Proceedings of the International scientific and practical conference ―Science at the Frontier of Progress‖ (January 27-29, 2026) / Publisher website: www.naukainfo.com. – Paris, France, 2026. - 302 p.

252 Performative mysticism arises as a response to the crisis of representative forms of culture, suggesting instead of the completed creation there is an open resemblance. It appears from a stable artistic object on the strength of action, gesture and bodily presence that flares up in a specific time-space context. In this sense, performance can be seen as a symptom of late modernity, which registers a change in the ways of experiencing reality and thinking about it [6; 9]. Thus, the performative mystique of late modernity is not only a new artistic practice, but a form of cultural self-reflection, which reveals a fundamental breakdown in the structure of the philosophical understanding of reality. The category of performativity has an interdisciplinary approach and is formed on the basis of the philosophy of language, social theory and philosophy of culture. In the philosophical sense, performativity means the creation of an action not only to represent reality, but also to produce it. The performative act does not describe the already existing state of speeches, but creates a new situation, between which meanings, meanings and forms appear. In a late-modern context, performativity takes on an ontological dimension, since many more social and cultural processes function as concepts that do not have a predetermined meaning. Performance in this sense is not an illustration of an idea, but the very form of its development. The philosophical place of performativity lies in the fact that truth, knowledge and identity appear not as ready-made entities, but as the results of specific actions and interactions. Also, performativity can be seen as a key category for the analysis of everyday philosophical insight, since it allows us to comprehend the transition from static models of understanding to dynamic, procedural forms of understanding. One of the key features of the performative mystique of late modernity is the transformation of the subject of philosophical and aesthetic judgment. The performance experiences a decentralization of the author's position: the act no longer has the same meaning, and the spectator ceases to be a passive watcher. The meaning comes from the space of mutual interaction, where each person is a participant in the performative stage of preparation before the process of its constitution.