What is Complexism? Generative Art and the Cultures of Science and the Humanities

In previous papers I’ve discussed complexity theory as a context for generative art theory. This paper extends that discussion to consider the lessons learned from generative art about the cultural conflict between science and the humanities. It is argued that generative art is uniquely positioned to negotiate between science and the humanities, and suggests a new paradigm called “complexism” as a subsuming synthesis of modernism and postmodernism. I’ve previously noted that both simple-highly-ordered systems, and simple-highlydisordered systems, are accepted as generating works in the standard art cannon. Generative art using complex systems, however, is much less understood or accepted. It is argued that generative art using complex systems, especially where it participates in a new form of dynamism, holds great promise to be particularly transformational. This leads to the introduction of complexism. Complexism is, in a sense, the projection of the world view and attitude suggested by complexity theory into the problem space of the arts and humanities. Complexism uniquely addresses the problems of uncertainty and incompleteness introduced by science and mathematics in the 20th century. In addition, complexism offers a higher synthesis that reconciles the disputes behind the so called “science wars” of the late 20th century. While the modern/postmodern polarity seems to only offer irreconcilable differences between the cultures of science and the humanities, complexism provides a unique meeting ground for both. And generative art provides complexism with its most compelling voice to date.