Tag Archives: emotion
#436190 What Is the Uncanny Valley?
Have you ever encountered a lifelike humanoid robot or a realistic computer-generated face that seem a bit off or unsettling, though you can’t quite explain why?
Take for instance AVA, one of the “digital humans” created by New Zealand tech startup Soul Machines as an on-screen avatar for Autodesk. Watching a lifelike digital being such as AVA can be both fascinating and disconcerting. AVA expresses empathy through her demeanor and movements: slightly raised brows, a tilt of the head, a nod.
By meticulously rendering every lash and line in its avatars, Soul Machines aimed to create a digital human that is virtually undistinguishable from a real one. But to many, rather than looking natural, AVA actually looks creepy. There’s something about it being almost human but not quite that can make people uneasy.
Like AVA, many other ultra-realistic avatars, androids, and animated characters appear stuck in a disturbing in-between world: They are so lifelike and yet they are not “right.” This void of strangeness is known as the uncanny valley.
Uncanny Valley: Definition and History
The uncanny valley is a concept first introduced in the 1970s by Masahiro Mori, then a professor at the Tokyo Institute of Technology. The term describes Mori’s observation that as robots appear more humanlike, they become more appealing—but only up to a certain point. Upon reaching the uncanny valley, our affinity descends into a feeling of strangeness, a sense of unease, and a tendency to be scared or freaked out.
Image: Masahiro Mori
The uncanny valley as depicted in Masahiro Mori’s original graph: As a robot’s human likeness [horizontal axis] increases, our affinity towards the robot [vertical axis] increases too, but only up to a certain point. For some lifelike robots, our response to them plunges, and they appear repulsive or creepy. That’s the uncanny valley.
In his seminal essay for Japanese journal Energy, Mori wrote:
I have noticed that, in climbing toward the goal of making robots appear human, our affinity for them increases until we come to a valley, which I call the uncanny valley.
Later in the essay, Mori describes the uncanny valley by using an example—the first prosthetic hands:
One might say that the prosthetic hand has achieved a degree of resemblance to the human form, perhaps on a par with false teeth. However, when we realize the hand, which at first site looked real, is in fact artificial, we experience an eerie sensation. For example, we could be startled during a handshake by its limp boneless grip together with its texture and coldness. When this happens, we lose our sense of affinity, and the hand becomes uncanny.
In an interview with IEEE Spectrum, Mori explained how he came up with the idea for the uncanny valley:
“Since I was a child, I have never liked looking at wax figures. They looked somewhat creepy to me. At that time, electronic prosthetic hands were being developed, and they triggered in me the same kind of sensation. These experiences had made me start thinking about robots in general, which led me to write that essay. The uncanny valley was my intuition. It was one of my ideas.”
Uncanny Valley Examples
To better illustrate how the uncanny valley works, here are some examples of the phenomenon. Prepare to be freaked out.
1. Telenoid
Photo: Hiroshi Ishiguro/Osaka University/ATR
Taking the top spot in the “creepiest” rankings of IEEE Spectrum’s Robots Guide, Telenoid is a robotic communication device designed by Japanese roboticist Hiroshi Ishiguro. Its bald head, lifeless face, and lack of limbs make it seem more alien than human.
2. Diego-san
Photo: Andrew Oh/Javier Movellan/Calit2
Engineers and roboticists at the University of California San Diego’s Machine Perception Lab developed this robot baby to help parents better communicate with their infants. At 1.2 meters (4 feet) tall and weighing 30 kilograms (66 pounds), Diego-san is a big baby—bigger than an average 1-year-old child.
“Even though the facial expression is sophisticated and intuitive in this infant robot, I still perceive a false smile when I’m expecting the baby to appear happy,” says Angela Tinwell, a senior lecturer at the University of Bolton in the U.K. and author of The Uncanny Valley in Games and Animation. “This, along with a lack of detail in the eyes and forehead, can make the baby appear vacant and creepy, so I would want to avoid those ‘dead eyes’ rather than interacting with Diego-san.”
3. Geminoid HI
Photo: Osaka University/ATR/Kokoro
Another one of Ishiguro’s creations, Geminoid HI is his android replica. He even took hair from his own scalp to put onto his robot twin. Ishiguro says he created Geminoid HI to better understand what it means to be human.
4. Sophia
Photo: Mikhail Tereshchenko/TASS/Getty Images
Designed by David Hanson of Hanson Robotics, Sophia is one of the most famous humanoid robots. Like Soul Machines’ AVA, Sophia displays a range of emotional expressions and is equipped with natural language processing capabilities.
5. Anthropomorphized felines
The uncanny valley doesn’t only happen with robots that adopt a human form. The 2019 live-action versions of the animated film The Lion King and the musical Cats brought the uncanny valley to the forefront of pop culture. To some fans, the photorealistic computer animations of talking lions and singing cats that mimic human movements were just creepy.
Are you feeling that eerie sensation yet?
Uncanny Valley: Science or Pseudoscience?
Despite our continued fascination with the uncanny valley, its validity as a scientific concept is highly debated. The uncanny valley wasn’t actually proposed as a scientific concept, yet has often been criticized in that light.
Mori himself said in his IEEE Spectrum interview that he didn’t explore the concept from a rigorous scientific perspective but as more of a guideline for robot designers:
Pointing out the existence of the uncanny valley was more of a piece of advice from me to people who design robots rather than a scientific statement.
Karl MacDorman, an associate professor of human-computer interaction at Indiana University who has long studied the uncanny valley, interprets the classic graph not as expressing Mori’s theory but as a heuristic for learning the concept and organizing observations.
“I believe his theory is instead expressed by his examples, which show that a mismatch in the human likeness of appearance and touch or appearance and motion can elicit a feeling of eeriness,” MacDorman says. “In my own experiments, I have consistently reproduced this effect within and across sense modalities. For example, a mismatch in the human realism of the features of a face heightens eeriness; a robot with a human voice or a human with a robotic voice is eerie.”
How to Avoid the Uncanny Valley
Unless you intend to create creepy characters or evoke a feeling of unease, you can follow certain design principles to avoid the uncanny valley. “The effect can be reduced by not creating robots or computer-animated characters that combine features on different sides of a boundary—for example, human and nonhuman, living and nonliving, or real and artificial,” MacDorman says.
To make a robot or avatar more realistic and move it beyond the valley, Tinwell says to ensure that a character’s facial expressions match its emotive tones of speech, and that its body movements are responsive and reflect its hypothetical emotional state. Special attention must also be paid to facial elements such as the forehead, eyes, and mouth, which depict the complexities of emotion and thought. “The mouth must be modeled and animated correctly so the character doesn’t appear aggressive or portray a ‘false smile’ when they should be genuinely happy,” she says.
For Christoph Bartneck, an associate professor at the University of Canterbury in New Zealand, the goal is not to avoid the uncanny valley, but to avoid bad character animations or behaviors, stressing the importance of matching the appearance of a robot with its ability. “We’re trained to spot even the slightest divergence from ‘normal’ human movements or behavior,” he says. “Hence, we often fail in creating highly realistic, humanlike characters.”
But he warns that the uncanny valley appears to be more of an uncanny cliff. “We find the likability to increase and then crash once robots become humanlike,” he says. “But we have never observed them ever coming out of the valley. You fall off and that’s it.” Continue reading
Posted in Human Robots
#435066 Does artificial intelligence deserve the ...
In the HBO show Westworld, robots designed to display emotion, feel pain, and die like humans populate a sprawling western-style theme park for wealthy guests who pay to act out their fantasies. As the show progresses, and the robots learn more about the world in which they live, they begin to realize that they are the playthings of the person who programmed them. Continue reading
Posted in Human Robots
#434311 Understanding the Hidden Bias in ...
Facial recognition technology has progressed to point where it now interprets emotions in facial expressions. This type of analysis is increasingly used in daily life. For example, companies can use facial recognition software to help with hiring decisions. Other programs scan the faces in crowds to identify threats to public safety.
Unfortunately, this technology struggles to interpret the emotions of black faces. My new study, published last month, shows that emotional analysis technology assigns more negative emotions to black men’s faces than white men’s faces.
This isn’t the first time that facial recognition programs have been shown to be biased. Google labeled black faces as gorillas. Cameras identified Asian faces as blinking. Facial recognition programs struggled to correctly identify gender for people with darker skin.
My work contributes to a growing call to better understand the hidden bias in artificial intelligence software.
Measuring Bias
To examine the bias in the facial recognition systems that analyze people’s emotions, I used a data set of 400 NBA player photos from the 2016 to 2017 season, because players are similar in their clothing, athleticism, age and gender. Also, since these are professional portraits, the players look at the camera in the picture.
I ran the images through two well-known types of emotional recognition software. Both assigned black players more negative emotional scores on average, no matter how much they smiled.
For example, consider the official NBA pictures of Darren Collison and Gordon Hayward. Both players are smiling, and, according to the facial recognition and analysis program Face++, Darren Collison and Gordon Hayward have similar smile scores—48.7 and 48.1 out of 100, respectively.
Basketball players Darren Collision (left) and Gordon Hayward (right). basketball-reference.com
However, Face++ rates Hayward’s expression as 59.7 percent happy and 0.13 percent angry and Collison’s expression as 39.2 percent happy and 27 percent angry. Collison is viewed as nearly as angry as he is happy and far angrier than Hayward—despite the facial recognition program itself recognizing that both players are smiling.
In contrast, Microsoft’s Face API viewed both men as happy. Still, Collison is viewed as less happy than Hayward, with 98 and 93 percent happiness scores, respectively. Despite his smile, Collison is even scored with a small amount of contempt, whereas Hayward has none.
Across all the NBA pictures, the same pattern emerges. On average, Face++ rates black faces as twice as angry as white faces. Face API scores black faces as three times more contemptuous than white faces. After matching players based on their smiles, both facial analysis programs are still more likely to assign the negative emotions of anger or contempt to black faces.
Stereotyped by AI
My study shows that facial recognition programs exhibit two distinct types of bias.
First, black faces were consistently scored as angrier than white faces for every smile. Face++ showed this type of bias. Second, black faces were always scored as angrier if there was any ambiguity about their facial expression. Face API displayed this type of disparity. Even if black faces are partially smiling, my analysis showed that the systems assumed more negative emotions as compared to their white counterparts with similar expressions. The average emotional scores were much closer across races, but there were still noticeable differences for black and white faces.
This observation aligns with other research, which suggests that black professionals must amplify positive emotions to receive parity in their workplace performance evaluations. Studies show that people perceive black men as more physically threatening than white men, even when they are the same size.
Some researchers argue that facial recognition technology is more objective than humans. But my study suggests that facial recognition reflects the same biases that people have. Black men’s facial expressions are scored with emotions associated with threatening behaviors more often than white men, even when they are smiling. There is good reason to believe that the use of facial recognition could formalize preexisting stereotypes into algorithms, automatically embedding them into everyday life.
Until facial recognition assesses black and white faces similarly, black people may need to exaggerate their positive facial expressions—essentially smile more—to reduce ambiguity and potentially negative interpretations by the technology.
Although innovative, artificial intelligence can perpetrate and exacerbate existing power dynamics, leading to disparate impact across racial/ethnic groups. Some societal accountability is necessary to ensure fairness to all groups because facial recognition, like most artificial intelligence, is often invisible to the people most affected by its decisions.
Lauren Rhue, Assistant Professor of Information Systems and Analytics, Wake Forest University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Image Credit: Alex_Po / Shutterstock.com Continue reading
Posted in Human Robots
#434303 Making Superhumans Through Radical ...
Imagine trying to read War and Peace one letter at a time. The thought alone feels excruciating. But in many ways, this painful idea holds parallels to how human-machine interfaces (HMI) force us to interact with and process data today.
Designed back in the 1970s at Xerox PARC and later refined during the 1980s by Apple, today’s HMI was originally conceived during fundamentally different times, and specifically, before people and machines were generating so much data. Fast forward to 2019, when humans are estimated to produce 44 zettabytes of data—equal to two stacks of books from here to Pluto—and we are still using the same HMI from the 1970s.
These dated interfaces are not equipped to handle today’s exponential rise in data, which has been ushered in by the rapid dematerialization of many physical products into computers and software.
Breakthroughs in perceptual and cognitive computing, especially machine learning algorithms, are enabling technology to process vast volumes of data, and in doing so, they are dramatically amplifying our brain’s abilities. Yet even with these powerful technologies that at times make us feel superhuman, the interfaces are still crippled with poor ergonomics.
Many interfaces are still designed around the concept that human interaction with technology is secondary, not instantaneous. This means that any time someone uses technology, they are inevitably multitasking, because they must simultaneously perform a task and operate the technology.
If our aim, however, is to create technology that truly extends and amplifies our mental abilities so that we can offload important tasks, the technology that helps us must not also overwhelm us in the process. We must reimagine interfaces to work in coherence with how our minds function in the world so that our brains and these tools can work together seamlessly.
Embodied Cognition
Most technology is designed to serve either the mind or the body. It is a problematic divide, because our brains use our entire body to process the world around us. Said differently, our minds and bodies do not operate distinctly. Our minds are embodied.
Studies using MRI scans have shown that when a person feels an emotion in their gut, blood actually moves to that area of the body. The body and the mind are linked in this way, sharing information back and forth continuously.
Current technology presents data to the brain differently from how the brain processes data. Our brains, for example, use sensory data to continually encode and decipher patterns within the neocortex. Our brains do not create a linguistic label for each item, which is how the majority of machine learning systems operate, nor do our brains have an image associated with each of these labels.
Our bodies move information through us instantaneously, in a sense “computing” at the speed of thought. What if our technology could do the same?
Using Cognitive Ergonomics to Design Better Interfaces
Well-designed physical tools, as philosopher Martin Heidegger once meditated on while using the metaphor of a hammer, seem to disappear into the “hand.” They are designed to amplify a human ability and not get in the way during the process.
The aim of physical ergonomics is to understand the mechanical movement of the human body and then adapt a physical system to amplify the human output in accordance. By understanding the movement of the body, physical ergonomics enables ergonomically sound physical affordances—or conditions—so that the mechanical movement of the body and the mechanical movement of the machine can work together harmoniously.
Cognitive ergonomics applied to HMI design uses this same idea of amplifying output, but rather than focusing on physical output, the focus is on mental output. By understanding the raw materials the brain uses to comprehend information and form an output, cognitive ergonomics allows technologists and designers to create technological affordances so that the brain can work seamlessly with interfaces and remove the interruption costs of our current devices. In doing so, the technology itself “disappears,” and a person’s interaction with technology becomes fluid and primary.
By leveraging cognitive ergonomics in HMI design, we can create a generation of interfaces that can process and present data the same way humans process real-world information, meaning through fully-sensory interfaces.
Several brain-machine interfaces are already on the path to achieving this. AlterEgo, a wearable device developed by MIT researchers, uses electrodes to detect and understand nonverbal prompts, which enables the device to read the user’s mind and act as an extension of the user’s cognition.
Another notable example is the BrainGate neural device, created by researchers at Stanford University. Just two months ago, a study was released showing that this brain implant system allowed paralyzed patients to navigate an Android tablet with their thoughts alone.
These are two extraordinary examples of what is possible for the future of HMI, but there is still a long way to go to bring cognitive ergonomics front and center in interface design.
Disruptive Innovation Happens When You Step Outside Your Existing Users
Most of today’s interfaces are designed by a narrow population, made up predominantly of white, non-disabled men who are prolific in the use of technology (you may recall The New York Times viral article from 2016, Artificial Intelligence’s White Guy Problem). If you ask this population if there is a problem with today’s HMIs, most will say no, and this is because the technology has been designed to serve them.
This lack of diversity means a limited perspective is being brought to interface design, which is problematic if we want HMI to evolve and work seamlessly with the brain. To use cognitive ergonomics in interface design, we must first gain a more holistic understanding of how people with different abilities understand the world and how they interact with technology.
Underserved groups, such as people with physical disabilities, operate on what Clayton Christensen coined in The Innovator’s Dilemma as the fringe segment of a market. Developing solutions that cater to fringe groups can in fact disrupt the larger market by opening a downward, much larger market.
Learning From Underserved Populations
When technology fails to serve a group of people, that group must adapt the technology to meet their needs.
The workarounds created are often ingenious, specifically because they have not been arrived at by preferences, but out of necessity that has forced disadvantaged users to approach the technology from a very different vantage point.
When a designer or technologist begins learning from this new viewpoint and understanding challenges through a different lens, they can bring new perspectives to design—perspectives that otherwise can go unseen.
Designers and technologists can also learn from people with physical disabilities who interact with the world by leveraging other senses that help them compensate for one they may lack. For example, some blind people use echolocation to detect objects in their environments.
The BrainPort device developed by Wicab is an incredible example of technology leveraging one human sense to serve or compliment another. The BrainPort device captures environmental information with a wearable video camera and converts this data into soft electrical stimulation sequences that are sent to a device on the user’s tongue—the most sensitive touch receptor in the body. The user learns how to interpret the patterns felt on their tongue, and in doing so, become able to “see” with their tongue.
Key to the future of HMI design is learning how different user groups navigate the world through senses beyond sight. To make cognitive ergonomics work, we must understand how to leverage the senses so we’re not always solely relying on our visual or verbal interactions.
Radical Inclusion for the Future of HMI
Bringing radical inclusion into HMI design is about gaining a broader lens on technology design at large, so that technology can serve everyone better.
Interestingly, cognitive ergonomics and radical inclusion go hand in hand. We can’t design our interfaces with cognitive ergonomics without bringing radical inclusion into the picture, and we also will not arrive at radical inclusion in technology so long as cognitive ergonomics are not considered.
This new mindset is the only way to usher in an era of technology design that amplifies the collective human ability to create a more inclusive future for all.
Image Credit: jamesteohart / Shutterstock.com Continue reading
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