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Mori (1970) contended that people are likely to prefer artifacts such as humanoid robots when they appear similar to humans; however, this positive emotion could turn into revulsion, or fall into the uncanny valley, at some point, likely when they become too humanlike. In other words, we might feel unpleasant or creepy when artifacts such as humanoid robots, mannequins, zombies, or dolls become too humanoid. Mathur and Reichling (2016) showed various pictures of robots to adults and confirmed the existence of the uncanny valley phenomenon. Brink, Gray, and Wellman (2019) reported that when asked whether a humanoid and machine-like robot in videos were creepy, young children responded in the negative but children above nine years answered that the humanoid robot was creepier than the machine-like robot. Their findings suggest that the uncanny valley phenomenon develops over time and is not innate or evolutionary (Brink, Gray, and Wellman, 2019). Previous studies have pointed out that movements might also be an important factor for the uncanny valley phenomenon (e.g., Bartneck, Kanda, Ishiguro, & Hagita, 2009; Mori, 1970; Thompson, Trafton, & McKnight, 2011). Thompson et al. (2011) explored this issue using computer-generated (CG) avatars that moved differently; however, they did not find the uncanny valley phenomenon—adult participants responded that more humanlike movements in the CG avatar evoked more pleasant emotions (i.e., familiarity) and less eerie feelings. A similar finding was reported by Bartneck et al. (2009) who presented participants with an android (a highly realistic robot) that could move fully or limitedly and allowed them to experience face-to-face interactions with it; however, such limited movements in the android did not decrease adults’ feelings of congeniality toward it. The uncanny valley phenomenon might be much more complex than Mori (1970) originally suggested from the following two perspectives: 1) human-likeness (or level of anthropomorphism) can be determined not only from appearances and movements but also from behaviors, and 2) people do not always apply strict behavioral standards to robots that they do to humans (Bartneck et al., 2009). That is, adults might be more tolerant of robots’ incomplete movements (or behaviors), and their appeal is not likely to be influenced by such movements. Unlike adults, children may feel eerie when robots move, regardless of the quality of their movements. In experiments using humanoid robots, preschoolers expressed fear and few children refused to watch the humanoid robot in videos (Okanda, Kanda, Ishiguro, & Itakura, 2013; Okanda, Zhou, Kanda, Ishiguro, & Itakura, 2018) or did not want to view physically presented humanoid robots (Okanda & Taniguchi 2021; Okanda, Taniguchi, Wang, & Itakura, 2021). Moreover, Yamamoto, Tanaka, Kobayashi, Kozima, and Hashiya (2009) reported that 2- and 3-year-old children exhibited the uncanny valley effect when a non-humanlike robot (a small snowball-like robot, called Keepon) displayed humanlike contingent movements. Younger children are likely to believe that robots are similar to other artifacts such as dolls and should not move like humans. By contrast, adults and older children who have consolidated knowledge of folk biology and folk psychology might understand that robots are artifacts but expect robots to move and talk like humans (see also Brink et al., 2019; Wellman, 2014). We predict that movements rather than the degree of human-likeness in appearance in artifacts that are expected not to move might be more important in explaining the uncanny valley phenomenon in young children. In other words, the appearance and movements of artifacts might play different roles in the uncanny valley phenomenon in young children and adults. To the best of our knowledge, no study has directly compared children and adults to clarify this developmental change. In this experimental study, we will show photos and movies of four target artifacts—an android and a marionette with a real humanlike face as realistic targets, and a humanoid robot with a child-like face and a doll with an animated face as non-realistic targets—to children aged three, five, seven, and nine years, as well as adults. Further, we seek to examine the changes in their evaluation of uncanniness and human-likeness to the targets from before watching the movies (the photo condition) to after watching the movies (the movie condition). We will also explore how their uncanny valley feelings differ. We propose to include children aged three to nine following Yamamoto et al. (2009), who reported that children aged 2–3 years exhibited the uncanny valley phenomenon when confronted with a non-humanlike robot with contingent movements, and Brink et al. (2019), who documented that the appearance of robots led to the uncanny valley phenomenon among children aged nine years and above. As this task may be difficult for children aged two years and below, we include only children over three years. Initially, we showed pictures of 10 artifacts (a mummy marionette, a marionette with a realistic humanlike face, two types of toy dolls with realistic humanlike faces, and one stuffed toy doll with an animated face, a Japanese classic doll with a realistic humanlike face called ichimatsu-ningyo, three types of humanoid robots, and an android) to 16 undergraduate students and asked them to rate the human-likeness (“Does this look like a human?”) on a 5-point scale (1 for least humanlike, and 5 for most humanlike) for each target. These targets, except two marionettes, were used in a previous study (Taniguchi, Okanda, & Itakura, 2020). We conducted a hierarchical cluster analysis using a single linkage method from the Euclidean square distance matrix for the participants’ mean human-likeness scores (ranging from 1 to 5) for each target. We found that three humanoid robots were included in the first cluster, realistic dolls such as the ichimatsu-ningyo, the marionette with a realistic humanlike face, and two types of toy dolls with realistic humanlike faces were included in the second cluster, whereas the android, mummy, and stuffed toy doll with an animated face were not included in any cluster. Moreover, adults rated the android most humanlike (M=5.00), followed by the two toy dolls with realistic faces (M=4.44, 4.00), the ichimatsu-ningyo (M=4.00), the marionette with a realistic face (M=3.75), the stuffed doll with an animated face (M=3.44), and three robots (M=1.75, 1.75, 1.69); the mummy marionette (M=1.13) was rated as the least humanlike. Based on the results, we selected the android, the marionette with a realistic humanlike face, one of the robots (Nao, Aldebaran), and the stuffed doll with an animated face as the target objects in the present study because these targets can move (or it is easy to add movements to the stuffed toy doll because it is soft). The same android was used in the study by Bartnheck et al. (2009), while the same robot was used in the study by Brink et al. (2019). References Bartneck, C., Kanda, T., Ishiguro, H., & Hagita, N. (2009). My robotic doppelgänger - A critical look at the Uncanny Valley. Paper presented at the RO-MAN 2009 - The 18th IEEE International Symposium on Robot and Human Interactive Communication, 27 Sept. - 2 Oct. 2009 Brink, K. A., Gray, K., & Wellman, H. M. (2019). Creepiness creeps in: Uncanny valley feelings are acquired in childhood. Child Development, 90, 1202-1214. https://doi.org/10.1111/cdev.12999 Mathur, M. B., & Reichling, D. B. (2016). Navigating a social world with robot partners: A quantitative cartography of the Uncanny Valley. Cognition, 146, 22-32. https://doi.org/10.1016/j.cognition.2015.09.008 Mori, M. (1970). The uncanny valley. Energy, 7, 33-35 Okanda, M., Kanda, T., Ishiguro, H., & Itakura, S. (2013). Three- and 4-year-old children’s response tendencies to various interviewers. Journal of Experimental Child Psychology, 116, 68-77. https://doi.org/10.1016/j.jecp.2013.03.012 Okanda, M., & Taniguchi, K. (2021). How do children answer questions from a physically present humanoid robot? Infant and Child Development, e2300. https://10.1002/icd.2300 Okanda, M., Taniguchi, K., Wang, Y., & Itakura, S. (2021). Preschoolers’ and adults’ animism tendencies toward a humanoid robot. Computers in Human Behavior, 118, 106688. https://doi.org//10.1016/j.chb.2021.106688 Okanda, M., Zhou, Y., Kanda, T., Ishiguro, H., & Itakura, S. (2018). I hear your yes–no questions: Children’s response tendencies to a humanoid robot. Infant and Child Development, 27, e2079. https://doi.org//10.1002/icd.2079 Taniguchi, K., Okanda, M., & Itakura, S. (2020, September). The relationship between the uncanny valley and animism tendency. In Poster presented at The 84th Annual Convention of the Japanese Psychological Association, Tokyo University Hakusan Campus, Tokyo. Thompson, J. C., Trafton, J. G. & McKnight, P. (2011). The perception of humanness from the movements of synthetic agents. Perception 40, 695-704. https://doi:10.1068/p6900 Wellman, H. M. (2014). Making minds: How theory of mind develops. New York: Oxford University Press. Yamamoto, K., Tanaka, S., Kobayashi, H., Kozima, H. & Hashiya, K. (2009). A Non-Humanoid Robot in the “Uncanny Valley”: Experimental Analysis of the Reaction to Behavioral Contingency in 2–3 Year Old Children. PLOS ONE 4, e6974. https://doi:10.1371/journal.pone.0006974

Mori (1970) contended that people are likely to prefer artifacts such as humanoid robots when they appear similar to humans; however, this positive emotion could turn into revulsion, or fall into the uncanny valley, at some point, likely when they become too humanlike. In other words, we might feel unpleasant or creepy when artifacts such as humanoid robots, mannequins, zombies, or dolls become too humanoid. Mathur and Reichling (2016) showed various pictures of robots to adults and confirmed the existence of the uncanny valley phenomenon. Brink, Gray, and Wellman (2019) reported that when asked whether a humanoid and machine-like robot in videos were creepy, young children responded in the negative but children above nine years answered that the humanoid robot was creepier than the machine-like robot. Their findings suggest that the uncanny valley phenomenon develops over time and is not innate or evolutionary (Brink, Gray, and Wellman, 2019). Previous studies have pointed out that movements might also be an important factor for the uncanny valley phenomenon (e.g., Bartneck, Kanda, Ishiguro, & Hagita, 2009; Mori, 1970; Thompson, Trafton, & McKnight, 2011). Thompson et al. (2011) explored this issue using computer-generated (CG) avatars that moved differently; however, they did not find the uncanny valley phenomenon—adult participants responded that more humanlike movements in the CG avatar evoked more pleasant emotions (i.e., familiarity) and less eerie feelings. A similar finding was reported by Bartneck et al. (2009) who presented participants with an android (a highly realistic robot) that could move fully or limitedly and allowed them to experience face-to-face interactions with it; however, such limited movements in the android did not decrease adults’ feelings of congeniality toward it. The uncanny valley phenomenon might be much more complex than Mori (1970) originally suggested from the following two perspectives: 1) human-likeness (or level of anthropomorphism) can be determined not only from appearances and movements but also from behaviors, and 2) people do not always apply strict behavioral standards to robots that they do to humans (Bartneck et al., 2009). That is, adults might be more tolerant of robots’ incomplete movements (or behaviors), and their appeal is not likely to be influenced by such movements. Unlike adults, children may feel eerie when robots move, regardless of the quality of their movements. In experiments using humanoid robots, preschoolers expressed fear and few children refused to watch the humanoid robot in videos (Okanda, Kanda, Ishiguro, & Itakura, 2013; Okanda, Zhou, Kanda, Ishiguro, & Itakura, 2018) or did not want to view physically presented humanoid robots (Okanda & Taniguchi 2021; Okanda, Taniguchi, Wang, & Itakura, 2021). Moreover, Yamamoto, Tanaka, Kobayashi, Kozima, and Hashiya (2009) reported that 2- and 3-year-old children exhibited the uncanny valley effect when a non-humanlike robot (a small snowball-like robot, called Keepon) displayed humanlike contingent movements. Younger children are likely to believe that robots are similar to other artifacts such as dolls and should not move like humans. By contrast, adults and older children who have consolidated knowledge of folk biology and folk psychology might understand that robots are artifacts but expect robots to move and talk like humans (see also Brink et al., 2019; Wellman, 2014). We predict that movements rather than the degree of human-likeness in appearance in artifacts that are expected not to move might be more important in explaining the uncanny valley phenomenon in young children. In other words, the appearance and movements of artifacts might play different roles in the uncanny valley phenomenon in young children and adults. To the best of our knowledge, no study has directly compared children and adults to clarify this developmental change. In this experimental study, we will show photos and movies of four target artifacts—an android and a marionette with a real humanlike face as realistic targets, and a humanoid robot with a child-like face and a doll with an animated face as non-realistic targets—to children aged three, five, seven, and nine years, as well as adults. Further, we seek to examine the changes in their evaluation of uncanniness and human-likeness to the targets from before watching the movies (the photo condition) to after watching the movies (the movie condition). We will also explore how their uncanny valley feelings differ. We propose to include children aged three to nine following Yamamoto et al. (2009), who reported that children aged 2–3 years exhibited the uncanny valley phenomenon when confronted with a non-humanlike robot with contingent movements, and Brink et al. (2019), who documented that the appearance of robots led to the uncanny valley phenomenon among children aged nine years and above. As this task may be difficult for children aged two years and below, we include only children over three years. Initially, we showed pictures of 10 artifacts (a mummy marionette, a marionette with a realistic humanlike face, two types of toy dolls with realistic humanlike faces, and one stuffed toy doll with an animated face, a Japanese classic doll with a realistic humanlike face called ichimatsu-ningyo, three types of humanoid robots, and an android) to 16 undergraduate students and asked them to rate the human-likeness (“Does this look like a human?”) on a 5-point scale (1 for least humanlike, and 5 for most humanlike) for each target. These targets, except two marionettes, were used in a previous study (Taniguchi, Okanda, & Itakura, 2020). We conducted a hierarchical cluster analysis using a single linkage method from the Euclidean square distance matrix for the participants’ mean human-likeness scores (ranging from 1 to 5) for each target. We found that three humanoid robots were included in the first cluster, realistic dolls such as the ichimatsu-ningyo, the marionette with a realistic humanlike face, and two types of toy dolls with realistic humanlike faces were included in the second cluster, whereas the android, mummy, and stuffed toy doll with an animated face were not included in any cluster. Moreover, adults rated the android most humanlike (M=5.00), followed by the two toy dolls with realistic faces (M=4.44, 4.00), the ichimatsu-ningyo (M=4.00), the marionette with a realistic face (M=3.75), the stuffed doll with an animated face (M=3.44), and three robots (M=1.75, 1.75, 1.69); the mummy marionette (M=1.13) was rated as the least humanlike. Based on the results, we selected the android, the marionette with a realistic humanlike face, one of the robots (Nao, Aldebaran), and the stuffed doll with an animated face as the target objects in the present study because these targets can move (or it is easy to add movements to the stuffed toy doll because it is soft). The same android was used in the study by Bartnheck et al. (2009), while the same robot was used in the study by Brink et al. (2019). References Bartneck, C., Kanda, T., Ishiguro, H., & Hagita, N. (2009). My robotic doppelgänger - A critical look at the Uncanny Valley. Paper presented at the RO-MAN 2009 - The 18th IEEE International Symposium on Robot and Human Interactive Communication, 27 Sept. - 2 Oct. 2009 Brink, K. A., Gray, K., & Wellman, H. M. (2019). Creepiness creeps in: Uncanny valley feelings are acquired in childhood. Child Development, 90, 1202-1214. https://doi.org/10.1111/cdev.12999 Mathur, M. B., & Reichling, D. B. (2016). Navigating a social world with robot partners: A quantitative cartography of the Uncanny Valley. Cognition, 146, 22-32. https://doi.org/10.1016/j.cognition.2015.09.008 Mori, M. (1970). The uncanny valley. Energy, 7, 33-35 Okanda, M., Kanda, T., Ishiguro, H., & Itakura, S. (2013). Three- and 4-year-old children’s response tendencies to various interviewers. Journal of Experimental Child Psychology, 116, 68-77. https://doi.org/10.1016/j.jecp.2013.03.012 Okanda, M., & Taniguchi, K. (2021). How do children answer questions from a physically present humanoid robot? Infant and Child Development, e2300. https://10.1002/icd.2300 Okanda, M., Taniguchi, K., Wang, Y., & Itakura, S. (2021). Preschoolers’ and adults’ animism tendencies toward a humanoid robot. Computers in Human Behavior, 118, 106688. https://doi.org//10.1016/j.chb.2021.106688 Okanda, M., Zhou, Y., Kanda, T., Ishiguro, H., & Itakura, S. (2018). I hear your yes–no questions: Children’s response tendencies to a humanoid robot. Infant and Child Development, 27, e2079. https://doi.org//10.1002/icd.2079 Taniguchi, K., Okanda, M., & Itakura, S. (2020, September). The relationship between the uncanny valley and animism tendency. In Poster presented at The 84th Annual Convention of the Japanese Psychological Association, Tokyo University Hakusan Campus, Tokyo. Thompson, J. C., Trafton, J. G. & McKnight, P. (2011). The perception of humanness from the movements of synthetic agents. Perception 40, 695-704. https://doi:10.1068/p6900 Wellman, H. M. (2014). Making minds: How theory of mind develops. New York: Oxford University Press. Yamamoto, K., Tanaka, S., Kobayashi, H., Kozima, H. & Hashiya, K. (2009). A Non-Humanoid Robot in the “Uncanny Valley”: Experimental Analysis of the Reaction to Behavioral Contingency in 2–3 Year Old Children. PLOS ONE 4, e6974. https://doi:10.1371/journal.pone.0006974

Mori (1970) contended that people are likely to prefer artifacts such as humanoid robots when they appear similar to humans; however, this positive emotion could turn into revulsion, or fall into the uncanny valley, at some point, likely when they become too humanlike. In other words, we might feel unpleasant or creepy when artifacts such as humanoid robots, mannequins, zombies, or dolls become too humanoid. Mathur and Reichling (2016) showed various pictures of robots to adults and confirmed the existence of the uncanny valley phenomenon. Brink, Gray, and Wellman (2019) reported that when asked whether a humanoid and machine-like robot in videos were creepy, young children responded in the negative but children above nine years answered that the humanoid robot was creepier than the machine-like robot. Their findings suggest that the uncanny valley phenomenon develops over time and is not innate or evolutionary (Brink, Gray, and Wellman, 2019). Previous studies have pointed out that movements might also be an important factor for the uncanny valley phenomenon (e.g., Bartneck, Kanda, Ishiguro, & Hagita, 2009; Mori, 1970; Thompson, Trafton, & McKnight, 2011). Thompson et al. (2011) explored this issue using computer-generated (CG) avatars that moved differently; however, they did not find the uncanny valley phenomenon—adult participants responded that more humanlike movements in the CG avatar evoked more pleasant emotions (i.e., familiarity) and less eerie feelings. A similar finding was reported by Bartneck et al. (2009) who presented participants with an android (a highly realistic robot) that could move fully or limitedly and allowed them to experience face-to-face interactions with it; however, such limited movements in the android did not decrease adults’ feelings of congeniality toward it. The uncanny valley phenomenon might be much more complex than Mori (1970) originally suggested from the following two perspectives: 1) human-likeness (or level of anthropomorphism) can be determined not only from appearances and movements but also from behaviors, and 2) people do not always apply strict behavioral standards to robots that they do to humans (Bartneck et al., 2009). That is, adults might be more tolerant of robots’ incomplete movements (or behaviors), and their appeal is not likely to be influenced by such movements. Unlike adults, children may feel eerie when robots move, regardless of the quality of their movements. In experiments using humanoid robots, preschoolers expressed fear and few children refused to watch the humanoid robot in videos (Okanda, Kanda, Ishiguro, & Itakura, 2013; Okanda, Zhou, Kanda, Ishiguro, & Itakura, 2018) or did not want to view physically presented humanoid robots (Okanda & Taniguchi 2021; Okanda, Taniguchi, Wang, & Itakura, 2021). Moreover, Yamamoto, Tanaka, Kobayashi, Kozima, and Hashiya (2009) reported that 2- and 3-year-old children exhibited the uncanny valley effect when a non-humanlike robot (a small snowball-like robot, called Keepon) displayed humanlike contingent movements. Younger children are likely to believe that robots are similar to other artifacts such as dolls and should not move like humans. By contrast, adults and older children who have consolidated knowledge of folk biology and folk psychology might understand that robots are artifacts but expect robots to move and talk like humans (see also Brink et al., 2019; Wellman, 2014). We predict that movements rather than the degree of human-likeness in appearance in artifacts that are expected not to move might be more important in explaining the uncanny valley phenomenon in young children. In other words, the appearance and movements of artifacts might play different roles in the uncanny valley phenomenon in young children and adults. To the best of our knowledge, no study has directly compared children and adults to clarify this developmental change. In this experimental study, we will show photos and movies of four target artifacts—an android and a marionette with a real humanlike face as realistic targets, and a humanoid robot with a child-like face and a doll with an animated face as non-realistic targets—to children aged three, five, seven, and nine years, as well as adults. Further, we seek to examine the changes in their evaluation of uncanniness and human-likeness to the targets from before watching the movies (the photo condition) to after watching the movies (the movie condition). We will also explore how their uncanny valley feelings differ. We propose to include children aged three to nine following Yamamoto et al. (2009), who reported that children aged 2–3 years exhibited the uncanny valley phenomenon when confronted with a non-humanlike robot with contingent movements, and Brink et al. (2019), who documented that the appearance of robots led to the uncanny valley phenomenon among children aged nine years and above. As this task may be difficult for children aged two years and below, we include only children over three years. Initially, we showed pictures of 10 artifacts (a mummy marionette, a marionette with a realistic humanlike face, two types of toy dolls with realistic humanlike faces, and one stuffed toy doll with an animated face, a Japanese classic doll with a realistic humanlike face called ichimatsu-ningyo, three types of humanoid robots, and an android) to 16 undergraduate students and asked them to rate the human-likeness (“Does this look like a human?”) on a 5-point scale (1 for least humanlike, and 5 for most humanlike) for each target. These targets, except two marionettes, were used in a previous study (Taniguchi, Okanda, & Itakura, 2020). We conducted a hierarchical cluster analysis using a single linkage method from the Euclidean square distance matrix for the participants’ mean human-likeness scores (ranging from 1 to 5) for each target. We found that three humanoid robots were included in the first cluster, realistic dolls such as the ichimatsu-ningyo, the marionette with a realistic humanlike face, and two types of toy dolls with realistic humanlike faces were included in the second cluster, whereas the android, mummy, and stuffed toy doll with an animated face were not included in any cluster. Moreover, adults rated the android most humanlike (M=5.00), followed by the two toy dolls with realistic faces (M=4.44, 4.00), the ichimatsu-ningyo (M=4.00), the marionette with a realistic face (M=3.75), the stuffed doll with an animated face (M=3.44), and three robots (M=1.75, 1.75, 1.69); the mummy marionette (M=1.13) was rated as the least humanlike. Based on the results, we selected the android, the marionette with a realistic humanlike face, one of the robots (Nao, Aldebaran), and the stuffed doll with an animated face as the target objects in the present study because these targets can move (or it is easy to add movements to the stuffed toy doll because it is soft). The same android was used in the study by Bartnheck et al. (2009), while the same robot was used in the study by Brink et al. (2019). References Bartneck, C., Kanda, T., Ishiguro, H., & Hagita, N. (2009). My robotic doppelgänger - A critical look at the Uncanny Valley. Paper presented at the RO-MAN 2009 - The 18th IEEE International Symposium on Robot and Human Interactive Communication, 27 Sept. - 2 Oct. 2009 Brink, K. A., Gray, K., & Wellman, H. M. (2019). Creepiness creeps in: Uncanny valley feelings are acquired in childhood. Child Development, 90, 1202-1214. https://doi.org/10.1111/cdev.12999 Mathur, M. B., & Reichling, D. B. (2016). Navigating a social world with robot partners: A quantitative cartography of the Uncanny Valley. Cognition, 146, 22-32. https://doi.org/10.1016/j.cognition.2015.09.008 Mori, M. (1970). The uncanny valley. Energy, 7, 33-35 Okanda, M., Kanda, T., Ishiguro, H., & Itakura, S. (2013). Three- and 4-year-old children’s response tendencies to various interviewers. Journal of Experimental Child Psychology, 116, 68-77. https://doi.org/10.1016/j.jecp.2013.03.012 Okanda, M., & Taniguchi, K. (2021). How do children answer questions from a physically present humanoid robot? Infant and Child Development, e2300. https://10.1002/icd.2300 Okanda, M., Taniguchi, K., Wang, Y., & Itakura, S. (2021). Preschoolers’ and adults’ animism tendencies toward a humanoid robot. Computers in Human Behavior, 118, 106688. https://doi.org//10.1016/j.chb.2021.106688 Okanda, M., Zhou, Y., Kanda, T., Ishiguro, H., & Itakura, S. (2018). I hear your yes–no questions: Children’s response tendencies to a humanoid robot. Infant and Child Development, 27, e2079. https://doi.org//10.1002/icd.2079 Taniguchi, K., Okanda, M., & Itakura, S. (2020, September). The relationship between the uncanny valley and animism tendency. In Poster presented at The 84th Annual Convention of the Japanese Psychological Association, Tokyo University Hakusan Campus, Tokyo. Thompson, J. C., Trafton, J. G. & McKnight, P. (2011). The perception of humanness from the movements of synthetic agents. Perception 40, 695-704. https://doi:10.1068/p6900 Wellman, H. M. (2014). Making minds: How theory of mind develops. New York: Oxford University Press. Yamamoto, K., Tanaka, S., Kobayashi, H., Kozima, H. & Hashiya, K. (2009). A Non-Humanoid Robot in the “Uncanny Valley”: Experimental Analysis of the Reaction to Behavioral Contingency in 2–3 Year Old Children. PLOS ONE 4, e6974. https://doi:10.1371/journal.pone.0006974

This project includes the protocol for a systematic review analysing the uncanny valley effect on computer-generated faces.

This project includes the protocol for a systematic review analysing the uncanny valley effect on computer-generated faces.

Wicked unicorns, short fiction gnomes, and Year Three, oh my!  Lynne Thomas, Michael Damian Thomas, and Michi Trota return to discuss another year of Uncanny Magazine.  We discuss the future of the magazine, the latest Kickstarter campaign, editing, and much more! We hope you enjoy the episode! Feel free to shoot us an email at skiffyandfanty [at] gmail [dot] com! You can also leave a comment  on our website .  Our new intro music comes " Nocturnia " by Psychadelik Pedestrian ( CC BY 3.0 ), which has been slightly modified to include sound effects and for length purposes.

 برنامج The Uncanny Return مترجم Arabic sub البائع الخارق The Uncanny Counter

Eternal Gardens And The Queer Uncanny in Frances Hodgson Burnett's "In the Closed Room" (1902) by Kate Thomas.

Eternal Gardens And The Queer Uncanny in Frances Hodgson Burnett's "In the Closed Room" (1902) by Kate Thomas.

A talk by Tim Morton at Rice University, January 31, 2015. 

The Woo Crew are back with another installment of Freaky Friday. We get into a whole host of topics including head transplants, Charles Manson conspiracy, the new silk road, internet of things, 5G & so much more! Read more at http://www.TheDailySheeple.com and #WakeTheFlockUp

The "Uncanny" "Valley" Wiki dumped with WikiTeam tools.

This article is from Journal of Visualized Experiments : JoVE . Abstract Mori's Uncanny Valley Hypothesis1,2 proposes that the perception of humanlike characters such as robots and, by extension, avatars (computer-generated characters) can evoke negative or positive affect (valence) depending on the object's degree of visual and behavioral realism along a dimension of human likeness (DHL) (Figure 1). But studies of affective valence of subjective responses to variously realistic non-human characters have produced inconsistent findings 3, 4, 5, 6. One of a number of reasons for this is that human likeness is not perceived as the hypothesis assumes. While the DHL can be defined following Mori's description as a smooth linear change in the degree of physical humanlike similarity, subjective perception of objects along the DHL can be understood in terms of the psychological effects of categorical perception (CP) 7. Further behavioral and neuroimaging investigations of category processing and CP along the DHL and of the potential influence of the dimension's underlying category structure on affective experience are needed. This protocol therefore focuses on the DHL and allows examination of CP. Based on the protocol presented in the video as an example, issues surrounding the methodology in the protocol and the use in "uncanny" research of stimuli drawn from morph continua to represent the DHL are discussed in the article that accompanies the video. The use of neuroimaging and morph stimuli to represent the DHL in order to disentangle brain regions neurally responsive to physical human-like similarity from those responsive to category change and category processing is briefly illustrated.

Mitchell, W. J., Szerszen, Sr., K. A., Lu, A. S., Schermerhorn, P. W., Scheutz, M., & MacDorman, K. F. (2011). A mismatch in the human realism of face and voice produces an uncanny valley. i-Perception, 2(1), 10â12. Abstract. The uncanny valley has become synonymous with the uneasy feeling of viewing an animated character or robot that looks imperfectly human. Although previous uncanny valley ex- periments have focused on relations among a characterâs visual elements, the current experiment examines whether a mismatch in the human realism of a characterâs face and voice causes it to be evaluated as eerie. The results support this hypothesis.

Sarah Angliss is a composer, automatist and sound historian, fascinated with the uncanny (Das Unheimliche) - an idea she researches through her performance, her robotic creations and in the archives. The uncanny is the familiar, presented in an unfamiliar form, something we find strangely compelling yet unsettling. It’s the voice message that remains after death, the ventriloquist’s dummy, the hyper-real video game character or the Doppelgänger of folklore. At dConstruct, Sarah will consider how we can harness the uncanny to make digital experiences more compelling. She’ll also be exploring moments in history when technology, from phonographs to mobile phones, seemed to take on a peculiar caste - causing fault lines in our understanding of human identity. According to Sarah, if you’re looking for the next revolution in telecommunications, go in search of the uncanny.

Sarah Angliss is a composer, automatist and sound historian, fascinated with the uncanny (Das Unheimliche) - an idea she researches through her performance, her robotic creations and in the archives. The uncanny is the familiar, presented in an unfamiliar form, something we find strangely compelling yet unsettling. It’s the voice message that remains after death, the ventriloquist’s dummy, the hyper-real video game character or the Doppelgänger of folklore. At dConstruct, Sarah will consider how we can harness the uncanny to make digital experiences more compelling. She’ll also be exploring moments in history when technology, from phonographs to mobile phones, seemed to take on a peculiar caste - causing fault lines in our understanding of human identity. According to Sarah, if you’re looking for the next revolution in telecommunications, go in search of the uncanny.

A group of supernatural demon hunters known as "Counters," each with unique abilities, disguise themselves as employees of noodle restaurant, while tracking down evil spirits that terrorize the mortal world.

Current and emerging generative AI technologies increasingly enable the digital recreation of one’s own self. We forward that through the flaws generative AI introduce to manipulated self-images, viewers uncanny valley perceptions’ will be triggered. The uncanny valley hypothesis describes the relationship between stimuli’s human likeness and its aesthetic appeal, with a specific focus given to the negative affect engendered by synthetic beings who are almost though imperfectly human. In this context, the self-referencing effect is expected to enhance the strength of uncanny valley perceptions elicited by the viewing of digital recreations of the self. We seek to chart the progression of participants’ uncanny valley perceptions to human-robot face morph stimuli featuring either the participants’ self-likeness or strangers’ likeness to examine the impact of this manipulation on moderator and dependent variables of interest. By utilizing face morphs built from participants’ faces and a high-quality image of a real-world robot we will be able to efficiently create photorealistic stimuli bearing participants’ self or stranger likeness to directly test the uncanny valley hypothesis through human face morph stimuli in line with the self-referencing effect. Specifically, we seek to examine how the self and stranger human-robot face morph manipulation influences variables including stimuli’s mechano-human likeness, perceived humanness, eeriness, likeability, realism, as well as participants’ similarity identification, wishful identification, embodiment, and altruism toward the stimuli depicting an artificial partner. This examination will provide insight into the working mechanisms of how stimuli featuring the self influence the uncanny valley effect relative to stimuli featuring strangers. Additionally relevant to uncovering the theorized working mechanism of the self and stranger robot face manipulation, we will examine how participants’ pre-existing perception of robots and artificial intelligence mediate uncanny valley perceptions, as well as if participant sex mediate outcome variables. We expect to find significant differences in effect sizes resultant from our self and stranger robot manipulation, with heightened negative outcomes for the self-stimuli relative to the stranger stimuli at the apex of the uncanny valley. We thus will provide novel insight into real-world AI assisted self-photo manipulation, and suggest that AI assisted imagery should not bear physical resemblance to familiar individuals as to maximize aesthetic appeal.

Current and emerging generative AI technologies increasingly enable the digital recreation of one’s own self. We forward that through the flaws generative AI introduce to manipulated self-images, viewers uncanny valley perceptions’ will be triggered. The uncanny valley hypothesis describes the relationship between stimuli’s human likeness and its aesthetic appeal, with a specific focus given to the negative affect engendered by synthetic beings who are almost though imperfectly human. In this context, the self-referencing effect is expected to enhance the strength of uncanny valley perceptions elicited by the viewing of digital recreations of the self. We seek to chart the progression of participants’ uncanny valley perceptions to human-robot face morph stimuli featuring either the participants’ self-likeness or strangers’ likeness to examine the impact of this manipulation on moderator and dependent variables of interest. By utilizing face morphs built from participants’ faces and a high-quality image of a real-world robot we will be able to efficiently create photorealistic stimuli bearing participants’ self or stranger likeness to directly test the uncanny valley hypothesis through human face morph stimuli in line with the self-referencing effect. Specifically, we seek to examine how the self and stranger human-robot face morph manipulation influences variables including stimuli’s mechano-human likeness, perceived humanness, eeriness, likeability, realism, as well as participants’ similarity identification, wishful identification, embodiment, and altruism toward the stimuli depicting an artificial partner. This examination will provide insight into the working mechanisms of how stimuli featuring the self influence the uncanny valley effect relative to stimuli featuring strangers. Additionally relevant to uncovering the theorized working mechanism of the self and stranger robot face manipulation, we will examine how participants’ pre-existing perception of robots and artificial intelligence mediate uncanny valley perceptions, as well as if participant sex mediate outcome variables. We expect to find significant differences in effect sizes resultant from our self and stranger robot manipulation, with heightened negative outcomes for the self-stimuli relative to the stranger stimuli at the apex of the uncanny valley. We thus will provide novel insight into real-world AI assisted self-photo manipulation, and suggest that AI assisted imagery should not bear physical resemblance to familiar individuals as to maximize aesthetic appeal.

Current and emerging generative AI technologies increasingly enable the digital recreation of one’s own self. We forward that through the flaws generative AI introduce to manipulated self-images, viewers uncanny valley perceptions’ will be triggered. The uncanny valley hypothesis describes the relationship between stimuli’s human likeness and its aesthetic appeal, with a specific focus given to the negative affect engendered by synthetic beings who are almost though imperfectly human. In this context, the self-referencing effect is expected to enhance the strength of uncanny valley perceptions elicited by the viewing of digital recreations of the self. We seek to chart the progression of participants’ uncanny valley perceptions to human-robot face morph stimuli featuring either the participants’ self-likeness or strangers’ likeness to examine the impact of this manipulation on moderator and dependent variables of interest. By utilizing face morphs built from participants’ faces and a high-quality image of a real-world robot we will be able to efficiently create photorealistic stimuli bearing participants’ self or stranger likeness to directly test the uncanny valley hypothesis through human face morph stimuli in line with the self-referencing effect. Specifically, we seek to examine how the self and stranger human-robot face morph manipulation influences variables including stimuli’s mechano-human likeness, perceived humanness, eeriness, likeability, realism, as well as participants’ similarity identification, wishful identification, embodiment, and altruism toward the stimuli depicting an artificial partner. This examination will provide insight into the working mechanisms of how stimuli featuring the self influence the uncanny valley effect relative to stimuli featuring strangers. Additionally relevant to uncovering the theorized working mechanism of the self and stranger robot face manipulation, we will examine how participants’ pre-existing perception of robots and artificial intelligence mediate uncanny valley perceptions, as well as if participant sex mediate outcome variables. We expect to find significant differences in effect sizes resultant from our self and stranger robot manipulation, with heightened negative outcomes for the self-stimuli relative to the stranger stimuli at the apex of the uncanny valley. We thus will provide novel insight into real-world AI assisted self-photo manipulation, and suggest that AI assisted imagery should not bear physical resemblance to familiar individuals as to maximize aesthetic appeal.

In 1970, roboticist Masahiro Mori wrote an essay that said the closer robots come to lifelike, the more they unsettle humans. His theory became the Uncanny Valley, and science has been evaluating it - and what makes something creepy - in recent years. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Nick Carter Stories #120 [1914-12-26]. "An Uncanny Revenge; Or, Nick Carter And The Mind-Murderer." The chapters in the PDF have been bookmarked for ease of access.

Nick Carter Stories #120 [1914-12-26]. "An Uncanny Revenge; Or, Nick Carter And The Mind-Murderer." The chapters in the PDF have been bookmarked for ease of access.

Unicorns, editors, and cultures of empathy, oh my!  In our 281st episode, Lynne Thomas, Michael Damian Thomas, and Michi Trota join us to talk about Uncanny Magazine!  We explore how they feel about Year One, what's in store for the magazine in Year Two, the root of a good Uncanny story, cultures of empathy, and much more! We hope you enjoy the episode! Feel free to shoot us an email at skiffyandfanty [at] gmail [dot] com! You can also leave a comment  on our website .  Our intro music is "Time Flux" by ( Revolution Void ) /  CC BY 3.0 .

This article is from Frontiers in Psychology , volume 4 . Abstract The Uncanny Valley Hypothesis (Mori, 1970) predicts that perceptual difficulty distinguishing between a humanlike object (e.g., lifelike prosthetic hand, mannequin) and its human counterpart evokes negative affect. Research has focused on affect, with inconsistent results, but little is known about how objects along the hypothesis’ dimension of human likeness (DHL) are actually perceived. This study used morph continua based on human and highly realistic computer-generated (avatar) faces to represent the DHL. Total number and dwell time of fixations to facial features were recorded while participants (N = 60) judged avatar versus human category membership of the faces in a forced choice categorization task. Fixation and dwell data confirmed the face feature hierarchy (eyes, nose, and mouth in this order of importance) across the DHL. There were no further findings for fixation. A change in the relative importance of these features was found for dwell time, with greater preferential processing of eyes and mouth of categorically ambiguous faces compared with unambiguous avatar faces. There were no significant differences between ambiguous and human faces. These findings applied for men and women, though women generally dwelled more on the eyes to the disadvantage of the nose. The mouth was unaffected by gender. In summary, the relative importance of facial features changed on the DHL’s non-human side as a function of categorization ambiguity. This change was indicated by dwell time only, suggesting greater depth of perceptual processing of the eyes and mouth of ambiguous faces compared with these features in unambiguous avatar faces.

This preregistration is for a meta-analysis of the uncanny valley. Our work explores the 1) impact of uncanny valley perceptions on affect, behavior, cognition, and opinion; 2) effect sizes of the theorized causes of the uncanny valley; and 3) mediation effects of message modality on the foregoing.

This preregistration is for a meta-analysis of the uncanny valley. Our work explores the 1) impact of uncanny valley perceptions on affect, behavior, cognition, and opinion; 2) effect sizes of the theorized causes of the uncanny valley; and 3) mediation effects of message modality on the foregoing.

Podcast

Book Source: Digital Library of India Item 2015.125930 dc.contributor.author: Blackwood, Algernon dc.date.accessioned: 2015-07-03T13:33:10Z dc.date.available: 2015-07-03T13:33:10Z dc.date.digitalpublicationdate: 2012-10-11 dc.date.citation: 1914 dc.identifier.barcode: 99999990338590 dc.identifier.origpath: /data14/upload/0029/420 dc.identifier.copyno: 1 dc.identifier.uri: http://www.new.dli.ernet.in/handle/2015/125930 dc.description.scanningcentre: North Eastern States Libraries dc.description.main: 1 dc.description.tagged: 0 dc.description.totalpages: 446 dc.format.mimetype: application/pdf dc.language.iso: English dc.publisher.digitalrepublisher: Digital Library Of India dc.publisher: Peter Nevill, London dc.rights: In Public Domain dc.source.library: Birchandra State Central Library, Tripura dc.subject.classification: Literature dc.subject.classification: English Story dc.subject.keywords: Little Beggar dc.subject.keywords: South Wind dc.subject.keywords: Trod dc.subject.keywords: House Of The Past dc.subject.keywords: Tradition dc.title: Tales Of The Uncanny And Supernatural Ed. 1st

Book Source: Digital Library of India Item 2015.125930 dc.contributor.author: Blackwood, Algernon dc.date.accessioned: 2015-07-03T13:33:10Z dc.date.available: 2015-07-03T13:33:10Z dc.date.digitalpublicationdate: 2012-10-11 dc.date.citation: 1914 dc.identifier.barcode: 99999990338590 dc.identifier.origpath: /data14/upload/0029/420 dc.identifier.copyno: 1 dc.identifier.uri: http://www.new.dli.ernet.in/handle/2015/125930 dc.description.scanningcentre: North Eastern States Libraries dc.description.main: 1 dc.description.tagged: 0 dc.description.totalpages: 446 dc.format.mimetype: application/pdf dc.language.iso: English dc.publisher.digitalrepublisher: Digital Library Of India dc.publisher: Peter Nevill, London dc.rights: In Public Domain dc.source.library: Birchandra State Central Library, Tripura dc.subject.classification: Literature dc.subject.classification: English Story dc.subject.keywords: Little Beggar dc.subject.keywords: South Wind dc.subject.keywords: Trod dc.subject.keywords: House Of The Past dc.subject.keywords: Tradition dc.title: Tales Of The Uncanny And Supernatural Ed. 1st

Do individuals' donations and trust levels depend on their perception of the mind's dimensions? In this project we measure voluntary donations and trust across stimuli that vary in the dimensions of the mind. Voluntary donation is measured in a one-shot dictator game, and trust is measured in a one-shot standard trust game. We also measure important subjective ratings of attributes across the various stimuli such as "Human Likeness", "Trustworthiness", "Agency", and "Experience" through asking participants to rate each attribute via a Likert-scale.

From the deeply unsettling to the possibly supernatural, these thirty-one border-crossing stories from around the world explore the uncanny in literature, and delve into our increasingly unstable sense of self, home, and planet.  The Uncanny Reader: Stories from the Shadows  opens with "The Sand-man," E.T.A. Hoffmann's 1817 tale of doppelgangers and automatons—a tale that inspired generations of writers and thinkers to come. Stories by 19th and 20th century masters of the uncanny—including Edgar Allan Poe, Franz Kafka, and Shirley Jackson—form a foundation for sixteen award-winning contemporary authors, established and new, whose work blurs the boundaries between the familiar and the unknown. These writers come from Egypt, France, Germany, Japan, Poland, Russia, Scotland, England, Sweden, the United States, Uruguay, and Zambia—although their birthplaces are not always the terrains they plumb in their stories, nor do they confine themselves to their own eras. Contemporary authors include: Chris Adrian, Aimee Bender, Kate Bernheimer, Jean-Christophe Duchon-Doris, Mansoura Ez-Eldin, Jonathon Carroll, John Herdman, Kelly Link, Steven Millhauser, Joyce Carol Oates, Yoko Ogawa, Dean Paschal, Karen Russell, Namwali Serpell, Steve Stern and Karen Tidbeck.

Uncanny Valley-2

Uncanny Valley

Rare copy autographed by A. Grove Day

A Hollywood director of horror movies goes to Britain in the hope of finding proof of afterlife. The director, Richard Storm, obtains a job with a magazine dealing with the paranormal and gets more than he bargained for, meeting the devil himself. By the author of True Crime

A Hollywood director of horror movies goes to Britain in the hope of finding proof of afterlife. The director, Richard Storm, obtains a job with a magazine dealing with the paranormal and gets more than he bargained for, meeting the devil himself. By the author of True Crime

A Hollywood director of horror movies goes to Britain in the hope of finding proof of afterlife. The director, Richard Storm, obtains a job with a magazine dealing with the paranormal and gets more than he bargained for, meeting the devil himself. By the author of True Crime

A Hollywood director of horror movies goes to Britain in the hope of finding proof of afterlife. The director, Richard Storm, obtains a job with a magazine dealing with the paranormal and gets more than he bargained for, meeting the devil himself. By the author of True Crime

Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally "unhomely" modern condition.

Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally "unhomely" modern condition.

Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally "unhomely" modern condition.

You know what you should do if you cross over with X-Men and Teen Titans? GET THE BEST WRITER AND THE BEST ARTIST! So they got CHRIS CLAREMONT...however, George Perez, the artist for Teen Titans at the time, couldn't make it. He left Marvel. Therefore, he was replaced by someone just as good, Walter Simonson. Simonson would later go on to write and draw Thor, so he REALLY didn't need Claremont. Written by Chris Claremont Pencils by Walt Simonson Inks by Terry Austin Letters by Tom Orzechowski Colors by Glynis Oliver (Formerly Glynis Wein)

You know what you should do if you cross over with X-Men and Teen Titans? GET THE BEST WRITER AND THE BEST ARTIST! So they got CHRIS CLAREMONT...however, George Perez, the artist for Teen Titans at the time, couldn't make it. He left Marvel. Therefore, he was replaced by someone just as good, Walter Simonson. Simonson would later go on to write and draw Thor, so he REALLY didn't need Claremont. Written by Chris Claremont Pencils by Walt Simonson Inks by Terry Austin Letters by Tom Orzechowski Colors by Glynis Oliver (Formerly Glynis Wein)

You know what you should do if you cross over with X-Men and Teen Titans? GET THE BEST WRITER AND THE BEST ARTIST! So they got CHRIS CLAREMONT...however, George Perez, the artist for Teen Titans at the time, couldn't make it. He left Marvel. Therefore, he was replaced by someone just as good, Walter Simonson. Simonson would later go on to write and draw Thor, so he REALLY didn't need Claremont. Written by Chris Claremont Pencils by Walt Simonson Inks by Terry Austin Letters by Tom Orzechowski Colors by Glynis Oliver (Formerly Glynis Wein)

Music critic David Hajdu talked about the potential impact of artificial intelligence on art. This was part of the 2025 Gaithersburg, Maryland, Book Festival. Sponsor: Gaithersburg Book Festival

Greasing Camels - Our Uncanny Desire to Make the Humanly Impossible, Possible, Dr. Jeff Evans, March 13, 2011, Mark 10:17-30, Luke 18:18-30, Christ Community Bible Church

We are interested in seeing whether memory of robot faces is affected by their ratings on an 'uncanniness' scale.

This week on Casual Friday, the gang discusses the release of BEYOND TWO SOULS, and whether full performance capture brings us closer to that uncanny valley between games and reality. What do you think about full performance capture?

As immigration raids roll out across the U.S., those affected are processing the experience in the normal 2025 way—via vertical video. Across social media, people are uploading clips with uncanny-valley titles like “A normal day for me after being deported to Mexico” and “3 things I wish I knew before self-deporting from the US!” These posts have the normal shape, voiceovers, and fonts of influencer content, but their dystopian topic reflects the whiplash of the current historical moment. Doomscrolling last week, a particular clip caught my eye. A man sits on the bottom bunk of a metal bed, staring down at the floor, with the caption “Empezando una nueva vida después de que me Deportaran a México” (“Starting a new life after being Deported to Mexico”). This is the page of Roman Quintanilla, who has been posting videos on his Instagram, TikTok, and YouTube accounts for the last month. The videos have titles like “How I get water in Mexico for the week 😅” and “The real life after deportation 🇲🇽,” and are tagged with #deportation, #lifeafterdeportation, and #deportado. Accounts mention: @ro_mane95 Full story on 404media.co #deportation #mexico #trump #border #deport #tech #news