On Aesthetics Inertia

The study of aesthetic inertia is a discussion of the aesthetic characteristics of social customs t with the help of culture study. Social custom or habit is one of the main factors of people's affirmation. As a key part of people's social formation and social communication, inertia is not only the result of people's inherit but also the way of result transference. So from the point of inertia, we can study people both as individuals and as groups; and study the structures of the same time and the characteristics of different periods; even study the mutual mode of the same time and different periods. We can also study group rational factors and people's perceptual sensibility, both of which can be focused on aesthetics and carried on the basis of aesthetics. In this way, cultural problems can be narrowed and aesthetic problems can be concretized. Thus some of the aesthetic characteristics can be perspective.Inertia is a concept of physics, which refers to the stillness, stability and continuity of thing's movement and development. This essay brings this concept into consciousness and expounds it from the aspect of society and aesthetics. Inertia refers to the individual habits, social customs and consciousness formed through a long periods because of the natural geographical factors and ways of life. This kind of inertia bears with it regularities, restraints and traditions. From the aspect of aesthetics, inertia consists of human behaviors, thoughts and concepts etc. based on social customs and habits, with the characteristics of conscious connotation, form, sensibility, and unconscious constraint, science, delusiveness, and certain historical origin and future-focused aesthetic habits and rules.This essay tries to classify inertia into the category of aesthetics, and systemize aesthetic inertia. Besides, it gives aesthetic inertia an analysis of both conscious structure and historic evolution. Its main part focuses on discussion of aesthetic inertia at the same time, characteristics of different periods and mutual mode of the two kinds. The specialty of this essay lies in: first, it gives prominence to the entirety of aesthetic inertia and the meaning of category, stressing aesthetic inertia in psychological, thinking and formal levels. From the level of thinking, it analyzes the conscious characteristics of aesthetic inertia from supportive, stable and controlling aspects. This an excavation of the pioneer's way of considering inertia as general social custom, regular thinking and taste. From form level, the essay emphasizes the inside and outside form. Second, from the variation of aesthetic inertia factors, the inertia elimination of aesthetic inertia variation, and the definite tendency of aesthetic inertia, the essay analyzes in detail the historic variation of aesthetic inertia in different periods, which can help us make a better understanding of many aesthetic problems, especially Germany classical philosophy, aesthetics and other aesthetic phenomenon. As for the inert factors of aesthetic inertia, this paper gives a certain explanation of self-elimination from the angle of variation. Thirdly, it makes a systematic exposition of the generality, independence and communicative structure of aesthetic inertia. Further more, it makes an aesthetic discussion of some realistic problems such as global conflict and fusion about aesthetic inertia.