We comment on two articles on social referencing and social appraisal. We agree with Walle, Reschke, and Knothe’s argument that at one level of analysis, social referencing and social appraisal are functionally equivalent: In both cases, another person’s emotional expression is observed and this expression informs the observer’s own emotional reactions and behavior. However, we also agree with Clément and Dukes’s view that, there is an important difference between social referencing and social appraisal. We also argue that they are likely (...) to occur at different stages of emotion process. (shrink)

This festschrift collects a number of insightful essays by a group of accomplished Christian scholars, all of who have either worked with or studied under Hendrik Hart during his 35-year tenure as Senior Member in Systematic Philosophy at the Institute for Christian Studies, Toronto, Canada.

TEST is a novel taxonomy of knowledge representations based on three distinct hierarchically organized representational features: Tropism, Embodiment, and Situatedness. Tropic representational features reflect constraints of the physical world on the agent's ability to form, reactivate, and enrich embodied (i.e., resulting from the agent's bodily constraints) conceptual representations embedded in situated contexts. The proposed hierarchy entails that representations can, in principle, have tropic features without necessarily having situated and/or embodied features. On the other hand, representations that are situated and/or embodied (...) are likely to be simultaneously tropic. Hence, although we propose tropism as the most general term, the hierarchical relationship between embodiment and situatedness is more on a par, such that the dominance of one component over the other relies on the distinction between offline storage versus online generation as well as on representation-specific properties. (shrink)

Insults elicit intense emotion. This study tests the hypothesis that one's social image, which is especially salient in honour cultures, influences the way in which one reacts to an insult. Seventy-seven honour-oriented and 72 non-honour oriented participants answered questions about a recent insult episode. Participants experienced both anger and shame in reaction to the insult. However, these emotions resulted in different behaviours. Anger led to verbal attack (i.e., criticising, insulting in return) among all participants. This relationship was explained by participants’ (...) motivation to punish the wrongdoer. Shame, on the other hand, was moderated by honour. Shame led to verbal disapproval of the wrongdoers behaviour, but only among the honour-oriented participants. This relationship was explained by these participants’ motivation to protect their social image. By contrast, shame led to withdrawal among non-honour-oriented participants. (shrink)

Social robots serve people as tutors, caretakers, receptionists, companions, and other social agents. People know that the robots are mechanical artifacts, yet they interact with them as if they were actual agents. How is this possible? The proposal here is that people construe social robots not as social agents per se, but as depictions of social agents. They interpret them much as they interpret ventriloquist dummies, hand puppets, virtual assistants, and other interactive depictions of people and animals. Depictions as a (...) class consist of three physical scenes with part-by-part mappings between them: (a) a base scene (the raw physical artifact), (b) the depiction proper (the artifact construed as a depiction), and (c) the scene depicted (the scene people are to imagine). With social robots, evidence shows people form the same three scenes plus mappings: They perceive the raw machinery of a robot, construe it as a depiction of a character, and, using the depiction as a guide, engage in the pretense that they are interacting with the character depicted. With social robots, people also recognize three classes of agents – the characters depicted, the intended recipients of the depictions (those who view or interact with the robots), and the authorities responsible for the robots (the designers, makers, and owners). Construing social robots as depictions, we argue, accounts for many phenomena not covered by alternative models. (shrink)