Abstract
This essay discusses Bruno Munari’s understanding of the relationship between art and technology in the light of his early collaboration with the Futurist movement. It explores the legacy and influence of Futurist experimentation in Munari’s opus, starting from his early works in the late 20s, up to mid-century. It also discusses Munari’s progressive distancing from the Futurist aesthetics and the more encompassing integration of his art with other aesthetic trends in Europe at the time. In particular, the essay focuses on the epistemological implications at the base of his famous ‘useless machines’, which Munari developed from the early 30s, and which marked a departure from the main thrust of Futurist ‘technolatry’, towards a broader understanding of technology, which is more pragmatic and structuralist in nature, and which seems to question any dualistic separation between nature and technology, between the artificial and the natural.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
