This concluding chapter draws together several strands and original dimensions of Leroi-Gourhan’s technology. Alongside his palaeontological and archaeological research, Leroi-Gourhan also addressed two seemingly contradictory dimensions of techniques: the machine and the artisan. Given his long-standing interest in machines and mechanical devices, including photography, film and also computers, Leroi-Gourhan’s quasi-cybernetic understanding of prehistoric flintknapping is less surprising. Moreover, such a broadly positive attitude towards modern techniques needs to be understood in relation to philosophical and intellectual debates emerging during the post-war years of economic and social reconstruction. While thinkers like Jacques Ellul emphasized the risks of disruption and loss of control associated with modern techniques, Leroi-Gourhan retained, on the whole, his technophile confidence in the cumulative and incremental continuity of techniques, as demonstrated (in his view) across prehistory. This approach also derived from his distinctive Catholic faith and his affinities with the thoughts of Jesuit-palaeontologist Teilhard de Chardin. It embodied his belief in the long-term redemptive capacities of techniques, as evidenced by the plenitude achieved by the artisan of all times who ‘thinks with his fingers’, a crafting Homo faber present in each and every one of us.