Postmodernism has ceased to be conceptually convincing and gets gradually mythologized. The theory of metamodernism, not being essentially independent, remained to simply adorn the modern cultural-philosophical vocabulary. Within the framework of the article, an attempt is made to outline the contours and vectors of development of the modern format of sociocultural architectonics, the current state of its core - the artistic space - is analyzed. The development of a catastrophic discourse regarding the fate of art is traced on the example of a wide range of concepts - from philosophical to journalistic. Art is the most ambitious platform for socially significant statements that can both set architectonic shifts in the field of culture and reflect on them. Since art cannot be considered outside the general historical and cultural context, we correlate these two problem fields and, using computer terminology, propose to conditionally call the current state of socio-cultural architectonics "Culture 3.0". Based on the analysis of artistic and media practices, a conclusion is drawn about two main trends in tectonic movements: the formation of "technohumanism" and "usability-humanism". The actual concept of the development of Internet technologies (Web 3.0) was formulated in 2007 by the head of Netscape.com, Jason Calacanis, according to which we can expect the emergence of a new platform not so much technological as sociocultural, used by professionals to create interesting, useful and high-quality content. In this, we see intersections with what is happening in the general cultural sphere. Among the many advantages of Web 3.0 over Web 2.0, we choose those that can be correlated with the state of culture in general and art, in particular: wider personal responsibility and choice; antitrust network, multiple centers; continuous access; absence of restrictions due to geography, income, gender, orientation, and other factors. The axiological platform for the development of Culture 3.0 is set to be humanism itself, in its actual reading: the value of individual existentialism, elevated to absolute in the modern era and subjected to reducing postmodern irony, should be transformed and become a pillar for new communication with a high level of awareness and responsibility. The core basis for the concept of techno-humanism is the recognition of the irreversibility of technological factors that change the art space in its entirety (examples: science-art, creativity in social networks, digital projects). By "usability-humanism" we mean the intention of cultural development, the main value and purpose of which becomes the largest possible - in conditions of ever-evolving technologies - living environment commensurate with mankind. Deliberateness and environmental friendliness take leading roles in the axiosphere of culture.
