Through the rapid growth of the media over the recent centuries the control that it possesses over the general public is global and resounding. The main way that it possess this power is through the way it manipulates both the information it is projecting and the audience that it is presenting too. This can been seen first mostly through the general press and how information both textual and photographical (Photo shopping) is changed as a way of controlling the reaction to the stories. For example if the controlling powers of the press see that certain people and/or topic should be seen in a certain light then what is presented is conditioned as to find their points of view. Through the digital age this has only worsened with the ability for consumers to become their own producers and therefore audiences are receiving information warped by their own peers as opposed to more established news and content broadcasters, such as CNN or BBC.
In response to my own work after my research into interactivity it became clear that I wanted to look at how interactive elements can effect a space as a whole as opposed to a one on one connection. Tying this to my early ideas of sound recording I began to look at receiving and analysing sound generated within the space at different points throughout the day. Following some discussions on the topic I was asked to interpret the data that this would create, what would it mean if the amplitude of the foyer was louder at this point in the day? Would this mean that it has a more excitable atmosphere? Would I be able to create an outcome that could then effect the data’s interpretation of this space? It was from these queries and ideas that I began to research into how even interacting with digital media is a way of being manipulated by the media, the theory of participation with the digital world even in its simplest form is a practice in manipulation of the creator on an audience.