loosing.ctrl  is a joint project processing actions and reactions of "control mechanisms" throughout multiple phases, developed by the Israeli Center for Digital Art, Holon (DAL) and NOMAD, Istanbul. The project started in 2003, during the first collaboration of NOMAD and DAL with the discovery that both Turkey and Israel have had similar social, political and economical experiences. Through exchanging memory extracts from our recent past and individual stories, all the social and especially political constraints and pressures and the consequences and influence of them intersected at many points and in many dimensions. We decided to examine several social phenomena, especially in the urban context, such as: "paranoia", "surveillance"' "authority", "power nodes". These issues are linked to "to control /to be controlled" and therefore to "control mechanisms". In many cases, especially in terms of production mode, there were many similarities between these two countries. However, there were also explicit differences. In the Israeli case, the emphasis was more on "paranoia", "searching", and "acceptance for being controlled", whereas in the Turkish case, it was more about "malfunctioning", "corruption of authority", "unbalanced or disordered hierarchical order of power nodes".

The project operates in many layers in order to expand the investigation of these issues. Selection of the contributors and their modes of production question the effect of the "uncontrollable aspects" as well as the "power nodes" of a new casual order. The contributors and the works are reflecting on these issues in their own cultural context, yet each and every work is capable of communicating within the global agenda; dealing with form as a tool for detecting the changes in perception (for auto-control, suppression, and balance); experimenting with various hand-made instruments in order to find alternative ways of processing and controlling sound; experimenting with traditional instruments together with mechanical and electronic devices for the sake of breaking the context of these instruments and twisting the concrete systems of traditions; using visuals together with sound in order to create sentences of criticism or express their reactions.