Uncanny Valley

Hypothesized emotional response to robots across varying degrees of human-likeness, illustrating the uncanny valley effect as described by Masahiro Mori. Movement amplifies this effect.

The uncanny valley (from Japanese: 不気味の谷, Hepburn: bukimi no tani) effect is a hypothesized psychological and aesthetic relation between an object's degree of resemblance to a human being and the emotional response to that object. The uncanny valley hypothesis predicts that an entity appearing almost human will elicit eerie or unsettling feelings in viewers, while entities that are either clearly non-human or perfectly human evoke more positive responses. This "valley" refers to a dip in positive emotional response on a hypothetical graph measuring human-likeness against emotional response.

Examples of this phenomenon can be observed in robotics, 3D computer-generated animation, and lifelike dolls. The increasing prevalence of digital technologies such as virtual reality, augmented reality, and photorealistic computer animation has led to increased discussion and analysis of the uncanny valley, further establishing its perceived validity. The term was coined by robotics professor Masahiro Mori in 1970 as Bukimi no Tani Genshō (不気味の谷現象). The hypothesis has been linked to Ernst Jentsch's 1906 essay "On the Psychology of the Uncanny" and Sigmund Freud's 1919 essay "Das Unheimliche" (sometimes translated as "The Uncanny," "The Unhomely," or "The Mysterious").

Theory and Background

Historical Context (Mori, Jentsch, Freud)

The concept of the uncanny has been explored by philosophers and psychologists for centuries. F.W.J. Schelling, in 1837, discussed the uncanny in relation to Greek mythology. Friedrich Nietzsche later referred to nihilism as "the uncanniest of all guests." Ernst Jentsch's 1906 essay, "On the Psychology of the Uncanny," is considered the first psychological exploration of the topic. Jentsch defined the uncanny as a product of intellectual uncertainty, a feeling of not knowing one's way around. He highlighted E.T.A. Hoffmann's "The Sandman" as a prime example, focusing on the unsettling ambiguity of whether the doll Olympia is alive or an automaton.

Sigmund Freud further developed the concept in his 1919 essay, "The Uncanny." While acknowledging Hoffmann's mastery, Freud disagreed with Jentsch's emphasis on Olympia as the story's central uncanny element. Instead, Freud pointed to the "idea of being robbed of one's eyes" as a more potent source of uncanniness, linking it to castration anxiety. He also explored the uncanny effects of repetition, citing examples like getting lost and retracing one's steps, recurring numbers, and the concept of the double. Freud connected the German word "unheimlich" (uncanny) to its root "heimlich" (concealed, hidden), arguing that what is familiar can become uncanny when it is also hidden or repressed, relating it to the Id and repressed impulses. He noted Schelling's observation that the uncanny is what should have remained secret but has come to light.

Following Freud, Jacques Lacan, in his 1962-1963 seminar "L'angoisse," used the uncanny to explore the nature of anxiety. He described how a familiar image can suddenly reveal its dependence on something hidden, demonstrating the subject's lack of autonomy. Julia Kristeva's concept of abjection is related to the uncanny, involving a reaction to something cast out of the symbolic order, which can be both familiar and repulsive. Sadeq Rahimi explored the connection between the uncanny and visual references, linking it to ego development and Lacan's mirror stage. He argued that uncanny experiences often involve visual themes like mirrors and blindness and are variations on the theme of doubling. Masahiro Mori's work on the uncanny valley, while developed independently of Jentsch and Freud, explores the emotional responses to human-like entities, noting the dip in comfort level when something appears almost human but not quite.

Masahiro Mori's original hypothesis regarding the uncanny valley describes a fluctuating emotional response to increasingly human-like robots. Initially, as a robot's appearance becomes more human, observers experience increasing positive and empathetic feelings. However, this positive response abruptly shifts to strong revulsion as the robot approaches near-human appearance. This dip in positive emotion, followed by a subsequent rise as the robot becomes indistinguishable from a human, gives the phenomenon its name: the uncanny valley. Mori's graph of emotional response against anthropomorphism depicts this as a sharp decline followed by a sharp incline. The "valley" represents the region of negative emotional response triggered by robots that appear almost, but not quite, human. This near-human appearance evokes a sense of strangeness and uncanniness, hindering the empathetic connection necessary for positive human-robot interaction.

Interpretations and Criticisms

Research on the uncanny valley has explored its existence and potential mechanisms. Studies using static robot face images have shown a robust uncanny valley effect on explicitly rated likability and a more context-dependent effect on implicitly rated trust. Research suggests that perceptual confusion at a category boundary, while present, does not fully explain the effect. A 2009 study with monkeys indicated that the aversion to realistic 3D monkey faces might have evolutionary origins, predating human-specific cognitive processes or cultural influences. Neuroimaging studies have revealed differences in brain activation when viewing uncanny robots, particularly in areas connecting the visual cortex for bodily movements with mirror neurons in the motor cortex, suggesting a perceptual mismatch. Research also explores how facial expressions and speech influence the uncanny valley in virtual characters for games and movies, with the concept of an "unscalable" uncanny wall suggesting that our ability to detect imperfections in realism will advance alongside technology. Studies on autistic individuals have shown reduced or absent uncanny valley effects, potentially due to reduced sensitivity to facial cues and limited visual experiences.

The uncanny valley hypothesis has faced criticism. Some argue that it encompasses a heterogeneous group of phenomena with diverse causes, rather than a unified effect. The influence of cultural heritage and generational exposure to CGI and robots is also debated. Some researchers propose that the uncanny valley is simply a manifestation of information processing mechanisms like categorization and frequency effects, rather than a unique phenomenon. They suggest that negative responses are due to familiarity with human categories, not a distinct uncanny valley effect. Critics also argue that the uncanny valley can occur at any degree of human likeness, not just near-human. The Capgras delusion, where individuals believe people have been replaced by duplicates, is cited as supporting the idea that the uncanny valley relates to categorical perception. Finally, some argue that good design, incorporating neotenous or cartoonish features, can mitigate or eliminate the uncanny valley effect, suggesting that it is not inevitable.

Real-World Applications

Robotics

Repliee Q2, a lifelike robot developed at Osaka University, often cited as an example of the uncanny valley in robotics.

Robotics research explores the design and interaction with humanoid robots, focusing on avoiding the uncanny valley. Meeting a humanoid robot like TIAGo can evoke a range of emotions, from excitement to unease. This response may be due to personification, influenced by fictional portrayals of robot characters and the robot's responsive interaction. Robots are often designed with specific facial features, movements, and behaviors to elicit particular responses. Research on robot faces has identified features like circular eyes and the presence of a mouth as contributing to perceived friendliness. TIAGo's design incorporates such features.

Movement is another crucial factor. Human movement is fluid and constant, while robots often appear too still, with subsequent movements seeming jerky. Improvements in robotics technology are addressing this issue, creating smoother, more natural movements. TIAGo's arm and head movements demonstrate this progress. It is theorized that humans are biologically predisposed to interpret movement as intentional, contributing to our relationship with robots. However, jerky movements can create a sense of "otherness."

TIAGo, the telepresence robot developed by PAL Robotics, designed to provide remote assistance and interaction through virtual reality technology.

Telepresence robots like TIAGo, designed to allow users to interact remotely through the robot, can trigger unsettling feelings. This relates to Freud's theory of the uncanny, where something can be both familiar and alien simultaneously. Robots, dolls, and mannequins fall into this category, as they resemble humans but are also distinctly non-human. Mori's uncanny valley hypothesis expands on this, suggesting that as a robot's human-like features increase, our response shifts from empathy to revulsion as it approaches, but fails to achieve, a truly lifelike appearance. Mori observed that movement can amplify this uncanny feeling. He suggested that avoiding exact human copies in robot design, by using symbolic representations of human features, can mitigate the uncanny valley effect.

Some researchers propose that human-robot interaction is more akin to human-animal relationships, suggesting a different approach to robot design. By focusing on positively perceived facial features and smooth movements, robots can potentially avoid the uncanny valley. This could lead to greater acceptance of robots in various aspects of life, allowing them to perform tasks that are dirty, dull, or dangerous. Thoughtful design choices, based on our understanding of facial impressions, are crucial for creating robots that integrate harmoniously into our lives, without triggering the uncanny.

Computer-Generated Imagery (CGI)

The uncanny effect is often observed in computer-generated imagery (CGI) when near-human characters elicit negative emotional responses. This occurs when the entity is highly realistic but contains subtle imperfections or inconsistencies that prevent it from being fully convincing as human. Examples of this effect can be seen in films like The Polar Express, Final Fantasy: The Spirits Within, and Cats, where CGI characters elicited negative reactions due to their near-human appearance.

Several factors contribute to this perception. Ambiguity, where an entity is neither clearly human nor non-human, can create tension and discomfort. Mismatched elements, such as a robot with a human voice, can also be unsettling. Inconsistencies in appearance or behavior, even minor ones, can disrupt the illusion of realism and trigger an uncanny feeling. Some theorize that the uncanny valley is an evolved response to potential threats like death and disease, as an almost-lifelike entity might resemble something dead or dying.

The uncanny valley has implications for various fields. In robotics, designing assistive devices that are both functional and aesthetically pleasing is crucial for user acceptance. Digital avatars used in online therapy or customer service must avoid falling into the uncanny valley to maintain trust and rapport. In film and game design, achieving a balance between realism and stylistic elements is essential to prevent negative audience reactions. While some research supports the uncanny valley's existence, others argue that it can be overcome with good design and that age or cultural background might influence its effects. As technology advances, designers must consider the emotional responses of their audience to avoid creating uncanny entities that elicit discomfort or aversion.

Face & Body Parts (1974)

Faces and Body Parts (1974) - First talking polygonal human

Faces and Body Parts (1974) - the first talking polygonal human.

Faces and Body Parts is a significant early example of 3D computer-generated imagery (CGI) created by Fred Parke and Ed Catmull at the University of Utah between 1972 and 1974. This work represents some of the first attempts to realistically model and animate human faces and body parts using 3D mesh.

The project utilized software developed by Catmull, who later co-founded Pixar and became President of Pixar and Walt Disney Animation Studios. Parke remained primarily in academia. Faces and Body Parts is notable for being the first instance of a talking polygonal human figure with advanced shading. This achievement marked an important step in the development of CGI and its potential for creating realistic human representations.

Tin Toy (1988)

Tin Toy (1988) - Pixar Short Film

Tin Toy (1988)

Tin Toy, a 1988 animated short film produced by Pixar and directed by John Lasseter, is a five-minute story about Tinny, a tin one-man band toy, who tries to avoid Billy, a destructive baby. This short film was Pixar's third and a risky venture due to the company's financial struggles stemming from low revenue from its Pixar Image Computer. Lasseter pitched the idea to Pixar owner Steve Jobs, who funded the project despite the company's financial constraints. Tin Toy served as a test for the PhotoRealistic RenderMan software, presenting difficulties in realistically animating the human baby, Billy. The short film later influenced Disney's decision to create Toy Story.

Tin Toy premiered in an incomplete form at the SIGGRAPH convention in August 1988, receiving a standing ovation. The completed version won the 1988 Academy Award for Best Animated Short Film, marking the first computer-generated imagery (CGI) animated film to win this award. This win legitimized computer animation as an artistic medium. The Library of Congress added Tin Toy to the National Film Registry in 2003, recognizing its cultural, historical, and aesthetic significance.

The narrative follows Tinny's attempts to escape Billy. Initially excited to be played with, Tinny quickly realizes Billy's destructive nature. A pursuit ensues, and Tinny eventually finds refuge with other toys hiding from Billy. When Billy cries, Tinny attempts to comfort him, only to be discarded in favor of the toy's packaging. Frustrated, Tinny continues to pursue Billy, ultimately following him out of the room. With Billy gone, the other toys emerge from hiding.

Pixar, owned by Steve Jobs, had a small animation division led by John Lasseter. The division's purpose was to create short films to showcase the Pixar Image Computer. Despite the acclaim for previous shorts, Luxo Jr. and Red's Dream, Pixar's engineers questioned the value of the animation division due to the company's financial difficulties. Jobs repeatedly considered shutting down the division. Lasseter and his team worked diligently to complete Tin Toy for SIGGRAPH, showcasing a partial version to a positive reception.

Critics praised the film's innovation and emotional depth. However, Billy's character received criticism for its unsettling appearance, with some considering it a prime example of the uncanny valley. Tin Toy's Academy Award win solidified computer animation's place in the film industry.

Humanoid Forms

Realistic Dolls

Picture by Carol Yepes.

Dolls, particularly those designed for realism, often fall into the uncanny valley. This is because they possess a high degree of human likeness but are ultimately inanimate objects. The closer a doll comes to resembling a human, the more likely it is to evoke an uncanny feeling. This is especially true for dolls with lifelike features, such as realistic eyes, hair, and skin textures. The uncanny valley effect in dolls can be heightened by factors such as movement (if the doll is animatronic) or the context in which the doll is encountered (e.g., a dimly lit room or an antique doll with a worn appearance). The unsettling feeling arises from the tension between the doll's human-like appearance and the knowledge that it is not alive. This ambiguity can trigger feelings of discomfort, eeriness, or even fear. The uncanny valley effect of dolls is often utilized in horror films to create unsettling or disturbing imagery.

Mannequins

A mannequin in Ghostbusters (2016)

Mannequins, often used in retail displays, can evoke the uncanny valley effect due to their human-like appearance but inanimate nature. Their blank expressions and static poses create a sense of unease, particularly when they are highly realistic. This effect is amplified when mannequins are encountered outside their usual context, such as in abandoned stores or dimly lit displays. The uncanny valley feeling associated with mannequins stems from their resemblance to humans, while simultaneously being clearly artificial. This ambiguity can trigger feelings of discomfort or even fear. The uncanny valley effect of mannequins is often exploited in horror films and art to create unsettling imagery.

Animegao Kigurumi

Animegao Kigurumi performers at Anime North 2017.

Animegao Kigurumi is a form of masked cosplay with roots in Japanese anime stage shows that has also become a hobbyist practice. In Japan, it is typically referred to as "kigurumi," meaning "costume," while the term "animegao," meaning "anime face," is used more often overseas to distinguish it from animal onesies that share the same name. The term "doller" has also been used, though it more commonly refers to ball-jointed doll-styled masked cosplays. While kigurumi is a relatively small part of the Japanese cosplay scene, it gained popularity overseas in North America and Europe around 2005.

Kigurumi involves wearing a mask, typically made of molded or 3D-printed plastic, and a flesh-colored bodysuit (zentai suit) to represent characters from anime, manga, games, or other media. While female characters are most common, kigurumi representing male, mechanical, elfin, and demonic characters also exist. The mask and bodysuit allow performers to closely resemble stylized characters. Many hobbyists acquire masks from specialized studios, some of which offer custom designs for high prices. The large eyes, small nose, and overall aesthetic of anime characters are often exaggerated in kigurumi masks, reflecting a focus on "moe" or cuteness. Wigs are often used in conjunction with the masks. Surveys and anecdotal evidence indicate that the majority of kigurumi enthusiasts are male.

Meme featuring animegao kigurumi Love Live! cosplayers, playfully addressing the uncanny valley effect often associated with this style of costuming. The stylized features of these costumes can sometimes create an unsettling feeling due to their near-human, yet not-quite-human appearance.

Discourse surrounding animegao kigurumi within the anime community frequently addresses the concept of the uncanny valley. The stylized, often exaggerated features of kigurumi masks, while intended to capture the essence of anime characters, can sometimes create an unsettling effect that blurs the line between fiction and reality. The almost-human appearance, combined with the artificiality of the mask and the static nature of the facial expression, can trigger feelings of unease in some viewers. Sometimes, discussions often center on whether a particular kigurumi design successfully avoids the uncanny valley, with opinions varying on the balance between faithful character representation and potential creepiness. The level of realism achieved in the mask's sculpting, painting, and overall construction plays a significant role in how viewers perceive the kigurumi and whether it elicits a positive or negative reaction related to the uncanny valley.

Artificial Intelligence

AI-generated image depicting an "American soldier veteran" holding a cardboard sign.

Artificial intelligence has advanced a lot in recent years, now capable of generating highly realistic human-like faces and voices. AI applications, including chatbots, virtual reality, and AI-generated media, are directly relevant to the uncanny valley effect. One area where this is particularly relevant is AI art. AI art generators can create images that closely resemble human faces or figures. Depending on the sophistication of the AI and the specific algorithms used, these images may fall into the uncanny valley, causing negative reactions from viewers. The ability of AI art to generate realistic human likenesses has also caused considerably controversy about its potential misuse, including impersonation, the creation of fake social media accounts posing as real people, and the generation of non-consensual sexually explicit content.

The increasing prevalence of AI-generated images on the internet, particularly those created using vague or poorly constructed prompts, has led to a lot of backlash within certain online communities. These generic and uninspired images often use awkward aesthetics and anatomical flaws, resulting in the pejorative term "AI slop." This term reflects a growing dissatisfaction with the overuse of AI art generators. The backlash is particularly noticeable concerning platforms like Facebook, where AI-generated images are frequently shared and receive uncritical likes either from bots or unsuspecting persons.

The Uncanny Valley in Media

Uncanny Valley in Horror

Michael Myers in Halloween.

The uncanny valley is a concept central to horror, describing the unsettling feeling when something appears almost human but not quite. This near-human appearance triggers unease and revulsion. Michael Myers' mask in Halloween, for example, creates this effect. His blank, emotionless face resembles a human face, yet its lack of genuine human expression generates fear. This effect isn't limited to horror; it can be seen in other media, like e-cards with superimposed faces on cartoon characters. Robots, clones, and zombies also frequently elicit this response.

Several factors contribute to the uncanny valley's effectiveness in horror. It creates a sense of lost identity, reminding viewers of their own fragile existence. Characters like Michael Myers, who seem to defy death, force viewers to confront their own mortality. The uncanny valley also highlights vulnerability to disease, as these figures often appear immune to ailments that threaten humans. The "almost human" but "not quite right" nature of these figures represents change and challenges established social norms, leading to feelings of unease. The lack of recognizable social structures or laws associated with uncanny valley figures can further create a sense of anarchy.

Masahiro Mori coined the term "uncanny valley" in 1970, observing that human affinity for robots increases as they become more human-like, but then plummets when they become too human, before potentially rising again as they achieve truly realistic human appearance. The slight imperfections in near-human representations are what create the revulsion. The robot in M3GAN, Sadako in Ring, and characters in films like Us, Halloween, Annabelle, and It Follows all utilize the uncanny valley to generate scares. Horror films often deliberately embrace the uncanny valley to create unease.

Analog Horror

Main page: Analog Horror

The Mandela Catalogue

Analog Horror utilizes the aesthetics of outdated technology, like VHS tapes and broadcast television, to create a sense of unease. It builds upon found footage techniques, blurring the lines between fiction and reality, not only within the narrative but also for the viewer. Distorted public service announcements or emergency broadcasts presented in a realistic, yet flawed, format can make viewers question the nature of the information they are receiving. This ties into the uncanny valley effect.

By distorting familiar imagery and sounds, analog horror disrupts our pattern recognition systems. Things that are almost recognizable, but not quite, trigger a primal fear. The Mandela Catalogue, with its distorted faces and voices, exemplifies this, manipulating familiar childhood imagery into something terrifying. The content of analog horror often involves disturbing imagery, cryptic messages, and warnings that create a sense of paranoia and distrust in media. The glitches, distortions, and manipulated signals inherent in analog media suggest that reality itself might be compromised. The imperfections of outdated formats like VHS tapes, flickering projectors, and distorted audio create unease. These flaws make familiar images and voices seem unnatural, throwing off our sense of balance. The limitations of past technology, such as limited resolution and color bleed, amplify the unsettling nature of the messages. Analog horror often twists nostalgia, using formats associated with childhood, like educational films and PSAs, and turning them into something sinister. This subgenre relies heavily on suggestion rather than explicit depictions of violence. Fragmented narratives and cryptic messages force viewers to actively participate in constructing the horror, making it more personal. This, combined with the power of suggestion, creates a sense of dread and anticipation. The use of outdated media creates a disconnect from the polished nature of modern media, making the experience feel more visceral.

Beyond the uncanny valley, analog horror shares thematic elements with other horror subgenres. Like body horror, it explores the fragility of the human form, often presenting distorted or mutated versions of the familiar. The corruption of technology and the blurring of reality in analog horror can also be seen as a form of technological horror, where the tools we rely on turn against us.

Internet Phenomena

Cursed Images

A child in a hospital bed surrounded by people in Teletubbies costumes. The exact origin and context of this picture remain unclear.

"Cursed image" refers to a meme genre that involves unsettling photographs that evoke a sense of mystery or disturbance. These images can be poorly composed, low quality, or contain unusual or unexpected content. The term "cursed image" originated on Tumblr in 2015 and gained popularity through various social media accounts. The appeal of cursed images lies in their ability to make viewers question their meaning and origin. They often depict mundane scenes or objects that have been transformed into something unsettling through the lens of the camera or the context in which they are presented. Some attribute the "cursed" aesthetic to the nature of early digital photography, with its unfiltered and often poorly lit images. This aesthetic can be seen as an example of the uncanny valley, where something familiar becomes unsettling due to slight imperfections or inconsistencies. The opposite of a cursed image is a "blessed image," while "blursed images" combine elements of both.

Mr. Incredible Becoming Uncanny

How Mr. Incredible Became the Meme That Will Not Die - Aztrosist Meme Review

Know Your Meme video on the subject.

The "Mr. Incredible Becoming Uncanny" meme series features increasingly distorted and unsettling images of the character Mr. Incredible. This format, popularized in 2021, evolved from the "Traumatized Mr. Incredible" meme, which originated with a "reverse toonified" image of the character posted on Twitter in October 2020. This image was then used in a meme about photocopier malfunctions. The two-panel format gained popularity in mid-2021 and again in September 2021 with the "People Who Don't Know vs. People Who Know" variation.

The "Mr. Incredible Becoming Uncanny" format itself emerged in September 2021 with a YouTube video showcasing a progression of Mr. Incredible images from normal to increasingly eerie. The format gained wider popularity in December 2021 after a TikTok clip using the images went viral. The meme quickly spread to Facebook, with users creating variations based on different fandoms, such as Touhou Project and Houseki no Kuni. A YouTube video explaining the meme's origins and spread was also released in December 2021.

Still Water TikTok Trend

Image showing still water.

The "still water" trend on TikTok is a meme that ironically exaggerates the fear of stagnant water, often found in abandoned locations. This trend has connections to the uncanny, as it plays on the unsettling nature of liminal spaces and obscured dangers. It emerged from urban exploration videos where creators expressed concern about encountering still water due to its potential health hazards, such as bacteria and brain-eating amoeba. This concern taps into the uncanny feeling of something familiar (water) becoming unfamiliar and potentially dangerous. The stillness and obscurity of the water also contribute to this unease, as it hides what lies beneath, creating a sense of the unknown. It also suggests that the concept of the uncanny valley may not be limited to near-human entities, but could also apply to certain natural phenomena or environmental features.

The trend evolved into a meme where users jokingly express fear or disgust upon finding still water in mundane locations like sinks or toilets. This ironic exaggeration of fear plays on the initial concern about still water while also mocking the dramatic reactions in urban exploration videos. However, even in its humorous form, the meme still evokes a sense of the uncanny by highlighting the potential for the ordinary to become unsettling. The juxtaposition of the familiar (a sink or toilet) with the unfamiliar (the exaggerated fear of still water) creates a sense of cognitive dissonance that can be unsettling.

Videos

Uncanny Valley Explained - Why Robots, Dolls and Mannequins are Creepy

What Is The Uncanny Valley? - Mashable Explains

Why are we so obsessed with making human-like robots?

See also

• After Hours ─ An aesthetic exploring the eerie quiet and unsettling atmosphere of urban spaces at night, often depicting familiar locations like parks or playgrounds devoid of human presence. (Liminal.)
• Analog Horror ─ A subgenre of horror that utilizes the aesthetic of old analog media, such as VHS tapes and broadcast television, often creating a sense of unease and dread through glitches, distortions, and unsettling imagery, sometimes touching on the uncanny.
• Dreamcore ─ An aesthetic centered around surreal and liminal spaces, incorporating elements reminiscent of dreams and childhood memories, which can sometimes intersect with the uncanny.
• Heroin Chic ─ A controversial 1990s trend in fashion photography characterized by emaciated figures and a generally unsettling or unhealthy appearance, potentially tapping into anxieties related to the human form and thus the uncanny.
• Lost Media ─ Focuses on obscure or forgotten pieces of media, such as abandoned films, TV shows, or video games. The incomplete or fragmented nature of lost media can create a sense of unease or mystery, sometimes bordering on the uncanny.
• Photorealism ─ An art style characterized by its meticulous attention to detail and aim to recreate reality as faithfully as possible. While not inherently uncanny, photorealistic depictions can sometimes evoke an uncanny valley response when the subject matter is human or near-human, and the artwork is almost, but not quite, indistinguishable from a photograph.
• Poolcore ─ An aesthetic centered on liminal spaces, particularly focusing on the unsettling or eerie atmosphere of empty or abandoned swimming pools. The stillness of the water, the echoing silence, and the sense of isolation can evoke feelings related to the uncanny.
• Silicon Dreams ─ A term used to describe early computer-generated imagery (CGI) from the 1970s to the 2000s. The often-imperfect and sometimes unsettling realism of early CGI can be a strong example of the uncanny valley.
• Weirdcore ─ An online aesthetic characterized by surreal imagery and a generally unsettling or "weird" atmosphere, often incorporating elements of nostalgia and the uncanny.
• Xpiritualism ─ An outsider art movement combining elements of Old Web culture, esotericism, New Age spirituality, and foreign internet aesthetics. Some Xpiritualist art can evoke feelings related to the uncanny through its use of distorted or unsettling imagery.