Kingsley Ng received a Gold Medal for the Interactive Media category of IFVA 2007 in Hong Kong. His work is usually site-specific inspired upon initial conception, his installations have been featured internationally, such as the IRCAM - Centre Pompidou in France and Fabrica Research Centre in Italy.

伍韶勁於二零零七年在「香港獨立短片錄像比賽」互動媒體組中奪得金獎。他的作品經常以「址點藝術」作為基本創作概念，曾於世界各地展出，例如法國龐比度中心（Centre Pompidou）的IRCAM，意大利 的“Fabrica Research Centre”等。


Musical Loom (Métier à tisser musical)
A Production of Le Fresnoy – National Studio of Contemporary Arts, France

The original work transformed a 250 year-old antique loom (purchased from the Jacquard Museum of France) into a sound and image instrument. Since the original work is still in France, the Microwave International Media Art Festival 2007 has invited Ng to create a version for Hong Kong.

The original work was created in the context of northern France, where the loom has played a very important role in the region’s economic development and great recession during the last century.

Its mechanical motion, its sounds, and the flow of the threads do not only evoke an industrial past but also a whole set of collective emotions that range from poetic to distressing, depending on the person. It is in a way comparable to Japanese Haikus, where minimal words and syllables can generate a magnificent array of images.

At the same time, the loom is also of remarkable global significance to the history of new media art. Art historian Lev Manovich cites a remark made by Ada Augusta, the first computer programmer, who said: “the Analytical Engine weaves algebraical patterns just as the Jacquard loom weaves flowers and leaves…”. The connection between the Jacquard loom and the Analytical Engine is not something historians of computers make much of, since, for them, computer image synthesis represents just one application of the modern digital computer out of thousands. But for a historian of new media it is full of significance.

Instead of holding onto a wooden handle, participant weaves sound and images by controlling a light beam on the threads. IR camera, IR and ultrasonic distance sensors are used for tracking the gesture movements. One can play on the threads like a harp and control 4-tone harmony and volumes by the hand’s position in midair, generating a mechanical sound or malleable musical expression based on their interaction.

The work speaks individually to each spectator, each one having the freedom to make his own connections with local or global history and to weave a unique soundscape based on his experience with the work.

藝術家的工作，通常是由特定地點啟發初步構想後，再通過不同的群體作出對藝術的過程和成果的回應，而擴展到普遍的層面。正是這種交流會診察藝術及其背景之間的密切關係，無論是本土性、區域性及或全球性的。

正如人可以目睹風橫跨草場的動態，或波平如鏡的水泛起漣漪時看到振動；這種關係中揭示了看似無形的，正是藝術家工作的目的 ﹣使被遺忘或感覺無形的變成觸得到的現實。

原本的作品是藝術家把一部有250年歷史的織布機（購自法國提花博物館），轉化成為一部音像樂器。今特別為香港再建造一部，是通過一面鏡子將單屏幕投射在紡織機的線上，再以紅外線攝像機和超聲波距離傳感器追蹤用者的動作。觀眾可像豎琴般彈奏紡織機，以手的揮舞控制四聲和樂及音量，創造一個機械聲境、可鍛鑄的音韻。