This article is about the attribution of human traits, emotions, or intentions to non-human entities. For the representation of a thing or abstraction as a person, see Personification.
Anthropomorphism is the attribution of human traits, emotions, or intentions to non-human entities.[1] It is considered to be an innate tendency of human psychology.[2]Personification is the related attribution of human form and characteristics to abstract concepts such as nations, emotions, and natural forces, such as seasons and weather. Both have ancient roots as storytelling and artistic devices, and most cultures have traditional fables with anthropomorphized animals as characters. People have also routinely attributed human emotions and behavioral traits to wild as well as domesticated animals.[3]
Anthropomorphism and anthropomorphization derive from the verb form anthropomorphize,[lower-alpha 1] itself derived from the Greekánthrōpos (ἄνθρωπος, lit. "human") and morphē (μορφή, "form"). It is first attested in 1753, originally in reference to the heresy of applying a human form to the ChristianGod.[lower-alpha 2][1]
Examples in prehistory
The 35,000 to 40,000 year-old Löwenmensch figurineAnthropomorphic "pebble" figures from the 7th millennium BC
From the beginnings of human behavioral modernity in the Upper Paleolithic, about 40,000 years ago, examples of zoomorphic (animal-shaped) works of art occur that may represent the earliest known evidence of anthropomorphism. One of the oldest known is an ivory sculpture, the Löwenmensch figurine, Germany, a human-shaped figurine with the head of a lioness or lion, determined to be about 32,000 years old.[5][6]
It is not possible to say what these prehistoric artworks represent. A more recent example is The Sorcerer, an enigmatic cave painting from the Trois-Frères Cave, Ariège, France: the figure's significance is unknown, but it is usually interpreted as some kind of great spirit or master of the animals. In either case there is an element of anthropomorphism.
This anthropomorphic art has been linked by archaeologist Steven Mithen with the emergence of more systematic hunting practices in the Upper Palaeolithic.[7] He proposes that these are the product of a change in the architecture of the human mind, an increasing fluidity between the natural history and social intelligences[clarification needed], where anthropomorphism allowed hunters to identify empathetically with hunted animals and better predict their movements.[lower-alpha 3]
In religion and mythology, anthropomorphism is the perception of a divine being or beings in human form, or the recognition of human qualities in these beings.
Ancient mythologies frequently represented the divine as deities with human forms and qualities. They resemble human beings not only in appearance and personality; they exhibited many human behaviors that were used to explain natural phenomena, creation, and historical events. The deities fell in love, married, had children, fought battles, wielded weapons, and rode horses and chariots. They feasted on special foods, and sometimes required sacrifices of food, beverage, and sacred objects to be made by human beings. Some anthropomorphic deities represented specific human concepts, such as love, war, fertility, beauty, or the seasons. Anthropomorphic deities exhibited human qualities such as beauty, wisdom, and power, and sometimes human weaknesses such as greed, hatred, jealousy, and uncontrollable anger. Greek deities such as Zeus and Apollo often were depicted in human form exhibiting both commendable and despicable human traits. Anthropomorphism in this case is, more specifically, anthropotheism.[9]
From the perspective of adherents to religions in which humans were created in the form of the divine, the phenomenon may be considered theomorphism, or the giving of divine qualities to humans.
Anthropomorphism has cropped up as a Christian heresy, particularly prominently with Audianism in third-century Syria, but also fourth-century Egypt and tenth-century Italy.[10] This often was based on a literal interpretation of the Genesis creation myth: "So God created humankind in his image, in the image of God he created them; male and female he created them".[11]
Hindus do not reject the concept of a deity in the abstract unmanifested, but note practical problems. The Bhagavad Gita, Chapter 12, Verse 5, states that it is much more difficult for people to focus on a deity that is unmanifested than one with form, remarking on the usage of anthropomorphic icons (murtis) that adherents can perceive with their senses.[12][13]
Criticism
Some religions, scholars, and philosophers objected to anthropomorphic deities. The earliest known criticism was that of the Greek philosopher Xenophanes (570–480 BCE) who observed that people model their gods after themselves. He argued against the conception of deities as fundamentally anthropomorphic:
But if cattle and horses and lions had hands or could paint with their hands and create works such as men do, horses like horses and cattle like cattle also would depict the gods' shapes and make their bodies of such a sort as the form they themselves have. ... Ethiopians say that their gods are snub–nosed [σιμούς] and black Thracians that they are pale and red-haired.[14][lower-alpha 4]
Xenophanes said that "the greatest god" resembles man "neither in form nor in mind".[15]
Both Judaism and Islam reject an anthropomorphic deity, believing that God is beyond human comprehension. Judaism's rejection of an anthropomorphic deity began with the prophets, who explicitly rejected any likeness of God to humans.[16] Their rejection grew further after the Islamic Golden Age in the tenth century, which Maimonides codified in the twelfth century, in his thirteen principles of Jewish faith.[lower-alpha 5]
In the Ismaili interpretation of Islam, assigning attributes to God as well as negating any attributes from God (via negativa) both qualify as anthropomorphism and are rejected, as God cannot be understood by either assigning attributes to Him or taking them away. The 10th-century Ismaili philosopher Abu Yaqub al-Sijistani suggested the method of double negation; for example: "God is not existent" followed by "God is not non-existent". This glorifies God from any understanding or human comprehension.[18]
In secular thought, one of the most notable criticisms began in 1600 with Francis Bacon, who argued against Aristotle's teleology, which declared that everything behaves as it does in order to achieve some end, in order to fulfill itself.[19] Bacon pointed out that achieving ends is a human activity and to attribute it to nature misconstrues it as humanlike.[19] Modern criticisms followed Bacon's ideas such as critiques of Baruch Spinoza and David Hume. The latter, for instance, embedded his arguments in his wider criticism of human religions and specifically demonstrated in what he cited as their "inconsistence" where, on one hand, the Deity is painted in the most sublime colors but, on the other, is degraded to nearly human levels by giving him human infirmities, passions, and prejudices.[20] In Faces in the Clouds, anthropologist Stewart Guthrie proposes that all religions are anthropomorphisms that originate in the brain's tendency to detect the presence or vestiges of other humans in natural phenomena.[21]
Some scholars argue that anthropomorphism overestimates the similarity of humans and nonhumans and therefore could not yield accurate accounts.[22]
From the Panchatantra: Rabbit fools Elephant by showing the reflection of the moon.
Anthropomorphism, also referred to as personification, is a well-established literary device from ancient times. The story of "The Hawk and the Nightingale" in Hesiod's Works and Days preceded Aesop's fables by centuries. Collections of linked fables from India, the Jataka Tales and Panchatantra, also employ anthropomorphized animals to illustrate principles of life. Many of the stereotypes of animals that are recognized today, such as the wily fox and the proud lion, can be found in these collections. Aesop's anthropomorphisms were so familiar by the first century CE that they colored the thinking of at least one philosopher:
And there is another charm about him, namely, that he puts animals in a pleasing light and makes them interesting to mankind. For after being brought up from childhood with these stories, and after being as it were nursed by them from babyhood, we acquire certain opinions of the several animals and think of some of them as royal animals, of others as silly, of others as witty, and others as innocent.
Apollonius noted that the fable was created to teach wisdom through fictions that are meant to be taken as fictions, contrasting them favorably with the poets' stories of the deities that are sometimes taken literally. Aesop, "by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events".[23] The same consciousness of the fable as fiction is to be found in other examples across the world, one example being a traditional Ashanti way of beginning tales of the anthropomorphic trickster-spider Anansi: "We do not really mean, we do not really mean that what we are about to say is true. A story, a story; let it come, let it go."[24]
Fairy tales
Anthropomorphic motifs have been common in fairy tales from the earliest ancient examples set in a mythological context to the great collections of the Brothers Grimm and Perrault. The Tale of Two Brothers (Egypt, 13th century BCE) features several talking cows and in Cupid and Psyche (Rome, 2nd century CE) Zephyrus, the west wind, carries Psyche away. Later an ant feels sorry for her and helps her in her quest.
In many of these stories the animals can be seen as representing facets of human personality and character.[27] As John Rowe Townsend remarks, discussing The Jungle Book in which the boy Mowgli must rely on his new friends the bear Baloo and the black panther Bagheera, "The world of the jungle is in fact both itself and our world as well".[27] A notable work aimed at an adult audience is George Orwell's Animal Farm, in which all the main characters are anthropomorphic animals. Non-animal examples include Rev. W. Awdry's Railway Series stories featuring Thomas the Tank Engine and other anthropomorphic locomotives.
The fantasy genre developed from mythological, fairy tale, and Romance motifs[28] sometimes have anthropomorphic animals as characters. The best-selling examples of the genre are The Hobbit[29] (1937) and The Lord of the Rings[lower-alpha 7] (1954–1955), both by J. R. R. Tolkien, books peopled with talking creatures such as ravens, spiders, and the dragon Smaug and a multitude of anthropomorphic goblins and elves. John D. Rateliff calls this the "Doctor Dolittle Theme" in his book The History of the Hobbit[31] and Tolkien saw this anthropomorphism as closely linked to the emergence of human language and myth: "...The first men to talk of 'trees and stars' saw things very differently. To them, the world was alive with mythological beings... To them the whole of creation was 'myth-woven and elf-patterned'."[32]
Richard Adams developed a distinctive take on anthropomorphic writing in the 1970s: his debut novel, Watership Down (1972), featured rabbits that could talk—with their own distinctive language (Lapine) and mythology—and included a police-state warren, Efrafa. Despite this, Adams attempted to ensure his characters' behavior mirrored that of wild rabbits, engaging in fighting, copulating and defecating, drawing on Ronald Lockley's study The Private Life of the Rabbit as research. Adams returned to anthropomorphic storytelling in his later novels The Plague Dogs (novel) (1977) and Traveller (1988).[33][34]
Anthropomorphism in literature and other media led to a sub-culture known as furry fandom, which promotes and creates stories and artwork involving anthropomorphic animals, and the examination and interpretation of humanity through anthropomorphism. This can often be shortened in searches as "anthro", used by some as an alternative term to "furry".[37]
Anthropomorphic characters have also been a staple of the comic book genre. The most prominent one was Neil Gaiman's the Sandman which had a huge impact on how characters that are physical embodiments are written in the fantasy genre.[38][39] Other examples also include the mature Hellblazer (personified political and moral ideas),[40]Fables and its spin-off series Jack of Fables, which was unique for having anthropomorphic representation of literary techniques and genres.[41] Various Japanese manga and anime have used anthropomorphism as the basis of their story. Examples include Squid Girl (anthropomorphized squid), Hetalia: Axis Powers (personified countries), Upotte!! (personified guns), Arpeggio of Blue Steel and Kancolle (personified ships).
In film
Big Buck Bunny is a free animated short featuring anthropomorphic characters.
In the Disney/Pixar franchises Cars and Planes, all the characters are anthropomorphic vehicles,[42] while in Toy Story, they are anthropomorphic toys. Other Pixar franchises like Monsters, Inc features anthropomorphic monsters and Finding Nemo features anthropomorphic sea animals (like fish, sharks, and whales). Discussing anthropomorphic animals from DreamWorks franchise Madagascar, Laurie[non sequitur] suggests that "social differences based on conflict and contradiction are naturalized and made less 'contestable' through the classificatory matrix of human and nonhuman relations[clarification needed]".[42] Other DreamWorks franchises like Shrek features fairy tale characters, and Blue Sky Studios of 20th Century Fox franchises like Ice Age features anthropomorphic extinct animals. Other characters in SpongeBob SquarePants (franchise) features anthropomorphic sea animals as well (like sea sponges, starfish, octopus, crabs, whales, puffer fish, lobsters, and zooplankton).
The live-action/computer-animated franchise Alvin and the Chipmunks by 20th Century Fox centers around anthropomorphic talkative and singing chipmunks. The female singing chipmunks called The Chipettes are also centered in some of the franchise's films.
In television
Since the 1960s, anthropomorphism has also been represented in various animated television shows such as Biker Mice From Mars (1993–1996) and SWAT Kats: The Radical Squadron (1993–1995). Teenage Mutant Ninja Turtles, first aired in 1987, features four pizza-loving anthropomorphic turtles with a great knowledge of ninjutsu, led by their anthropomorphic rat sensei, Master Splinter. Nickelodeon's longest running animated TV series SpongeBob SquarePants (1999–present), revolves around SpongeBob, a yellow sea sponge, living in the underwater town of Bikini Bottom with his anthropomorphic marine life friends. Cartoon Network's animated series The Amazing World of Gumball (2011–2019) are about anthropomorphic animals and inanimate objects. All of the characters in Hasbro Studios' TV series My Little Pony: Friendship Is Magic (2010–2019) are anthropomorphic fantasy creatures, with most of them being ponies living in the pony-inhabited land of Equestria. The Netflix original series Centaurworld focuses on a warhorse who gets transported to a Dr. Seuss-like world full of centaurs who possess the bottom half of any animal, as opposed to the traditional horse.
In the American animated TV series Family Guy, one of the show's main characters, Brian, is a dog. Brian shows many human characteristics – he walks upright, talks, smokes, and drinks Martinis – but also acts like a normal dog in other ways; for example, he cannot resist chasing a ball and barks at the mailman, believing him to be a threat. In a similar case, BoJack Horseman, an American Netflix adult animated black comedy series, takes place in an alternate world where humans and anthropomorphic animals live side by side, and centers around the life of BoJack Horseman; a humanoidhorse who was a one hit wonder on a popular 1990s sitcom Horsin' Around, living off the show's residuals in present time. Multiple main characters of the series are other animals who possess human body form and other human-like traits and identity as well; Mr. Peanutbutter, a humanoid dog lives a mostly human life—he speaks American English, walks upright, owns a house, drives a car, is in a romantic relationship with a human woman (in this series, as animals and humans are seen as equal, relationships like this are not seen as bestiality but seen as regular human sexuality), Diane, and has a successful career in television—however also exhibits dog traits—he sleeps in a human-size dog bed, gets arrested for having a drag race with the mailman and is once forced to wear a dog cone after he gets stitches in his arm.
The PBS Kids animated series Let's Go Luna! centers on an anthropomorphic female Moon who speaks, sings, and dances. She comes down out of the sky to serve as a tutor of international culture to the three main characters: a boy frog and wombat and a girl butterfly, who are supposed to be preschool children traveling a world populated by anthropomorphic animals with a circus run by their parents.
The French-Belgian animated series Mush-Mush & the Mushables takes place in a world inhabited by Mushables, which are anthropomrphic fungi, along with other critters such as beetles, snails, and frogs.
In Armello, anthropomorphic animals battle for control of the animal kingdom.
Sonic the Hedgehog, a video game franchise debuting in 1991, features a speedy blue hedgehog as the main protagonist. This series' characters are almost all anthropomorphic animals such as foxes, cats, and other hedgehogs who are able to speak and walk on their hind legs like normal humans. As with most anthropomorphisms of animals, clothing is of little or no importance, where some characters may be fully clothed while some wear only shoes and gloves.
Another popular example in video games is the Super Mario series, debuting in 1985 with Super Mario Bros., of which main antagonist includes a fictional species of anthropomorphic turtle-like creatures known as Koopas. Other games in the series, as well as of other of its greater Mario franchise, spawned similar characters such as Yoshi, Donkey Kong and many others.
Claes Oldenburg's soft sculptures are commonly described as anthropomorphic.[citation needed] Depicting common household objects, Oldenburg's sculptures were considered Pop Art. Reproducing these objects, often at a greater size than the original, Oldenburg created his sculptures out of soft materials. The anthropomorphic qualities of the sculptures were mainly in their sagging and malleable exterior which mirrored the not-so-idealistic forms of the human body. In "Soft Light Switches" Oldenburg creates a household light switch out of vinyl. The two identical switches, in a dulled orange, insinuate nipples. The soft vinyl references the aging process as the sculpture wrinkles and sinks with time.
Minimalism
In the essay "Art and Objecthood", Michael Fried makes the case that "literalist art" (minimalism) becomes theatrical by means of anthropomorphism. The viewer engages the minimalist work, not as an autonomous art object, but as a theatrical interaction. Fried references a conversation in which Tony Smith answers questions about his six-foot cube, "Die".
Q: Why didn't you make it larger so that it would loom over the observer?
A: I was not making a monument.
Q: Then why didn't you make it smaller so that the observer could see over the top?
A: I was not making an object.
Fried implies an anthropomorphic connection by means of "a surrogate person–that is, a kind of statue."
The minimalist decision of "hollowness" in much of their work was also considered by Fried to be "blatantly anthropomorphic". This "hollowness" contributes to the idea of a separate inside; an idea mirrored in the human form. Fried considers the Literalist art's "hollowness" to be "biomorphic" as it references a living organism.[44]
Post-minimalism
Curator Lucy Lippard's Eccentric Abstraction show, in 1966, sets up Briony Fer's writing of a post-minimalist anthropomorphism. Reacting to Fried's interpretation of minimalist art's "looming presence of objects which appear as actors might on a stage", Fer interprets the artists in Eccentric Abstraction to a new form of anthropomorphism. She puts forth the thoughts of Surrealist writer Roger Caillois, who speaks of the "spacial lure of the subject, the way in which the subject could inhabit their surroundings." Caillous uses the example of an insect who "through camouflage does so in order to become invisible... and loses its distinctness." For Fer, the anthropomorphic qualities of imitation found in the erotic, organic sculptures of artists Eva Hesse and Louise Bourgeois, are not necessarily for strictly "mimetic" purposes. Instead, like the insect, the work must come into being in the "scopic field... which we cannot view from outside."[45]
The practice is particularly widespread in Japan, where cities, regions, and companies all have mascots, collectively known as yuru-chara. Two of the most popular are Kumamon (a bear who represents Kumamoto Prefecture)[46] and Funassyi (a pear who represents Funabashi, a suburb of Tokyo).[47]
Animals
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Other examples of anthropomorphism include the attribution of human traits to animals, especially domesticated pets such as dogs and cats. Examples of this include thinking a dog is smiling simply because it is showing his teeth,[48] or a cat mourns for a dead owner.[49] Anthropomorphism may be beneficial to the welfare of animals. A 2012 study by Butterfield et al. found that utilizing anthropomorphic language when describing dogs created a greater willingness to help them in situations of distress.[50] Previous studies have shown that individuals who attribute human characteristics to animals are less willing to eat them,[51] and that the degree to which individuals perceive minds in other animals predicts the moral concern afforded to them.[52] It is possible that anthropomorphism leads humans to like non-humans more when they have apparent human qualities, since perceived similarity has been shown to increase prosocial behavior toward other humans.[53] A study of how animal behaviors were discussed on the television series Life found that the script very often used anthropomorphisms.[54]
In science
In science, the use of anthropomorphic language that suggests animals have intentions and emotions has traditionally been deprecated as indicating a lack of objectivity. Biologists have been warned to avoid assumptions that animals share any of the same mental, social, and emotional capacities of humans, and to rely instead on strictly observable evidence.[55] In 1927 Ivan Pavlov wrote that animals should be considered "without any need to resort to fantastic speculations as to the existence of any possible subjective states".[56] More recently, The Oxford companion to animal behaviour (1987) advised that "one is well advised to study the behaviour rather than attempting to get at any underlying emotion".[57] Some scientists, like William M Wheeler (writing apologetically of his use of anthropomorphism in 1911), have used anthropomorphic language in metaphor to make subjects more humanly comprehensible or memorable.[lower-alpha 9]
Even insects play together, as has been described by that excellent observer, P. Huber, who saw ants chasing and pretending to bite each other, like so many puppies.
The study of great apes in their own environment and in captivity[lower-alpha 10] has changed attitudes to anthropomorphism. In the 1960s the three so-called "Leakey's Angels", Jane Goodall studying chimpanzees, Dian Fossey studying gorillas and Biruté Galdikas studying orangutans, were all accused of "that worst of ethological sins – anthropomorphism".[62] The charge was brought about by their descriptions of the great apes in the field; it is now more widely accepted that empathy has an important part to play in research.
De Waal has written: "To endow animals with human emotions has long been a scientific taboo. But if we do not, we risk missing something fundamental, about both animals and us."[63] Alongside this has come increasing awareness of the linguistic abilities of the great apes and the recognition that they are tool-makers and have individuality and culture.[64]
Writing of cats in 1992, veterinarian Bruce Fogle points to the fact that "both humans and cats have identical neurochemicals and regions in the brain responsible for emotion" as evidence that "it is not anthropomorphic to credit cats with emotions such as jealousy".[65]
In computing
In science fiction, an artificially intelligent computer or robot, even though it has not been programmed with human emotions, often spontaneously experiences those emotions anyway: for example, Agent Smith in The Matrix was influenced by a "disgust" toward humanity. This is an example of anthropomorphism: in reality, while an artificial intelligence could perhaps be deliberately programmed with human emotions or could develop something similar to an emotion as a means to an ultimate goal if it is useful to do so, it would not spontaneously develop human emotions for no purpose whatsoever, as portrayed in fiction.[66]
One example of anthropomorphism would be to believe that one's computer is angry at them because they insulted it; another would be to believe that an intelligent robot would naturally find a woman attractive and be driven to mate with her. Scholars sometimes disagree with each other about whether a particular prediction about an artificial intelligence's behavior is logical, or whether the prediction constitutes illogical anthropomorphism.[66] An example that might initially be considered anthropomorphism, but is in fact a logical statement about an artificial intelligence's behavior, would be the Dario Floreano experiments where certain robots spontaneously evolved a crude capacity for "deception", and tricked other robots into eating "poison" and dying: here, a trait, "deception", ordinarily associated with people rather than with machines, spontaneously evolves in a type of convergent evolution.[67]
The conscious use of anthropomorphic metaphor is not intrinsically unwise; ascribing mental processes to the computer, under the proper circumstances, may serve the same purpose as it does when humans do it to other people: it may help persons to understand what the computer will do, how their actions will affect the computer, how to compare computers with humans, and conceivably how to design computer programs. However, inappropriate use of anthropomorphic metaphors can result in false beliefs about the behavior of computers, for example by causing people to overestimate how "flexible" computers are.[68] According to Paul R. Cohen and Edward Feigenbaum, in order to differentiate between anthropomorphization and logical prediction of AI behavior, "the trick is to know enough about how humans and computers think to say exactly what they have in common, and, when we lack this knowledge, to use the comparison to suggest theories of human thinking or computer thinking."[69]
Computers overturn the childhood hierarchical taxonomy of "stones (non-living) → plants (living) → animals (conscious) → humans (rational)", by introducing a non-human "actor" that appears to regularly behave rationally. Much of computing terminology derives from anthropomorphic metaphors: computers can "read", "write", or "catch a virus". Information technology presents no clear correspondence with any other entities in the world besides humans; the options are either to leverage an emotional, imprecise human metaphor, or to reject imprecise metaphor and make use of more precise, domain-specific technical terms.[68]
People often grant an unnecessary social role to computers during interactions. The underlying causes are debated; Youngme Moon and Clifford Nass propose that humans are emotionally, intellectually and physiologically biased toward social activity, and so when presented with even tiny social cues, deeply infused social responses are triggered automatically.[68][70] This may allow incorporation of anthropomorphic features into computers/robots to enable more familiar "social" interactions, making them easier to use.[71]
Alleged examples of anthropomorphism toward AI have included: Google engineer Blake Lemoine's widely derided 2022 claim that the Google LaMDA chatbot was sentient;[72] the 2017 granting of honorary Saudi Arabian citizenship to the robot Sophia; and the reactions to the chatbot ELIZA in the 1960s.[73]
Psychology
Foundational research
In psychology, the first empirical study of anthropomorphism was conducted in 1944 by Fritz Heider and Marianne Simmel.[74] In the first part of this experiment, the researchers showed a 2-and-a-half-minute long animation of several shapes moving around on the screen in varying directions at various speeds. When subjects were asked to describe what they saw, they gave detailed accounts of the intentions and personalities of the shapes. For instance, the large triangle was characterized as a bully, chasing the other two shapes until they could trick the large triangle and escape. The researchers concluded that when people see objects making motions for which there is no obvious cause, they view these objects as intentional agents (individuals that deliberately make choices to achieve goals).
Modern psychologists generally characterize anthropomorphism as a cognitive bias. That is, anthropomorphism is a cognitive process by which people use their schemas about other humans as a basis for inferring the properties of non-human entities in order to make efficient judgements about the environment, even if those inferences are not always accurate.[2] Schemas about humans are used as the basis because this knowledge is acquired early in life, is more detailed than knowledge about non-human entities, and is more readily accessible in memory.[75] Anthropomorphism can also function as a strategy to cope with loneliness when other human connections are not available.[76]
Three-factor theory
Since making inferences requires cognitive effort, anthropomorphism is likely to be triggered only when certain aspects about a person and their environment are true. Psychologist Adam Waytz and his colleagues created a three-factor theory of anthropomorphism to describe these aspects and predict when people are most likely to anthropomorphize.[75] The three factors are:
Elicited agent knowledge, or the amount of prior knowledge held about an object and the extent to which that knowledge is called to mind.
Effectance, or the drive to interact with and understand one's environment.
Sociality, the need to establish social connections.
When elicited agent knowledge is low and effectance and sociality are high, people are more likely to anthropomorphize. Various dispositional, situational, developmental, and cultural variables can affect these three factors, such as need for cognition, social disconnection, cultural ideologies, uncertainty avoidance, etc.
Developmental perspective
Children appear to anthropomorphize and use egocentric reasoning from an early age and use it more frequently than adults.[77] Examples of this are describing a storm cloud as "angry" or drawing flowers with faces. This penchant for anthropomorphism is likely because children have acquired vast amounts of socialization, but not as much experience with specific non-human entities, so thus they have less developed alternative schemas for their environment.[75] In contrast, autistic children may tend to describe anthropomorphized objects in purely mechanical terms (that is, in terms of what they do) because they have difficulties with theory of mind (ToM) according to past research.[78][79] A 2018 study has shown that autistic people are more prone to object personification, suggesting that autistic empathy and ToM may be not only more complex but also more all-encompassing.[80] The double empathy problem challenges the notion that autistic people have difficulties with ToM.[81]
Effect on learning
Anthropomorphism can be used to assist learning. Specifically, anthropomorphized words[82] and describing scientific concepts with intentionality[83] can improve later recall of these concepts.
Anthropomorphism of inanimate objects can affect product buying behavior. When products seem to resemble a human schema, such as the front of a car resembling a face, potential buyers evaluate that product more positively than if they do not anthropomorphize the object.[85]
People also tend to trust robots to do more complex tasks such as driving a car or childcare if the robot resembles humans in ways such as having a face, voice, and name; mimicking human motions; expressing emotion; and displaying some variability in behavior.[86][87]
↑ Anthropomorphism, among divines, the error of those who ascribe a human figure to the deity.[4]
↑ In the New York Review of Books, Gardner opined that "I find most convincing Mithen's claim that human intelligence lies in the capacity to make connections: through using metaphors".[8]
↑ Many other translations of this passage have Xenophanes state that the Thracians were "blond".
↑ Moses Maimonides quoted RabbiAbraham Ben David: "It is stated in the Torah and books of the prophets that God has no body, as stated 'Since G-d your God is the god (lit.gods) in the heavens above and in the earth below" and a body cannot be in both places. And it was said 'Since you have not seen any image' and it was said 'To who would you compare me, and I would be equal to them?' and if he was a body, he would be like the other bodies."[17]
↑ The Victoria and Albert Museum wrote: "Beatrix Potter is still one of the world's best-selling and best-loved children's authors. Potter wrote and illustrated a total of 28 books, including the 23 Tales, the 'little books' that have been translated into more than 35 languages and sold over 100 million copies."[26]
↑ 150 million sold, a 2007 estimate of copies of the full story sold, whether published as one volume, three, or some other configuration.[30]
↑ It is estimated that the UK market for children's books was worth £672m in 2004.[35]
↑ In 1911, Wheeler wrote: "The larval insect is, if I may be permitted to lapse for a moment into anthropomorphism, a sluggish, greedy, self-centred creature, while the adult is industrious, abstemious and highly altruistic..."[58]
↑ In 1946, Hebb wrote: "A thoroughgoing attempt to avoid anthropomorphic description in the study of temperament was made over a two-year period at the Yerkes laboratories. All that resulted was an almost endless series of specific acts in which no order or meaning could be found. On the other hand, by the use of frankly anthropomorphic concepts of emotion and attitude one could quickly and easily describe the peculiarities of individual animals... Whatever the anthropomorphic terminology may seem to imply about conscious states in chimpanzee, it provides an intelligible and practical guide to behavior."[61]
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Fable is a literary genre defined as a succinct fictional story, in prose or verse, that features animals, legendary creatures, plants, inanimate objects, or forces of nature that are anthropomorphized, and that illustrates or leads to a particular moral lesson, which may at the end be added explicitly as a concise maxim or saying.
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Hoarding is the act of engaging in excessive acquisition of items that are not needed or for which no space is available.
Dehumanization is the denial of full humanity in others along with the cruelty and suffering that accompany it. A practical definition refers to it as the viewing and the treatment of other people as though they lack the mental capacities that are commonly attributed to human beings. In this definition, every act or thought that regards a person as "less than" human is dehumanization.
In computing, an avatar is a graphical representation of a user, the user's character, or persona. Avatars can be two-dimensional icons in Internet forums and other online communities, where they are also known as profile pictures, userpics, or formerly picons. Alternatively, an avatar can take the form of a three-dimensional model, as used in online worlds and video games, or an imaginary character with no graphical appearance, as in text-based games or worlds such as MUDs.
Moral agency is an individual's ability to make moral choices based on some notion of right and wrong and to be held accountable for these actions. A moral agent is "a being who is capable of acting with reference to right and wrong."
The word zoomorphism derives from Ancient Greek: ζωον, romanized: zōon, lit. 'animal' and Ancient Greek: μορφη, romanized: morphē, lit. 'form; shape'. In the context of art, zoomorphism could describe art that imagines humans as non-human animals. It can also be defined as art that portrays one species of animal like another species of animal or art that uses animals as a visual motif, sometimes referred to as "animal style." In ancient Egyptian religion, deities were depicted in animal form which is an example of zoomorphism in not only art but in a religious context. It is also similar to the term therianthropy; which is the ability to shape shift into animal form, except that with zoomorphism the animal form is applied to a physical object. It means to attribute animal forms or animal characteristics to other animals, or things other than an animal; similar to but broader than anthropomorphism. Contrary to anthropomorphism, which views animal or non-animal behavior in human terms, zoomorphism is the tendency of viewing human behavior in terms of the behavior of animals. It is also used in literature to portray the act of humans or objects with animalistic behavior or features. The use of zoomorphism served as a decorative element to objects that are typically quite simple in shape and design.
Personification is the representation of a thing or abstraction as a Person. It is, in other words, considered an embodiment or an incarnation. In the arts, many things are commonly personified. These include numerous types of places, especially cities, countries, and continents, elements of the natural world such as the trees or four seasons, four elements, four cardinal winds, five senses, and abstractions such as virtues, especially the four cardinal virtues and seven deadly sins, the nine Muses, or death.
Moe anthropomorphism is a form of anthropomorphism in anime, manga, and games where moe qualities are given to non-human beings, objects, concepts, or phenomena. In addition to moe features, moe anthropomorphs are also characterized by their accessories, which serve to emphasize their original forms before anthropomorphosis. The characters here, usually in a kind of cosplay, are drawn to represent an inanimate object or popular consumer product. Part of the humor of this personification comes from the personality ascribed to the character and the sheer arbitrariness of characterizing a variety of machines, objects, and even physical places as cute.
Robot ethics, sometimes known as "roboethics", concerns ethical problems that occur with robots, such as whether robots pose a threat to humans in the long or short run, whether some uses of robots are problematic, and how robots should be designed such that they act 'ethically'. Alternatively, roboethics refers specifically to the ethics of human behavior towards robots, as robots become increasingly advanced. Robot ethics is a sub-field of ethics of technology, specifically information technology, and it has close links to legal as well as socio-economic concerns. Researchers from diverse areas are beginning to tackle ethical questions about creating robotic technology and implementing it in societies, in a way that will still ensure the safety of the human race.
Talking animals are a common element in mythology and folk tales, children's literature, and modern comic books and animated cartoons. Fictional talking animals often are anthropomorphic, possessing human-like qualities. Whether they are realistic animals or fantastical ones, talking animals serve a wide range of uses in literature, from teaching morality to providing social commentary. Realistic talking animals are often found in fables, religious texts, indigenous texts, wilderness coming of age stories, naturalist fiction, animal autobiography, animal satire, and in works featuring pets and domesticated animals. Conversely, fantastical and more anthropomorphic animals are often found in the fairy tale, science fiction, toy story, and fantasy genres.
Robotics is the interdisciplinary study and practice of the design, construction, operation, and use of robots.
The Media Equation is a general communication theory that claims people tend to assign human characteristics to computers and other media, and treat them as if they were real social actors. The effects of this phenomenon on people experiencing these media are often profound, leading them to behave and to respond to these experiences in unexpected ways, most of which they are completely unaware of.
Critical anthropomorphism refers to a perspective in the study of animal behavior. It uses scientific knowledge of the species, its perceptual world, and ecological and evolutionary history to generate hypotheses through the lens of the sentience of the observer. The term is of particular relevance to mentalistic behavioral mechanisms, and its application involves using "natural history, our perceptions, intuitions, feelings, careful behavioral descriptions, identifying with the animal, optimization models, previous studies, and so forth in order to generate ideas that may prove useful in gaining understanding and the ability to predict outcomes of planned (experimental) and unplanned interventions".
A human–animal hybrid and animal–human hybrid is an organism that incorporates elements from both humans and non-human animals. Technically, in a human–animal hybrid, each cell has both human and non-human genetic material. It is in contrast to an individual where some cells are human and some are derived from a different organism, called a human-animal chimera.
Human uses of mammals include both practical uses, such as for food, sport, and transport, and symbolic uses, such as in art and mythology. Mammals have played a crucial role in creating and sustaining human culture. Domestication of mammals was instrumental in the Neolithic Revolution's development of agriculture and of civilisation, causing farming to replace hunting and gathering around the world, and cities to replace scattered communities.
Pet humanization is a form of anthropomorphism in which pets, typically animals kept for companionship such as dogs, cats and even smaller animals like rabbits or hamsters, are treated more like human family members than traditional pets. This trend of pet culture involves providing pets with a higher level of care, attention and often even luxury, similar to the way humans are treated.
References
1 2 3 Oxford English Dictionary, 1st ed. "anthropomorphism, n." Oxford University Press (Oxford), 1885.
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