The non-permanent nature of participatory media installations provides challenges to the artist, researchers, curators and galleries to present an installation concept at an early stage and preserve such work after its uninstallation. The paper will briefly explain how an idea for a participatory media installation that aims to narrow the gap between the engagement in online and physical environments while catering for a documentation process at the same time. I will then continue to elaborate on the different types of participation observed during four exhibitions at Watt Space Gallery, Newcastle; Testing Grounds, Melbourne; Campbelltown Arts Centre, Sydney and National Portrait Gallery, Canberra in Australia and how they correlate to the various layers of documentation which, I call the scattered documentation process. My practice-based research methodology on the notion of telematic performance on shaping digital portraits is revealing the importance of participation to accumulate relevant content to document non-permanent installations. Through my speculative design method, I have designed creative process to spark and maintain a narrative that is the key result of my participatory media installation. I will discuss the challenges and opportunities the media installation ‘Selfie Factory’ (2017) by R. Kenke and E.Trefz created and, present the learning from its exhibitions and documentation approach. My research will reveal insight through observation, surveys, and interviews into how narratives surrounding the artifact have an impact on our Media Culture today.