List of slides:
Slides 1 to 14:
Photographs of "Unstable Grounds" - ARE 2026 Artistic Research Exhibition installations.
1 and 2, Eclosion, Diego Barajas, Colombia / Estonia, 2026; 3, Great Love Reimagined, Elen Lotman and Sirje Runge, Estonia, 2025; 4 and 5, Estafette, Caro Van den Hole, Bert Heytens, Frederik De Smedt and Julie Van Mulders, Belgium, 2026 (5 reflects the work Great Love Reimagined and the surrounding space); 6 to 8, The Great Thaw, Michaella Grill and Karl Lemieux, Austria / Canada, 2024; 9 and 10, Remixing Memories of Mozambique, Guilhermo de Llera Blanes, Portugal, 2026; 11 and 12, Perhaps I Will Find Something in The Fog of Erasure, Cindy Chehab, Lebanon, 2026; 13 and 14, Shaken Grounds, Shifting Skies, Nikolaus Gansterer, Mariella Greil, Peter Kozek, Lucie Strecker, Victor Jaschk and Werner Moebius, Austria / Germany, 2025.
"Unstable Grounds" - ARE 2026 took place in Lisbon, in the Confeitaria [Confectionary] and the Fábrica de Moagem [Flour Mill] of the former Manutenção Militar [Military Maintenance] complex, in the Beato Innovation District, during the first quarter of 2026. © Miguel Rodrigues, WIRE by FilmEU Widening + Innovation & Research Excellence, Universidade Lusófona.
Slides 15 to 18:
High-resolution reproduction of lantern slide collection linked to the life and work of the late William Morris.
15, transmissive-reflective composite reproduction of "George Alley, L.C.C. Camera Club" lantern slide photograph; 16, reproduction of "A Summary of the Principles of Socialism" pamphlet cover slide; 17, reproduction of Socialist League Norwich Branch group photograph slide; 18, reproduction of hand-tinted lantern slide photograph depicting Kelmscott Manor (the country home of William Morris).
© William Morris Society (reproduced with permission).
Slides 19 to 30:
Existing light photographs of garments and items of jewellery worn by Fado performers for the catalogue of the exhibition "I Wear My Voice on My Sleeve - Fado and Fashion".
19, 1985 velvet and lurex skirt and top combination designed by Ilda Aleixo, worn by Amália Rodrigues at the Paris Olympia; 20, 1970 balandrau worn by Amália Rodrigues backstage when she performed in Japan, author unknown; 21, 1967-68 dress and cloak by Ilda Aleixo, worn by Amália Rodrigues on stage in several international concerts; 22, 1944 stage dress by Pinto de Campos, worn by Amália Rodrigues in Rio de Janeiro; 23, silver earrings designed by Manuel de Freitas for singer Joana Amendoeira, date unknown; 24, 2011 dress designed by Ricardo Preto for Cuca Roseta's first international concert; 25, balandrau worn by Amália Rodrigues at home or backstage, date and designer unknown; 26, silver bracelet worn by singer Ana Moura, date and designer unknown; 27, 1980s tunic designed by Ilda Afonso and worn by Amália Rodrigues at home or in the dressing room; 28, 2011 blouse and skirt combination designed by Filipe Faísca, worn by Aldina Duarte at Culturgest, Lisbon; 29, 2006 dress designed by Luís Buchinho, worn by Cristina Branco at Casa da Música, Porto; 30, 1984 dress by José Manuel Costa Reis, worn by Maria da Fé on her tour of Brazil.
"I Wear My Voice on My Sleeve - Fado and Fashion" was held at MUDE and Museu do Fado, in Lisbon, in 2013. © Miguel Rodrigues, MUDE Design and Museu do Fado.
Slides 31 to 38:
Photographs and artefacts from the University of London Computer Centre's History Collection.
31, reproduction of photograph depicting the recently installed Cray-1 supercomputer at ULCC, 1982 (?), green fluorescent tint uncorrected; 32, reproduction of photograph depicting arrival of Princess Anne for the inauguration of Cray-1 installation at ULCC, unrestored; 33, IBM punch (?), date unknown, photographic film studio photograph; 34, reproduction of "University of London Atlas Computing Service" unused punch card; 35, Convex Computer Corporation C38xx (?) supercomputer model, photographic film studio photograph; 36, ULCC Newsletter 22 front cover; 37, ULCC Newsletter 87 front cover; 38, reproduction of "End of Record" punch card with printed diagram of ULCC's distribution of computing services to University of London institutions.
© University of London Computer Service (reproduced with permission).
Slides 39 to 42:
Digitisation of Anna Birkbeck's personal album for Birkbeck Library.
39, illustrated page at the beginning of the album; 40, illustrated page at the end; 41, page detailing "Order of procession for the funeral of Doctor Birkbeck"; 42, "International Exhibition 1862" Season Ticket found inside the album, recto-verso composite.
© Birkbeck University of London (reproduced with permission).
Slides 43 to 48:
High-resolution reproductions of General Post Office historic posters for the British Telecom.
43, "PRD 114", Clifford & Rosemary Ellis, 1935; 44, "PRD 143", author and date unknown; 45, "PRD 216", Chas Pears, date unknown; 46, "PRD 309", Henrion, date unknown (wartime); 47, "PRD 360", Lewitt-Him, date unknown; 48, "PRD 1422", author and date unknown.
© BT Group Archives (reproduced with permission).
Slides 49 to 52:
"Serving Soldier" digitisation pilot for King's College London.
49, "Boer and Country Pony" mounted photograph, author and date unknown (second Boer War); 50, reproduction of "Boer and Country Pony" photograph; 51, war diagram with Orange Free State at the centre; 51, "Photographic reconnaissance of the Boer position at Taiboschlaagte (from 1 mile)", mounted photograph and scheme of Boer positions.
© King's College London (reproduced with permission).
Slides 53 to 60:
Studio photographs of writing-related artefacts for the "Museum of Writing" Institute of English Studies project.
53, Mesopotamian cuneiform tablet, 1950 to 1700 B.C. ; 54, Mesopotamian bone stylus; 55, clay seal from Susa, c. 3500 B.C.; 56, earthenware Mayan bowl decorated with pseudo-glyphs, 600 to 800 A.D.; 57, Egyptian reed pen, c. 1200 B.C., composite of two photographs; 58, Aramaic magic bowl with writing in concentric circles; 59, Egyptian ink inside acrylic container, c. 1230 B.C.; 60, faience Shabti (Egypt), composite of two photographs.
© Institute of English Studies University of London (reproduced with permission).
Slides 61 to 63:
High-resolution reproductions of Panopticon plans and elevation commissioned by Jeremy Bentham.
61 and 62, Panopticon prison plans commissioned by Jeremy Bentham and drawn by architect Willey Reveley, 1794-1795; 63, Panopticon prison elevation commissioned by Jeremy Bentham and drawn by Willey Reveley, 1794-1795.
© University College London Special Collections & Miguel Rodrigues.
Slides 64 to 74:
Digital reproductions of rare books for UCL Special Collections.
64 to 66, Chinese edition of Euclid's Elements Book VII to Book XV, translated by A. Wylie, Shanghai; 1857, composite image of all case parts, photograph of three bound volumes, example of page; 67 and 68, Aldine Bible (Πάντα τὰ κατ᾿ ἐξοχὴν καλούμενα βιβλία, θείας δηλαδὴ γραφῆς παλαιᾶς τε καὶ νέας. Sacrae scripturae veteris novaeque omnia), Venice, 1518; 69 and 70, Greek edition of Euclid's Elements, Simon Grynaeus ed., Basel, 1533; 71 and 72, Euclidis Elementorum libri XV, Pisauri, 1572; 73 and 74, Greek edition of New Testament, Amsterdam, 1632.
© University College London Special Collections & Miguel Rodrigues.
Slides 75 to 80:
Studio photographs of assorted artefacts from UCL Collections.
75, Jewish ritual spice tower, silver; 76, Jewish fish-shaped spice box, silver; 77, Jewish silver scroll case; 78, composition showing arrangement of 5 objects of Judaica; 79, Bayaka wooden statuette; 80, skull replica.
© University College London Collections & Miguel Rodrigues.
Slides 81 to 85:
Digital reproductions of assorted 2D artefacts from UCL Collections.
81, "Chinese Tenement House, San Francisco, Cal." late nineteenth century postcard; 82, "The Entry" Chinese Theatre, San Francisco." postcard; 83, "Chinatown, S. F. Cal. The incense table in the Joss Temple of Lung Gong", I. W. Taber, 1887; 84, "Merry Christmas" postcard hand-painted and handwritten by artist Paula Rego, date unknown; 85, high-resolution reproduction of Portrait of Abraham Francen, etching, drypoint and engraving, printed with plate tone on Japanese paper, Rembrandt van Rijn, c. 1657.
Slides 86 to 88:
Studio photographs of artefacts from the Grant Museum of Zoology.
86, display of imported bones, tissue and other organic materials, and related paperwork and notes; 87, display of ivory, skin and bone items banned in the United Kingdom and apprehended by customs; 88, anatomically incorrect (overstuffed) Bosc's monitor lizard embalmed specimen.
© Grant Museum of Zoology, University College London & Miguel Rodrigues.
Slides 89 to 94:
Photographs of furniture, industrial and fashion design items from personal collection.
89, Eames RAR fibreglass rocking chair; 90, Ana Salazar single-breasted wool winter coat; 91, Raphael Bordallo Pinheiro hand-painted faience swallow (late nineteenth century design); 92, Artek Alvar Aalto Stool 60; 93, Kartell Anna Castelli Ferrieri Componibili; 94, Gispen Richard Hutten Dombo mug.
Slides 95 to 118:
Natural light photographic survey of the Fábrica de Moagem [Flour Mill], Confeitaria [Confectionary] and Sala das Massas [Pasta Room] of the former Manutenção Militar [Military Maintenance] army complex in Lisbon (Beato Innovation District). © Miguel Rodrigues.
Slides 119 to 128:
Transparency film photographs of Lisbon World's Exposition (Expo '98) site before the start of construction. Positive film photographs (5 cross-processed in c41 chemistry) recorded on Kodak Ektachrome P1600 (EPH). Part of a survey completed in 1995. © Miguel Rodrigues.