Abstract
The concept of the Mechanical and the Organic played an important role in Russian art and culture in the 1920s to 30s. It is necessary to understand the relationship of natural science, technology and art in studying the Russian avant-garde movement. This paper aims at demonstrating the multiplicity of models of the Mechanical and the Organic in artworks, experiments and thoughts in pedagogical institutions of arts (BKhTEMAS, GINKhK etc.). It also suggests the importance of a model of the Non-organic by examining Mikhail Matyushin’s method of vision training together with his works.
