Kalon, you really weren't paying attention at school, when they went through that whole "apostrophe" thing, were you?   Clue:  when you think you should, don't - and vice versa.

No, "The War of the Worlds" is not about the relationship between man and technology.   It's about the relationship between technologically advanced men and less technologically advanced men.   Wells was opposed to the many colonial wars that occurred in the latter stages of the nineteenth century.   The Martians landing in Surrey are a metaphor for British troops rampaging through Ashanti, or Matabeleland.   Read it again.

I don't see why any practitioners should get to define the craft, as you put it.   I think that that was my point:  it is dangerous to let a subset of practitioners set "acceptable" limits to what they and their fellow-practitioners do.   Look in any university music department today and you can see the consequences.   There are people who can compose by the mile in the style of the "Second Viennese School" (i.e. Schoenberg, Berg, Webern), because that requires no inspiration, only a formula.   How many university lecturers can tell you how to write music worthy of Haydn, Mozart, Beethoven, Schubert, Brahms, or Bruckner?   Funnily enough, those are a bit thinner on the ground.   This isn't a coincidence.   Schoenberg succeeded beyond his wildest dreams in re-defining the academic approach to music, because he enabled talentless pseuds to claim to be "in the mainstream".   The problem is not merely that these academics can't emulate Brahms, but that they spurn Brahms altogether.   Similar things have happened in architecture, where the Classical style is mechanically derided, and in painting, where the basic skill of draughtsmanship is no longer valued by many so-called "schools" of art.