Research Catalogue

This thesis is an autoethnographic investigation of artistic identity, healing, and liberation, informed by my journey as a Palestinian musician and artist navigating the connections of music, heritage, and political turmoil. Through collaborations with artists across cultures, improvisational methods, and exploring various global music traditions, I investigate the psychological and cultural dimensions of a contested identity that both carries and alters collective pain. The heart of this work lies in a continuous dialogue between the self, the collective, and sound—a triad that reveals layers of creativity and survival intertwined within my identity. This research comprises original compositions, interviews, and collaborations with Palestinian and international artists, resulting in a diverse soundscape where tradition and innovation coexist. Working with the qanun and other instruments, I seek to recall personal experiences and the shared memories and complex realities of people who have endured. The research culminates in performances that offer glimpses of hope, humanity, and connection, framed within the broader context of Palestinian artistry in a world that frequently dismisses or deliberately denies its existence. Ultimately, this thesis questions and redefines what it means to be a creator in a world marked by systematic erasure. It argues that art can be a powerful reclaiming of voice, a way of confronting the fragmentation imposed upon an identity. In exploring how music becomes a pathway to the inner self, a bridge to ancestral memory, and a gesture of solidarity, I hope to illuminate the essential human drive for expression and the enduring will to survive.

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design as an art installation. Looted, 2024. My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, for them to pretend to be my daughters. After that, they must have been removing them one by one over the last few months and until October 2024. 14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave in March. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (20+1) digital photographs for twenty (20) missing Albanian and of Albanian ethnicity non-EU immigrants and one (1) missing Italian citizen. The twenty-one persons whose details got stolen were abducted by Golden Dawn, the NRM and possibly Forza Nuova; they are deceased. My personal details were also stolen. Was I going to be the twenty-second? https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks. The art world has been traditionally male dominated. This has changed a bit in contemporary art, but not dramatically. Female artists have sometimes adopted male attitudes or personas to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, for instance that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows: "What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay on the architectural uncanny that I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space"; I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was completely unsupervised: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include two new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the property I was renting on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space has been used. For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. To all those who don't just "play" the cultural and racial diversity clause. See exposition in connection with "The (Origins of) The Game", "Debris", and "XRW (Implicature)".

It is a proven fact that, we've increased our knowledge about nature specially on microscopic world because the pandemic. The knowledge was accompanied by a fear. In the performance we use the laboratory technics to showed the beautiful aspects of micro organisms and try to talk about the organisms by an artistic language to decrease the fear and respect our biological values. In the project, the performers saw many images from their cells that were pictured in a medical lab form their membrane cells. The Performers saw their cells movements, forms, colors and composition, and inspired from the images and by connecting the images to their background presented acts, dances and songs; in addition, based on the cognitive experience and as a combination of the performative material produces in the rehearsal, we designed a simple dance in an improvisation creative process. 1. The performance in Kargah Theater of Bandar Abbas produced for the 39th Fadjr International Theater Festival in Tehran at 2020 as a reaction to the Covid-19 crisis. 2. The report was presented in the APARN 2024 conference and the Artistic Research Symposium of Sweden 2024

The quest of reconciling scholarship and interpretative freedom has always been present in the early music movement discourse, since its 19th century foundations. Confronted with a plurality of performance practices, the performer of Early Music is forced to make interpretative choices, based on musicological research of the sources and their personal taste. The critical analysis of the sources related to a musical work is often a time-consuming and cumbersome task, usually provided by critical editions made by musicologists. Such editions primarily focus on the composer's agency, neglecting the contribution of a complex network of professions, ranging from editors, conductors, amateur and professional performers and collectors. The FAAM, Flemish Archive for Annotated Music, is an interdisciplinary project at the Royal Conservatoire Antwerp that wishes to explore the possibilities of annotation analysis on music scores for historically informed musicians. Annotations are a valuable source of information to recollect the decision-making process of musicians of the past. Especially when original musical recordings are not available, the marks provided by these performers of the past are the most intimate and informative connections between modern and ancient musicians. Contrary to a purely scholarly historically informed practice approach, based on the controversial concept of authenticity, we wish to allow the modern performers to reconcile their practice with the one of their predecessors in a process of dialectic emulation, where artistic process is improved through the past but does not stagnate in it.

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