Ever since the renaissance have inventors like demiurgs or like Prometheus tried so that the "earthern gods", the powerowners, could gain those attributes. Soon they were riding in allegorically decorated thryumphal carriages toimpress the populations, and also to represent their special status in an according manner. In the theatre of illusions in recent history gods soared from the sky  as dei ex machine by the help of machines. But there is also the diabolos in machine, just like Hieronimus Boschhas shown drastically in his pictures of hell and also in the development of war machinery.  For the end of this development, at which we are standing, does Berns say: "the triumphal lust to drive a c has not disappeard because of this. It has only moved inside, has been gone through sublimation. Driving we still regard ourselves as gods - dei ex machine - and forget that we have long become poor devils - diaboli in machina' 5. Speed and acceleration have becomeable to experience only through roket, steam and petrol motors. But allover mobility of the gods has not become ours, but rather the loss of it. Freedom of choice for direction (libertas locomotiva) - has ended in a fixation of direction, a "unilateral routing", which has its correspondence in the car being like a projectile. 

Also Horst Bredekamp in his work "antic-longing and machine-faith"6 talks about the lost unity of 'form of nature - antic sculptur - art work - machine', as it had been present in the art cabinets, the forerunner of our speciality museums. Until the 17th century had there been a playful connection and stimulation between nature, art and technic, meaning  and form. Afterwards has there been a change in favour for technic, by a worldly point of view that was mechanical only; a one-sided change of power under the pretext of practicality. 
 

 5 BERNS, 1996, S. 76. 
 6 BREDEKAMP, Horst :Antikensehnsucht und Maschinenglauben.  Die Geschichte der Kunstkammer und die Zukunft der
                          Kunstgeschichte, Berlin 2000, S. 80