Uncanny Valley의 작동 원리

2053 년, 당신은 의사 사무실을 방문합니다. 시험실에 들어서 자마자 하얀 코트를 입은 젊은 여성이 자신있게 문을 열고 미소를 지으며 이름을 부르며 인사합니다. 그녀의 효율성과 친절한 태도에 깊은 인상을 받았습니다. 그녀는 오래 지속되는 어깨 통증 의 몇 가지 가능한 원인을 설명 하지만 관절을 조작하기 위해 손을 얹으면 피부가 이상하게 차가워집니다. 그때 그녀의 눈이 유리처럼 빛나고 그녀의 시선이 당신의 시선을 결코 만나지 못한다는 것을 알게됩니다. 그녀가 기계를 준비 ​​할 때, 당신은 전기 모터의 희미한 윙윙 거리는 소리를 듣고 당신이 안드로이드에 의해 검사되고 있다는 으스스한 깨달음을 얻습니다. 그녀는 너무 인간적으로 보이지만 비인간적 인 그녀의 세부 사항은 당신을 방해합니다. 기묘한 계곡에서의 삶에 오신 것을 환영합니다.

기이 한 계곡은 일본 로봇 분야의 주요 인물 인 Masahiro Mori가 1970 년에 제안한 가설입니다. 모리는 인공 인간이 더 현실적이 될수록 더 큰 친화력을 느낀다고 제안했지만, 거의 완벽하게 인간이되면 약간의 차이가 우리를 쫓아 내고 그들에 대한 친화력은 떨어집니다. 그들이 진정한 인간과 구별 할 수없는 것처럼 보이면 우리는 그들에게 다시 친밀감을 느낄 것입니다. 친 화성 대 현실주의의 그래프에서 친화 성의 하락은 계곡과 유사합니다. 모리는이 패턴을 부키 미노 타니 라고 부르며 느슨하게 " 기묘한 계곡"으로 번역되었습니다.

기이 한 계곡이 제안 된 이후 수십 년 동안 철학적 이론에서 실제 결과를 가진 효과로 변모했습니다. 컴퓨터로 생성 된 인간 캐릭터가 영화에 등장하고 엔지니어들은 로봇 공학자들이 인간과 같은 로봇을 가리키는 공식 용어 인 초현실적 인 안드로이드를 끊임없이 개발하고 있습니다. 휴머노이드 로봇이 의사의 사무실에서 당신을 돕거나 심지어 당신의 집에 사는 날이 매년 가까워지고 있으며 우리가 시뮬레이션 된 인간과 상호 작용하고 반응하는 방식이 점점 더 중요 해지고 있습니다. 모리의 생각과 그 효과를 일으키는 요인을 자세히 살펴보고, 창조자가 기괴한 계곡 (아무리 존재하더라도) 밖에 떨어지는 인공적 존재를 어떻게 개발할 수 있는지 알아 봅시다.

내용

1. 언캐니 밸리의 기원
2. Uncanny Valley 매핑
3. Uncanny Valley에 관한 연구
4. Uncanny Valley 방문

모리 마사히로의 기이 한 계곡에 대한 원래의 설명은 비교적 간단합니다. 우리는 인공 존재가 더 인간 답게 보일 때 더 좋아하지만 , 약간의 미묘한 결함이있는 거의 완벽하게 인간 으로 보일 때는 정말 싫어합니다 . 그러나이 현상을 더 자세히 살펴보면 개념에 많은 복잡성이 있음을 알 수 있으며, 그중에서도 모리가 이론에 대한 원래 출판물에서 의미하는 바를 정확히 파악하는 것이 중요합니다.

모리의 에세이 " 부키 미노 타니 "는 1970 년 일본 저널 에너지에 처음으로 게재되었지만 2005 년 기사가 영어로 번역 될 때까지 기이 한 계곡은 서양에서 인기있는 개념이되지 못했습니다. 2012 년까지 엄격하게 번역되었습니다 (첫 번째 번역은 출판 용이 아님). 이는 기이 한 계곡 개념에 대한 초기 이해가 완전히 정확하지 않음을 의미했습니다 [출처 : Hsu ]. 첫째, bukimi 는 "uncanny"대신 " eerie "로 더 정확하게 번역 될 수 있지만 "uncanny"용어는 무시하기에는 너무 잘 알려져 있습니다. 더 중요한 것은 우리가 인공 인간 신와 칸 을 얼마나 좋아하는지에 대해 모리라는 용어를 사용했습니다 . is not easily translatable. The original translation, "familiarity," doesn't fully capture Mori's intent. Researchers have instead adopted the term "affinity," suggesting that shinwakan is a blend of both familiarity and likability [source: Kätsyri].

Mori placed several examples of objects with human appearances along his uncanny valley graph, including industrial robots, toy robots and prosthetic hands. Many are particular to Japanese culture, such as bunraku puppets and Okina masks. While these may be perfectly valid examples, they can be difficult for Western researchers to study and understand.

Finally, Mori suggested a possible reason for the uncanny valley effect: He placed corpses and zombies at the bottom of the valley on the graph, and suggested that we experience unease at not-quite-accurate human simulations because they remind us of corpses and we naturally fear death.

Mori's concept of the uncanny valley was based on his own ideas of how humans might interact with humanlike robots, not on statistical studies of human/robot interactions (which would have been difficult to conduct in 1970). But his hypothesis, set off a wave of further research into the phenomenon.

Let's use some examples from real life and pop culture to map out the uncanny valley more clearly. At the low end of the chart lie industrial robots, which are not humanlike and don't inspire much affinity. An android like C-3PO from "Star Wars" would be in the middle: His build closely resembles a human's, and he speaks and acts like a human, but his metal exterior and robotic face clearly show he's not a human. Yet, we feel some affinity for him.

Further along the uncanny valley graph are computer-generated humans from Disney animated films such as "Frozen" and "Moana." While these characters obviously portray humans, animators intentionally exaggerate their features so they don't appear too realistic. Based on the success of these films, audiences feel a high level of affinity for them. And then there are simulations like the computer-generated version of Tom Hanks in the 2004 animated movie "The Polar Express." The film's creators attempted to make a perfectly lifelike character but fell short, resulting in many critics describing the film as creepy or nightmare-inducing instead of charming [source: Zacharek]. That eerie Tom Hanks? Right near the bottom of the uncanny valley. And according to Mori, the intensity of the uncanny valley effect heightens when simulations move rather than remain static.

So, when features that characterize humans — like voice, proportion and texture — are inconsistent in replicas, it throws us off. Mori's theory that slightly flawed human replicas are reminiscent of corpses and death may be partly valid, but doesn't encompass the complexity of the uncanny valley. It's likely the phenomenon is the result of several different reactions. Here are some reasons humans might be freaked out by almost-perfect human simulations [sources: Hsu; Looser and Wheatley]:

Researchers have been hard at work studying how and why the uncanny valley occurs. Let's take a look at some recent studies that have tested the uncanny valley effect and uncovered data about its potential causes.

A concern in studying the uncanny valley effect is that it's tough to quantify affinity and lifelikeness. But researchers have conducted experiments to detect and parse the uncanny valley effect, and even attempt to provide mathematical explanations for it. One key finding is that the uncanny valley does not appear in every study that looks for it, and when it does appear, it does not always do so with equal intensity. This suggests that the effect does exist, but is caused by specific factors and therefore doesn't show up in studies that don't include those factors. For instance, one study found that people are better able to discern real from artificial humans when they're looking only at eyes (as compared to looking at just a nose or a mouth), indicating that getting the eyes right is an important step in creating realistic human replicas [source: Looser & Wheatley].

Something as simple as an unnatural pose or expression on an android's face might invoke the uncanny valley effect, as demonstrated in research that showed people were most disturbed by humanlike virtual characters who did not display adequate facial responses when startled [source: Tinwell et al]. Replicas also dip farther into the uncanny valley when they try to "deceive" the viewer into thinking they're human rather than simply portraying very realistic androids . A 2012 study revealed that people are the most creeped out when humanlike robots seem like they have minds and the ability to feel and sense [source: Gray and Wegner]. And one study discovered that the uncanny valley effect only occurs when people are looking at faces that are familiar to their ethnic group [source: Hsu].

The phenomenon extends beyond people — another fascinating experiment measured the responses of monkeys to a range of real and unrealistic and realistic artificial monkey faces. The researchers found that the monkeys experienced a clear valley when viewing the realistic artificial faces [source: Steckenfinger and Ghazanfar]. Taken together, the research suggests that the uncanny valley does exist, but that it elicits many human responses. That means that overcoming the uncanny valley would be a difficult task, and an artificial human that transcends the uncanny valley for some viewers may not do so for others.

Mori's theory on conquering the valley? Don't even try. He suggested roboticists keep their androids on the left side of the valley, using exaggerated features to increase affinity and avoid the uncertainty and creepiness a more realistic android might exude (like the Disney strategy). Other researchers suggest that it is impossible to get through the valley because it is actually a wall — humans' ability to detect subtle differences in human replicas increases alongside technological gains that make artificial humans more realistic [source: Tinwell].

There are uncanny valley examples outside of academia, though. What are some familiar figures that live in the uncanny valley? Let's find out.

Objects that mimic humans have a much longer history than the concept of the uncanny valley. Consider incredibly realistic sculptures like Michelangelo's Pietà. We have admired the skill of artists and the realism and emotion depicted in works of art for centuries, but perhaps because they are static and often uncolored, they don't seem to attempt to replicate humans exactly and don't unnerve us. Contrast this to the works of artist Ron Mueck: sculptures of humans that are fully painted and appear astonishingly lifelike. Although he often creates fantastic figures that are enormous or have fantastic features, even his works depicting mundane scenes (two old women talking, a couple lying in bed) have a disturbing effect. Mueck seems to intentionally exploit the uncanny valley effect in his art. Other examples of this intentional horror effect can be found in some Japanese horror movies , such as the unnatural movements of humanlike figures in "Kairo" and "Ringu."

Yet, when Mori first proposed the uncanny valley, there weren't any real-world examples of hyper-realistic robots or computer-generated characters. Since then, advances in robotics and computer graphics have made the uncanny valley a phenomenon we've increasingly encountered. The 2001 movie "Final Fantasy: The Spirits Within" featured ultrarealistic computer-generated images and characters, attempting to make them as lifelike as possible. And the aforementioned "The Polar Express" and 2007's "Beowulf" both were criticized for the creepiness of their not-quite-human characters. (They also helped popularize the uncanny valley concept in the U.S.)

More recently, the Star Wars movie "Rogue One" used computer-generated characters in place of the actors Peter Cushing (playing Grand Moff Tarkin) and Carrie Fisher (Princess Leia). They were generally more well-received than earlier CGI characters, possibly due to their limited screen time, and possibly because advances in computer animation helped pull them partly out of the uncanny valley.

Then there are androids. Advances in software, materials and electronics mean they're no longer confined to science-fiction movies. The most realistic androids today are art projects like "Nova Phil," a very realistic replica of science-fiction author Philip K. Dick by Hanson Robotics, or as technology demonstrations, like the Actroid robots built by Japanese company Kokoro. These androids have been tested as automated guides at public events and as telepresence robots, allowing for semi-direct interaction with someone who is in another location. For instance, roboticist Hiroshi Ishiguro's android replica can represent him while he teaches his university classes from a distant place. The verisimilitude of these robots drags them closer to the uncanny valley.

Will we be treated by android doctors tomorrow? Probably not, but that future is likely decades away rather than centuries. The implications of the uncanny valley will become even more important as robots and androids play larger roles in our lives.

Author's Note: How the Uncanny Valley Works

It was fascinating to unpack the complexity of the uncanny valley concept, but what really struck me was the "what if" of overcoming the uncanny valley. Imagine an android indistinguishable from a real human. It's chilling to ponder. It's also why I'm such a big fan of the "Westworld" series. There are so many ethical and philosophical concepts tied into the notion of creating artificial beings.

One of the most interesting things that came up in the research is that, in his later writing, Mori suggested that robots with artificial intelligence had the potential to embrace Buddhism — to see themselves as a part of a greater whole, unified with their environment and the humans they interact with. He collected these essays into a book called "The Buddha in the Robot." These ideas were a natural extension of his belief that robot designers should stay on the left side of the uncanny valley, creating robots that are aesthetically pleasing but not identical to humans. In fact, his experiences working with students participating in robotics competitions suggested to him another way to overcome the uncanny valley: people who create robots invariably feel like they have imparted some portion of their "soul" to the robot, much like an artist feels with his or her artistic works. This notion that robots (even unintelligent ones) have their own nature that is connected to the humans and the world around them is a pretty profound way to think about the future of technology.

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