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In the eighteenth and nineteenth centuries, two additional developments enforced the hierarchy. First, the definition of a clear category of ‘fine arts’ split aesthetic creativity away from the mere craft skills of the mechanical arts. Second, the connection of ‘science’ to business was subject to considerable boundary work as scientists and engineers professionalized. The mechanical arts remained subordinated, even as their status was somewhat revised. Francis Bacon’s works, similar to The New Organon and New Atlantis, exemplified the turn by scholars to ‘reject the categorical separation of science and material apply [ … ] with out rejecting the prevailing hierarchy of head over hand’ (pp. forty eight, 50). Technicians, as we all know from the arguments of Steven Shapin, were written out of visibility. ‘Technology’ solely turned a standard word in the second half of the 20th century. By then the damage was carried out, and conceptual confusion meant that the term could be used in ...