Abstract: This article examines the realities of modern culture, which under the influence of Internet marks the emergence of new communicative situation, well described by the term “a global village”. For such subculture as graffiti, it reflected in the fact that the information on it became accessible for anyone interested. However, in the course of studying graffiti community, the author established that access to information does not imply having accurate knowledge. This led to a question on the legitimate knowledge base in this subculture. The research is carried out on the materials of graffiti stage of Samara. The applied approaches are based on the media concept of Marshall McLuhan and theory of collective and individual memory of Maurice Halbwachs. The conclusion is made that the knowledge on graffiti subculture (both, its history and practical concept) is directly related to the experience in this sphere. In order to understand the meanings kept by collective memory, it is necessary to possess individual memory associated with this practice. Therefore, the accuracy of knowledge on graffiti subculture is defined not by the source of knowledge, but rather the experience of creating graffiti works.

Abstract: Modern world is experiencing drastic changes under the influence of new technologies. This is what made the course of this research. The subject of the research is the influence of communication technologies and means of informaton transmission on the development of graffiti and street art. In particular, the author analyzes what features of the aforesaid art practices have been modified by the Internet. The Internet has created such new means of information transmission as microsites, social networks, and photo hosting provider and has allowed to make audio- and video and film transmission to the mainstream audience. The research is based on the method of semi-structured interviews that involved graffiti and street artists from the Samara Region. The novelty of the research is caused by the fact that the author discovers that physical space loses its importance in the aforesaid art practices, the audience and artist's recognition are 'virtualized', and the fact that representatives of the graffiti and street art demonstrate different attitude to the influence of the Internet on their creativity. The author has also demonstrated that all the aforesaid changes have different intensity of expression in graffiti and street art.