Clark and Fischer's dismissal of extant human–robot interaction research approaches limits opportunities to understand major variables shaping people's engagement with social robots. Instead, this endeavour categorically requires multidisciplinary approaches. We refute the assumption that people cannot (correctly or incorrectly) represent robots as autonomous social agents. This contradicts available empirical evidence, and will become increasingly tenuous as robot automation improves.

Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.

A wealth of social psychology studies suggests that moving in synchrony with another person can positively influence their likeability and prosocial behavior towards them. Recently, human-robot interaction researchers have started to develop real-time, adaptive synchronous movement algorithms for social robots. However, little is known how socially beneficial synchronous movements with a robot actually are. We predicted that moving in synchrony with a robot would improve its likeability and participants’ social motivation towards the robot, as measured by the number of questions (...) asked during a free interaction period. Using a between-subjects design, we implemented the synchrony manipulation via a drawing task. Contrary to predictions, we found no evidence that participants who moved in synchrony with the robot rated it as more likeable or asked it more questions. By including validated behavioral and neural measures, future studies can generate a better and more objective estimation of synchrony’s effects on rapport with social robots. (shrink)

The study explores the impact of robots’ emotional displays on people’s tendency to cooperate with a robot opponent in prisoner’s dilemma games. Participants played iterated prisoner’s dilemma games with a non-expressive robot (as a measure of cooperative baseline), followed by an angry, and a sad robot, in turn. Based on the Emotion as Social Information model, we expected participants with higher cooperative predispositions to cooperate less when a robot displayed anger, and cooperate more when the robot displayed sadness. Contrarily, according (...) to this model, participants with lower cooperative predispositions should cooperate more with an angry robot and less with a sad robot. The results of 60 participants failed to support the predictions. Only the participants’ cooperative predispositions significantly predicted their cooperative tendencies during gameplay. Participants who cooperated more in the baseline measure also cooperated more with the robots displaying sadness and anger. In exploratory analyses, we found that participants who accurately recognised the robots’ sad and angry displays tended to cooperate less with them overall. The study highlights the impact of personal factors in human–robot cooperation, and how these factors might surpass the influence of bottom-up emotional displays by the robots in the present experimental scenario. (shrink)

Through advances in production and treatment technologies, transparent glass has become an increasingly versatile material and a global hallmark of modern architecture. In the shape of invisible barriers, it defines spaces while simultaneously shaping their lighting, noise, and climate conditions. Despite these unique architectural qualities, little is known regarding the human experience with glass barriers. Is a material that has been described as being simultaneously there and not there from an architectural perspective, actually there and/or not there from perceptual, behavioral, (...) and social points of view? In this article, we review systematic observations and experimental studies that explore the impact of transparent barriers on human cognition and action. In doing so, the importance of empirical and multidisciplinary approaches to inform the use of glass in contemporary architecture is highlighted and key questions for future inquiry are identified. (shrink)

Cook et al. overstate the evidence supporting their associative account of mirror neurons in humans: most studies do not address a key property, action-specificity that generalizes across the visual and motor domains. Multivariate pattern analysis of neuroimaging data can address this concern, and we illustrate how MVPA can be used to test key predictions of their account.

Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists (...) are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities. (shrink)