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This study investigates the effect of kindchenschema across cultures. The kindchenschema is a gestalt that triggers a special protective behavior (Lorenz, 1970). We adopted a normative approach, which searches for possible objective aesthetics and canonic values (i.e. normative aesthetics; Crowther, 2004), and conducted a pretest, where it was inquired whether we could transfer the canonic rules of “looking cute” into five dimensions: small size, light-color, tilted angle, wide, and round shape. 229 participants completed a task in which they modified a rectangle for the parameters of size, color, angle, height-width ratio, and roundness to create a “cute rectangle.” As predicted, the “cute rectangles” created by participants were significantly smaller, lighter, more tilted, or rounder than the reference shape. The canonic rules of cuteness were confirmed by the pretest data. In the main study, type of cultural self-construals (independent or interdependent) was hypothesized as a significant predictor that differentiates the evaluation of cuteness aesthetics. 228 participants from Estonia, South Korea, and the United States (N = 228) evaluated 32 rectangles with a high or low level of the 5 cuteness dimensions in 9 semantic differential scales along with the perceived cuteness. The findings suggest that an individual’s interdependent cultural self-construal is a determinant factor in the perception of cuteness. We then discuss the theoretical and practical implication of cuteness aesthetics with regard to cultural self-construals, caring behaviors, and the perception of others.

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Objective This study investigates the effect of naturalistic visual cues on human avoidance behavior for a potential use in telerobotic user interfaces incorporating mixed-reality environments (e.g., augmented reality). Background Telerobotic systems used in hazardous environments require interfaces that draw operators’ attention to potential dangers. Existing means of hazard notification can often distract or induce stress in operators. In the design and implementation of such interfaces, visual semiotics plays a critical role in creating more effective interfaces. Naturalistic visual cues such as Aposematism or Kindchenschema have proven effective to communicate danger or caution in nature, but the application of these cues in visual systems have yet to be thoroughly investigated. Method A study was conducted where 40 volunteering participants were asked to control a remote vehicle in a simulated environment. The environment contained a set of neutral and visually augmented obstacles that were designed to provoke avoidance behavior. Results The use of visual cues triggered greater avoidance behaviors in participants compared to neutral obstacles. The distance of avoidance was correlated with the type of cue present, with obstacles augmented by Aposematism (Cue A) having a greater participant–obstacle distance than Kindchenschema (Cue K). Conclusions This study shows the potential for the incorporation of naturalistic visual cues as a means to designate warning or caution in telerobotic environments. Applications The findings can offer practical guidelines for the design of visual cues in telerobotic interfaces. The further incorporation of such cues may reduce operator stress and the amount of human errors in telerobotic operations.

In the animation and design of cartoon characters, animators have often turned to the study of biological theories and observation of human actors and animals to capture lifelike movements and emotions more successfully. Charles Darwin's principle of antithesis, as one of the principles he considered to be responsible for the expression of emotions in animals, would seem to be of distinctive importance in the development of animation. By revisiting Darwin's original idea in the context of the principles of animation formulated by Thomas and Johnston, we are able to assess its application and relevance in the expressions of emotions in cartoon animal characters. The article concentrates on the emotive function of animal social communication as outlined in zoosemiotics, while taking into account that the expressions of animal characters are directed at the viewer. The principle of antithesis, as a descriptive tool, aids us in considering the diversity of modalities used simultaneously in affective communication, and serves to explicate human interpretations of the anthropomorphic and zoomorphic projections onto the behaviour of cartoon animal characters. This paper offers insight into the potential expansion and re-evaluation of unattested principles in animation, which can be utilized by animators in the creation of more dynamic and expressive animated characters.