This article examines how 18th-century technical communicators used spectacular science displays to critique audiences’ existing knowledge and advocate for alternative perspectives and technical practices. In addition to using disruptive rhetorical strategies such as amplification and contrary opposition, historical technical communicators heightened the wonder of their displays by disrupting audience expectations for the extended material and social scenes, including the objects, spaces, bodies, and cultural performances like gender that surrounded the demonstrations.

This essay expands on previous feminist rhetorical scholarship to account for the ways that material, spatial, and temporal rhetorics operate together to enable gender performances and relations. Extending M.M. Bakhtin's concept of the literary chronotope, we offer the concept of the “material chronotope” to examine how routinized engagements with material objects, such as emerging technologies, and their surrounding material–rhetorical contexts facilitate particular embodied performances of gender. Drawing from the example of the eighteenth-century microscope, we demonstrate how three coexisting designs—the pocket microscope, the solar microscope, and the standard microscope—each positioned women users differently in time and space, facilitating different relationships to science, nature, and femininity. Whereas previous scholarship has emphasized the extent to which new technologies are incorporated into existing social institutions, becoming complicit in the maintenance of gender dichotomies, we draw from this example to argue that these boundaries are not simply maintained but constantly under renegotiation.