Abstract
In Japan, robotics projects like Geminoid, modeled after Hiroshi Ishiguro, exhibit a fascination with creating human doubles. Yet, warnings against this also thread through Japanese thought, from the Edo-period playwright Chikamatsu Monzaemon (1653-1724) to the robotics professor Mori Masahiro (1927-2025). Though centuries apart, they describe the same uncanny valley phenomenon-eerie, cold, repellent feelings that arise when confronting the imperfectly human. In an interview with Hozumi Ikan, translated here, Chikamatsu presents a theory of realism exemplified through puppet theater and kabuki. He divides realism into four zones: the unreal, conceptual realism, surface realism, and the real. The unreal lacks authenticity, surface realism lacks soul, and the real lacks expressiveness. For Chikamatsu, it is conceptual realism that captivates an audience. A play's unfolding events evoke empathy and emotion through their meaning for the characters. Similarly, Mori divides realism into four zones: industrial, humanoid, and android robots, and real people. Industrial robots evoke little affinity, and androids risk appearing eerie. Though real people evoke the most affinity, androids cannot become indistinguishable from them. For Mori, only humanoid robots evoke affinity without risking uncanniness. By exploring anthropomorphism, both Chikamatsu and Mori illuminate principles for designing robots that do not unsettle but delight.