DIMITRIS PAPADATOS On how the message fucks the medium

Stolen images, bended script codes, distorted web formats, ready mades
non-objects, and poetic trolling - the constant flow of “Dimensions
Variable” from ultra prolific Dimitris Papadatos expends, crystalizing
the beauty of a supra contemporary world, as perishable and
ungraspable as “here-and-now”.

Straight at the top of the rising wave of open source formatting and
web scripture, which provides everyone with the advantage and
embarrassment of a new pair of clumsy powerful harms that can reach globally,
Dimitri Papadatos has walked in the virtual world with the arrogance,
the sharpness and lucidity of a romantic enfant terrible - the curiosity
and perseverance of an artiste paysagiste, feeding himself with
everything perishable in an aborted eldorado, occupied until recently
solely by gold seekers and anonymous rioters.

The recipe of his tour de force:
- An absolute commitment to intangible forms - anti-matter that can’t
be bought, nor categorized or explained.
- A constant disdain for the Ego, powered by the contemplative
attitude of an erudite.
-The conviction that by brain processing the output of all
processors -and which ever algorithm is in use - the message fucks the

During this Week Boom-Wow! explores in a single post the latest works from the constallation Dimitris Papadatos.

And as a starter, Boomwow meets Dimitris on one of his favorite battleground at the occasion of his closing day on #000FF online gallery. Here is the transcription of his interview.


Where do Nabhies come from?

Nabhies come from a secret beach in the Aegean, yet practically undiscovered. Once a year, for just a day or two, I go to choose them, taking plenty of time to consider their weight, their shape, how they feel in the hand, how they turn or rest…. The collection is comprised of the raw stones that can fit in my pockets and hands and be taken with me, those that made it the risky way back. Nabhies are all unique; they have their own personality and story forged by centuries of waves and days of drawing and attention to their adornment.



Vox Populi, Vox stultorum? By Gregos Theopsy

There are probably many people in Europe today for who it is buisness as usual and would agree with Charron’s depiction back in 1600 of the …“Peuple” as the biggest party pooper of humanity.

According to this freind of Montaigne - and many more before and after- the masses form a wild animal with unpredictable moods.

This silly creature chooses order by weakness and then refuses it once it’s served on a plate!

A creature that believes everything that sounds a little true, reacts to every news -especially the bad ones; and who’s only ability is to revolt, but never to fight.

It has opinions on every matter, but always chooses abruptly the wrong thing- by habits or by majority, and never with reason.

The people…Always against the state and those who govern, always against the riches. With no consistency and no sens of measure whatsoever: One day they serve as the most pitiful slaves, the next they insolently rule in tyranny. And instead of glorifying those who show concern, they rejects them with a proportionate hatred : Moises, Socrates, Demosthenes,Themistocles- those end up with insults, conspiracy, exile and death in return of their caring.

 Machiavelli wrote that if you want to keep this animal quite, here and then, you may have to burn few houses. But oh! never houses that are too close to each other,

and never too far from each other. You may want people to stay aware of the punishment to the neighbour, but incapable to get together and resist. 


…isn’t it what its all about?

Isn’t it what the “wild animal” is doing since the beginning of times?

Can’t we presume by now that it has a natural tendency to do so?

 So, what is changing?

The beginning of this century has already revealed the birth of a new human. 

he is using new tools, interacts globaly, dismisses the old social, sexual, professional paradigm and his clamsyness is only due to his young age. This human will grow through a total re-evaluation of the individual’s relation to the group.

 If our politics don’t adapt to this reality, understand the new needs, the new words and what democracy and capitalism has create, this new human will step on these institutions without a blink.

It is time for Europe and the Occident to give the right fight…not against a country, not against a system but a war of Independence, and a clear victory, against a concept that has done its time: that the ‘wild animal’ as to be tamed.

THIS would be a real human breack-through .
Του Δρόμου οι Στεγασμένοι

Η πρώτη έκπληξη είναι ότι ο εκθεσιακός χώρος της Στέγης, που συνήθως προτάσσει την επίσημη πλευρά της μοντέρνας και της σύγχρονης τέχνης, έγινε σχεδόν «ρημαδιό» ώστε να φιλοξενήσει μια ενδιαφέρουσα καταγραφή της σκηνής του δρόμου της πόλης. Σαράντα καλλιτέχνες δημιουργούν επί τόπου, ανταποκρινόμενοι στο κάλεσμα της Στέγης, καλύπτουν δάπεδα, τοίχους και κολόνες, αλλά και δύο αυτοκίνητα που έχουν πάρει θέση στο σκηνικό του ανοικτού χώρου…


We wonder at Boom-Wow! what Walter Benjamin would have thought of Bruno Latour, founder of The School of Political Arts. The term of “politicization of aesthetics” would have certainly pop out.

On the other hand, the french philosopher Yves Michaud sees Latour as a artist of a new kind -the producers- and thinks of his school as part of a more general trend of “aestheticization of everything”.

So, is it one or the other?…Well, at Boom-Wow! we think it’s none of the two.

We believe in pragmatism and in diplomacy. Which means today new languages, mediums and forms of communication have to be explored, and new spaces for a political dialog have to be invented. This approach makes Bruno Latour’s initiative very relevant to us.

Sciences Po School of Political Arts

Opening scheduled in 2010 
Founded by Bruno Latour and Valérie Pihet

“This school is not about science, nor arts, nor politics. No matter the initial calling — research, politics, the arts — the task lies in front of these disciplines, it does not belong to any of them in advance. This is why we will be able to host so many different professions and professionals: what they already know is far less important to us than the trajectory that we will effect with them. We will not join science, art and politics together but rather dissemble them first and, unfamiliar and renewed, take them up again afterwards, but differently.” BRUNO LATOUR, Director of The School of Political Arts

The School of Political Arts is the first course of its kind: combining the social sciences, humanities, and the arts broadly considered, breaking down disciplinary barriers, and overcoming the artificial divide between the arts and the sciences, between the academic and the professional. The School is open to young professionals from around the world—academics, artists, architects, designers, curators, journalists, entrepreneurs, etc.—seeking to hone their skill set, advance their academic expertise, or even actively reassess their careers. The school’s aim is to provide artists with a high-level training in the social sciences (methods for empirical inquiry), and, conversely, to confront social scientists and public or private sector professionals with the qualities and methodologies of the arts. These two fields will not be studied side by side; but rather will converge through teaching experiments and an innovative curriculum grounded in common objects of study. The public sphere will be taken as the focal point of this convergence. For, indeed, the question at the heart of this project is the crisis of representation (in the largest possible sense). This crisis can only be overcome by associating three practices of representation that have as yet been relatively separated: political representation, scientific represetntation, and aesthetic representation. The School’s pedagogical program is grounded in project development and production. Participants will have to work in groups on a specific project throughout the year, with a particular emphasis on fieldwork. A considerable number of the proposed courses will be in direct resonance with these projects; the remaining teachings will provide core curricular knowledge in keeping with the spirit of the school.

The main teaching body will be decisively international, composed of renowned artists, social scientists, art historians, and new media theorists, etc. Their contributions can take on a variety of formats and tempos (periodic or regular teachings, from a one hour master class to an entire trimester’s coursework).

Bruno Latour, born in France in 1947, is a sociologist, anthropologist and philosopher of science. From 1982 to 2006, he was professor at the Centre de sociologie de l’Innovation at the Ecole Nationale Supérieure des Mines in Paris and, for various periods, visiting professor at UCSD, the London School of Economics and Harvard University. In 2006, he was named professor at Sciences Po Paris and has since become dean of the institute’s Board of Studies. Best known for his contribution to the sociology of science, his fieldwork has focused on the social construction of scientific research. His work has also questioned the exclusive role of “social” materials in the “construction” of scientific facts, overcoming social constructivism with the broader approach of actor-network theory. His most well-known works are Laboratory Life (1979), Science in Action (1987), and We Have Never Been Modern (1991). In 2008, Bruno Latour received the Siegfried Unseld Prize for his lifetime contributions to research. In 2002, he co-curated the critically acclaimed international exhibition Iconoclash, beyond the image wars in science, religion and art at the ZKM Center in Karlsruhe. In 2005, he co-curated Making Things Public. The atmospheres of democracy. In 2007, he was named president of the Fondation de France’s Cultural Committee.