As Verne understood, the U.S. Civil War (during which 60,000 amputations were performed) inaugurated the modern prosthetics era in the United States, thanks to federal funding and a wave of design patents filed by entrepreneurial prosthetists. The two World Wars solidified the for-profit prosthetics industry in both the United States and Western Europe, and the ongoing War on Terror helped catapult it into a US $6 billion dollar industry across the globe. This recent investment is not, however, a result of a disproportionately large number of amputations in military conflict: Around 1,500 U.S. soldiers and 300 British soldiers lost limbs in Iraq and Afghanistan. Limb loss in the general population dwarfs those figures. In the United States alone, more than 2 million people live with limb loss, with 185,000 people receiving amputations every year. A much smaller subset—between 1,500 to 4,500 children each year—are born with limb differences or absences, myself included.
Today, the people who design prostheses tend to be well-intentioned engineers rather than amputees themselves. The fleshy stumps of the world act as repositories for these designers’ dreams of a high-tech, superhuman future. I know this because throughout my life I have been fitted with some of the most cutting-edge prosthetic devices on the market. After being born missing my left forearm, I was one of the first cohorts of infants in the United States to be fitted with a myoelectric prosthetic hand, an electronic device controlled by the wearer’s muscles tensing against sensors inside the prosthetic socket. Since then, I have donned a variety of prosthetic hands, each of them striving toward perfect fidelity of the human hand—sometimes at a cost of aesthetics, sometimes a cost of functionality, but always designed to mimic and replace what was missing.
In my lifetime, myoelectric hands have evolved from clawlike constructs to multigrip, programmable, anatomically accurate facsimiles of the human hand, most costing tens of thousands of dollars. Reporters can’t get enough of these sophisticated, multigrasping “bionic” hands with lifelike silicone skins and organic movements, the unspoken promise being that disability will soon vanish and any lost limb or organ will be replaced with an equally capable replica. Prosthetic-hand innovation is treated like a high-stakes competition to see what is technologically possible. Tyler Hayes, CEO of the prosthetics startup Atom Limbs, put it this way in a WeFunder video that helped raise $7.2 million from investors: “Every moonshot in history has started with a fair amount of crazy in it, from electricity to space travel, and Atom Limbs is no different.”
We are caught in a bionic-hand arms race. But are we making real progress? It’s time to ask who prostheses are really for, and what we hope they will actually accomplish. Each new multigrasping bionic hand tends to be more sophisticated but also more expensive than the last and less likely to be covered (even in part) by insurance. And as recent research concludes, much simpler and far less expensive prosthetic devices can perform many tasks equally well, and the fancy bionic hands, despite all of their electronic options, are rarely used for grasping.
Activity arms, such as this one manufactured by prosthetics firm Arm Dynamics, are less expensive and more durable than bionic prostheses. The attachment from prosthetic-device company Texas Assistive Devices rated for very heavy weights, allowing the author to perform exercises that would be risky or impossible with her much more expensive bebionic arm.Gabriela Hasbun; Makeup: Maria Nguyen for MAC cosmetics; Hair: Joan Laqui for Living Proof
Function or Form
In recent decades, the overwhelming focus of research into and development of new artificial hands has been on perfecting different types of grasps. Many of the most expensive hands on the market differentiate themselves by the number and variety of selectable prehensile grips. My own media darling of a hand, the bebionic from Ottobock, which I received in 2018, has a fist-shaped power grip, pinching grips, and one very specific mode with thumb on top of index finger for politely handing over a credit card. My 21st-century myoelectric hand seemed remarkable—until I tried using it for some routine tasks, where it proved to be more cumbersome and time consuming than if I had simply left it on the couch. I couldn’t use it to pull a door shut, for example, a task I can do with my stump. And without the extremely expensive addition of a powered wrist, I couldn’t pour oatmeal from a pot into a bowl. Performing tasks the cool bionic way, even though it mimicked having two hands, wasn’t obviously better than doing things my way, sometimes with the help of my legs and feet.
When I first spoke with Ad Spiers, lecturer in robotics and machine learning at Imperial College London, it was late at night in his office, but he was still animated about robotic hands—the current focus of his research. Spiers says the anthropomorphic robotic hand is inescapable, from the reality of today’s prosthetics to the fantasy of sci-fi and anime. “In one of my first lectures here, I showed clips of movies and cartoons and how cool filmmakers make robot hands look,” Spiers says. “In the anime Gundam, there are so many close-ups of gigantic robot hands grabbing things like massive guns. But why does it need to be a human hand? Why doesn’t the robot just have a gun for a hand?”
It’s time to ask who prostheses are really for, and what we hope they will actually accomplish.
Spiers believes that prosthetic developers are too caught up in form over function. But he has talked to enough of them to know they don’t share his point of view: “I get the feeling that people love the idea of humans being great, and that hands are what make humans quite unique.” Nearly every university robotics department Spiers visits has an anthropomorphic robot hand in development. “This is what the future looks like,” he says, and he sounds a little exasperated. “But there are often better ways.”
The vast majority of people who use a prosthetic limb are unilateral amputees—people with amputations that affect only one side of the body—and they virtually always use their dominant “fleshy” hand for delicate tasks such as picking up a cup. Both unilateral and bilateral amputees also get help from their torsos, their feet, and other objects in their environment; rarely are tasks performed by a prosthesis alone. And yet, the common clinical evaluations to determine the success of a prosthetic are based on using only the prosthetic, without the help of other body parts. Such evaluations seem designed to demonstrate what the prosthetic hand can do rather than to determine how useful it actually is in the daily life of its user. Disabled people are still not the arbiters of prosthetic standards; we are still not at the heart of design.
The Hosmer Hook [left], originally designed in 1920, is the terminal device on a body-powered design that is still used today. A hammer attachment [right] may be more effective than a gripping attachment when hammering nails into wood.Left: John Prieto/The Denver Post/Getty Images; Right: Hulton-Deutsch Collection/Corbis/Getty Images
Prosthetics in the Real World
To find out how prosthetic users live with their devices, Spiers led a study that used cameras worn on participants’ heads to record the daily actions of eight people with unilateral amputations or congenital limb differences. The study, published last year in IEEE Transactions on Medical Robotics and Bionics, included several varieties of myoelectric hands as well as body-powered systems, which use movements of the shoulder, chest, and upper arm transferred through a cable to mechanically operate a gripper at the end of a prosthesis. The research was conducted while Spiers was a research scientist at Yale University’s GRAB Lab, headed by Aaron Dollar. In addition to Dollar, he worked closely with grad student Jillian Cochran, who coauthored the study.
Watching raw footage from the study, I felt both sadness and camaraderie with the anonymous prosthesis users. The clips show the clumsiness, miscalculations, and accidental drops that are familiar to even very experienced prosthetic-hand users. Often, the prosthesis simply helps brace an object against the body to be handled by the other hand. Also apparent was how much time people spent preparing their myoelectric prostheses to carry out a task—it frequently took several extra seconds to manually or electronically rotate the wrists of their devices, line up the object to grab it just right, and work out the grip approach.The participant who hung a bottle of disinfectant spray on their “hook” hand while wiping down a kitchen counter seemed to be the one who had it all figured out.
In the study, prosthetic devices were used on average for only 19 percent of all recorded manipulations. In general, prostheses were employed in mostly nonprehensile actions, with the other, “intact” hand doing most of the grasping. The study highlighted big differences in usage between those with nonelectric, body-powered prosthetics and those with myoelectric prosthetics. For body-powered prosthetic users whose amputation was below the elbow, nearly 80 percent of prosthesis usage was nongrasping movement—pushing, pressing, pulling, hanging, and stabilizing. For myoelectric users, the device was used for grasping just 40 percent of the time.
More tellingly, body-powered users with nonelectric grippers or split hooks spent significantly less time performing tasks than did users with more complex prosthetic devices. Spiers and his team noted the fluidity and speed with which the former went about doing tasks in their homes. They were able to use their artificial hands almost instantaneously and even experience direct haptic feedback through the cable that drives such systems. The research also revealed little difference in use between myoelectric single-grasp devices and fancier myoelectric multiarticulated, multigrasp hands—except that users tended to avoid hanging objects from their multigrasp hands, seemingly out of fear of breaking them.
“We got the feeling that people with multigrasp myoelectric hands were quite tentative about their use,” says Spiers. It’s no wonder, since most myoelectric hands are priced over $20,000, are rarely approved by insurance, require frequent professional support to change grip patterns and other settings, and have costly and protracted repair processes. As prosthetic technologies become more complex and proprietary, the long-term serviceability is an increasing concern. Ideally, the device should be easily fixable by the user. And yet some prosthetic startups are pitching a subscription model, in which users continue to pay for access to repairs and support.
Despite the conclusions of his study, Spiers says the vast majority of prosthetics R&D remains focused on refining the grasping modes of expensive, high-tech bionic hands. Even beyond prosthetics, he says, manipulation studies in nonhuman primate research and robotics are overwhelmingly concerned with grasping: “Anything that isn’t grasping is just thrown away.”
TRS makes a wide variety of body-powered prosthetic attachments for different hobbies and sports. Each attachment is specialized for a particular task, and they can be easily swapped for a variety of activities. Fillauer TRS
Grasping at History
If we’ve decided that what makes us human is our hands, and what makes the hand unique is its ability to grasp, then the only prosthetic blueprint we have is the one attached to most people’s wrists. Yet the pursuit of the ultimate five-digit grasp isn’t necessarily the logical next step. In fact, history suggests that people haven’t always been fixated on perfectly re-creating the human hand.
As recounted in the 2001 essay collection Writing on Hands: Memory and Knowledge in Early Modern Europe, ideas about the hand evolved over the centuries. “The soul is like the hand; for the hand is the instrument of instruments,” Aristotle wrote in De Anima. He reasoned that humanity was deliberately endowed with the agile and prehensile hand because only our uniquely intelligent brains could make use of it—not as a mere utensil but a tool for apprehensio, or “grasping,” the world, literally and figuratively.
More than 1,000 years later, Aristotle’s ideas resonated with artists and thinkers of the Renaissance. For Leonardo da Vinci, the hand was the brain’s mediator with the world, and he went to exceptional lengths in his dissections and illustrations of the human hand to understand its principal components. His meticulous studies of the tendons and muscles of the forearm and hand led him to conclude that “although human ingenuity makes various inventions…it will never discover inventions more beautiful, more fitting or more direct than nature, because in her inventions nothing is lacking and nothing is superfluous.”
Da Vinci’s illustrations precipitated a wave of interest in human anatomy. Yet for all of the studious rendering of the human hand by European masters, the hand was regarded more as an inspiration than as an object to be replicated by mere mortals. In fact, it was widely accepted that the intricacies of the human hand evidenced divine design. No machine, declared the Christian philosopher William Paley, is “more artificial, or more evidently so” than the flexors of the hand, suggesting deliberate design by God.
Performing tasks the cool bionic way, even though it mimicked having two hands, wasn’t obviously better than doing things my way, sometimes with the help of my legs and feet.
By the mid-1700s, with the Industrial Revolution in the global north, a more mechanistic view of the world began to emerge, and the line between living things and machines began to blur. In her 2003 article “Eighteenth-Century Wetware,” Jessica Riskin, professor of history at Stanford University, writes, “The period between the 1730s and the 1790s was one of simulation, in which mechanicians tried earnestly to collapse the gap between animate and artificial machinery.” This period saw significant changes in the design of prosthetic limbs. While mechanical prostheses of the 16th century were weighed down with iron and springs, a 1732 body-powered prosthesis used a pulley system to flex a hand made of lightweight copper. By the late 18th century, metal was being replaced with leather, parchment, and cork—softer materials that mimicked the stuff of life.
The techno-optimism of the early 20th century brought about another change in prosthetic design, says Wolf Schweitzer, a forensic pathologist at the Zurich Institute of Forensic Medicine and an amputee. He owns a wide variety of contemporary prosthetic arms and has the necessary experience to test them. He notes that anatomically correct prosthetic hands have been carved and forged for the better part of 2,000 years. And yet, he says, the 20th century’s body-powered split hook is “more modern,” its design more willing to break the mold of the human hand.
“The body powered arm—in terms of its symbolism—(still) expresses the man-machine symbolism of an industrial society of the 1920s,” writes Schweitzer in his prosthetic arm blog, “when man was to function as clockwork cogwheel on production lines or in agriculture.” In the original 1920s design of the Hosmer Hook, a loop inside the hook was placed just for tying shoes and another just for holding cigarettes. Those designs, Ad Spiers told me, were “incredibly functional, function over form. All pieces served a specific purpose.”
Schweitzer believes that as the need for manual labor decreased over the 20th century, prostheses that were high-functioning but not naturalistic were eclipsed by a new high-tech vision of the future: “bionic” hands. In 2006, the U.S. Defense Advanced Research Projects Agency launched Revolutionizing Prosthetics, a research initiative to develop the next generation of prosthetic arms with “near-natural” control. The $100 million program produced two multi-articulating prosthetic arms (one for research and another that costs over $50,000). More importantly, it influenced the creation of other similar prosthetics, establishing the bionic hand—as the military imagined it—as the holy grail in prosthetics. Today, the multigrasp bionic hand is hegemonic, a symbol of cyborg wholeness.
And yet some prosthetic developers are pursuing a different vision. TRS, based in Boulder, Colo., is one of the few manufacturers of activity-specific prosthetic attachments, which are often more durable and more financially accessible than robotic prosthetics. These plastic and silicone attachments, which include a squishy mushroom-shaped device for push-ups, a ratcheting clamp for lifting heavy weights, and a concave fin for swimming, have helped me experience the greatest functionality I have ever gotten out of a prosthetic arm.
Such low-tech activity prostheses and body-powered prostheses perform astonishingly well, for a tiny fraction of the cost of bionic hands. They don’t look or act like human hands, and they function all the better for it. According to Schweitzer, body-powered prostheses are regularly dismissed by engineers as “arcane” or derisively called “Captain Hook.” Future bionic shoulders and elbows may make a huge difference in the lives of people missing a limb up to their shoulder, assuming those devices can be made robust and affordable. But for Schweitzer and a large percentage of users dissatisfied with their myoelectric prosthesis, the prosthetic industry has yet to provide anything fundamentally better or cheaper than body-powered prostheses.
The Breakthroughs We Want
Bionic hands seek to make disabled people “whole,” to have us participate in a world that is culturally two-handed. But it’s more important that we get to live the lives we want, with access to the tools we need, than it is to make us look like everyone else. While many limb-different people have used bionic hands to interact with the world and express themselves, the centuries-long effort to perfect the bionic hand rarely centers on our lived experiences and what we want to do in our lives.
We’ve been promised a breakthrough in prosthetic technology for the better part of 100 years now. I’m reminded of the scientific excitement around lab-grown meat, which seems simultaneously like an explosive shift and a sign of intellectual capitulation, in which political and cultural change is passed over in favor of a technological fix. With the cast of characters in the world of prosthetics—doctors, insurance companies, engineers, prosthetists, and the military—playing the same roles they have for decades, it’s nearly impossible to produce something truly revolutionary.
In the meantime, this metaphorical race to the moon is a mission that has forgotten its original concern: helping disabled people acquire and use the tools they want. There are inexpensive, accessible, low-tech prosthetics that are available right now and that need investments in innovation to further bring down costs and improve functionality. And in the United States at least, there is a broken insurance system that needs fixing. Releasing ourselves from the bionic-hand arms race can open up the possibilities of more functional designs that are more useful and affordable, and might help us bring our prosthetic aspirations back down to earth.
This article appears in the October 2022 print issue.
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The uncanny valley metaphor suggests that a human appearance or behavior can make an artificial figure seem more familiar for viewers — but only up to a point. The sense of viewer familiarity drops sharply into the uncanny valley once the artificial figure tries but fails to mimic a realistic human.Why is the uncanny valley scary? ›
The kind of robots that fall into the Uncanny Valley will look like humans, but with something clearly wrong with them. Whether this is because their skin looks lifeless, their features are morphed or another slightly off factor, it could trigger an evolutionary feeling of aversion or disgust.Is the uncanny valley real? ›
A 2013 study examined the relationship between human-likeness and eeriness and found evidence supporting the existence of the uncanny valley.Why did humans evolve the uncanny valley? ›
Why did humans evolve the Uncanny Valley response? Humans did not evolve the uncanny valley response, they inherited it from earlier hominids, who inherited in from earlier primates, who inherited it from earlier mammals, who inherited it from earlier amniotes… and so forth.Why does the uncanny valley make us uncomfortable? ›
"The uncanny valley is this pattern where, as something becomes more human, we have more positive feelings about it up to a point. When it is kind of human but not quite human, that makes us really uncomfortable. It's that strange familiarity, or familiar strangeness.What is Freud's theory of the uncanny? ›
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For example, Mori (1970/2012) proposed that the uncanny valley effect is a survival instinct, an aversive response to proximal threats like dead or diseased bodies and dangerous species of animals.How do you stop uncanny valley? ›
- Steer clear of atypicalities at high levels of realism. ...
- Avoid "dead eyes." A virtual character's eyes are especially important. ...
- Use stylization and childish features for stylization.
He continues: "One of the most well known modern examples of this was actually an early test screening of Shrek in 2000, where Fiona was rendered as very hyper-realistic, so realistic that it surpassed the threshold of comfort and cartoon and moved into the 'uncanny valley'.
Today the Uncanny Valley is a well-known response to extremely lifelike robots and AI entities. The phenomenon can be traced back more than 2,000 years, to classical antiquity. The most ancient examples of an Uncanny Valley response to artificial life occur in Homer's Odyssey (ca. 700 BC).Is Dracula uncanny? ›
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The concept of the Uncanny was later elaborated on and developed by Sigmund Freud in his 1919 essay "The Uncanny", which also draws on the work of Hoffmann (whom Freud refers to as the "unrivalled master of the uncanny in literature").Why do robots look uncanny? ›
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Her friendship with a billionaire CEO coyly identified as “Patrick” (that would be 31 year-old Patrick Collison, CEO of payments company Stripe) offers an opportunity for her to lay her political cards on the table, but she largely refrains.What are examples of uncanny? ›
Examples of the Uncanny
Examples of situations that can provoke an uncanny feeling include inanimate objects coming alive, thoughts appearing to have an effect in the real world, seeing your double (the doppelgänger effect), representations of death such as ghosts or spirits, and involuntary repetitions.
The “double” comes into play when a person encounters the “narcissism of the child” later on in their adult life causing them to return to that primitive state, therefore causing “uncanny”. This may also be related to Freud's formation/idea of the super-ego.
Freudian theory postulates that adult personality is made up of three aspects: (1) the id, operating on the pleasure principle generally within the unconscious; (2) the ego, operating on the reality principle within the conscious realm; and (3) the superego, operating on the morality principle at all levels of ...Why do humans need the uncanny valley? ›
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|Main Story||51||1h 34m|
|Main + Extras||12||2h 45m|
|All PlayStyles||83||2h 32m|
2B), monkeys exhibited one pattern consistently: They preferred to look at unrealistic synthetic faces and real faces more than to realistic synthetic faces. The visual behavior of monkeys falls into the uncanny valley just the same as human visual behavior (2, 3).What is the fear of something that looks human but isn t? ›
Automatonophobia may be influenced by our own innate expectations of human behavior. Whether they are programmed to move and talk or they simply stand silently, automatons look but do not behave like humans. In general, it's common for people to feel uncomfortable in the presence of human replicas.How do you use uncanny valley in a sentence? ›
Many people find mannequins disturbing (due in part perhaps to the uncanny valley effect), especially when not fully assembled. Some praised it for looking realistic and others criticized it for falling into the uncanny valley and looking creepy.Is Polar Express uncanny valley? ›
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In Shrek, Fiona changes from a human during the day to an ogre at night and the events of the first movie make the change permanent. However during the second movie we learn that her father the king was actually the frog prince, and was turned human by the fairy godmother so he could marry a human.What does uncanny valley feel like? ›
The uncanny valley phenomenon can be described as an eerie or unsettling feeling that some people experience in response to not-quite-human figures like humanoid robots and lifelike computer-generated characters.Is uncanny valley a horror game? ›
Uncanny Valley is a survival horror game that includes a mix of exploration, puzzle solving and a bit of action with a lot of optional story content. We're trying to preserve the old survival horror kind of gameplay instead of following the modern trend of creating a third person shooter with horror elements.
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Dracula's Inability to Love
Evil and love, being dichotomous by nature, cannot simultaneously exist.
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Dracula is the most well-known vampire in the world. Usually the villain in most stories, but in some others, Dracula is a heroic character.What is at the bottom of the uncanny valley? ›
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"Sexbots" are designed for those who yearn for an opportunity to simulate a sex act in the company of an exceedingly realistic-looking mannequin. To that end, sexbots often come packed with many lifelike features, which distinguish them from their much more primitive "sex doll" forebears.
Currently, it is not possible for Artificial Intelligence to replicate human emotions. However, studies show that it would be possible for AI to mimic certain forms of expression.Can a robot pass as a human? ›
The researchers found that bots are more efficient than humans at certain human-machine interactions, but only if they are allowed to hide their non-human nature. Recent technological breakthroughs in artificial intelligence have made it possible for machines, or bots, to pass as humans.When did Masahiro Mori write uncanny valley? ›
Mori was a roboticist who wrote "The Uncanny Valley." This short essay explains a phenomenon in which there is a certain point where a robot who looks human begins to give off a sense of eeriness.What is so Mun power in uncanny counter? ›
Choo Mae-ok is the motherly figure with incredible healing abilities, and finally So Mun, who is the newest addition to the evil spirit hunting group, possesses superhuman speed and psychometry. Together they search for and fight against evil spirits that escaped from the afterlife to prey on humans.Why is it called uncanny valley? ›
The name captures the idea that an almost human-looking robot seems overly "strange" to some human beings, produces a feeling of uncanniness, and thus fails to evoke the empathic response required for productive human–robot interaction.Do other animals have uncanny valley? ›
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Mun sees the ugly truth that his parents' souls were swallowed by Cheong-Shin, the same spirit that Ha-Na she fought in the first episode – and the one who killed Cheol-Jung.Did So Mun lose his powers? ›
He's driven to save his parents though but given that would involve killing Cheong-Sin, Wigen argues that he's no better than an evil spirit. And just like that, Mun's powers are taken away. This also means Mun's legs no longer work… and Ha-Na is tasked with taking away his memories.Why is the uncanny important in literature? ›
Basically, the Uncanny is what unconsciously reminds us of our own Id, our forbidden and thus repressed impulses – especially when placed in a context of uncertainty that can remind one of infantile beliefs in the omnipotence of thought.
- Optophobia: Fear of opening one's eyes. ...
- Chorophobia: Fear of dancing. ...
- Geliophobia: Fear of laughter. ...
- Heliphobia: Fear of sunlight. ...
- Deipnophobia: Fear of dinner conversations. ...
- Neophobia: Fear of new things. ...
- Syngenesophobia: Fear of relatives. ...
- Ablutophobia: Fear of washing and bathing.
Hippopotomonstrosesquippedaliophobia is one of the longest words in the dictionary — and, in an ironic twist, is the name for a fear of long words. Sesquipedalophobia is another term for the phobia.What are the most scariest phobias? ›
- Acrophobia: fear of heights. ...
- Pteromerhanophobia: fear of flying. ...
- Claustrophobia: fear of enclosed spaces. ...
- Entomophobia: fear of insects. ...
- Ophidiophobia: fear of snakes. ...
- Cynophobia: fear of dogs. ...
- Astraphobia: fear of storms. ...
- Trypanophobia: fear of needles.