恐怖谷

出自維基百科,自由嘅百科全書
跳去導覽 跳去搵嘢
恐怖谷嘅圖解:
Y 軸:familiarity-好感度;
X 軸:human likeness-似人度;
實線代表靜止唔郁嘅物體,喺呢條線最低點嘅係死屍(corpse),而虛線代表曉郁嘅物體,喺呢條線最低點嘅係喪屍(zombie)。

恐怖谷英文uncanny valley)係源自機械人學嘅一個概念,而到咗廿一世紀初,經已俾人應用落去角色設計同埋恐怖文學等嘅領域嗰度。根據恐怖谷嘅理論,「似人非人」嘅物件會令人覺得恐怖:想像家陣畫一條線,X 軸表示「件物體似人類嘅程度」,而 Y 軸就表示「人類對嗰件物體嘅好感」;心理實驗表明咗,呢條線會有一個

  • 人一般都對完全唔似人嘅物體(例:工業機械人)冇乜特別好感,而當一件物體開始似人類,人通常會開始對佢有好感(例如係有眼耳口鼻、特登整到個樣好卡通化嘅機械人或者公仔);
  • 當相似度高到某個點、但嗰件物體又好明顯唔係人(例如喪屍,或者像真度高但明顯唔係人嘅機械人),一般人對件物體嘅好感會急跌,會覺得件物體恐怖
  • 一般人對健康嘅人(最似人嘅物體)最有好感[1]

亦即話 嗰陣會係 0,而隨住 數值升, 會跟住升;當 升到咁上下去到某一個點, 會急跌;然後當 去到最大值嗰陣, 會急升同返去到最高點。呢條線當中嗰個「谷」就係所謂嘅恐怖谷-「因為覺得嗰件物體恐怖,而引致嘅好感度低[2][3]

應用[編輯]

恐怖谷理論喺理論同實用上都用:

睇埋[編輯]

文獻[編輯]

  • Bartneck, C., Kanda, T., Ishiguro, H., & Hagita, N. (2007). Is the uncanny valley an uncanny cliff? Proceedings of the 16th IEEE, RO-MAN 2007, Jeju, Korea, pp. 368–373.
  • Miklósi, Ádám and Korondi, Péter and Matellán, Vicente and Gácsi, Márta Ethorobotics: A New Approach to Human-Robot Relationship. Frontiers in Psychology, 2017, 8, p. 958.

[編輯]

  1. Mathur, Maya B.; Reichling, David B. (2016). "Navigating a social world with robot partners: a quantitative cartography of the Uncanny Valley". Cognition. 146: 22–32.
  2. MacDorman, K. F.; Chattopadhyay, D. (2016). "Reducing consistency in human realism increases the uncanny valley effect; increasing category uncertainty does not" (PDF). Cognition. 146: 190–205.
  3. MacDorman, K. F.; Ishiguro, H. (2006). "The uncanny advantage of using androids in social and cognitive science research" (PDF). Interaction Studies. 7 (3): 297–337.
  4. MacDorman, K. F.; Chattopadhyay, D. (2016). "Reducing consistency in human realism increases the uncanny valley effect; increasing category uncertainty does not" (PDF). Cognition. 146: 190–205.
  5. MacDorman, K. F.; Ishiguro, H. (2006). "The uncanny advantage of using androids in social and cognitive science research" (PDF). Interaction Studies. 7 (3): 297–337.
  6. Laks, Z. A. (2015). Derelict dolls and strange spaces: the horror of the uncanny valley in the films of Roman Polanski. Studies in Eastern European Cinema, 6(2), 154-168.

[編輯]