In this paper we argue that Pareyson’s notion of formativity is germane to the notion of self–transcendence recently put forward in the vast domain of the sciences of the self–organization of complex systems. Following Jean–Pierre Dupuy’s approach, we will not apply this notion to the analysis of Pareyson’s theory; we will, instead, show— by referring to thenumerous topoi where often surprisingly precise parallelisms, onvergences and semantic identities are to be found—that, though being largely independent in their genesis, the logics of the two notions are already consistent with each–other. As a result, we will claim that Pareyson’s theory of the work of art is best understood as a study on the integration of different layers of organizational closures.