А. В. Марков The article provides a comprehensive justification for the project of Theatrical Gnoseology (TG) – a new epistemological model developed in response to the fundamental performative paradox of classical theory of cognition, identified through an analogy with the paradox of L. Wittgenstein’s «Tractatus Logico-Philosophicus». The paradox lies in the impossibility of legitimising the criteria of cognition using the cognitive apparatus itself without transcending the very boundaries declared by these criteria. We show that historical (I. Kasten) and contemporary (H.-T. Lehman, K. Barad, B. Latour, D. Haraway) concepts of performativity allow not for eliminating this paradox, but for recognizing it as a symptom of the event-based nature of cognition. Within TG, cognition is reimagined as a post-dramatic event (epistemic event), unfolding within a heterogeneous network of human and non-human actors. The key principles of TG – the rejection of representation in favor of performativity, distributed subjectivity, multimodality, and processuality – receive both philosophical grounding through a synthesis of analytical and continental traditions, and partial formalisation using the apparatus of graph theory and game theory. Consequently, knowledge is defined not as a reflection of reality, but as a stable configuration of coordination within a dynamic network of actors, and truth – as an equilibrium state of this network. The heuristic power of TG for analyzing modern complex epistemic practices is demonstrated through the practical example of «Climatic Knowledge as Performance».
Научная статья 
постгуманизм
performative paradox
Wittgenstein
post-dramatic theatre
actor-network theory
agential realism
performativity
eventness
graph theory
posthumanism
перформативный парадокс
Витгенштейн
постдраматический театр
акторно-сетевая теория
агентивный реализм
перформативность
событийность
теория графов