Exhibitions are embodied knowledge, and the processes of making exhibitions are also in themselves knowledge production practices. Science and technology exhibitions are therefore doubly of interest to historians of science: both as epistemic agents and as research methods. Yet both exhibitions and exhibition-making practices are ephemeral, as is the subsequent experience of the visitor. How can we research, interrogate, and understand both the productive creation of exhibitions and the phenomenologies and epistemologies of their reception and impact? "Exhibition histories" has become a significant field of late, most closely associated with research on art exhibitions but also extending to world and trade fairs, and now increasingly crossing over into histories of science and technology. It is not an easy task: the range of exhibition archive materials includes - but is not limited to - 35mm slides, architectural blueprints, models, drawings, briefs, memos, budgets, press films, reviews, and personal accounts. This primary material is distributed unevenly across public and organized repositories, closed commercial archives, the personal papers of designers, often embargoed national bureaus of information, and more. Further, the experience of visiting an exhibition leaves far fewer traces to follow, requiring the researcher to do different kinds of things with the same widely varied material. This paper proposes methodologies for historians of science and technology wishing to understand the spatialization of science in exhibition contexts, the impacts of science exhibitions, and the more elusive phenomenological aspects of the exhibition visitor experience. Historians of science must accurately historicize context while researching both along and against the grain of archival material left by the making of exhibitions, as well as understanding the embodied trajectories of visitors. The practice of making exhibitions can also offer the researcher critically valuable insights into what to look for - and what may be absent - in archival records.

中文翻译：

---

具身的短暂性：研究 20 世纪科学技术展示和空间化的方法论和史学

展览是知识的体现，展览的制作过程本身也是知识的生产实践。因此，科学和技术展览对科学史学家来说具有双重兴趣：既是作为认知媒介，也是作为研究方法。然而，展览和展览制作实践都是短暂的，参观者随后的体验也是如此。我们如何研究、询问和理解展览的富有成效的创作以及它们的接受和影响的现象学和认识论？“展览史”最近成为一个重要的领域，与艺术展览研究最密切相关，但也延伸到世界和贸易展览会，现在越来越多地跨越到科学和技术史。这不是一件容易的事：展览档案材料的范围包括 - 但不限于 - 35 毫米幻灯片、建筑蓝图、模型、图纸、简介、备忘录、预算、新闻影片、评论和个人帐户。这种主要材料在公共和有组织的存储库、封闭的商业档案、设计师的个人文件、经常被禁运的国家信息局等中分布不均。此外，参观展览的经验留下的痕迹要少得多，需要研究人员用相同的广泛多样的材料做不同种类的事情。本文为希望了解科学在展览环境中的空间化、科学展览的影响、以及展览参观者体验中更难以捉摸的现象学方面。科学史家必须准确地将背景历史化，同时根据展览制作留下的档案材料进行研究，并了解参观者的具体轨迹。举办展览的做法还可以为研究人员提供关于在档案记录中寻找什么——以及可能缺少什么——的重要见解。