Un laboratorio di fabbricazione a controllo numerico per lo sviluppo di materiali editoriali interattivi, sia multimediali, sia cartacei. Uno spazio dove produrre, giocare e imparare insieme, che offre servizi per la creazione e fruizione di contenuti e al contempo rafforza identità e coesione sociale.
Un luogo aperto e accogliente dove entrare in contatto con la tecnologia e gli strumenti della comunicazione per accrescere consapevolezza, competenza e autodeterminazione.



If we do not understand a language, whether it is a word, a sentence or a poem, for us, it just means that the airflow passes through vocal cords and makes a sound. Therefore the motivation of the project is that we are sensitive to sounds. Especially in a foreign country, the sound is a method we comprehend a particular situation.

Sound Art is an artistic discipline in which sound is utilized as a primary medium. As Christian Kneisel pointed, Sound Art can embrace a wide variety of appearances: sound sculptures, sound installations, environments, performances, actions, sound theater and sound poetry up until media art works with ration, film, video and computer works (Keisel 1996: 6). Thus, many Sound Art works are highly experimental and innovative, giving the audience a very special sensory experience.

In recent years, sound as a creative material and an art form, which receives attention and is affirmed by the art market, such as Augen und Ohren (Eyes and Ears in Berlin, 1980), Sonambient – festival for hearing and seeing (Berlin, 1996), Sonic Process-A new geography of sounds (Paris, 2002) and Looking at Music (New York, 2009). All of these large-scale exhibitions enrich the art form in front of masses and provide a number of important basic samples for this discipline and even indirectly promote “Sound Art” as a popular word in the realm of art.

In our project, a number of Sound Art exhibitions, installations and artists in this area will be introduced. Furthermore, an experimental e-book will be finished to demonstrate some sound experiments and to share our feelings about sounds.

Kneisel, C., M. Osterwold, and G. Weckwerth (1996) “Zur Einführung”, in H. de la Motte-Haber (ed.) Klangkunst, München: Prestel Verlag, pp.6-11.
Maes, L. (2013) “Sounding Sound Art: A study of the Definition, Origin, Context, and Techniques of Sound Art” (Doctoral dissertation), Ghent: Ugent & Hogent.

Manyu ZENG
Peiwen LU
Xinyi LIU
Yuchen CHANG