Abstract
Abstract Collingwood argues that art is a remedy for what he calls a “corrupt consciousness.” Consciousness becomes corrupted when agents do not admit that they are starting to experience an emotion. Instead of becoming conscious of the emerging emotion, which is usually a difficult one, agents become conscious of an emotion that is easier to handle. Collingwood sees the corruption of consciousness as epistemically and morally problematic mainly because it is a form of dishonesty that infects the activity of the imagination and the intellect. While highlighting the importance of Collingwood’s notion of the corruption of consciousness, this paper argues that this notion would benefit from being situated in an explicitly top-down model of attention and emotion as opposed to the bottom-up model that Collingwood proposes. This shift preserves the central insights of Collingwood’s aesthetics – most especially his emphasis on the specificity involved in the expression of emotion – while ironing out some of the implausibility in his underlying analysis.
Published Version
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