恐怖谷理论：修订间差异
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==電影中的恐怖谷== |
==電影中的恐怖谷== |
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縱使一般的實驗結果及應用僅限於機器人身上，恐怖谷的原理甚至可以伸延應用於[[计算机动画]]的角色上。美國的電影評論家Roger Ebert曾應用恐怖谷的概念於電影中類人角色的化妝及服裝上，特別在《[[萤火虫之墓]]》中。 |
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有些人認為恐怖谷是製作電腦動畫的難處。很多對於電腦動畫的影評都引恐怖谷為他們不喜歡某特定電影的原因。這個理論引申出若果希望令人類對某物件好感增加的原因，是盡量在卡通人物的外表上加入少些人類特徵，以免墮入「恐怖谷陷阱」。 |
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The Uncanny Valley was considered by some to be the reason behind the difficulty in creating computer-animated characters. Critics of computer animated films sometimes invoke the Uncanny Valley when explaining their dislike for a particular film. The principle leads to the conclusion that to generate a positive emotional response in human beings, it is often better to include ''fewer'' human characteristics in the entity, lest it fall into the Uncanny Valley. |
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電影中恐怖谷的例子，可以在[[彼思]]公司的[[玩偶提尼歷險記]]中找到。電影中嬰孩的臉全由電腦繪出, 跟人類差別不大, 但卻惹起小孩子的恐懼和反感。二維的影象令恐怖谷的效果減少,但嬰孩的臉的細節依然令人物看起來既邪惡又世故。而[[反斗奇兵]] 中的胡迪也被視為恐怖谷的例子。 |
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One example of the existence of the Valley in films is the early [[Pixar]] production ''[[Tin Toy]]''. There, the baby shown is fully computer generated yet looks less than human and can prove frightening or unpleasant to children. The effect is lessened by the two dimensional nature of the character, but the overly defined wrinkles and (comparatively) primitive rendering of the spittle makes the character appear evil or otherworldy. A similar effect is seen in the doll's head character in the film ''[[Toy Story]]''. The character can be again frightening to children because what it is, in essence, is an ambulatory deformed human head. Even if it is not frightening, most children prefer the cute appeal of the aliens or indeed [[Sheriff Woody|Woody]] because there is less human resemblance. |
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In [[2001]], [[Square Pictures]]' [[photorealistic]] movie, ''[[Final Fantasy: The Spirits Within]]'' failed at the box-office and is often cited as a possible victim of the Uncanny Valley. The movie was the first major wide-released CGI film to feature photorealistic human characters, and in turn brought about quite a bit of attention from movie critics and filmmakers alike. The Uncanny Valley theory is thought to be most prominent in Final Fantasy's character movements. |
In [[2001]], [[Square Pictures]]' [[photorealistic]] movie, ''[[Final Fantasy: The Spirits Within]]'' failed at the box-office and is often cited as a possible victim of the Uncanny Valley. The movie was the first major wide-released CGI film to feature photorealistic human characters, and in turn brought about quite a bit of attention from movie critics and filmmakers alike. The Uncanny Valley theory is thought to be most prominent in Final Fantasy's character movements. |
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2007年4月11日 (三) 09:58的版本
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恐怖谷理論是一個關於人類對機器人和非人類物體的感覺的假設。它在1970年由日本机器人专家森政弘提出，但「恐怖谷」一詞由Ernst Jentsch於1906年的論文《恐怖谷心理學》中提出，而他的觀點被佛洛伊德1919年的論文《恐怖谷》中闡述，因而成為著名理論。
森政弘的假設指出，由於機器人與人類在外表﹑動作上都相當相似，所以人類亦會對機器人產生正面的情感；直至到了一個特定程度，他們的反應便會突然變得極之反感。哪怕機器人与人类有一点点的差别，都会显得非常显眼刺目，让整个机器人显得非常僵硬恐怖，让人有面对行尸走肉的感觉。可是，當機器人的外表和動作和人類的相似度繼續上升的時候，人類對他們的情感反應亦會變回正面，貼近人類與人類之間的移情作用。
「恐怖谷」一詞用以形容人類對跟他們有某程度上相似的機器人的排斥反應。而「谷」就是指在研究裏「好感度對相似度」的關係圖中，在相似度臨近100%前，好感度突然墜至反感水平，然後回升至好感的那段範圍。
基礎理論
恐怖谷現象可以用以下想法解釋，如果一個實體充分地「不夠擬人」，那它的類人特徵就會顯眼並且容易辨認，產生移情作用。在另一方面，要是一個實體「非常擬人」，那它的非類人特徵就會成為顯眼的部份，在人類觀察者眼中產生一種古怪的感覺。
另一個可能性是，病患者與屍體跟一些類人機器人有很多視覺上的畸形相似，引出觀察者同樣的惊慌和情緒劇變。這種反應在機器人的情況上比屍體會更糟，因為人們能輕易明白自己對屍體厭惡感覺的原因，但卻無法清楚了解自己為何對機器人產生這種厭惡。行為上的畸形包括疾病的行為特微、神經學上的狀態甚或精神上的機能障礙，再次喚起觀察者嚴重的負面情緒。
這現象也能用進化心理學的言語解釋。首先，處於恐怖谷的實體已足夠地擬人，能被視為人類物種的一員。根據進化心理學的理論，經過數百萬年的物競天擇，沒有被大自然淘呔的現存人類腦部中有一種邏輯偏坦性，提供一種高度能力去感應並且排斥那些反映遺傳性疾病或缺乏健康的整體外表上微觀或宏觀人類畸型。因此無意地（也可以有意地，假如觀察者明確地對此作出思考），那些反常的類人實體在人類基因庫中會有的潛在衝擊，同樣會響起觀察者的警號。這解釋了為甚麼人類總很難覺得進行性接觸的類人實體十分有魅力。（參看下文）
有些機械人科學家曾重重地批評恐怖谷理論，指出森政弘圖表中最右邊的部份毫無根據，因為至二十一世紀初的技術只能做到擬人性不高的機械人。曾製造仿真女友機械頭顱，並與之墮入愛河的美國機械人研究者David Hanson說，恐怖谷的概念「完完全全地是一個偽科學，但人們卻待之以科學」。卡内基梅隆大学的人類－機械人互動研究者Sara Kiesler質疑恐怖谷的科學地位，提出「我們有證據顯示出它是對的，也有證據顯示它是錯的。」
電影中的恐怖谷
縱使一般的實驗結果及應用僅限於機器人身上，恐怖谷的原理甚至可以伸延應用於计算机动画的角色上。美國的電影評論家Roger Ebert曾應用恐怖谷的概念於電影中類人角色的化妝及服裝上，特別在《萤火虫之墓》中。
有些人認為恐怖谷是製作電腦動畫的難處。很多對於電腦動畫的影評都引恐怖谷為他們不喜歡某特定電影的原因。這個理論引申出若果希望令人類對某物件好感增加的原因，是盡量在卡通人物的外表上加入少些人類特徵，以免墮入「恐怖谷陷阱」。
電影中恐怖谷的例子，可以在彼思公司的玩偶提尼歷險記中找到。電影中嬰孩的臉全由電腦繪出, 跟人類差別不大, 但卻惹起小孩子的恐懼和反感。二維的影象令恐怖谷的效果減少,但嬰孩的臉的細節依然令人物看起來既邪惡又世故。而反斗奇兵 中的胡迪也被視為恐怖谷的例子。
In 2001, Square Pictures' photorealistic movie, Final Fantasy: The Spirits Within failed at the box-office and is often cited as a possible victim of the Uncanny Valley. The movie was the first major wide-released CGI film to feature photorealistic human characters, and in turn brought about quite a bit of attention from movie critics and filmmakers alike. The Uncanny Valley theory is thought to be most prominent in Final Fantasy's character movements.
It has been said the best way to accomplish convincing human movements and to "jump" the Uncanny Valley in computer animation is to combine both motion capture and keyframing techniques. Though the former has become a popular technique, keyframing is still widely used throughout the animation industry. The film adaptation of J.R.R. Tolkien's The Lord of the Rings, which features the character Gollum, uses this combined technique with stunning results. Note, however, that Gollum's eyes and face were animated using only keyframing, and that the Gollum animation also featured other advances in modelling (including skin texture, and effects such as saliva around lips) which allow the character's external appearance to reach the far side of the Valley. Nevertheless, one obvious caveat with Gollum is that the character is evidently non-human (and, indeed, intentionally uncanny from the start) and so may not trigger the same response as a human figure would when modelled using the same techniques.
Despite advances in computer animation, some feel the Uncanny Valley affected two CGI films of 2004, The Incredibles and The Polar Express. The close dates of release led to many critics' comparison of the two movies, with some preferring the deliberately stylized appearance of the characters in The Incredibles over the more human-like characters in The Polar Express (which were described by many critics as being "disturbing"). Another reason believed to contribute to the unnerving look of the characters in 'the Polar Express' was the use of Performance Capture technology. This technology, when applied to 3D characters has been seen as having a large part in the failure of such films as 'the Polar Express' citing a disconnect between the audience and the characters. This has not been the case in studios which still employ traditional techniques to 3D models, such as Pixar in 'the Incredibles', which some believe allows them to avoid entering the Uncanny Valley.
The CG animation Final Flight of the Osiris in the Animatrix also suffers from this - although, as this was also made with the same techniques as in Final Fantasy: The Spirits Within, it was in some ways expected to. Erotic sequences with Uncanny Valley characters, as featured in Final Flight, are particularly disturbing, since they provide conflicting messages of "this is arousing" and "this is non-human".
Incidentally, Total Recall gives a good example of how uncomfortable one can feel towards Uncanny Valley encounters when Arnold Schwarzenegger attempts to pass through martian customs disguised as an overweight woman. This effect may even apply to non-human characters who are supposed to have human traits: another example might be the difference between the titular canine in the first Scooby-Doo movie, versus the dog's warm and likeable (but much less detailed) appearance in the original cartoon.
The Uncanny Valley is also a plot point in some movies about robotics. A.I.: Artificial Intelligence centers on a future where many people are disturbed at how realistic the new line of androids is. For example, a rowdy crowd that rejoices in watching robot destruction derbies called "Flesh Fairs" falls silent when the next subject about to be ripped apart appears to be an adorable human boy. In I, Robot, the newest wave of U.S. Robotics robots is far more humanoid in facial expressions and appearance. This disturbs main character Det. Del Spooner, who was already bothered by the boxy metal robots that preceded them. "Why do you give them faces?" he asks one of the robots' programmers as he stares into a sea of identical new robots. He then discharges his firearm into the "face" of a robot at point-blank range, effectively making his point to the movie audience who will gasp at the sight of him "executing" a "person."
"Blade Runner" also hinted at this phenomenon, as the central character in the film, Rick Deckard, overcomes the valley with the android Rachel, and other "replicants", as they were known in the film. The novel on which that film was based, Phillip K. Dick's "Do Androids Dream of Electric Sheep?", delved even deeper into what empathy for androids (humanoid robots) would mean, what it would take to achieve it and what happens when it fails.
The Rotoscoped film, A Scanner Darkly, also based on a Phillip K. Dick story, uses the Uncanny Valley to serve its drugged up atmosphere, making the visuals at once beautiful and disturbing.
In 2007, a CGI likeness of the deceased Orville Redenbacher was used in a television advertisement promoting popcorn. There were many criticisms of the advertisements in which people were repulsed by the zombie-like appearance of the likeness. The Uncanny Valley was referenced in some of the criticisms directed at the advertising agency. [1]
藝術作品中的恐怖谷理論
對於恐怖谷，作家Scott McCloud在他的作品認識漫畫（Understanding Comics）中提出另一個版本的剖析。他指出，一些結構簡單的卡通人物，更能讓讀者保留想像空間及增強他們的認同感。因此，一個簡單的卡通人物能使讀者代入他們的自我認知；相反，要是卡通人物的結構漸趨複雜甚達接近照片的程度，人們會感到那是遠離自己的「他」，對於認知感到困難。
McCloud主要從事具像派藝術，例如電子遊戲、漫畫與動畫，而非像森政弘般探討真實世界中的類人實體。森政弘的一篇短論文也曾提及過藝術作品上的恐怖谷理論：他提出人類圖案的藝術「理想化」會比真實人類的臉孔更能令好感回升（以佛的傳統表達方式作為例子）。
遊戲中的恐怖谷
隨著遊戲機與個人電腦的發展，電子遊戲中的恐怖谷將會越來越常見，特別在「下一代」的硬件中。
图形处理器的製造商NVIDIA及ATI（現在為AMD）常規地製造了技術展示樣本，描繪出更真實的人類特徵。[2]
在過去的E3电子娱乐展览中，新力公司曾展示一些繪像已步進恐怖谷的預售硬件。在2000年，新力公司以PlayStation 2的情緒引擎展示了一個真實的老人臉孔。在2005年，新力展示了影星Alfred Monlina在真實燈光散射下的臉孔表情變化。2006年，美商藝電公司展示了以一種嶄新表情捕足技術所繪畫的泰格·伍兹頭部，而這正是她在市場上稱之為Playable Universal Capture（或簡稱為UCAP[3]）的技術。另一個展示則來自預售的"Heavy Rain"。電影展示一個女人正聆聽遊戲的一部份。[4]
References
- ^ Lair of the Gecko: Popcorn Response
- ^ http://www.nvidia.com/page/geforce7_demos.html
- ^ http://www.gamespot.com/ps3/sports/tigerwoodspgatour07/media.html
- ^ http://www.gamevideos.com/video/id/3745 Heavy Rain showing off what is possible with the next-generation videogame consoles.
参考條目
External links and references
- Mori, Masahiro (1970). Bukimi no tani The uncanny valley (K. F. MacDorman & T. Minato, Trans.). Energy, 7(4), 33–35. (Originally in Japanese)
- Mori, Masahiro (2005). On the Uncanny Valley. Proceedings of the Humanoids-2005 workshop: Views of the Uncanny Valley. 5 December 2005, Tsukuba, Japan.
- MacDorman, Karl F. (2005). Androids as an experimental apparatus: Why is there an uncanny valley and can we exploit it? CogSci-2005 Workshop: Toward Social Mechanisms of Android Science, 106-118. (An English translation of Mori's "The Uncanny Valley" made by Karl MacDorman and Takashi Minato appears in Appendix B of the paper.)
- MacDorman, Karl F. & Ishiguro, H. (2006). The uncanny advantage of using androids in cognitive science research. Interaction Studies, 7(3), 297-337.
- MacDorman, K. F. (2006). Subjective ratings of robot video clips for human likeness, familiarity, and eeriness: An exploration of the uncanny valley. ICCS/CogSci-2006 Long Symposium: Toward Social Mechanisms of Android Science. July 26, 2005. Vancouver, Canada.
- IEEE-RAS Humanoids-2005 Workshop: Views on the Uncanny Valley. Was held in Tsukuba, Japan, near Tokyo on December 5, 2005.
- The Man Who Mistook His Girlfriend For A Robot (Dan Ferber, Popular Science, September 2003)
- The Uncanny Valley (Dave Bryant)
- Almost too human and lifelike for comfort - research journal for an uncanny valley PhD project
- Relation between motion and appearance is communication between androids and humans
- Android Science video, the Discovery Channel, 24 March 2005, discusses android science, the uncanny valley and features an Actroid.
- Wired article: "Why is this man smiling?", June 2002.
- The Polar Express: A Virtual Train Wreck, Part 1 - Animation Director Ward Jenkins discusses in length about the use of motion capture in the film. In Part 2, he tries to "fix" the uncanny valley problem by using Photoshop to tweak some of the characters in the film.