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Dare you enter the Uncanny Valley?

I must make a confession: I cried this weekend. With a movie. Animation. And what might seem strange to be an empathic emotional response to an inhuman and unreal entity has, like so many other things, a rational explanation.

This did not cry, but it is a good example to humanize dehumanized.

With the rise of robotics in the 70 coined the term Disturbing Valley comes to reflect the dynamics of empathy for beings in appearance humanoid, whether cartoon or robots and provides a curve that the closest thing to a human greater the degree of empathy experienced toward him until it reaches a point where it generates a strong repulsion. This answer may seem paradoxical but has tried to explain as a byproduct of the technical inability to provide these figures that something that makes them seem alive to our human eyes and to remind us of dead, sick or disfigured.

The reaction we experience when viewing these figures almost human but visceral expression is dead, but is caused by a stimulus which is primarily visual and it is curious that the visual stimuli associated with agents (all that being who is supposed will, but need not be human, cartoon or robots, and therefore not necessarily be tienenpor vivo) are processed by independent visual channels to those that process visual information connected to inanimate objects and emotional centers, hence, to my shame I cry with Toy Story 3. One of the evolutionary reasons for the connection between emotional responses and the perception of agents is that in reacting quickly to a dangerous situation such as that posed by a predator ( nonhuman agent) decision making happens on a subconscious and directed by the emotional response to this stimulus.

But what is it that makes a figure to be alive? Christine Looser and Thalia Wheatley published a work the end of last year that sought the point where it loses or gains a figure sharply. They used puppets and through a computer program created a series of images that transformed the image of the doll on a real person like the doll and asked and a group of people at which point the image seemed to be alive. The general response was that some life muñecoscobraban two thirds of the beginning of the video and the initial image of the doll. Another overlap between the study participants was that it was in their eyes where they found the biggest sign of life. So it seems that after all going to be true that the eyes that talk, although some animated films that it makes me tense is the movement of the lips which I think is a little theatrical, then you can watch the videos as part of the study, what you think?

The tipping point of animacy: how, when, and where we perceive life in a face . Looser CE , Wheatley T . Dartmouth College, Psychological and Brain Sciences, 6207 Moore Hall, Hanover, NH 03755, USA.

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