Spectacles
Traditionally, automata were considered toys or ornaments, or classified as philosophical or scientific tools. However, studying them in their ancient contexts explains why automata, and an extraordinary number of Greek and Roman mechanical devices, were developed over centuries by ancient mechanicians.
In the various prefaces to his writings, including On Making Automata, Hero confirms that experiencing and contemplating automata invoked feelings of wonder and surprise, and thus belonged to a tradition of spectacle-evoking technology. For Hero, the concept of ‘wonder’ elevated mechanical knowledge and its application above, not only manual labour, but also philosophy. According to Hero, automata were designed to create wonder (thauma).
Both mobile and stationary automata were used in religious rituals and processions, and as part of religious festival entertainment, including theatre performances (as illustrated by the objects displayed to the right), amphitheatre games, athletic contests, and re-enactments. They heightened the atmosphere of spectacle and wonder by enhancing the sensory experiences of participants. The earliest known automata are Hephaestus’ tripods and the temple doors of Olympus in Homer’s Iliad.
The astounding level of spectacle (theoria) invoked by the mechanical devices themselves was achieved by their creators, known favourably as wonder-workers: men skilled in a complex variety of mechanical craftsmanship. Hero’s automated mobile altar would have heightened the spectacle, electrifying the atmosphere of a Dionysiac procession or theatre performance.