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The article looks at the symbolic aspects of water diversion as represented in the writings of philosopher Jean-Jacques Rousseau. Particular focus is given to Rousseau's theories surrounding technology, aesthetics, and the sublime. It is suggested that while the Roman aqueduct bridge Pont du Gard inspired in Rousseau a feeling of pride and connection to human technological achievement, he was less affected by gardens the royal gardens at Versailles which used similar technology but emphasized the power of the monarchy. Details on 18th-century hydraulic engineering technology are presented. Other topics include the Canal du Midi, King Louis XIV of France, and alienation.

An essay is presented on the role of visual technologies and aesthetics in the history of technology. Particular focus is given to French chromolithography in the late 19th and early 20th centuries. According to the author, analyzing the visual and aesthetic aspects of ephemera such as posters and trade cards can help scholars to understand their technological significance. The relationship between art and design history and technology history is also discussed.

In this article, the author discusses her book, "Impossible Engineering: Technology & Territoriality on the Canal du Midi". She responds to the articles "A Very Human Tale" by Lissa Roberts, "Collective Intelligence and its Corollaries" by M. Norton Wise, and "What Makes an Early Modern French Technology" by Karl Appuhn, all appearing in the same issue. It is suggested that posthumanist analysis of logistical power is an effective way to approach the study of technology history and to understand the relationship between environment and material governance. Topics discussed include knowledge production, modernity, and distributed cognition.

An essay is presented on modernity in French technology. It responds to the book "Impossible Engineering: Technology & Territoriality on the Canal du Midi" by Chandra Mukerji. According to the author, the collective social knowledge behind the construction of the Canal du Midi in France was not modern, as Mukerji argues. Topics discussed include cultural Frenchness, the engineer Pierre-Paul Riquet, and knowledge production.