The Uncanny Valley is a term used in the field of robotics and computer graphics. It proposes that as human replicas become increasingly realistic, there is a point at which their similarity to humans becomes disconcerting to observers.

The Uncanny Valley gets its name from the quantified data recorded when investigating a human’s emotional response to near-human replicas. Using a graph that plots the emotional response of individuals against the similarity to human likeness, the “valley” shape can be observed.

Initially, as the replicas become more human-like (dolls, action figures, etc), there is a positive emotional response. As the replicas approach the uncanny valley (ventriloquist’s dummy, robots with artificial skin, early test CGI, etc.), there is a sudden dip in the emotional response. This dip represents the point where the replicas are almost human-like, but fall short in some aspects, leading to discomfort or revulsion. As the replicas increase further in realism (modern or intentionally stylized CGI, hyper-realistic artwork, etc.), the emotional response starts to recover.

Examples of this phenomenon can be found throughout the cultural landscape. Many claimed to experience this phenomenon while watching The Polar Express (2004). This animated film attempted to create realistic human characters using motion capture technology. However, some viewers argued that the characters' appearances fell into the uncanny valley due to their slightly lifeless eyes and unnatural facial movements.

Another example is Telenoid, an animatronic doll and motion capture system that allows a user to transmit their voice and body movements to the small humanoid figure. At the time it debuted, critics saw the product as triggering the uncanny valley response due to its lack of limbs, unnatural skin tones, and minimal facial features.

There are many possible explanations as to why this phenomenon may occur. A common explanation involves facial expressions and body language in social situations. Humans have a set of social norms and expectations that influence interactions and perceptions of others. When a replica within the uncanny valley crosses our path, it may violate these norms and expectations, causing a sense of unease. This could include elements such as unusual facial expressions, abnormal eye contact, or subtle behavioral cues that are outside the range of what we consider normal or natural.

It's worth noting that the Uncanny Valley is a subjective experience, and individuals may have different thresholds for what they find uncanny or uncomfortable. The concept continues to be explored and studied in fields like robotics, animation, and virtual reality.

About this photo.

I found this mannequin in a secluded corner of a mall in Bellevue, Washington. The scrapes on the door and the discoloration on the mannequin’s legs made this a real macabre scene. It felt like something I wasn’t supposed to see, which was what compelled me to make this photograph. I took it with an iPhone.

I think about this one a lot. I don’t photograph people that much, but I am fascinated with the human form as a representation of deeper concepts. This mannequin is me, but also not me. That’s too contradictory to not think about, which is why it interests me as an artistic subject. I know I’m not the only one either. (Imitating Life is a fantastic documentary about another photographer, Suzanne Heintz, who tackles this same contradiction.)

In a way, I believe people become their things. The “stuff” we accumulate eventually transforms us into a taxidermic replica of our values and priorities. What we keep becomes us. We become the mannequin in the corner, patiently eroding.

Just like we always wanted? Who knows?

Thank you for your time.

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-Sodfotog