Tom Cochrane

I defend the claim that fictional narratives provide cognitive benefits to readers in virtue of helping them to understand character. Fictions allow readers to rehearse the skill of selecting and organizing into narratives those episodes of a life that reflect traits or values. Two further benefits follow: first, fictional narratives provide character models that we can apply to real-life individuals (including ourselves), and second, fictional narratives help readers to reflect on the value priorities that constitute character. I defend the plausibility of these cognitive benefits against certain worries raised by Gregory Currie and Peter Goldie.

This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, and second the noisy listening situation typical to rock or jazz concerts.

In this article we examine obsessive compulsive disorder (OCD). We examine and reject two existing models of this disorder: the Dysfunctional Belief Model and the Inference‐Based Approach. Instead, we propose that the main distinctive characteristic of OCD is a hyperactive sub‐personal signal of being in error, experienced by the individual as uncertainty about his or her intentional actions (including mental actions). This signalling interacts with the anxiety sensitivities of the individual to trigger conscious checking processes, including speculations about possible harms. We examine the implications of this model for the individual's capacity to control his or her thoughts.

I argue that while the feeling of bodily responses is not necessary to emotion, these feelings contribute significant meaningful content to everyday emotional experience. Emotional bodily feelings represent a ‘state of self’, analysed as a sense of one's body affording certain patterns of interaction with the environment. Recognising that there are two sources of intentional content in everyday emotional experience allows us to reconcile the diverging intuitions that people have about emotional states, and to understand better the long-standing debate between bodily feeling-based and appraisal-based theories of emotion.

This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us to synthesize or reject traditional philosophical differences.