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.

253 The intersubjective nature of performative evidence allows us to consider it as an important resource for rethinking subjectivity in the philosophy of late modernity, where the autonomous rational subject is sacrificed to the lesser, procedural and reciprocal forms of recognition [1; 4 ]. Late modernity stands as a specific cultural and philosophical state, within which there is a deep transformation of the forms of social awareness, knowledge and self-reflection. In contrast to classical modernity, which was based on the ideas of rationality, progress and universal semantic structures, late modernity is characterized by a crisis of metanarratives, fragmentation of social space and instability of identities. In these minds, it is not only social reality that is changing, but also the methods of philosophical comprehension. Mystery takes on the representative function of reflecting light and is more oriented towards authenticity, procedurality and situationality [11; 7]. In this context, performative mysticism acquires special significance. It emerges as a response to the crisis of traditional forms of artistic representation, suggesting that instead of a completed mystical object, it opens up the spirit that flares up in the time and space of mutual interaction. The performance is seen as a stable creation of action, gesture and bodily presence, which do not fail to express meaning, but to produce it at the moment of action. In this way, the performative mystique of late modernity can be seen not just as an artistic practice, but as a form of cultural and philosophical self-reflection that records changes in the ways of experiencing and thinking about reality. The key concept for the philosophical analysis of performative mystique is the category of performativity. In the philosophical sense, performativity means the ability of the action not to represent reality, but to constitute 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, while more social and cultural processes function as sub-structures without a predetermined meaning. Meaning no longer conveys action, but rather derives from the process of creation [1].