Differential effects of face-realism and emotion on event-related brain potentials and their implications for the uncanny valley theory.
Differential effects of face-realism and emotion on event-related brain potentials and their implications for the uncanny valley theory.
复制标题
DOI：
10.1038/srep45003
复制
发表时间：
2017-03-23
影响因子：
4.6
通讯作者：
Kissler J
中科院分区：
文献类型：
--
作者：
Schindler S;Zell E;Botsch M;Kissler J
卡通人物在大众媒体中无处不在。虽然很少有研究科学地研究它们的处理，但在计算机图形学中，人们努力提高真实感。然而，接近现实的建议有时会引起一种怪异的感觉，即“恐怖谷”效应。在这里，我们使用高密度脑电图来研究大脑对专业风格化的快乐，愤怒和中性人物面孔的反应。我们采用了六个不同的面孔风格化水平从抽象到现实，并调查了N170，早期后负波（EPN），和晚期正电位（LPP）事件相关的组件。面部特异性N170表现出U形调制，与中等风格化面部相比，对最抽象和最现实的反应更强烈。对于抽象的面孔，N170产生更多的枕比真实的面孔，这意味着更强的依赖结构处理。虽然情绪面孔在N170和EPN上都引起了最高的振幅，但在N170上，现实主义和表情相互作用。最后，LPP随着面部真实性线性增加，反映了视觉和顶叶皮层对更真实面部的活动增加。研究结果揭示了不同的面孔处理阶段的面孔风格化的差异效应，并提出了一个感性的基础上的恐怖谷假说。他们讨论的关系，面对感知，媒体设计和计算机图形学。
Cartoon characters are omnipresent in popular media. While few studies have scientifically investigated their processing, in computer graphics, efforts are made to increase realism. Yet, close approximations of reality have been suggested to evoke sometimes a feeling of eeriness, the “uncanny valley” effect. Here, we used high-density electroencephalography to investigate brain responses to professionally stylized happy, angry, and neutral character faces. We employed six face-stylization levels varying from abstract to realistic and investigated the N170, early posterior negativity (EPN), and late positive potential (LPP) event-related components. The face-specific N170 showed a u-shaped modulation, with stronger reactions towards both most abstract and most realistic compared to medium-stylized faces. For abstract faces, N170 was generated more occipitally than for real faces, implying stronger reliance on structural processing. Although emotional faces elicited highest amplitudes on both N170 and EPN, on the N170 realism and expression interacted. Finally, LPP increased linearly with face realism, reflecting activity increase in visual and parietal cortex for more realistic faces. Results reveal differential effects of face stylization on distinct face processing stages and suggest a perceptual basis to the uncanny valley hypothesis. They are discussed in relation to face perception, media design, and computer graphics.