Tag Archives: history of technology

Science Museum: The best bits

This was first published in the November edition of Popular Science UK. Subscribe to read current edition including a column from me on science comedy.

Science Museum electric cab

Science museums are fascinating bits of the world, full of the artefacts of old ideas of what the future might bring. A hodgepodge of moments in human discovery and invention. Some of these moments are long gone. Some are still with us. Some float back and forth into fashion or utility. Here are my top fifteen exhibits in the London Science Museum. Use them as a guide for your next visit, or as a virtual tour.

1. The Watson and Crick Double Helix

In some ways, the very idea of a science museum is a bit silly. How do you display the worlds of the very small, the very big, the very fast, the very slow or plain invisible which science manages to perceive through application of maths, theories, specialist equipment and years of measurement? You can put a law of motion a case. You can’t hang a theory on a wall.

So science museums get devious and, for example, the London museum wanted to display the great British discovery of DNA, and came up with the ingenious idea of using the model from the iconic 1953 Watson and Crick picture. The problem was that the people in the lab had, quite sensibly, taken the model apart to reuse after the photo was taken. So the museum dug out the old pieces from the back of a cupboard, dusted them off and rebuilt it. So it is a mockup, albeit an official one. It’s also very beautiful, displayed almost as abstract art, perhaps with too little explanatory text.

2. 1926 Kelvinator Gas Fridge

The technology side to science museums – which arguably dominates – can be as hard to display as the science. Often, the same thing that makes a technology iconic is also why it’d be a bit weird to expect someone to visit it in a museum. You don’t need to go to Exhibition Road to see a mass-produced product like a biro or an iPhone or a Yale key. It’s in your pocket, or at least someone else’s near by.

One option is to display technological routes not taken. Which is the case of the ‘Kelvinator’ gas fridge, in the Secret Life of the Home gallery. The battle of gas versus electric fridges is a classic tale in the history of technology, one that helps explain why fridges hum, but also reflects the ways in which hype and the alignment of particular business interests can move us in one path over another.

3. Apollo 10

Another option for displaying technology is to go with firsts, and there are many in the museum’s flagship Making the Modern World gallery. It’s maybe not very patriotic to pick one of the American icons in a gallery full of the stars of British industry, but really how can any of them compete with a spaceship?

People got inside of this object and went on a trip around the moon. All the way back in 1969. It’s not futuristic, it isn’t fiction. It doesn’t even look very modern. If anything, it’s a bashed-in old idea of the future.

It will simultaneously make you feel powerful to be part of the human race, and incredibly humble. As all the best science museum exhibits should.

4. Hiroshima Bowl

Another problem with displaying technology is the sheer size of it. The museum has purpose-built galleries for fitting large objects, but even it struggles with planes and ships (largely going for bits of them or just models). Moreover, it’s not always the technology itself that’s of interest or importance, but the broader social context/ environmental impact around it.

With both of these issues in mind, how do you display an atomic bomb? There are many ways museums around the world have found to answer this problem but I really love the decision here, of a humble bowl found in Hiroshima after bombing in August 1945. You can see the sand fused to the sides of the porcelain.

A small exhibit, especially as it’s surrounded by the large machines of Making the Modern World, but possibly one of the more affecting.

5. Turbine blade

Hiding up against the side of a wall on the Wellcome Wing, a cynic might say it’s hard to spot because it’s part of a Shell-sponsored climate exhibition, and fossil fuel companies would rather we avoided talking about renewables. But equally we might argue there is something very pro-wind about how unobtrusive it is, considering turbines are often criticised as a blight.

It’s also interesting to see a turbine on display on a national gallery, considering the politics surrounding climate activists’ attempt to “gift” one to the Tate last year.

6. Handcuffs

These are easy to miss amongst the trains, trucks and spaceships, a rather anonymous pair of handcuffs makes up part of the “technology in everyday life” section of the Making the Modern World Gallery. Next to rollerskates, some bits of cutlery, a typewriter for the blind and a few bikes.

The handcuffs are noteworthy as an example of a technology of control; something the museum could make more of. I remember reading about an exhibition on plastic bullets put on in Brixton in the mid 1980s by the British Society for Social Responsibility in Science. It would be interesting to know why the Science Museum itself didn’t at the time, and if they would think of something similar today.

It’s also worth considering the particular take on the history of technology which keeps bikes on the side in a gallery where cars are given pride of place in the central thoroughfare. The last few times I’ve visited the museum, friends have remarked “why isn’t there a massive gallery filled with bikes?”

7. Iron baby

One of the many pieces of art dotted around the museum is a small statue of a newborn baby by Antony Gormley. You can found it snuggled away at the side of a case on first floor of the Wellcome Wing. According to museum mythology, when staff researched visitors’ reactions to it, girls would bend down and stroke the baby whereas boys kicked it. I don’t really care if that story is true, I just like it (I also find the exhibit very kickable).

8. Advertising on the stars

Hidden at the back of the George III gallery of 18th century science is a globe displaying charts of the stars mapped more earthly spaces. Above the Northern hemisphere you can see familiar characters of Greek astronomy; animals and heroes and the like. But bend down to the Southern hemisphere and you can see the makers of the globe were more puzzled as to what to put. So they used this map of the skies to chart pictures of the other products their company made; lab benches and other chemists’ equipment. It’s an interesting juxtaposition of ancient and more modern science, and also an early example of the connections between science and advertising.

9. A smile machine

The cases in the Who Am I Gallery are a treasure trove of ephemera and other interestingness relating to the broad and diverse science and technologies of being humans. See if you can find the Swearing Association Challenge Cup, a penis packer used during gender realignment, the freeze-dried mouse, the knitted telomeres, the white peacock and a smile machine.

The ‘smile machine’ is a slight misnomer, it’s actually an electrotherapy machine, but as the museum label points out, in the 1860s, physiologist Guillaume Duchenne used pulses from such devices to provoke twitches in patients’ faces to explore how we formed expressions, concluding truly happy smiles use the eyes as well as mouth.

10. Snuff boxes

Running alongside the big steam machines in the main front to the museum, and just before you get to Watt’s workshop are some of the more domestic sides to the Industrial Revolution. This includes a ‘Power, Products and Prosperity’ display which reflects, quite plainly, how much of this period was about the rise of shopping. A slightly uncritical display of consumer culture, arguably, but the cases are a real treasure trove of 19th century stuff and, as the museum label notes, this reflects new the power of the emerging middle classes: “Some saw it as a new democratisation of taste.” There’s a great collection of snuffboxes, including one shaped like a harp, as well as buttons, toys and a urinal next to a custard cup.

11. The building itself

Like many old purpose-built museums, the building itself is an exhibit, reflecting some history of how we have thought about science and technology.

It’s roughly split into three parts. The first from 1928, delayed because of WW1 but finally finding a permanent home for galleries which had been in and out of various prefabs since the Great Exhibition of 1851. The central galleries are an extension dating back to the 1950s, partly linked to the Festival of Britain. Finally there’s the Wellcome Wing, part of a swathe of science museum and galleries (or rebuilds of old ones) for the millennium.

It’s worth having a look around the outside of the museum too and exploring some of the history of South Kensington. What is now the Science Museum used to share space with what is now the Victoria and Albert Museum, and there is still the odd marker to this in the V&A building. Look out for scientists’ names on the door of the garden, and the Science and Art corridor near the silver gallery.

When I take people to the museum, I also get them to look at the sponsors sign at the front too. A thanks to supporters but also a declaration of conflict of interest of sorts, and reflection of the groups who have an interest in the way we display science and technology (or at least those groups with money to spare).

12. A Victorian electric taxi cab

We might think of electric cars as futuristic, but the Science Museum has one from 1897. In some ways it is like the gas fridge, a route of technology we didn’t take, but it’s also a steampunkish reflection of how hopes for the future can return in new and different contexts, even seem a bit retro.

It’s currently on temporary display in the entrance to the Wellcome Wing. I sometimes wonder where they’ll put it when that exhibition ends. I’d like to see it moved into the Making the Modern World, disrupting that gallery’s chief narrative of linear progress. Because the history of technology isn’t linear, the Science Museum should know this better than most, but somehow still often perpetuate the myth.

13. Antarctic ice core

This is one of the few objects from the natural world in the Science Museum (their definition of science has always been “stuff that’s not in the Natural History Museum next door”). Hidden at the back of the climate gallery, it shows evidence of the scar on the planet made by those machines of the industrial revolution so proudly presented at the front of the museum. Beautifully – albeit depressingly – haunting.

14. Rotation Station

The hands-on Launch Pad takes a play-based approach to science education. This approach – and many of the blueprints for the gallery’s exhibitions – stems from San Francisco’s Exploratorium, although this itself drew inspiration from the London museum’s Children’s Galleries, first developed in the 1930s.

My favourite exhibit here is the Rotation Station. An attempt to explain the conservation of angular momentum, the visitor is invited to climb on, hang on and spin. If you stick your bum out as you spin you make a larger circle which it takes more energy to travel along: stand up straight and you go much faster.

It is an approach to explaining science which takes the idea very far out of any social context, and often criticised as such. But such decontextualization is both clear and reflects an approach to science. Also, the bum-controlled spinning is lots of fun. Best avoided when hungover though.

15. 1933 Electric door

Currently tucked in the middle of the Secret Life of the Home gallery is an electric door you press a button to open. Initially displayed to show off the wonder of new technology, the museum’s archives contain some great old black and white photos of school children playing with it with wide-eyed delight on their faces. For the last few decades, however, kids just stand there waiting for it to open, bemused that you have to press a button for a door to open. The exhibit itself hasn’t changed in any material sense, but changes in the world around it transforms it entirely. There is something incredibly beautiful about that, and it reflects the way the museum itself is part of the same history of science and technology it aims to collect.

The Science Museum is pants

Last night I gave a short talk at Museums Showoff. This is a slightly more coherent text version of my set. But first, here’s a picture of the world’s biggest tyre (ground floor of the Wellcome Wing).

wheel
For several years in the mid-naughties, I was on the cover of the Science Museum guidebook. It was a blurry photo, but it’s me. I worked there aged 18 to 24. When I left, I realised I’d been there a quarter of my life, I’d spent way too many of my Saturday nights sleeping on the floor of the Shipping Gallery, and the very idea of a Science Museum is a big old pile of pants.

And that’s what this is about: The Science Museum is a big old pile of pants. Sorry if you were coming here looking for analysis, this is really just therapy for a misspent youth. I suppose it is also a form of manifesto for science museums too though.

First problem: Museums tend to be about stuff that stays still, science doesn’t. There’s a great line in an old book about science museums where Graham Farmelo quotes Catcher in Rye saying a museum’s a great place to visit because it always stays the same, so you can judge differences in yourself. Farmelo uses this to challenge museum workers to think about how they might make their institutions more dynamic and foster more collective debate about the future. Much as the Wellcome Wing tries to engage audiences with debates around emerging technologies, I’m unconvinced it’s ever really managed to escape the constrains of a museum. Solution: Just stick to the history.

walking into the atmosphere gallery
The Wellcome Wing. It tries.

Second problem: What’s interesting about science and technology is also, often, what makes it either hard or simply boring to put in a case. My favourite example of this is the Science Museum’s Watson and Crick DNA model. It’s hard to put DNA in a case, so the museum hit on the idea of asking Watson and Crick’s old lab for the model of it they’re standing next to in the iconic photo of them in 1953. Except the lab had, understandably, taken the model apart to reuse, so the museum just rebuilt the model out of old bits and got Watson to open it to sort of make it official. At one point, they had two of them (because there were lots of bits left over). The Oxford Museum of History of Science similarly has a preserved blackboard left after Einstein gave a lecture: it’s the closest they can get to putting relativity in an exhibition case.

When it comes to technology, you have stuff, granted, but often what makes it worth displaying makes it a bit mundane. An old Director of the Science Museum, Lindsey Sharp, used to try to argue that the Science Museum was better than the National Gallery because people don’t sit on the bus talking about Monet, they sit on the bus playing with their phone. Nice spin, Lindsey, but we’ll just stay on the bus, thanks, playing with our phone. There’s all sorts of interesting chemistry and history involved in biros, but really most amazing thing about them is that we all use them. Which also means I don’t need to go to the Science Museum to experience them, I have one in my bag. Science can suffer from this issue too. What’s exciting about Newton’s laws of motion is that they’re so applicable. I don’t have to go to a museum to experience it; I just need to move something. Solution: Stick to the technology, but not the big-name stuff we all know.

fridge

This fridge runs on gas. Or ran. It’s old.

The Making of the Modern World gallery is wonderful, a parade of icons of modernity. Stephenson‘s Rocket. That DNA Model. A spaceship! But it’s also a winner’s map of science and technology. I’d much rather museums of science and technology should show us roads not travelled, the paths of technological development not taken. It’s exciting to see THE actual Stephenson’s rocket but it’s also a bit of an anti-climax because we already know about it. The gas fridge in the basement, however, is a whole bit of technology many people didn’t know existed (see how the refrigerator got it’s hum for more). Or my current favourite: The 1897 electric cab. This sits at the front of the Wellcome Wing and there is something beautiful about the positioning that reflects the display of the Rocket in the gallery just ahead of it (I hope it’s deliberate). We could have chosen electrified transport, and if we had we’d have had a lot more choice about how we made this electricity. If you look at UK energy budget maps, you’ll see that most of our oil goes into transport, and most transport is powered by oil. Breaking that link is a key step in a more sustainable energy future. Indeed, National Rail recently announced they are electrifying more of the system (not everyone might like their exclusive contract with EDF, but that’s another issue).

1897 electric cab

rocket

The electric cab at front of the Wellcome Wing and Stephenson’s Rocket at the start of Making the Modern World.

As well as the roads not travelled, I’d like to see more of the cultural responses to science and technology; the way people have imagined, loved, hated, worried and hoped through it. I want to see robot toys, and anti-GMO protest signs, some transport geek’s collection of bus tickets. When I worked at the museum, one of my colleagues had a small private collection of visitors’ drawings of spaceships which also looked like penises. That’s totally the sort of stuff the museum should be collecting and sharing with the world: People’s sometimes weird rendering of technology.

And I’d like to see more of the objects which show the scars left by technology. My favourite exhibit for years was a small bowl from Hiroshima, with earth fused to the side of it after the blast. You can’t put an A-bomb in a case, so they have this leftover instead. Or there’s the ice core in the climate gallery. It’s framed more as a celebration of scientific discovery and the human ability to know (well done humans), however, not as a mark of what we’ve done to our planet (must try harder humans). Maybe it’s because the gallery’s sponsored by Shell.

Ice core at Science Museum

The Science Museum’s ice core.

Maybe the sponsor had nothing to do with that framing, but I do worry that the way the museum is uniquely able to theme its sponsors to the topic on display is a problem. Materials gallery brought to you by the Steel Industry, the BP Energy Gallery, Virgin’s Media… Stick to that model and you end up only presenting the technology that makes money, and that’s a limited view of technology. The Science Museum is in danger of turning into a bit of a trade show, which admittedly it has long roots in (with the Great Exhibition) but doesn’t have to maintain.

Let me end with something that was told to me on my first at the Science Museum: the design of the building is based on Selfridges, as they bought a cut-price design from the same architect. But we need more than the technology of consumer culture. Plus we have Selfridges for that. The winners of industry can pay to show off for themselves. As a public institution, the Science Museum should offer us something else, so might be better served modelling itself on a junk yard. Because you can tell stories in celebration of the world as it is, or you can use stories to help us think about making the world differently. If a science museum really is supposed to be about engaging the public with the future, isn’t that what it should be doing?

Climate Stories at the Science Museum

Coal at the Science Museum

Pots of coal, Changing Climate Stories, Science Museum

The Science Museum has a new art/ history of tech exhibition exploring issues of energy and climate change: Climate Changing Stories.

It mixes a few re-interpretations of old exhibits with some dazzling new installations. It weaves through the museum as a whole, plotting new narratives, connecting previously separate spaces. It plays with ideas of pasts, futures and futures past. It left me with a big grin and a head full of ideas. It comes highly recommended.

It’s also sponsored by Shell. Ignore that for a moment though, I don’t want it to get in the way of the many good aspects of the exhibition. Park it at the back of your mind – just as you might on a visit to the museum – and I’ll return to it later.

The trail starts at the front of the museum, in the history of energy hall, inviting you to think of the immediate impact of the Industrial Revolution on the 18th century countryside. This look back to past environmental change is echoed a couple of floors up, in a room next to the energy futures gallery, with a film about a flood in a seaside resort in the early 1950s which juxtaposes the optimism of growth of the town due to holiday-makers in the 1930s with this flood, explicitly playing with our sense of flooding as a future narrative of climate change in the process. There is a similar display near the Agriculture Gallery, this time on air pollution. Its 1952 news reels describe smog as the “greatest mass murderer of recent years”, calling for cleaner fuels. It’s futuristic in a way, abeit an old future, long gone now. It is also current, echoing 21st century debates about slightly less visible air pollution.

The Making of the Modern World gallery has some of the best pieces. I loved artist Yao Lu’s beautiful series of photos; made to look like traditional Chinese landscapes but actually mounds of rubbish covered in green netting. There’s also the incredible toaster project and their resident spaceship now comes with added note on Stewart Brand and the blue marble. The highlight, however, has to the electric London taxi cab from 1897, in the centre of the Wellcome Wing. We might think of electric cars as something futuristic but, again, the museum is keen to stress they’ve been the future for quite a long time now (nice Wired post on this).

One might be wary of the museum’s steampunkish play with narratives of climate change. The line on the BBC preview that the gallery explores how “humans have adapted to keep pace with our changing world” is the sort that can set some environmentalists’ hair on end, as if climate change is just business as usual. I don’t think the museum frames it that way, personally, though other eyes might read it differently. It’s probably worth noting that the end point of the piece on coal was a move to greater regulation, not a techno-fix (although there is also an exhibit on fictional world-saving GM crops).

Moreover, for me, exhibits like the electric cab help show that technology is the consequence of choices, that the world might have been different and, if we let it, provoke us to make better choices today. That cab reminded me of a great bit in Alexis Madrigal’s history of American green tech, Powering the Dream, about how a betting man at the end of the 19th century would have expected transport in the US to have gone in the direction of electrically powered public transport, not fossil-fuelled private vehicles. As Maggie Koerth-Baker puts it in her review of the book: “Energy isn’t just what it is. Energy is what we have decided we want it to be”.

electric london taxi cab, 1897

An electric London cab, from 1897! 1897!

Brilliant as many aspects of this exhibition are, I left the museum feeling something was missing. I realised later it was the topic of oil. Which is a shame considering their lead sponsor is such an expert on the topic.

My mother accused me of being snide with that comment, which is not my intention. I genuinely think it’s a shame. That’s in earnest, not sarcasm. I actually want to see more about the oil industry in museums, or at least more than logos.

Shell have a fascinating history (official version). Did you know they are called Shell because they started off as shop that sold seashells? An antique dealer in the 1830s realised there was a fashion for using shells in interior design. They were so popular he had to import them from abroad, laying the foundations for an international import/export business which – via trading of rice, silk, china, copperware, sugar, flour and wheat – by the 1890s was transporting oil. An exhibit based on that could be ace. You could even, like the electric car, use stories of how the world wasn’t always how it is now to consider how it might be in the future; have an interactive asking visitors what different products Shell could trade instead, for example.

So great as this new Science Museum trail is, you might want to stop by Tate Britain too and catch the Patrick Keiller Robinson Institute exhibition which has a bit on the history of BP (till October 14th, free, sponsored by Sotheby’s).

Postscript: A new campaign Science, Unstained aims to ask questions about the sponsorship of science communication. I’m happy to say I’m part of the group behind it. I wouldn’t have registered the URL in my name otherwise. There are several other people involved though, and it’s up to them to decide for themselves if they want to be open about this. It’s just a few 100 words on a blog at the moment and we’re not sure how it’ll develop yet. You can follow it, or even get involved, if you’re interested. Or not, if you’re not.

How the refrigerator got its hum

A few years ago, a friend of mine was living in a small flat which contained a fridge that hummed very loudly. Very loudly indeed. She found it a bit annoying. Also annoying: the power supply for the room was through a meter she had to keep feeding with coins to maintain a regular supply of electricity, which was prone to running out with little warning. However, she noticed that the fridge’s hum would change slightly when the meter needed feeding. What had started off as an annoying side effect of the fridge’s ability to keep her food cool became a useful guide for the maintenance of her home. She went on to do a whole PhD reflecting on the domestic soundscape: the importance of sounds like toast popping up, the chug of the washing machine, a kettle boiling, taps dripping.

I love this story about my friend’s fridge because it demonstrates something we all do: the sometimes unintended re-use of the various bits and pieces of technology that surround us. How many of you, for example, have magnets on your fridge?

I also love this story because it gives me an excuse to tell the story of how the refrigerator got its hum in the first place.  This story is a classic in the social history of technology. If you have any familiarity with this field you’ll know it. If not, let me introduce you to it because it’s a good story, and one with a neat moral. Because there could have been other fridges, other – quieter – fridges.

In her classic essay ‘How the Refrigerator got its Hum‘ (chapter 15 in this book, or download a PDF here), Ruth Schwartz Cowan traces the early history of domestic fridges. In 1920s USA, there were two types of fridges on the market; electrically powered ones which used a (humming) motorised compressor to work their refrigerants, and gas ones. All mechanical fridges work by controlling the vaporisation and condensation of a liquid called a refrigerant. Most fridges today do this control with a special electric-power pump called a compressor, but there’s also the technique of absorption, which is kicked off by a gas-fulled flame. The fridge’s hum wasn’t inevitable. Once upon a time, that particular bit of our domestic soundscape could have been very different.

Various refrigeration machines were patented throughout the 19th century, and manufactured ice became available throughout the southeaster US by 1890 (natural ice was easier to come by further north, so there was less of a market). Most breweries had large scale refrigeration machines, as did meat packers and Cowan talks of ‘icemen’ carrying manufactured ice for sale through the major cities. Such commercial fridges were big objects though, few were under 5 tones and many weighed anything between 100-200 tons. So it wasn’t until 1914 that the first domestic fridges were developed. This was an electric compressor model, complete with very noisy hum and the wonderful name of ‘Kelvinator’ (Cowan, 1985: 204-6). Throughout the 1920s, more and more domestic fridges were developed, although they remained very much a luxury item, with gas companies going into production of their models from the mid 1920s (Cowan, 1985: 212).

Although the gas fridges were arguably more efficient and without motorised parts did not break down so often – they were even known as ‘the common sense machine’ – the electric ones became the norm. Cowan argues that this was largely down the social and economic power of the electrical companies, especially General Electric, who not only had a lot of weight with domestic appliance salespeople but, as Cowan puts it, could employ ‘outlandish advertising and public relations techniques’. These do really did sound like quite the PR carnival: swashbuckling pirates in storerooms, exhibition trains travelling the country and jazz bands riding floats across small town America. One was presented to Henry Ford in a special radio broadcast in 1931. In 1928, another was send on a submarine voyage to the North Pole with Robert Ripley (as in the ‘Believe it or Not’ Ripley). In 1935, fridges were the star of the first ever commercial Technicolour film. This ran for nearly and hour with Hollywood stars and a romantic comedy script rooted in the need for a complete electric kitchen (Cowan, 1985: 209-10). It’s also worth noting that the various electric companies cooperated here in selling the idea of electric refrigeration, even if they competed on named products (Cowan, 1985: 211). With gas vs. electric fridge, it wasn’t a technical decision as to which won; it was largely social-political-economic. It wasn’t the first tale in the history of technology to be so, and it wasn’t the last either.

In many respects, the history of technology is a history of failed machines; of routes we didn’t take, not the ones we did. There have never been a shortage of new inventions, what ‘shapes us’ is what we choose to pick up on. David Edgerton (2006) puts this very well in his book ‘The Shock of the Old‘ which calls for a focus on thinking about technology we use, rather than new technology:

The history of invention is not the history of a necessary future to which we must adapt or die, but rather of failed futures, and of futures firmly fixed in the past. We do not have a history of invention, but instead histories of the invention of only some of the technologies which were later successful (Edgerton, 2006: 184. Emphasis as original).

Cowan would ascribe to this sort of view on the history of technology too, and as a way of prefacing her tale of the fridge’s hum, refers to the sorts of innovations advertised in 19th and 20th century women’s magazines: technologies we might look back on now as quaint and funny, but were often very good ideas:

What resident of a drought-prone area today would not be grateful for a toilet that does not use water? […] Why do we have popcorn makers and electric can openers but not gas refrigerators or inexpensive central vacuum cleaners? If we can put a man on the moon, why have we been unable to pipe out garbage disposals into our compost heaps? (Cowan, 1985: 202)

And there’s the moral of the story: the possibilities around technology are multiple. They are not limitless, but they aren’t singular either, and they certainly are not linear. There are choices when it comes to the technologies we choose to take on, and choices about how we make use of them, when and if.

Technology is done by people, and can be redone and undone by people too. Stories of how we have made choices in the past (unwittingly or otherwise) about technology help uncover this, as well as point us towards old routes we could return to. This is the great liberating lesson from the social history of technology movement, one that, whether we are thinking about fridges, synbio, geo-engineering, bicycles, a cotton jumper, the internet or anything else, we would all do well to remember.