Pareidolia: characterising facial anthropomorphism and its implications for product design

Abstract

This work highlights the phenomenon of pareidoliathe tendency to see faces in the environment, buildings and objects that surround usand establishes its relevance for design contexts. In reviewing literature on anthropomorphism and the use of faces in design embodiment, we have shown that it is a compelling and prevalent facet of how we interpret products. By surveying 2,309 images from across the internet, we provide the first systematic investigation of product types and face characteristics (size, composition, emotion) that are manifest in this phenomenon. The most common instances were shown to be in medium-sized products, where part of the product was interpreted as a face, and that conveyed a happy emotion. The effects of culture and self-congruence are identified as important aspects of our interpretation of facial emotion. It is concluded that the fundamental geometric elements of products should be considered with respect to facial morphology, whether it be the intention to utilise its effects or not, and set out case for more quantified guidelines on the use of pareidolia and anthropomorphism in design.

The aesthetics of robot design: towards a classification of morphologies

“…Cyborg: a mix of human and mechanical elements yet has an overall human quality. For anthropomorphic designs high levels of detail and geometric complexity convey intelligence and functional sophistication, with roundness conveys cuteness (Wodehouse, et al 2018). DiSalvo and Gemperle (2003) posit anthropomorphic design consists of the form and behavioural design of the object.…”

“…There are a few aesthetic morphologies that as stated previously can be inspired physically, interactively, and in the method of interaction. Anthropomorphism, where the robot is inspired by humans was coined by Hanson (2006), Park, et al (2009), Green, et al (2008), Wodehouse, et al (2018, as well as others in this paper. Zoomorphism, where the robot is inspired by a fauna.…”

“…Another dimension is from familiar to strange by Jørgensen, et al (2022). The final dimension is from abstract to realistic discussed by Wodehouse, et al (2018). The inspiration of the morphologies does not have to be real but could be imagined or a combination of morphologies.…”