Abstract

This article discusses a concept introduced by art theorist Philip Galanter in several publications over the past decade: complexism is a notion that looks at both past and future while aiming to reconcile (post) modern aesthetics with the cybernetic and biological paradigms. This article focuses on the re-evaluation of the performance arts within the framework of this theory, favouring the idea that every artwork necessarily resists attempts of subordination through language and scientific discourses. By referring to the dispositive, a notion that considers complexism as a conceptual matrix, the author argues that it can be described in terms of pulsion and computation.