What began as a homesick graduate student’s quiet quest to reconnect with his long-unseen home has evolved into a powerful act of cultural preservation and political resistance, born from the unfolding catastrophe in Gaza.
In 2022, Naim Aburaddi, a Gaza-born PhD candidate in media studies at the University of Colorado Boulder, had not set foot in his native enclave for seven years, blocked from returning by Israel’s decades-long military siege. Cut off from the places that shaped him, Aburaddi, a scholar of media representation, turned to emerging technology to bridge the distance. He shipped a 360-degree camera to Gaza, where a local journalist friend guided it through the spaces Aburaddi ached to revisit: bustling Gaza City souks, crowded public squares, a 1,000-year-old Turkish bathhouse, and the beloved Mediterranean shoreline. After six months of slow transit through blocked borders, the camera captured footage that allowed Aburaddi to step back into Gaza — if only virtually, bypassing Israel’s total control over the enclave’s entry and exit. When the footage arrived, Aburaddi wept.
Joined by Ahlam Muhtaseb, a media studies professor at California State University San Bernardino, and the research team at X-Real Lab, the small personal project quickly expanded. Between July 2022 and July 2023, the team hired Gaza-based videographer Ahmad Hasaballah to capture thousands of additional 360-degree clips, building an immersive extended reality (XR) experience that would allow displaced Palestinians across the West Bank and around the world to reconnect with a home many had never been able to visit. For generations of Palestinians displaced during the 1948 Nakba, who have been barred from returning to their ancestral lands, and for audiences around the world who only know Gaza through media narratives focused exclusively on conflict, the experience offered something unprecedented: an unfiltered, first-person look at everyday Palestinian life, on Palestinian terms.
Then, on October 7, 2023, everything changed. Following the Hamas-led attacks on southern Israel that killed around 1,200 people, Israel launched a full-scale military offensive on Gaza that has killed more than 72,000 Palestinians, according to local health officials. Multiple human rights organizations, leading genocide scholars, and United Nations officials have formally concluded that Israel is committing genocide in the besieged enclave. One by one, the ordinary, beloved sites captured in the project’s pre-war footage began to be destroyed by Israeli airstrikes and ground operations. Hasaballah fled to southern Gaza for safety, and the team’s 360-degree camera was buried under rubble after an Israeli attack. Hasaballah’s father was killed in the same strike.
Stunned by the scale of destruction that had erased much of the life they had documented, Aburaddi and Muhtaseb paused the project for months. Only in early 2024 did they realize the archive they held was something far more precious than they had ever imagined: the largest existing collection of 360-degree footage of pre-genocide Gaza, a time capsule of Palestinian daily life and cultural heritage that had survived an campaign intent on erasing it.
“We had wanted to show the culture and the history. We never thought in our wildest dreams, in nightmares, that we were capturing history, and that everything we were creating and we were capturing was going to be like a memory,” Aburaddi told Middle East Eye.
Aburaddi named the project *The Phoenix of Gaza XR*, a name he says honors the resilience of Gaza’s people: “The people in Gaza, again, will be like a phoenix that will rise from under the rubble and they will rebuild Gaza again.”
Since early 2026, the immersive exhibit has toured universities and community spaces across the United States, inviting visitors to don VR headsets and step into Gaza as it existed before the 2023 war. Visitors can stand on the side of a street in a Gaza refugee camp as a skateboarder zooms past, wander the halls of the 1,500-year-old Church of Saint Porphyrius, admire the architecture of the Great Omari Mosque, or wander the stone alleys of Gaza City’s historic markets. They can stand beside children wading in the Mediterranean, listen to the hum of daily traffic, watch farmers harvest figs, grapes, and dates, or sit in a car winding along the beachfront Al-Rashid Street. Where the team captured 360-degree still photography instead of video, visitors can observe two elderly men reading the Quran in a mosque courtyard, as a young boy prepares for prayer at a nearby water fountain.
By mid-October 2023, just weeks after the war began, many of these iconic sites were already destroyed or severely damaged. The Church of Saint Porphyrius, which had sheltered hundreds of Palestinians fleeing Israeli airstrikes, was bombed by the Israeli military on October 19, 2023, killing 18 civilians and destroying much of the historic structure. Today, many of the ordinary people captured in the pre-war footage are missing, dead, or displaced.
Unlike traditional news footage that separates audiences from the reality of life in Gaza, the immersive sensory experience of the XR exhibit forces visitors to confront the contrast between the vibrant, ordinary life that existed before October 2023 and the total devastation that followed. “It made me wonder how and what it would be like if we were in that situation,” a 19-year-old Hunter College student who visited the exhibit told Middle East Eye.
The project expanded further months into the war, when the team recovered the buried 360-degree camera from rubble and asked local Gaza journalist Yahya Sobeih to revisit the same sites the team had documented a year earlier, capturing the destruction left by Israeli attacks. Princeton University’s IDA B Wells Data Lab joined to support the expanded work, and the exhibit now offers visitors the option to compare the pre-war sites with their current state, walking among the rubble and debris that remain. Shardi Marji, a New York-based activist who has helped organize tour stops for the exhibit, called it a transformative work of art that compels action: “You are transported to the place to bear witness to what was destroyed,” she said.
For Ali Bashar, a 26-year-old New York visitor who said he had become desensitized to endless war footage from Gaza, the immersive experience was impossible to look away from. “I felt I could watch it over and over and still learn or see something new,” he said.
Leading experts on genocide emphasize that the crime of genocide is defined not only by mass death, but by the intentional effort to erase a people’s history, culture, and connection to their land. In an October 2024 report titled *Genocide as Colonial Erasure*, UN Special Rapporteur on the occupied Palestinian territories Francesca Albanese noted that Israel’s campaign in Gaza has been marked by multiple forms of targeted erasure: domicide, the destruction of homes; urbicide, the destruction of urban spaces; scholasticide, the destruction of educational institutions; medicide, the destruction of healthcare systems; cultural genocide, the destruction of cultural heritage; and ecocide, the destruction of Gaza’s natural environment. “As Israeli leaders promised, Gaza has been made unfit for human life,” Albanese wrote. *The Phoenix of Gaza XR* lays bare the scale of this intentional erasure.
Muhtaseb, speaking to a crowd of more than 100 visitors at Hunter College in April 2026, explained that the project’s purpose has shifted from its original goal to now act as deliberate resistance to erasure. Originally, it was designed to counter one-dimensional media narratives that only frame Gaza as a site of conflict, erasing the ordinary joy, culture, and humanity of its people. Today, it is a bulwark against the total erasure of that life. Muhtaseb paused, overcome with emotion, as she told the crowd that Sobeih, the journalist who captured the post-attack footage, was assassinated by Israeli forces in May 2025. The 32-year-old had been sitting in a restaurant celebrating the birth of his daughter Sana when he was killed. He is one of roughly 270 journalists killed in Gaza since the war began. After his death, his wife Amal, a professional photographer, insisted on joining the project to carry on his work.
For Aburaddi, the project is the fulfillment of the goal that led him to study media in the first place: challenging harmful stereotypes about his home. Raised in a one-room tent in a Gaza refugee camp, he grew up watching international media misrepresent his people and their homeland. After leaving Gaza for journalism studies in Turkey in 2014, he focused his academic work on Palestinian media representation. Today, beyond its role as public education and resistance, the project has practical value for legal and reconstruction efforts: the 360-degree archive is already being consulted by Amnesty International for war crimes investigations, and the team is collaborating with urban designers at Brown University and computer engineers at Boston University to build 3D models of destroyed historic sites to support future reconstruction of Gaza.
Since the project launched in 2022, it has been presented to audiences in Uganda, Italy, Canada, the Netherlands, Norway, and more than 50 colleges and community spaces across the United States. After completing a tour of East Coast US universities in mid-April 2026, with stops at Hunter College, Brown University, and MIT, a special screening was held at the University of Colorado Boulder’s Fisk Planetarium later that month. The exhibit is set to travel to South Africa in June 2026, with future stops planned in Japan and Spain.
“Here we are preserving these memories. We are preserving them in virtual reality, in immersive media, where Israel cannot attack them, and a lot of people across the world can visit and access, and we are preserving this for the next generation,” Aburaddi said. “They were able to attack the locations, they were able to kill a lot of people, but they couldn’t kill the memory.”