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 spatial field 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,加以調變重構為空間音訊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。




本計畫獲臺灣國家文化藝術基金會支持
this project is supported by the National Culture and Arts Foundation of Taiwan








DOOMAIN:se(l)ves, 
REPORT02: 2025.03.03




本期工作已將《多重立場》及《聲音與現象》等書複讀完畢,除推進概念面的擴充、完善與想像外,亦從零散的文字筆記構思文本內容的編寫。然概念面的發想並未就此停歇,閱讀部分預計將延伸至解構主義之外書籍與文獻,試圖以新的角度窺探此計畫之不同面向。
During this period, I completed a second reading of Positions and Speech and Phenomena. This process not only helped to expand and refine the conceptual framework of the project, but also led to the drafting of textual content based on fragmented notes. Conceptual development remains ongoing. The next phase of reading will extend beyond deconstructionist literature, in search of new perspectives that may reveal alternative dimensions of the project.


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由於實際預算的變動,同時於行政面著手調整預算配置。除了重新進行項目的比例分配外,也藉此機會審視計畫各項目的優先順序,逐步篩選此階段計畫的首要目標及可縮減之項目。作為本階段計畫核心,裝置部分預算可變更的幅度較小,目前正思索如何在尺寸與功能不變的情況下,採更具簡易有效的方式處理裝置動態與編程。影像、聲音與刊物等其他媒材的預算調整尚待後續發展過程時同步梳理。
In light of changes to the actual budget, administrative work has focused on adjusting the allocation of resources. This has involved not only redistributing the proportions of individual project components, but also reassessing their priorities. Through this review, I am identifying the key objectives for the current phase and determining which elements may be reduced or deferred. As the central focus of this stage, the installation component allows limited room for budgetary adjustment. I am currently exploring simpler and more efficient solutions for managing the system’s motion and programming, while maintaining the intended dimensions and functionality. Budget adjustments for other media, including video, sound, and printed matter, will be reviewed and refined as the project continues to develop.




開始對滑台結構、原理與數值等項目進行研究,並在參照各類滑台後,決定先選用單軸及多軸線性滑台作為嘗試方向。主要原因除了向性符合外,其動態也對應空間場中之象限座標,同時其結構組成亦可以符號象徵作為概念面之延伸。在有了初步想法後繼續推進結構設計發想,思考如何依其動態結構結合不同媒材,同時將概念面導入其中,並與文本發展統整。

Research has begun on the mechanisms, principles, and parameters of linear stage systems. After reviewing a range of options, I have selected single-axis and multi-axis linear stages as the initial direction of exploration. These systems not only align with the spatial orientation required for the work, but also correspond to the quadrant-based coordinate logic within the installation space. Their structural composition carries symbolic potential that may be developed further on a conceptual level. Building on these initial findings, I am continuing to develop structural design ideas, considering how the motion system might integrate with different materials while incorporating conceptual elements and aligning with the evolving textual framework.




linear rail mechanism and schematic diagram


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・Cheng Daoyuan, 0303, 2025
© 2024 Cheng Daoyuan