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Problem setting. This article poses the problem of understanding and applying performance as a conceptual model of the functioning of an individual in a modern multilayered reality. The study presents an analysis of popular actionist practices and the further development of the pure action ontology. The performance serves as an approbation of the dynamism technique and the principle of action in social, digital and artistic actions. Recent research and publications analysis. The assertion of the principle of dynamism and activity in the modern cultural space explains the popularity of performative topics in a parallel scientific and philosophical discourse. At the same time, the bulk of works on performance relates to the field of theory and methodology of art. These are the works of such authors: G. Elshevskaya, E. Krylova, E. Andreeva, J. Kostincova, D. Filippova, Andrey and Yaroslava Artemenko, H. Petrovsky, S. Levitt, H. Downey and J. Sherry, A. Eckersley and C. Duff. G. Reingold, M. Cuellar-Moreno and J. Antonio Cubas-Delgado, A. Loskutov, O. Novoselova and E. Kurbanova and others have studied dynamic models of bodily expressiveness in social practices, including in the information space of culture and communication. In turn, the American philosophers J. Butler, J Dean and G. Standing develop the concept of performance in relation to political actionism. They view the gatherings of social rights agents as a performative practice of their relationship to power. Paper objective. The aim of the study is to review and theoretically analyze modern creative practices of the subject's bodily expression in the field of art, politics, law and digital communication, as well as to further substantiate the methodological role of the performative concept in modern culture. Paper main body. Today's popular installations, happenings, flash mobs and challenge explicates the very essence of modern human existence in the world. Art zones and other creative social spaces (workshops) use direct body language in their ...

Problem setting. One of the distinguishing features of the modern era is the marginal and dubious nature of explanations of complex social realities. Cognitive and symbolic specifics of conspiratorial thinking, marked by a sense of predictability, regularity and explicit simplicity, contribute to the development and dissemination of political mythology. Recent research and publications analysis. In recent decades, concepts have been actively used in the body of social science works: paranoid style, conspiratorial narrative, power discourse, unstable ontologies, crisis of production of meanings, conspiratorial worldview. The latest scientific search takes place in the context of abandoning the strict framing of conspiracy theories in favor of a pluralistic approach that combines epistemic, existential and social dimensions of the subject. Paper objective. The aim of the article is to try to identify the features of conspiracy in the latest conditions of cultural development. Paper main body. The article shows the features of modern conspiracy theories in terms of its paradoxical stability, information and cognitive attractiveness. It is emphasized that the conspiracy discourse determines the peculiarities of the conspiratorial mentality, influencing, in particular, the existential aspects of human life. The consequences of the influence of conspiracy theories can be not only feelings of alienation from politics or radicalization of society, but also the blurring of semantic boundaries between conspiracy theories and more respectable forms of socio-political criticism. Such features make it possible to distinguish positive and critical understandings of conspiracy theory, as well as to outline the main vectors in further theoretical studies of conspiracy theories. Among the distinctive features of conspiratorial meaning formation are the cultural-temporal universality, the paradoxical combination of irrational and rationalist ways ofperception, and others. The peculiarities of conspiratorial thinking in comparison ...

Problem setting. The contemporary sociopolitical reality reflects high dynamics of the cultural development and features uncertainty, insecurity unexpectedness, transfer and fragmentation. These conditions transform the traditional views on social and political practices, revisiting individual understanding of identity. To describe cultural process peculiarities, social and humanitarian sciences actively use the performative approach, which allows researchers to focus on the underlying force of human actions and the way they generate cultural senses. While studying social and political actors a major theme is the phenomenon of masses, which testifies to significant changes in political discourse, in particular, the destruction of the traditional channels of political expression. Recent research and publications analysis. In today's conditions of the crisis in interpretation there is a trend to go beyond the meaning and address trans-semiotic elements of the human existence. The process of rethinking the mankind discursive interpretation and sense genesis opens a way to corporeality theories that enable to reproduce subjective experience in the performative paradigm. The study of performatives and their potential to create socially and politically meaningful effects is a promising and insufficiently developed field of research. Paper objective. The research discusses the phenomenon of corporeality as a new practice of political self-expression within the performative approach. Paper main body. The study is devoted to the contemporary research into the problems of corporeality and its role in the political discourse. Structural and post-structural philosophy understands reality as a text and, respectively, focuses on the communicative role of the language and the interpretational nature of human-world relations. This semiotic discourse substitutes the sense with meaning. It was shown that the discourse approach, based on the link between the world and the language, interpretations, exchange of meanings and their ...

This study touches upon the problem of modern interpretation of legal reality in the horizon of intersubjectivism. The key role is assigned to performative actionism, which is considered as a tactic for exercising the law and a method of learning the truth in the course of a trial. Law is understood as an action, process, event, deed, situation, a series of actions of agents of law. Actionism applies the principles of independent and effective interaction of agents of the modern integrative environment, and also provides a methodological justification for the new legal intersubjectivism of bodies in judicial practice.

Problem setting. This article poses the problem of understanding and applying performance as a conceptual model of the functioning of an individual in a modern multi-layered reality. The study presents an analysis of popular actionist practices and the further development of the pure action ontology. The performance serves as an approbation of the dynamism technique and the principle of action in social, digital and artistic actions.
Recent research and publications analysis. The assertion of the principle of dynamism and activity in the modern cultural space explains the popularity of performative topics in a parallel scientific and philosophical discourse. At the same time, the bulk of works on performance relates to the field of theory and methodology of art. These are the works of such authors: G. Elshevskaya, E. Krylova, E. Andreeva, J. Kostincova, D. Filippova, Andrey and Yaroslava Artemenko, H. Petrovsky, S. Levitt, H. Downey and J. Sherry, A. Eckersley and C. Duff.
G Reingold, M. Cuellar-Moreno and J. Antonio Cubas-Delgado, A. Loskutov, O. Novoselova and E. Kurbanova and others have studied dynamic models of bodily expressiveness in social practices, including in the information space of culture and communication. In turn, the American philosophers J. Butler, J Dean and G. Standing develop the concept of performance in relation to political actionism. They view the gatherings of social rights agents as a performative practice of their relationship to power.
Paper objective. The aim of the study is to review and theoretically analyze modern creative practices of the subject's bodily expression in the field of art, politics, law and digital communication, as well as to further substantiate the methodological role of the performative concept in modern culture.
Paper main body. Today's popular installations, happenings, flash mobs and challenge explicates the very essence of modern human existence in the world. Art zones and other creative social spaces (workshops) use direct body language in their functioning and, at the same time, are highly attractive and effective in today's youth environment. Silent actions demonstrate the limited possibilities for a person to manifest themselves, despite the large number of rights, freedoms and technical means to improve life. Defective self-presentation expresses the one-sided and limited nature of the subject's existence in the social, legal, political and cultural space today.
The natural change of technological structures, cultural eras and political models in the world irreversibly modifies a person, his environment and the possibilities of self-realization in it. The creative space of action allows to express the conceptual ontological principle of modernity – the break between the physical and the semantic, the act and the commentary, the action and the word, the body and corporeality. In a stratified reality, a person cannot maintain integrity. His verbal-symbolic being is separated from the physical (body); they express themselves and communicate autonomously and independently. Desocialization and the dominance of virtuality led to the dismemberment and impoverishment of many human functions, in particular the localization of his speech and actions. Therefore, performance is becoming an irreplaceable alternative way of self-realization of the silent body. While language remains a way of being a person as an agent of the information environment.
Conclusions of the research. Thus, the study refers to the art experience of bodily subjects as a manifestation of their anthropological authenticity, social significance, legal usefulness, epistemological activity and political will.

The article makes sense of the phenomenon of victim construction by means of transmedia communication. The first part is devoted to the role of media technologies in the modern biopolitical space. It is emphasized that control over communication within the framework of new power paradigms is carried out by a netocratic elite – a new form of cyber-technological superpanoptism. The importance of media logic in the new system of social relations and worldview models is shown. In the second part, based on the study of the phenomena of deep mediatization, the specificity of cultural grass and sacrifice as media constructs, products of information technologies designed to reproduce biopolitical imperatives is understood.

In this article, an attempt is made to ontological relations with subjective realities using spatial rhetoric, it is about understanding and continuity of traumatic experience. Understanding is considered as evidence, which is provided by the locative participation of the subject in the event. The subject receives the status of a witness in the performative space of damage (avant-garde art, actionism, litigation). An artist or juror is able to witness the trauma by providing a discourse of justice through the language of non-semantic signs.

The article is devoted to understanding cultural trauma as a biopolitical concept. Biopolitics is presented as a system of certain strategies in relation to human corporeality, the basis of which is the economic power of capital. The key concepts conceptually included in the semantic field of biopolitics - bare life, homo sacer, state of exception and others - are considered. Cultural trauma is comprehended on the basis of understanding the specificity of a victim in contemporary culture. The discourse of trauma transforms sacredness into grief, guilt and resentment. Accordingly, the victim unites the collective body not through purification, but through involvement in violence as a traumatic event. The sacrifice is conceptualised as a biopolitical tool, contradictorily suggestive of humanist pathos and biopolitical exploitation.

Instead of ideological and class identity in modern society, the identity of agents is formed on such grounds as employment, consumerism, precarity, vaccination, somatic features. Social differentiation along these lines gives no less reason for conflicts. In search of a solution to social contradictions, an appeal is made to the concept of natural rights and the paradigm of performativity, which bring to the fore the physical body in the mode of its presence and natural desire. The multiple non-collective communities into which today's society is disintegrating are spontaneous alliances of single agents. Agents publicly manifest their individual needs and the right to meet them.

The article is devoted to understanding the phenomenon of control in the context of global digital transformations. The features of the panoptical and postpanoptical models of social control are analyzed. The specificity of modern types of surveillance provided by digital media has been studied. It is shown that digital media are not only a technological platform for social interaction, but also an extremely effective modeling institution that determines the main vectors of sociocultural and personal development.

The article explores the specifics of philosophizing in the context of the COVID-19 pandemic. Various versions of comprehension of a new reality, expressed by famous thinkers, are analyzed. The specificity of social and personal life is shown in the context of the theory of viral modernity in combination with the experience of global digital control. The modern pandemic situation has been rethought as an extraordinary event, which, in contrast to the temporality of familiar experience, radically changes the sense of time in the conditions of daily life of covid.

The article is devoted to the analysis of the peculiarities of control practices in the situation of «liquid modernity». The metaphor of the panopticon proposed by M. Foucault is taken as a starting point. The characteristic features of the digital infrastructure of social control are considered. Features of banoptic and synoptic logic of tracking as post-panoptic forms of social control are shown. The flexibility and variability of control made possible by the latest digital technologies testify to a specifically new mode of power to human relations.

The victim is a universal cultural phenomenon. It consolidates the community, causes a powerful affect that allows the community to experience itself as a collective body. The main hypothesis of the article is that on the basis of understanding the specifics of the victim in modern culture, trauma can be understood as a biopolitical concept. The authors assume that in the modern cultural space the meaning of sacrifice is pushed to marginal positions by the meaning of victim, and show that the talk about the victim takes place within the narrative of trauma. Such semantic transformations vividly illustrate the logic of changing power dispositions. A clear marker of trauma is not so much the painful sense of loss caused by catastrophic events, but the breakdown and identity crisis that accompany the trauma. The victim appears as a protest of a unique collective body-topos opposed to a society of unified consumption. Arguments are given for understanding trauma as a biopolitical concept: it is a compromise between biopolitical ethics, which emphasises the sanctity of life, and the basis of biopolitics, which is connected with the reproduction of the figure of the victim as the embodiment of 'bare life'. It is concluded that cultural trauma with its collective affectation can be regarded as the main nerve of modern biopolitics. Further reflection on trauma in the biopolitical context will make it possible to actualise the issue of transformation of the role of the victim in culture, to show a new perspective of trauma in the dramatic play of knowledge and power.

In this article, the object of research interest is the phenomenon of social control and the role of digital media in the process of digital surveillance. In the first part, the authors characterise the specifics of the panoptical and postpanoptical models of social control. The second part of the article explores the specifics of modern types of surveillance provided by digital media. It is shown that digital media extremely effectively modify communication systems, determine the main vectors of socio-cultural and personal development, and are also one of the key elements of the digital control system.