Search Results (5)

Background: Generative AI and synthetic media have enabled realistic human Embodied Conversational Agents (ECAs) or avatars. A subset of this technology replicates faces and voices to create realistic likenesses. When combined with avatars, these methods enable the creation of “digital twins” of physicians, offering patients scalable, 24/7 clinical communication outside the immediate clinical environment. This study evaluated surgical patient perceptions of an AI-generated surgeon avatar for postoperative education. Methods: We conducted a pilot feasibility study with 30 plastic surgery patients at Mayo Clinic, USA (July–August 2025). A bespoke interactive surgeon avatar was developed in Python using the HeyGen IV model to reproduce the surgeon’s likeness. Patients interacted with the avatar through natural voice queries, which were mapped to predetermined, pre-recorded video responses covering ten common postoperative topics. Patient perceptions were assessed using validated scales of usability, engagement, trust, eeriness, and realism, supplemented by qualitative feedback. Results: The avatar system reliably answered 297 of 300 patient queries (99%). Usability was excellent (mean System Usability Scale score = 87.7 ± 11.5) and engagement high (mean 4.27 ± 0.23). Trust was the highest-rated domain, with all participants (100%) finding the avatar trustworthy and its information believable. Eeriness was minimal (mean = 1.57 ± 0.48), and 96.7% found the avatar visually pleasing. Most participants (86.6%) recognized the avatar as their surgeon, although many still identified it as artificial; voice resemblance was less convincing (70%). Interestingly, participants with prior exposure to deepfakes demonstrated consistently higher acceptance, rating usability, trust, and engagement 5–10% higher than those without prior exposure. Qualitative feedback highlighted clarity, efficiency, and convenience, while noting limitations in realism and conversational scope. Conclusions: The AI-generated physician avatar achieved high patient acceptance without triggering uncanny valley effects. Transparency about the synthetic nature of the technology enhanced, rather than diminished, trust. Familiarity with the physician and institutional credibility likely played a key role in the high trust scores observed. When implemented transparently and with appropriate safeguards, synthetic physician avatars may offer a scalable solution for postoperative education while preserving trust in clinical relationships. Full article

When it comes to acting in modern productions of Shakespeare’s plays, size is more than all talk. That is, though how much a character speaks often serves as the measure of a role’s size, “small parts” may have a lot to say—and, as it turns out, the actors playing them may have a lot (or too little) to do. Some modern approaches to dramaturgy and practice may mean that the performers playing roles not qualified as large are susceptible to isolation throughout the artistic process, possibly having reduced rehearsal time. If the number of spoken lines influences the number of rehearsal hours, an actor playing a “small part” may be at a disadvantage when it comes to opportunities for character development and the benefits of creative collaboration. (In a rehearsal process for A Midsummer Night’s Dream, for example, how active might Hippolyta’s participation be if she is not doubling as Titania?) Additionally, having fewer lines on the stage can mean inheriting more labor behind the scenes, since an available body is a valuable commodity in the economy of production (what tasks might Ursula undertake during Much Ado About Nothing?). The tension between “playing conditions” and “working conditions” in the theater is thus especially heightened for Shakespeare’s women, whose onstage existence can throw an uncanny shadow upon the offstage experiences of those who play them. Full article

A growing number of enterprises are using virtual influencers on livestreaming e-commerce platforms to extend the duration for which live streamers stay online. This article uses the uncanny valley phenomenon to investigate the effects of the level of anthropomorphization of images of virtual influencers on the purchase intention of consumers. We divided the images of virtual influencers into three categories according to their level of anthropomorphization: cartoon images (low), medium-realistic images (medium), and hyper-realistic images (high). We identified a U-shaped relationship between the level of anthropomorphization of images of virtual influencers and consumers’ purchase intention. Virtual influencers represented by cartoon images and hyper-realistic images enhanced the purchase intentions of consumers, while streamers with medium-realistic images reduced them. Algorithmic aversion was found to play a mediating role in this relation. In addition, self-efficacy had an inhibitory effect on the inverted U-shaped relationship between the anthropomorphism of the image of the virtual influencer and algorithmic aversion. When the virtual influencer had a medium-realistic image, consumers exhibited the strongest algorithmic aversion, the lowest purchase intention, and the most significant inhibition in self-efficacy. This work provides guidance for designing images of virtual influencers for marketing-related activities on livestreaming e-commerce platforms. Full article

The grid plays a prominent role in architecture, aiding in space organization and influencing all aspects of planning, ranging from urban design to intricate building details. This paper posits that the grid receives heightened emphasis in Brutalism, particularly in constructivist Brutalism, where materials and construction are intentionally exposed. A question arises regarding the grid’s characteristics—despite its subtle appearance, the grid can sometimes be deceptive, ambiguous, and manipulative. The paper analyzes the merits and drawbacks of employing the grid in architecture, shedding light on its contributions to both structural and perceptual comprehensibility, as well as its role in increasing usefulness. To illustrate the application and perception of the grid, the paper examines two primary planning levels: urban planning and building design. The case studies focus on examples from New York City housing developments, specifically those constructed between the 1950s and the 1970s, and projects by architect I. M. Pei, which offer valuable insights into practical implementation. The paper concludes that while the grid can establish order, it may also engender an “uncanny” feeling. Full article

Representations of play abound in Stephen King’s 1983 novel Pet Sematary and its 1989 and 2019 subsequent film adaptations. However, play in Pet Sematary is not representative of the innocent actions designed to create functioning adults who meaningfully contribute to society. In the 1989 film, for example, “play” for a newly resurrected Gage is a version of hide-and-go-seek resulting in the death of neighbour Jud. Meanwhile, the 2019 adaptation sees a newly resurrected Ellie “playing” in her dirt-stained white funereal dress. These dirt stains become markers of lost innocence and transform her dance into an uncanny performance. Since Gage and Ellie are both somewhat monstrous child figures, their play, like their bodies, is transformed into something unsettling and ventures into the realm of the uncanny. However, play itself is also performed differently between the adaptations because the central child figure also changes. In the 1989 film, it is a male toddler, and in the 2019 film, it is a pre-pubescent female. Both adaptations focus on ideal, socially acceptable forms of play according to the time in which the film was made as well as how children diverge from these behaviours. Play is often rendered dangerous when not performed properly according to the paradigms of age and gender, resulting in what I call ‘uncanny play’. When children engage with ‘uncanny play’, the adults in the narrative are permitted to execute the children for the sake of preserving the memory of them as innocent beings, or what I call the ‘Save the Child’ discourse. Linda Hutcheon argues that ‘when we adapt […] we actualize or concretize ideas’, so that the socially acceptable play put forth in King’s novel becomes more realised and thus more at risk to transgression in each successive filmic adaptation. Full article