\u0423\u0414\u041a 7.079:004.946(470)<\/p>\n\n\n\n
RUSSIAN STREET ART LEGITIMIZATION ON THE EXAMPLE OF THE MUSEUM AND EXHIBITION PROJECT \u00abMAXIM IMA’S ART WORLD\u00bb IN THE METAVERSE<\/strong><\/p>\n\n\n\n Anna A. Shurmanova1<\/sup><\/strong><\/p>\n\n\n\n 1<\/sup> Siberian Federal University, Krasnoyarsk, Russia. Abstract. <\/strong>In the digital age, the metaverse presents a promising platform for cultural and artistic engagement. This article explores the potential of legitimizing Russian street art by creating a unique museum-exhibition project within the metaverse. The research aims to identify the essence of legitimizing Russian street art in the digital realm, focusing on the possibilities and specific features of museum-exhibition projects in the metaverse.<\/p>\n\n\n\n The study employs methods of analysis, systematization, generalization, and modeling. It reviews existing research on the metaverse concept, its technological aspects, accessibility, the digital divide, intellectual property regulation, and the impact of digital technologies on culture and art. <\/p>\n\n\n\n The first part examines the metaverse’s conceptual foundations, key characteristics (immersion, interactivity, persistence), and factors influencing accessibility (technology, the digital divide, IP regulation). It highlights the influence of “cultural software” (Manovich) and media convergence (Jenkins) on transforming cultural practices. <\/p>\n\n\n\n The second part presents “Maxim Ima’s Art World,” a metaverse museum-exhibition project dedicated to the Russian graffiti artist Maxim Ima. It describes the development of a virtual exhibition space on the Unity platform, including theme selection, design, visual and textual materials, interactive elements (mini-games, quizzes), and musical accompaniment (lo-fi hip-hop). Screenshots and descriptions detail the virtual exposition’s structure, encompassing an introduction to Russian street art, Maxim Ima’s biography and artistic philosophy, and thematic sections covering different stages of his work. <\/p>\n\n\n\n The research demonstrates that the metaverse can be an effective tool for popularizing and legitimizing Russian street art, expanding its audience, and fostering new forms of artistic interaction.<\/p>\n\n\n\n Keywords: <\/strong>higher education, artificial intelligence, pedagogical practice, generative models.<\/p>\n\n\n\n For citation: <\/strong>Shurmanova, A. A. Legitimization of Russian street art on the example of the author’s museum and exhibition project “Maxim Ima’s Art World” in the metaverse \/\/ Sociology of artificial intelligence. 2025, 6(3), pp. 73\u201386. [in Russian]. EDN FPJYZK.<\/p>\n\n\n\n 1. \u0412\u0435\u0448\u043d\u0435\u0432, \u0412. \u041f. \u0421\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u044b\u0439 \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439 \u0441\u0442\u0440\u0438\u0442-\u0430\u0440\u0442 \/\/ \u0421\u0442\u0430\u043d\u043e\u0432\u043b\u0435\u043d\u0438\u0435 \u0438 \u0440\u0430\u0437\u0432\u0438\u0442\u0438\u0435. \u0412\u0435\u0441\u0442\u043d\u0438\u043a \u0441\u043b\u0430\u0432\u044f\u043d\u0441\u043a\u0438\u0445 \u043a\u0443\u043b\u044c\u0442\u0443\u0440. 2021, \u211659, c. 343-349. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/cyberleninka.ru\/article\/n\/sovremennyy-rossiyskiy-strit-art-stanovlenie-i-razvitie (\u0434\u0430\u0442\u0430 \u043e\u0431\u0440\u0430\u0449\u0435\u043d\u0438\u044f: 10.08.2025). DOI: 10.37816\/2073-9567-2021-59-343-351 <\/p>\n\n\n\n 2. \u0414\u0436\u0435\u043d\u043a\u0438\u043d\u0441, \u0413. \u041a\u043e\u043d\u0432\u0435\u0440\u0433\u0435\u043d\u0442\u043d\u0430\u044f \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430. \u0421\u0442\u043e\u043b\u043a\u043d\u043e\u0432\u0435\u043d\u0438\u0435 \u0441\u0442\u0430\u0440\u044b\u0445 \u0438 \u043d\u043e\u0432\u044b\u0445 \u043c\u0435\u0434\u0438\u0430 \/\/ \u041c\u043e\u0441\u043a\u0432\u0430: \u0413\u0440\u0443\u043f\u043f\u0430 \u041a\u043e\u043c\u043f\u0430\u043d\u0438\u0439 “\u0420\u0418\u041f\u041e\u041b \u043a\u043b\u0430\u0441\u0441\u0438\u043a”. 2019, 384 \u0441.<\/p>\n\n\n\n 3. \u041c\u0430\u0435\u0432\u0441\u043a\u0430\u044f, \u041c. \u0415. \u0421\u0442\u0440\u0430\u0442\u0435\u0433\u0438\u0438 \u043b\u0435\u0433\u0430\u043b\u0438\u0437\u0430\u0446\u0438\u0438 \u0443\u043b\u0438\u0447\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 \u0432 \u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u0435 \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0445 \u0433\u043e\u0440\u043e\u0434\u043e\u0432 \u0432 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442\u0435 \u043c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u043e\u043f\u044b\u0442\u0430. \u041f\u043e\u0437\u0438\u0442\u0438\u0432\u043d\u044b\u0435 \u0438 \u043d\u0435\u0433\u0430\u0442\u0438\u0432\u043d\u044b\u0435 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0438 \/\/ \u0421\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0430\u044f \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0430 \u043c\u0438\u0440\u0430. 2023, \u2116 2(21), \u0441. 111-132. DOI: 10.25995\/NIITIAG.2023.21.2.005 EDN: DPJVHA <\/p>\n\n\n\n 4. \u041c\u0430\u043d\u043e\u0432\u0438\u0447, \u041b. \u0422\u0435\u043e\u0440\u0438\u0438 \u0441\u043e\u0444\u0442-\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b \/\/ \u041d\u0438\u0436\u043d\u0438\u0439 \u041d\u043e\u0432\u0433\u043e\u0440\u043e\u0434: \u041a\u0440\u0430\u0441\u043d\u0430\u044f \u043b\u0430\u0441\u0442\u043e\u0447\u043a\u0430. 2017, 208 \u0441. <\/p>\n\n\n\n 5. \u041f\u0435\u0442\u0443\u0445\u043e\u0432\u0430, \u0412. \u0412. \u041f\u0440\u043e\u0435\u043a\u0442\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u0435 \u0438 \u0441\u043e\u0437\u0434\u0430\u043d\u0438\u0435 \u044d\u043a\u0441\u043f\u043e\u0437\u0438\u0446\u0438\u0439 \/\/ \u041c\u043e\u0441\u043a\u0432\u0430: “\u0421\u043d\u0435\u0436\u043d\u044b\u0439 \u041a\u043e\u043c \u041c”. 2022, c. 208-235. <\/p>\n\n\n\n 6. \u0420\u0443\u0434\u0435\u043d\u043a\u0438\u043d, \u0414. \u0412. \u0423\u043b\u0438\u0447\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0432 \u0432\u043e\u0441\u043f\u0440\u0438\u044f\u0442\u0438\u0438 \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e\u0439 \u0433\u043e\u0440\u043e\u0434\u0441\u043a\u043e\u0439 \u043c\u043e\u043b\u043e\u0434\u0435\u0436\u0438: \u043f\u0440\u043e\u044f\u0432\u043b\u0435\u043d\u0438\u0435 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u0430 \u0438\u043b\u0438 \u0440\u0430\u0437\u043d\u043e\u0432\u0438\u0434\u043d\u043e\u0441\u0442\u044c \u0432\u0430\u043d\u0434\u0430\u043b\u0438\u0437\u043c\u0430? \/\/ \u0423\u0440\u0431\u0430\u043d\u0438\u0441\u0442\u0438\u043a\u0430. 2020, \u2116 4, \u0441. 61-78. DOI: 10.7256\/2310-8673.2020.4.34414 EDN: MGDVVW <\/p>\n\n\n\n 7. \u0421\u0442\u043e\u043b\u044f\u0440\u043e\u0432, \u0410. \u0410. \u041f\u0440\u0430\u043a\u0442\u0438\u043a\u0438 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 \u0432 \u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0445 \u0443\u043b\u0438\u0447\u043d\u044b\u0445 \u043f\u0440\u043e\u0442\u0435\u0441\u0442\u0430\u0445 \/\/ \u041f\u043e\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0430\u044f \u043b\u0438\u043d\u0433\u0432\u0438\u0441\u0442\u0438\u043a\u0430. 2014, \u2116 2(48), \u0441. 180-184. EDN: SNACLP<\/p>\n\n\n\n 8. \u0428\u043f\u0430\u043a, \u0410. \u0410. \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0438\u043d\u0442\u0435\u043b\u043b\u0435\u043a\u0442 \u0432 \u043c\u0438\u0440\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430: \u0430\u0432\u0442\u043e\u0440\u0441\u043a\u043e\u0435 \u043f\u0440\u0430\u0432\u043e \/\/ \u0416\u0443\u0440\u043d\u0430\u043b \u0421\u0424\u0423. \u0413\u0443\u043c\u0430\u043d\u0438\u0442\u0430\u0440\u043d\u044b\u0435 \u043d\u0430\u0443\u043a\u0438. 2025, \u21163, \u0441. 492-501. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/cyberleninka.ru\/article\/n\/iskusstvennyy-intellekt-v-mire-iskusstva-avtorskoe-pravo (\u0434\u0430\u0442\u0430 \u043e\u0431\u0440\u0430\u0449\u0435\u043d\u0438\u044f: 10.08.2025). EDN: CVZOFI <\/p>\n\n\n\n 9. Avramidis K., Tsilimpounidi M. Graffiti and street art: Reading, writing and representing the city \/\/ Graffiti and Street Art. Routledge. 2016, pp. 17-40.<\/p>\n\n\n\n 10. Baldini A. L. What Is Street Art? \/\/Estetika: The European Journal of Aesthetics. 2022, 59, \u2116. 1, pp. 1-21. DOI: 10.33134\/eeja.234 <\/p>\n\n\n\n 11. Big Poplar Tree FREE. Unity AssetStore. 2024. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/vegetation\/big-poplar-tree-free-301037 (accessed 10 August 2025).<\/p>\n\n\n\n 12. Brick garages. Unity AssetStore. 2022. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/environments\/urban\/brick-garages-217158 (accessed 10 August 2025). <\/p>\n\n\n\n 13. Burrows, G. Your Life In The Metaverse: Everything you need to know about the virtual internet of tomorrow \/\/ Really Interesting Book. 2022, 262 p. <\/p>\n\n\n\n 14. Darby, L. The Metaverse Handbook \/\/ John Wiley & Sons. 2022, 192 p. <\/p>\n\n\n\n 15. Free PBR Lamps. Unity AssetStore. 2024. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/props\/interior\/free-pbr-lamps-70181 (accessed 10 August 2025). <\/p>\n\n\n\n 16. Garage Props Set. Unity AssetStore. 2018. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/props\/industrial\/garage-props-set-132664 (accessed 10 August 2025). <\/p>\n\n\n\n 17. Lang, F. Einf\u00fchrung in das Metaverse. Springer Books \/\/ Technologien, Anwendungen und Zukunft. 2025, pp. 152-153. DOI: 10.1007\/978-3-658-46273-4 <\/p>\n\n\n\n 18. Mezei, P. Copyright and Metaverse: Research Handbook on the Metaverse and Law \/\/ Edward Elgar Publishing. 2024, pp. 190-206. <\/p>\n\n\n\n 19. Minimal Poly Free. Unity AssetStore. 2025. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/characters\/humanoids\/minimal-poly-free-308063 (accessed 10 August 2025). <\/p>\n\n\n\n 20. Nanobashvili, L. If the metaverse is built, will copyright challenges come? \/\/ UIC Rev. Intell. Prop. L. 2021, 21, 215 p. <\/p>\n\n\n\n 21. Narula, H. Virtual society: The metaverse and the new frontiers of human experience \/\/ Crown Currency. 2022, 288 p. <\/p>\n\n\n\n 22. Outdoor Ground Texture. Unity AssetStore. 2021. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/2d\/textures-materials\/floors\/outdoor-ground-textures-12555 (accessed 10 August 2025). <\/p>\n\n\n\n 23. Palmer, D. The Business of Metaverse: How Organizations Can Optimize the Opportunities of Web3 and AI \/\/ Kogan Page Publishers. 2024, 248 p. <\/p>\n\n\n\n 24. Radio. Unity AssetStore. 2022. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/props\/radio-230712 (accessed 10 August 2025). <\/p>\n\n\n\n 25. Russian graffiti pack. Unity AssetStore. 2018. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/environments\/urban\/russian-graffiti-pack-116033 (accessed 10 August 2025). <\/p>\n\n\n\n 26. Sharma, A. Intellectual Property Rights in the World of NFTs and the Metaverse \/\/ Jus Corpus Law Journal. 2022, 3, 126 p. <\/p>\n\n\n\n 27. Street Lamps 2. Unity AssetStore. 2023. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/props\/exterior\/street-lamps-2-260395 (accessed 10 August 2025). <\/p>\n\n\n\n 28. Ukraine free road roadsign cars. Unity AssetStore. 2021. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/environments\/roadways\/ukraine-free-road-roadsign-cars-191827 (accessed 10 August 2025). <\/p>\n\n\n\n 29. WoodenBoard. Unity AssetStore. 2024. \u0420\u0435\u0436\u0438\u043c \u0434\u043e\u0441\u0442\u0443\u043f\u0430: https:\/\/assetstore.unity.com\/packages\/3d\/props\/woodenboard-292025 (accessed 10 August 2025).<\/p>\n<\/details>\n\n\n\n <\/p>\n\n\n\n Get access to the full version of the article<\/strong><\/a><\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" \u0423\u0414\u041a 7.079:004.946(470) RUSSIAN STREET ART LEGITIMIZATION ON THE EXAMPLE OF THE MUSEUM AND EXHIBITION PROJECT \u00abMAXIM IMA’S ART WORLD\u00bb IN THE METAVERSE Anna A. Shurmanova1 1 Siberian Federal University, Krasnoyarsk, Russia. shurmanovaaa@mail.ru, orcid.org\/0009-0009-4227-3756 Abstract. In the digital age, the metaverse presents a promising platform for cultural and artistic engagement. 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shurmanovaaa@mail.ru<\/a>, orcid.org\/0009-0009-4227-3756<\/a><\/p>\n\n\n\nReferences<\/strong><\/summary>\n