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Digitalization that have been actively developing in Russia over the past ten years have an impact on the protest moods of people who share a religious worldview. The subject of this analysis is the forms of virtual protest activity on the Internet, which are classified as: protest against religion as an institu-tion that protects the existing political, economic and social foundations of Russian society from the atheism and other faiths and religious systems point of view; protest against the existing official confes-sional hierarchy within the normative religious dis-course; protest against internal confessional dog-mas aimed at reform or division. Digital protest ac-tivity is based on a marginal religious identity that does not affect the normative and confessional dis-course, but is formed within the framework of politi-cal, mythological, and ideological discourses. Pro-test moods against religion as a social institution, or atheistic protest correlates with political and socio-economic protest moods in provincial cities of Rus-sia.

In January 2007, media outlets across Australia reported the local court decision Police v Rose. Mr Rose pleaded guilty and the presiding magistrate recorded no conviction. This event sparked a 'butterfly effect' that culminated in legislative amendments changing the make-up of the body responsible for oversight of judges in New South Wales. Key players failed to observe the doctrine of the separation of powers; while others called for its observation. None of this would have been foreseeable to Mr Rose or the two transit officers on the night he was detained. This paper uses complexity theory and digital media analysis to locate flashpoints around which critical incidents occur; and what the unexpected flow-on effects reveal about the host society.

Abstract
In this article, we advocate for media studies to adopt a systematic evolutionary-complexity model, in order to link the study of human culture and knowledge practices to the biosphere and geosphere, arguing that such global phenomena require a new kind of cultural science. For this purpose, we extend Juri Lotman's model of the semiosphere to the "digital semiosphere", superseding inherited adversarial models in both mainstream media and media studies. We contrast the mediation of Covid-19 with that of the climate crisis, using Lotman's model to propose that, in the digital semiosphere, the global emergence of girl-led climate activism and far-right Covid-19 conspiracy groups indicates how new social classes are organising around the means of their own mediation. We discuss ways to study and forecast such emergent processes using the means of cultural data analytics and related approaches.

The author of the article considers the actual problem of the methodological foundations of the interdisciplinary approach in modern humanities through the prism of comparing two different concepts of the phenomenon of culture. One of them is presented in the works of Yu.M. Lotman, whose research meth­ods can be described as structural-semiotic. The second concept grows out of the works of V.S. Stepin, who mostly used scientific and philosophical methodology in his study of culture. Carrying out a comparative analysis of both approaches and the corresponding theoretical constructions, the author of the article notes that the content of the main concepts of the two concepts – cultural universals, sociocode, semiosphere, cultural text – demonstrates the presence of common tendencies of Lotman and Stepin in their attempt present the cultural continuum as something integral, systemic. At the same time, it becomes obvious that, in developing their concepts, both Stepin and Lotman assigned an important role to the mechanisms of collective memory. Thus, their works become consonant with modern European studies of this issue, and also continue the Russian philo­sophical tradition. The conclusions presented in the article are of methodological significance for philosophers and humanities scholars (philologists, culturolo­gists, psychologists, political scientists) in the course of interdisciplinary re­search work of which the problems of collective memory are becoming increas­ingly relevant today.

In 2016, Standing already realizes that what he considered a class-in-the-making in 2011, 'the precariat', is already showing signs of class consolidation, which is the precondition of political activism. The question that Standing's observation raises is, has the precariat then finally been able to identify itself as a cultural unit? This paper is a theoretical reflection on that possibility. Has the Indian precariat assented on its signs, identified its forms, concentrated its expressions? In other words, is there any way for a semiotic identification of a 'precariat culture'. To answer this question, the article brings Standing in play with Yuri Lotman's idea of the cultural 'semiosphere', which has grown to be the most widely accepted proposition from the Tartu-Moscow school of semiotics because of its trans-disciplinary significance. After theorizing the possibility of a precriat semiosphere, the article looks at how the state and the corporate bodies try to appropriate precariat voice by importing materials from external semiotic spaces, creating a cultural constraint. Yet, culture also being a liberation, we see how new forms are being used by the precariat to define its cultural identity and demarcate the threshold of its semiosphere. Indian rap music is specifically presented as one of the many possible ways through which the precariat is successfully expressing itself culturally.

The article explores how Byzantium was represented by Mount Athos, the Orthodox Christian monastic republic, in Swedophone travelogues from the 1950s and 60s, and from which bases of knowledge and values this was done. The issue is addressed from a cultural semiotic perspective, based on Yuri Lotman's concept of the semiosphere in combination with Itamar Even-Zohar's method of studying cultural and dynamic polysystems.Mount Athos is a cultural and religious centre of great importance to all of "the Byzantine commonwealth", i.e. a centre within the Byzantine semiosphere. The travellers crossed or faced political, cultural, linguistic and religious borders, yet some of them failed to notice the epistemological border between the semiospheres. Decisive to how Byzantium was represented by Mount Athos was whether the monastic republic was judged and evaluated according to the norms of the Byzantine or the Western cultural system – that is, whether Mount Athos was regarded as central within the Byzantine semiosphere, or as peripheral within the Western semiosphere.

Visual advertising has become common part of our daily life in the past few decades. It is not only used for commercial, political or social purposes, but also for the implementation of artistic strategies. Specific constructed artworks, exhibitions and art projects situated in a special/unconventional public spaces (context or semiosphere) are used as a tool to seek more spectators and spread different messages with critical, ironical, social connotations which leads to the deeper communication with spectators. They cannot avoid them because the messages interrupt their minds accidentally passing by the streets and so involve in the active interaction process. Art full of advertising strategies criticises the consumerist society created by advertising, and provokes the subject to take on an active position with respect to raised problems, i.e., it acts in the ideological field of contemporary/postmodern art.

Abstract
From the perspective of cultural semiotic theory, Lotman divided the dynamic communication process within a semiosphere into five stages: contact, selection, internalization, integration and transmission. This process contains two communication models: the"I-YOU" communication model and the"I-I" communication model (the autocommunication model). This paper brings Lotman's cultural semiotic theory into the field of classroom discourse analysis and recommends treating the classroom as a semiosphere. By investigating the dynamic communication process between the teacher and the students in the classroom semiosphere, this paper attempts to reveal the inner dynamics of classroom communication as well as the functions of classroom discourse in different communication models. It is found that the communication process in the classroom semiosphere should be seen as dynamic and inter-subjective. Finally, it confirms the significance of the autocommunication model for the construction and generation of students' knowledge.

В статье рассматривается один из актуальных аспектов проблемы монструозности импликация сюжета тератомахии (греч. «борьбы с чудовищами») в политической культуре. Цикл архаических мифов о борьбе с чудовищами рассматривается в качестве концептуальной основы формирования политической идеологии, что позволяет расширить существующие подходы к деконструкции ряда политических мифов и идеологем. ; The article aims at analysis of a relevant aspect of a problem of monstrosity implication of a plot of teratomachia (Greek "fight against monsters") in political culture. The cycle of archaic myths concerning struggle against monsters is considered as a conceptual basis of formation of political ideology that allows expanding the existing approaches to a deconstruction of a number of political myths and ideologemes.

El presente texto es una aproximación metodológica y conceptualsociocultural desde una mirada crítica, decolonial, exploratoria e imaginativa, conla cual se pretende establecer algunos presupuestos y ejes de análisis que permitancomprender el fenómeno social de la centralidad discursiva de lo jurídico-políticohegemónico. A su vez, pretende propiciar debates y reflexiones sobre la condiciónsocial, el lazo social y el sentido social mediante otros enfoques y perspectivas deíndole interdisciplinaria, como elemento característico de un modo de pensar yhacer ciencias sociales situadas y emergentes. Es así que en un primer momento serevisarán los aportes y atributos del análisis crítico del discurso; en el segundo ytercer momentos se describirá y sustentará el trazo y la fundamentación de la metáforade las ondas junto con el de la semiosfera estatal, como estrategias figurativasde las relaciones de dominación jurídicopolíticamente mediadas y espacializadas; y en el último se abordará la relevancia de la contraposición entre los conceptosde pueblo y multitud y su incidencia en la potencialidad de lo emancipatorio yla resignificación del espacio discursivo constituyente. Al final, plantearemos algunasconsideraciones a manera de conclusión.The present text is a methodological and sociocultural conceptualapproach from a critical, decolonial, exploratory and imaginative perspective, withwhich it is intended to establish some assumptions and axes of analysis that allowunderstanding the social phenomenon of the discursive centrality of the hegemonicjuridical-political, as well as encouraging debates and reflections on the socialcondition, the social bond and the social sense through other interdisciplinary approachesand perspectives, as a characteristic element of a way of thinking anddoing situated and emerging social sciences. Thus, at a first moment the contributionsand attributes of the critical analysis of discourse will be reviewed; in thesecond and third moments, the outline and the foundation of the wave metaphorwill be described and sustained together with that of the state semiosphere, asfigurative strategies of the politically mediated and spatialized relations of legaldomination, in the last the relevance will be addressed of the contrast between theconcepts of people and the multitude and their impact on the potentiality of theemancipatory and the resignification of the discursive constituent space, and at theend some considerations.

This paper aims to explore food films and their symbolism. Food is a way of creating national identities, and enhancing the sense of belonging. It also evokes the concept of 'nostalgia' and has the capacity to mobilize strong emotions (Mintz 1996). The semiotic analysis of food underlines how the biosphere and the semiosphere intersect in various instances of human life (Danesi 2004). In cultural settings, food symbolizes substance and conveys different meanings. This research material will focus on the analysis of images (food, culinary preparations and different eating events) as portrayed in Tassos Boulmetis's 2003 film Πολίτικη Κουζίνα/ A Touch of Spice, and the domestic and international trailers of the film. The analysis will be based on Lotman's notion of the semiosphere.

This essay focuses on the turn to ethics within biosemiotics and rearticulates the difference between semiosis and semiotics in order to orient biosemiotic ethics to the fundamental importance of human responsibility in and to the semiosphere.

A través de análisis bibliográfico y experiencias periodísticas, se estudia el alcance ciberdemocrático del llamado periodismo participativo. En el proceso de gestación de este periodismo digital una nueva conceptualización de los procesos comunicacionales tiene lugar que integra términos como hipertexto, semiosfera, blogosfera, cibercultura, ciberperiodismo, ecosistema multimedia, web 2.0, wikis, democracia electrónica, ágora mediática o plataformas independientes. Finalmente se discuten las tendencias, oportunidades y obstáculos para el desarrollo de la ciberdemocracia, con las nuevas formas de acceso y participación de los actores sociales a la producción de información. ; Via bibliographical analysis and journalistic experiences, I have studied the cyberdemocratic scope of so-called participative journalism. In the process of development of this digital journalism, a new conceptualization of the communication processes takes place that integrates terms such as hypertext, semiosphere, blogosphere, cyberculture, cyberjournalism, multimedia ecosystem, web 2.0, wikis, electronic democracy, media "agora" or independent platforms. Finally, trends, opportunities and obstacles for the development of cyberdemocracy are discussed in light of the new forms of access and participation of the social actors in the production of information.