(no m
att
er
whic
h w
eig
ht
you a
re u
sing).
Because
lik
e t
he n
ose
-to-t
he-g
rindst
one f
olk
s w
ho u
se t
hem
, th
ese
papers
don't
punch o
ut
at
five.
Musc
leto
ne
Weig
hin
g i
n a
t a h
eft
y 14
0 lbs.
, new
sin
gle
-ply
Fre
nch M
usc
leto
ne i
s so
stu
rdy
you c
ould
use
it
to b
uild a
house
. B
ut
unlike lam
inate
d s
heets
, th
ere
's n
o g
lue t
o
dis
solv
e o
n p
ress
and n
o laye
rs t
o p
eel,
warp
or
cra
ck d
uri
ng s
cori
ng.
Whic
h m
eans
that
you c
an n
ow
fold
, sp
indle
, and s
taple
wit
hout
fear
of
muti
lati
on. H
eavy
weig
ht,
Musc
leto
ne
not
only
pum
mels
lam
inate
d s
heets
on p
ress
, it
beats
them
on p
rice a
s w
ell.
Wheth
er
you u
se i
t to
hold
pro
ducts
of
hold
up w
alls,
Musc
leto
ne w
ill help
build y
our
busi
ness
.
Parc
hto
ne
Hard
to b
elieve
that
at
one t
ime,
parc
hm
ent
was
made o
ut
of.
..w
ell,
let'
s ju
st s
ay
the v
egeta
rians
would
n't
exactl
y appro
ve.
But
desp
ite p
arc
hm
ent'
s barb
ari
c o
rigin
,
its
mott
led look w
as
pure
ele
gance.
Fort
unate
ly f
or
desi
gners
and s
heep a
like,
French i
nve
nte
d t
he fi
rst
100% a
nim
al-
free p
rinta
ble
parc
hm
ent
paper
in 1
949. N
ow
, w
e r
ecogniz
e
that
French i
s know
n f
or
innova
ting -
not
imit
ati
ng.
But
we f
elt
just
ified i
n t
his
case
. S
pecif
y th
e o
rigin
al im
itati
on p
arc
hm
ent,
and u
se i
t in
good c
onsc
ience.
Speckle
tone
Way
back i
n 1
955,
we c
reate
d S
peckle
tone (
the fi
rst
eve
r re
cyc
led s
heet
wit
h v
isib
le fl
ecks
and s
hiv
es)
to i
nsp
ire d
esi
gners
. A
s it
turn
s out,
it'
s in
spir
ed a
fair
num
ber
of our
com
peti
tors
as
well.
Ove
r th
e y
ears
, oth
ers
have
att
em
pte
d t
o r
eplicate
Fre
nch S
peckle
tone's
incre
dib
ly a
ppealing g
ood looks.
But
what
they
can't
copy
is
the g
enuin
e c
hara
cte
r and s
heer
cre
ati
vity
that
goes
into
makin
g e
ach s
heet.
Th
at'
s w
hy
we s
uggest
you s
tick w
ith t
he o
rigin
al -
French S
peckle
tone. B
ecause
we b
elieve
there
's a
big
dif
fere
nce b
etw
een "
inte
gri
ty" a
nd j
ust
pla
in g
ritt
y.
French Paper Company
phone - 1-269-683-1100
email - [email protected]
French Connect
phone - 1-269-683-1100
email - [email protected]
Pop Ink
phone - 1-269-687-0188
email - [email protected]