creating the canon

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UNDERSTANDING OUR REACTION TO THE MACHINEThoughts on smart white paper from the think on paper series of promotions from French paper.

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

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[COMMON]

FILES=65

ROOT=044,850,C:\UNCANNY\COMMAND\DATA.SYS

[MENU]

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MENUITEM=1, SYSTEM LOAD

MENUITEM=2, THE UNCANNY VALLEY

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[1]

loading……002%

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Country=044,850,C:\WINDOWS\COMMAND\country.sys

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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: fb0d72af13cfe1f64c2f53193c255cdb017f2f20RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384: 5a4814197490a5438a530c777afde61e 0798f0e26a6daa4036e951aa0134e581

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[MENU]

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loading……016%

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FILES=40


[MENU]

REM *********Start Menu*************************************



START UPINFORMATION LOADSMART WHITE PAPERTHE VALLEY

REM ***********OPTIONS*************************************************

MENUCOLOR=15,0

MENUDEFAULT=2 ,4



SHA1: fb0d72af13cfe1f64c2f53193c255cdb017f2f20

RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256:

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FILES=40


[MENU]

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[COMMON]

FILES=40


[MENU]

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MENUCOLOR=15,0

MENUDEFAULT=2 ,4




RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256:

[COMMON]

FILES=40


[MENU]

REM *********Start Menu*************************************




REM ***********OPTIONS*************************************************

MENUCOLOR=15,0

MENUDEFAULT=2 ,4

[1]

[COMMON]

FILES=40


[MENU]

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START UPINFORMATION LOADSMART WHITE PAPER

[COMMON]

FILES=40


[MENU]

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REM ***********OPTIONS*************************************************

MENUCOLOR=15,0

MENUDEFAULT=2 ,4


CRYPT (form: $ MD5? $ SALT $ CRYPT):

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FEAR

HUMAN

EMOTION

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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

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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

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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 .

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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

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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

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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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.

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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 . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

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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

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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

.

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RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363dSHA2-256: ce54d314ea2ed451c7061e1077d0bd11 2d7527531338576e9c98e362ba6ed508SHA2-384:

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CREAT–ING THE CANON

Understanding the our reaction to the machine

DATA BOOTDATA BOOTDATA BOOT


TITLE PAGE HYPOTHESES THEORETICAL BASIS

VALLEY VALLEY

SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD SYSTEM LOAD

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CREAT–ING THE CANON

2%SYSTEM LOAD

4%DATA BOOT

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18%START UP

20%START UP

22%INFORMATION LOAD

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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




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

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84%THE SIGNIFICANCE

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90%INFORMATION BOOT

92%PRODUCTION NOTES

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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

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HYPOTHESES THEORETICAL BASIS

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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.

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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

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, from

the w

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p. S

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um

anoid

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ay a

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a ‘fa

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robots b

uilt to

rese

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hum

an, a

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ynoid

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robots b

uilt to

rese

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um

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ale

, how

eve

r the te

rm ‘A

ndro

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sed in

refe

rence to

both

sexes.

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VALLEY

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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

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

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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 011110 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 0

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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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

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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

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .

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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

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THERE IS A FAR GREATER RISK OF FALLING INTO THE UNCANNY VALLEY

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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.

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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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. . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .



SHA1: 5aa5f039478e9ea0aeca31781e6381047e583656RIPEMD-160: 48bd3fbe 737d5589 d6e4a869 2dcab81b edfc9227SHA2-256: 9e320b73ad311f1f56e121609e89d336 ced664e3a105e91d0e215e865d7e5a3dSHA2-384: 3ae408125d5a501f36c8f75f876fe42e f8bc3f3257a7da03cb135420a2903027 9c6bf8ed4ad31847253e9b5eec24e264SHA2-512: 552b7d33e13b4478d0d800709693e181 e823a5163a974b61278643c121cae856 8d5f5e49c8e65b375d40bd157ed55b65 d8c3854059143a582c40b8f2c7b62c3f









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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












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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .

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

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ancest

ors

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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

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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

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THE SIGNIFICANCE

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CRYPT (form: $ MD5? $ SALT $ CRYPT):$1$7HiZIxV8$oPVAZZcnXLgViEOVvFAIr0 (form: SALT[2] CRYPT[11]):

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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

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Self p

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art o

f an a

nim

al’s in

stinct th

at d

em

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at th

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arts o

f this m

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s disc

om

fort so

that th

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rganism

is inclin

ed to

stop th

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ain

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ause

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ay c

ause

a re

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of a

dre

nalin

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hic

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as th

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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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[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


RIPEMD-160: d3e5ea83 7624ebe3 b349c122 73966f0e eb43363d

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


CRY

PT):


ucVe


1]):

pscpq18xPWMpU


781e

6381

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5836

56RIPEMD-160:

48bd3fbe 737d5589 d6e4a869

2dc

ab81

b ed

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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


CRY

PT):


ucVe


1]):

pscpq18xPWMpU


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


CRY

PT):


ucVe


1]):

pscpq18xPWMpU


781e

6381

047e

5836

56RIPEMD-160:

48bd3fbe 737d5589 d6e4a869

2dc

ab81

b ed

fc92

27SHA2-256:

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

x-axis

y-axis

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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

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. . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . . . . .

Cover

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Dur-

O-T

one

At

French P

aper,

we w

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of

eve

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Packin

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French i

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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


Pop Ink

phone - 1-269-687-0188


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