The article discusses the problem of the social determination of cognition from the point of view of «cognitive revolutions» (R. Harré) in dialogue between psychology, social theory and history, neurobiology and aesthetics. The research inquiry is the cultural-historical analysis of the social representations of the everyday life. The «aesthetic paradigm» (T.D. Martsinkovskaya) uses the art-based methods to study the cultural forms of social cognition. Theoretical discussions are illustrated by the social psychological, clinical and contemporary art research of the mass consciousness of the Russian society at the beginning of the 21st century. The article presents the experience of the genre analysis of the tragedy of culture (G. Simmel), personal drama (L.S. Vygotsky) and comedy of social life (A.P. Chekhov). The final result is a new aesthetic concept of social cognition.

The paper identifies predictors of contemporary social movements by analysing the protest movements in Russia. Classical socio-psychological models of social movements consider civil movements from the point of view of collective behaviour and have difficulty explaining a sudden upsurge of popular demonstrations: the Occupy Wall Street, the "Yellow vests" movement, the Snow Revolution in Russia. The contemporary social movements are characterized by the diversity of their participants and by lack of common political demands, what Lo. This article is exploring the identification criterion by referring to the socio-psychological theories of collective action (B. Klandermans, M. van Zomeren). According to new social movements theories, it is necessary to integrate cognitive and affective dimension. This affective dimension is analyzed with the help of the concept of the collective emotional experience, which was elaborated by a great Russian philosopher G. Shpet, and which represents the mechanism of interaction between culture and personality. Our hypothesis suggests that the collective experience of precarity is an identification criterion of the protest subculture. The hypothesis is verified by using the phenomenological analysis of interviews with the activists of social movements.

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