CHENG DAOYUAN









In the first installment, DOOME: Null Gods (2022), Cheng Daoyuan collected, analyzed, and categorized vast amounts of data and daily records, transforming them through various digital and analog methods into immersive audio-visual installations. This work explores the relationship between consciousness and information. In the sequel, DOOMAIN: se(l)ves, the concept extends to exploring boundary extremes and ambiguous states. Inspired by philosophical imagery, Cheng delves into physical phenomena such as double pendulum motion and electromagnetic induction, drawing creative inspiration while incorporating these elements into his installation design.

Focusing on kinetic sound installations as the main creative medium, he integrates acoustic physics, multichannel systems, composite materials, and applied forces as his research direction. By investigating the intersections and overlaps across different domains, Cheng explores the extremities and ambiguities of consciousness boundaries within phenomenological fields. Furthermore, he expands this phase of the project into texts, short films, publications, and websites, aiming not only to achieve a more comprehensive outcome but also to lay the groundwork for the next stage of his exploration.在首部曲《DOOME: Null Gods》(2022) 中，鄭道元將大量的資料搜集、分析與日常紀錄歸納整理後，以各種數據或類比方式轉換為不同格式，加以調變重構為沈浸式聲響與影像裝置內容，藉此探討意識與資訊關係。

在續作《DOOMAIN: se(l)ves》中概念延伸至邊界極值與含混狀態之探索，他由哲學意象得到啟發，並依此觀點切入雙擺運動、電磁感應等物理作用，除從中汲取創作靈感之外也將其運用於裝置設計中。他將以動力聲音裝置為創作主體，結合聲學物理、多聲道系統、複合材質與施力方式作為研究方針，以不同領域間之未知交錯與重疊，探討現象場中意識邊界之極值與含混狀態。 他亦將此階段計畫以文本、短片、刊物與網站等形式擴延再造，試圖以不同角度將此計畫繫起象限間共存之相異，為尋得更具全面之成果外也為下一階段作準備及前導。










DOOMAIN:se(l)ves, 
REPORT01: 2025.01.17




因工事延宕，本計畫時程改由2024年12月開始進行。本階段依循期程表，由概念面及技術面之資料統整及研究開始。

概念面除了延續計畫脈絡之思考外，也以《眼與心》梅洛龐蒂、《多重立場》德希達、《梅洛龐蒂》楊大春及《聲音與現象》德希達等書之複讀作為援引計畫內容與發想。德希達和梅洛龐蒂的思想給予我許多創作及思考上的啟發，而在反覆閱讀及筆記書寫後也得以窺見更多靈感及與自我、計畫之連結。 Due to work delays, the project schedule has been revised to commence in December 2024. This phase follows a structured timeline, beginning with the consolidation and study of both conceptual and technical materials.

Beyond extending the thematic framework of the project, this phase also involves revisiting key philosophical texts, including ‘Eye and Mind’ by Maurice Merleau-Ponty, ‘Positions’ and ‘Voice and Phenomena’ by Jacques Derrida, as well as ‘Merleau-Ponty’ by Yang Dachun. The ideas of Derrida and Merleau-Ponty have profoundly influenced my creative process and theoretical reflections. Through repeated readings and extensive note-taking, I have uncovered new insights and deeper connections between myself, the project, and its evolving discourse.



(img.note-01)

(img.note-02)



透過文本資料的閱讀及梳理後，發散編寫為片段的短語詞彙，並試圖藉此為楔，接續重組、擴寫成長篇文本，以作為計畫之概念基底、結構腳本及文本創作等形式。文本的資料梳理與閱讀在此階段之後依舊會與其他方向持續同步進行。 By analyzing and organizing textual materials, I have begun compiling fragmented phrases and keywords, using them as conceptual wedges to further restructure, expand, and develop these fragments into longer texts. These writings will serve as the project's conceptual foundation, structural framework, and textual component. This process of textual analysis and study will continue alongside other ongoing directions throughout the project.



(img.note-03)

(img.note-04)




技術面之初步研究分為聲音及結構兩個面向，聲音部分以指向性單體與空間收音設備（如Ambisonic麥克風）之原理及自製方法為研究起始（見圖img.srch-01, 02）。經初步研究後發現，一般自製單體與空間收音設備之需求與本計畫並不完全相符，需以裝置結構特性為最大原則，並將其導入參考，故先暫緩著手設計符合本計畫之自製收音設備及放音單體，待裝置本體有初步進度後再續。
 The initial phase of technical research is divided into two aspects: sound and structural design.

For sound research, I began by studying the principles and DIY construction methods of directional transducers and spatial recording devices such as Ambisonic microphones (see img.srch-01, 02). However, preliminary findings indicate that common DIY transducers and spatial recording setups do not fully align with the specific needs of this project. Given the unique structural characteristics of the installation, the design of custom recording and playback devices will be temporarily postponed. Instead, these elements will be reintroduced later in the process, once the installation itself has reached a more advanced stage.



(img.rsrch-01)

(img.rsrch-02)



結構設計方面則接續先前構思，以雙軸或三軸平移運動作為測試方向，並將電動滑台等機構視作裝置結構之首個試驗目標。然而在經過上述機構資料研究後，決定調整初步計畫之研究及執行流程方向，先以印表機拆解後再行內部機械結構的重組與再運用，作為機構面之實驗方式。除了作為初步運動模擬外，也將與不同材質物件交互試驗，以期尋得多樣的聲音紋理，並在此階段後再以電動滑台結構作結構面之完善、擴充及延伸。

 In terms of structural design, I continued exploring previous concepts, focusing on dual-axis and tri-axis translational motion as the primary testing directions. Initially, motorized linear stages and actuator were considered as the first experimental mechanism for the installation’s structure. However, after further research into these mechanisms, the decision was made to adjust the research and execution process. The new approach involves disassembling printers to analyze and repurpose their internal mechanical components as an experimental method for structural development.

This approach serves not only as an initial simulation of motion but also as a way to test interactions with different material objects to explore a diverse range of sonic textures. After this phase, motorized linear stages will be reintegrated to refine, expand, and extend the structural framework.


(img.note-05)

(img.note-06)


・Cheng Daoyuan, 0117, 2025


© 2024 Cheng Daoyuan