Research Catalogue

ارض حريه كرامه وطنيه land, freedom، collective dignity a slogan that has been with me for a long time, since the revolutionary moment in Tunisia in 2010, when we raised it in the protests, wrote it on the walls, banners that we held high, we sang and shouted it, it recurred in our writings, in our conversations, in our dreams of the sovereignty and independence of our lands. today I see, we see, houses bombed, falling down, turned into dust, piles of stones, dirt. the land carries it all, embraces the decay and transforms it. Down there, other times lie, invisible, suspended from the narratives of control and structures of oppression that dominate the realm above. in the past semester, perhaps even years, I have turned my attention to the interstices in cities that have been created, or rather overrun, by the political programming of urban spaces. They have become areas that have no specific function, no specific production value, no active role in the web of trajectories, signals, instructions, restrictions, power relations... they are just there immanent I like to go there, to step aside from the flow of traffic, to stand in the in-between corners that people hardly look at. I am always wandering, wondering how I can inhabit them, reconvert them, activate their performative potential, claim other times and relations that neutralise or reverse the dominant narratives around me. I took the act of strolling as a ritual, a method. I looked and all I found was dirt, soil, biomass, decaying debris, stones inhabited by microscopic organisms, a complex stratum composed of various "others". everything felt connected and embedded in itself. robert smithson wrote in an article: "the city gives the illusion that the earth does not exist. but what I saw was a symbiosis of things we often see as separate, they grow, they evolve, they shift as a one, a network of self-organising systems. There's no master, no slave. I saw in the land a biosphere highly charged with inter-independent times, stories, histories, memories, dreams, identities, homes, belonging, roots... they are all there, traces of our past, inherited from our ancestors, and of our present, which we define ourselves. monday, half past nine, the air is slightly aggressive, my hands are cold, I am collecting soil in this area behind the railway. I haven't broken any laws I promise, I haven't jumped any barriers, I've just been following the side of the canal. I don't really choose where I stop, the ground calls me, I respond. I walked to the back of this area that has no title, I found a small door hidden behind the herbs. It opened onto a cemetery, beautiful and quiet. I remembered Michel Faucault and his concept of heterotopia, which also fascinated me during the first semester. he described them as spaces absolutely other, the city's sacred and immortal wind. I saw in the in-between spaces of the city what I call heterotopias, a land for altered human and non-human relations, friday, february is almost over. spring is shyly approaching, I could see and touch it as I bent down to collect some earth. today I had an encounter with a microscopic, translucent creature. I've observed so much autonomy and self-sufficiency through it. vivieros de castro, a brazilian anthropologist interested in the amazonian cosmologies and amerindian perspectivism (the way in which humans, animals, and spirits see both themselves and one another, an idea that suggests a redefinition of the classical categories of « nature », « culture », « super nature » based on the concept of perspective). said in one of his lectures: "the experience that each 'self' has of the 'other' can, however, be radically different from the experience that the 'other' has of its own appearance and practices." -- Lecture 1, p. 51 it seems to me that when we turn our gaze to our other, non-human selves, who perceive reality from a different perspective, within a very different temporality, we learn so much about how the world is of relative semblances, for example, what is solid earth to us is airy sky to the beings who inhabit the strata below us, and what is airy sky to us is solid earth to those who inhabit the strata above us. it is a world of relative semblances, where different kinds of beings see the same things differently. in the last few years, before coming to the Netherlands, i've been volunteering on organic farms, dynamising the soil, collecting and redistributing biomass, planting wild forests... this has taught me a lot about how what happens in the soil can influence what happens above it, in terms of self-organising structures, symbiosis and, above all, solidarity. these last few months have also taught me that solidarity comes with love, it's hard to relate to the feeling without having love as a drive.

This thesis emerges as an exploration of the multifaceted nature of music, identity, and the enduring spirit of a people living through profound challenges. Based on autoethnographic reflection, it provides an introspective exploration of how sound becomes a vessel for presence, a mirror for resilience, and a space for transformation. Through music, this inquiry seeks not merely to articulate personal narratives but to connect them with the common pulse of a collective memory—a memory that is influenced by the persistent realities of displacement and the yearning for freedom that Palestinians, no matter where they are in the world, experience. At the heart of this research lie three case studies that illuminate the potential of music: Sonic Exile, where traditional Arabic modalities and experimental soundscapes dissolve into a single, resonating voice; Echoes from Bethlehem, an improvisational encounter with Palestinian Nay master Faris Ishaq that brings forth a meditative state of being wholly present in sound and spirit; and the work of the Amwaj Choir, where human voice rises above cultural and physical confines, embodying a living, enduring presence. The findings suggest that music is not a static act but a living practice—an unfolding dialogue between tradition and innovation, self and other, silence and sound. Improvisation, as a way of being, becomes a method of both reflection and resistance, enabling a deeper connection to the present moment while engaging with the complexity of the past. The research reveals music’s profound capacity to heal, to resist, and to imagine new pathways for freedom and belonging. Rather than offering definitive conclusions, this thesis extends invitations: to listen, to witness, and to remain open to the spaces where sound and silence meet, where identity and memory evolve, and where the human spirit, despite all, continues to create and endure.

Mesa de trabalho com inúmeros ícones identificáveis.

The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation. The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.

Hundreds of faces are arranged in a strict order. Hundreds of faces are hundreds of voices. Hundreds of stories answering the same simple question: “What have they never told you?” The faces seek the words, and the words seek the faces. It’s a silent dialogue, a cemetery of glances and suspended phrases. Everything is held up by light, thin, fragile pins. The images sway, in a precarious balance. Silences that weigh heavily. Breaths long denied. Hundreds of stories. Hundreds of confessions. An unyielding and necessary order. I am building the cemetery of doubt: a space where unspoken words, unresolved secrets, and incomplete emotions finally find peace.

Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. However, it is impossible to define humanity and reality based on sociological statistics alone–which is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective. In other words, my research is on immateriality from a 21st-century perspective in relation to the context of neuroscience—on multifoldness. I would like to explore the following "What is diversity and its coexistence?" ...