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The proposition of a crossover between philosophy's and sociology's standard approaches to art, in which the appreciation of the completed artwork is mediated with the description of its production process, in its material and institutional conditionings. Within the theoretical and methodological framework of complexity studies (and their notions of "system" and "individual agency"), the article debates the implications of such crossover upon some classic concepts of the aesthetic tradition, such as "artwork", "authorship", "autonomy" and "innovation". In contrast to romantic aesthetics, it debates the actuality of Hume's philosophy of art, after the revaluation of his notions of "habit" and "pattern of taste", here conjoined with concepts of "network", "process", "game" and "negotiation". It also analyses how those concepts foster new types of narrativization of the processes of composition, circulation, judgment and traditionalization of the artistic production. [ABSTRACT FROM AUTHOR]