Prof. Dr. Harald Szeemann 1998

Increasing everyones creativity

Harald Szeemann 1998 about Liedtke´s revolutionary art and philosophy: »...the invention artist lets the potence of art and the defron- tierelizing pictures as revolution to an overall experience.This current revolution he compa- red to the time in which the majority of the people was not able to read nor write,when knowledge was only transpor- table in a limited way,because it was only reserved for a few individuals. Nowadays the access to art is only possible through pictures because the human conscious works with picture sequences.The original form of the futureview is the vision,the dream,the connec- tion of non-existing realities.The way from the future into the present is only possible through the language of pictures, which makes art possible. It makes the people visionary.

Dieter Liedtke aspires to change people through event, art, intuition, and person. During various mee- tings I have found out more about this cheerful idea- list, who in his own way has understood Beuys's appeal to bring up creative people, and made Beuys's aim his own one. Liedtke is an artist, too, he exhibited his works but had to experience a lack of interest to them. So he decided to become an inventor. The patents for self hair-cutter, air-filled shoes soles, audiovisual marketing in retail trade made him a rich man. In the 80-ies he visited Beuys, who at that time increasingly engaged himself in social and political issues and doubted that a valid art formula existed and that art could change the mankind.

People, who have never practiced art, can release their potential by simply sticking to the art formula that graphically represents the evolution of the innovations. According to Liedtke, a person is structured like the earth, and has consciousness and subconsciousness, genes and genetic information. The spirit, however, contains much water, that is, subconsciousness. And the thoughts are like ships. Since the subconscious- ness plays a great role in the structure of personality, a man can be changed only by assimilating new infor- mation through thoughts. Only in this way can people reach the new level of consciousness. Everything that the ships (thoughts) carry must be immersed in water, the ships deviated, stupid timetables forgotten, so that new thoughts and images, connected in networks of the pre-substance - the water - can be produced. This intensive "dilution" is essential for healing, for homoeopathic assistance.

Surely the exhibited works make up only a small part of a more extensive event. At the entrance the visitor gets acquainted with cultures of incantation, objects of the Stone Age and Voodoo cults. Chronologically presented, unusual paintings show art history from the Middle Ages till the contemporary eclecticism of styles in the century which had two artistic revolutions, in 1910 and 1968. Since the 60-ies art has put another emphasis. It's not the medium that is important now, but the energy of the intention that freely selects its medium. The innovation lies in the artistic credo of the "internal necessity", and among the younger generati- on of artists in a positive, optimistic universal demon- stration, which stands for a new image of a man. This fresh, anarchic world survey is close at hand from con- temporary multi-cultural cosmopolitan culture of the Internet, computer programs, television, CDs, films, multimedia events.

„...the invention artist lets the potence of art and the defron- tierelizing pictures as revolution to an overall experience.This current revolution he compa- red to the time in which the majority of the people was not able to read nor write,when knowledge was only transpor- table in a limited way,because it was only reserved for a few individuals. Nowadays the access to art is only possible through pictures because the human conscious works with picture sequences.The original form of the futureview is the vision,the dream,the connec- tion of non-existing realities.The way from the future into the present is only possible through the language of pictures, which makes art possible. It makes the people visionary.“

Prof. Karl Ruhrberg, Cologne 1997

Painted Formula

Concrete evolutionism of Dieter Walter Liedtke opens up a new world to the viewer. It demonstrates how matter, which had been just an object, could perceive its setting from its own side. This information has a function of the expansion of cognition. The attempt reaches the stage when it is necessary to imagine in what correlation is human to the matter, its own matter (atom and also the Universe), where it should be seeking its place in the dimensions of infinity. Quantum theory, as well as new atomic physics reach the areas that are inaccessible to the definitions of the classical physics. For example, it is impossible to define exactly the place where there the smallest possible particles of atom are positioned at a certain moment. The boundaries of time and place are degraded. The exact definitions are dissolved in vagueness.

The smallest particles exchange information exactly at one and the same moment of time despite the fact that they function miles away from each other. The time does not pass and that means that information travels faster than light. And then Nothing begins which exists everywhere and nowhere. Irregularity becomes regular. The more the attempts are to try to find the absolute essence of nature, with the help of signals that act in the fields placed outside of human abilities of perception, the more inconceivably the limits of these signals become blurred. Liedtke makes this inconceivability a scene of action. This is his basis. The indefinable, the inaccessible and the indefinite, the inexistent is what he tries to get into "today." Joseph Beuys said the following: "I came to a conclusion that there is no possibility to make something for a person other than through art. I need pedagogical concept, I need cognitive and theoretical concept and I need to act, so three things need to be united in one here."

At the time when Joseph Beuys was researching objects for evolution of his "Social Plastics" and public opinion, Liedtke was developing the concept of cognition theory, pedagogical concept and nevertheless, he acts by starting the major transition of "Social plastics" into a concrete evolution. It is the higher manner of perception which he finds important, not the detail. It is manifested also in the creative process, in the fact that he seems to be outwardly negligent and intuitive with the materials. This is a religious, metaphysical angle of Dieter W. Liedtke, devoid of the imprint of time.

The fourth dimension. The viewer perceives this philosophic angle by complex perception of its works. A naturalist perceives it as a plane of information, which may open up the new beginnings for naturalistic experience and new ways of cognition in Liedtke's works.

However, Liedtke's paintings could be understood as key information to distribute the feeling of tolerance and mutual respect of people to one another. Everything is important here. Human being, nature and even a stone seem to be a part of Liedtke himself. The four areas – timeless states, philosophy, natural science and sociology – time and again exceed everything that had existed before his works.

Prof. Dr. Friedemann Schrenk 1999

The Biocultural Evolution

The artformula as the center point of the exhibition art open fascinates not only artexperts but contains as well highly valuable informations for »Natur historians ». The principle of evolution as a slowly advancing development is also taken by the biological and cultural evolution of mankind as a modell. Our own roots are to be found in nature as well. Therefore mankind strives for continuity like all life forms on earth. All processes of life are subordinated to that goal either by growing within the individual or by reproduction among the following generations. This is unthinkable if informations

would not be passed on. Even though the origin and the history of original information remains controversial the first development of self-preservative systems of organic molecules and by that the origin of individual life is plausibel explicable. Everything else is an evolutionary change and a constant increase of complexity of the organisms throughout millards of years – in dependence of the individual constructive preconditions of the organisms through genetic mutation within the generations and individually selection depending on the biotope.

Among our ancestors of us human beings were two other aspects important which are the social behaviour and the capabilty to learn. Besides this socialising development an occurence took place during the process of becoming a human being which we know as the individualising trend which was shown at first by the manufacturing and the usage of tools. Latest 2,5 Mio. years ago human beings used tools specifically in order to reduce unwanted climate influences. This marks the beginning of the cultural evolution and the increasing dependence on technical assistance of the

human beings until this day. The thinking, speaking, cultural and cognition capabilities which are based on the materialistic potential of the brains are in their outcome not completely free but canalised due to a long chain of historical preconditions throughout a long phase of evolution. This does not mean however that this development was going on purpose in a certain direction or that it was impossible for a new situation to develop because of various factors encountering each other in a certain environment. While the expansion of the brains served since about 2 million years an increasing

absorption of informations and its processing and passing-on which contributed to the genesis of the capability to have a culture of mankind was the actual cultural explosion in evoluion of mankind initiated only a few thousand yearsago: Besides the brains »grew« new, this time external informationstorages: clay-panel, papyrus, paper, magnetic tapes, CDROM. The non-genetic transfer of informations is among people nowadays much faster, more complex and more important as the genetical. Since about 2,5 million years decreases the biological evolution of mankind (transport of informationsthrough genes), but the cultural evolution through watching and listening absorbed by the transport of informations through language increases continually.

Since the effects of both trends of evolution cover each other once in a while and have a certain effect on the other it appears to be plausible to suppose a »biocultural « evolution in mankind which makes the genesis of typical human qualities possible. The crucial question is the one about the storage of cognition and intelligence. Doubtlessly there are mechanisms in existence, even though they have not been neither scientifically examined, nor understood. The meaning of the formula life+cognition=art is the definition of that gap in the usual scientific point of view. If there are mechanisms for the inheritence of knowledge and experience they are going to be accessible for the scientifical research. The therefore possible precise intervention and the rapid accelaration of the biocultural evolution would lead to better results than the nowadays possible cloning. After close observation the artformula of the art open life + cognition = art is maybe evena theoretical concyept for the biocultural evolution of mankind in general.

Prof. Niklas Luhmann 1996

Redescription of the world

The most impressive redescriptions realized in society are to be found in the copernican revolution and even more radical in the macro- and microdimensions of modern physics. This change of mind is presented as a result of scientific research which has to be accepted because it is the truth. It is not taken into account that society itself enables such researches, their publication and acceptance. The fact that research is no longer bound to be

based on a religious world theory is apparently one of the reasons. But is this a sufficient perspective for the next millennium or the continuation of the world redescriptions? Or: how can society react to the fact that science has let itself on a pragmatic choice of methods and a constructivistic

realization theory? To deliver redescriptions it is surely a part of science, which with the proposition of new solutions to problems and as well with the realization of the impossibility of solving problems changes the problems themselves. Further, one has to take mass media into account, which by means of new information can change the review of past events. Above all there is poetry to rip the past away from oblivion and present it in a form; it can be a superscribable form alétheia in its original meaning. How can all

this happen, if the world keeps renewing itself by decisions? Apart from the classical, rediscriptions aiming at alétheia there are now other forms of communication which create information about decisions.

Society renews itself, the only problem is,how can communication cope, how can communication keep society informed? Surely a society which continually renews itself by decisions has to be understood as a system which creates its own insecurity. One does not know the result of the next political elections, and where the international markets money fluctuation will lead to investments, who is going to marry whom. A world having to cope with that can only be understood as a unit which realizes itself in time and continually creates a new and still open future.We do have an isomorphosis between a selfdeciding society and a world with an open future, whose present state, whose congealed past does not determine what »is to come«. This condition becomes apparent by a certain terminology used at present by society in order to prepare. One is talking about risks and risk calculation, or about innovation and creativity in order to already create the conditions for as many different possibilities of future developement as possible. It is a form of building up confidence,

and surely doing nothing and waiting would be no solution to the problem. One has to create facts to review in order to understand what has happened by participation.It signifies that the world is no more the sum of (visible and invisible) things, it cannot be understood as »Universitas« Rerum anymore. The concept of the world changes to a correlative concept of decision, whereby the limitations of possibilities of decisions are more provided by their own history than by the world left untouched.

As a result, literature (and one could add: science) has the already mentioned function to expand the memory. Creativity is a result of the system's memories.If the world accepts decisions it will have to realize that as a result time becomes irreversible (the difference between past and future being continually renewed) by means of events, which manifest sense even if they do not have any permanence and vanish in the very moment, in which they appear. In a strict sense a historical world develops which does not take its dynamism from extraordinary powers (energy etc.), but from the instability of its basic components. This can only be a world which provides no stability anymore. The observance of the world is therefore redirected to what has happened and because it has happened as an event it cannot be changed.

This world description accentuates the future even stronger, because in its unknown it hides possibilities for which decisions can be made (or more correctly) their realization can be decided.

Dr. Thomas Föhl

Art historian Weimar art collection

Art history events and their relation to scientific
findings in Dieter Liedtke's works

The creative work of artist Dieter W. Liedtke was in 1999 labeled "evolutionary" by the important German art periodical KUNSTZEITUNG. Having resorted to the forgotten since Renaissance method - using art and philosophy in scientific research - Liedtke became the first artist to have achieved the highest results in art and research after nearly five centuries. Briefly after their creation, his advanced findings were documented in his works of art, books and exhibitions. New facts confirming Liedtke's findings, independently of his art and studies, are regularly discovered years after by prominent researchers in various areas of science. In 2000 the neurobiologist Eric Kandel received the Nobel Prize for medicine; his findings were anticipated in Dieter W. Liedtke's works of art 20 years ago and documented in the book The consciousness of the substance (1982).

In 2006 the researchers Andrew Fire and Craig Mello received Nobel Prize for their discovery in 1998 of how information regulates genes thus confirming Dieter W. Liedtke's works of the 80- ies: genes and gene programs can be switched on and off. In his works of the 80- and 90-ies Dieter Liedtke goes on to state that even "pure", unmaterialized information, art and visions can change gene programs, genes and cells, and these changes can be positively or negatively controlled (see also books: "The consciousness of the substance" (1982), "The key to art" (1990) and art open catalog (2000)). In his works with the help of art and philosophy Liedtke outlines firm, logical borders of contemporary knowledge and shows possible ways to form a new, more humane world. Arguably the most significant philosopher and sociologist of the 20th century, Professor NIKLAS LUHMANN, Bielefeld University, in 1996 expresses his opinion on the issue: "Liedtke modifies and extends the framework of wellknown theories. His new scientific theories are at the same time both conditions and products of his own activity. One comes to think about evolutionary achievements, which, once invented and introduced, enable their existence. Extrapolating their results to the system of modern society, which can accept or reject these achievements, one sees the result of evolution."

KARL RUHRBERG, art historian (Köln) stated in 1997 that Liedtke's works of art, exhibitions and theories have repeatedly served as strong impulses for the development of art history and helped reveal its consciousness extension function. In 1983 the renowned MUSEUM OF MODERN ART, New York, claimed that Liedtke's book "The consciousness of the substance" extended the museum documentation of contemporary art, which is proved by his art and philosophy. Mass media of different countries made about 100 reports about Liedtke's "inconvenient", setting to think works, which have been published during the last two decades and made the author known among insiders as an advanced, revolutionary artist who strives to construct positive future. Italian channel TELE 5 presented him in 1991 as a successor of artist Josef Beuys. Spanish periodical ULTIMA HORA wrote in 1996 that in Europe Dieter Walter Liedtke was considered one of the artists to connect art and philosophy better than anybody else. Another Spanish newspaper DIARIO 16 in 1991-1993 published in its weekly supplement Liedtke's book on philosophy of art "The keys to art - what connects a cave man with Leonardo da Vinci and Josef Beuys?" that testifies the meaning of a r t o p e n formula for history of art. German weekly WELT am SONNTAG published in 1995 an article called "Dieter Liedtke follows Leonardo ".

His perception of art as consciousness extending information with nerve networks and new genetically programmed qualities and characteristics goes far beyond the classical understanding of art and its effect on people. Well-known people like her majesty QUEEN SOFIA of Spain with the assumption of honorary presidency, the German Minister of Labour and Social Affairs Dr NORBERT BLÜM and Nobel peace prize winner MIKHAIL GORBACHEV, patronize Dieter W. Liedtke's art formula exhibition art open thus supporting the promotion of peace formula. The formula was devised in 1969 - 1988, with the purpose of discovery and promotion of creativity tool for all people. Since René Descartes (1596 - 1650) it's usual for western philosophers to separate the spirit from the matter so creativity is perceived as something indefinable. The science historian Professor Dr Ernst Peter Fischer writes about this:

"I think that the most important discovery at the end of the two thousand years Christian era was to realize the old idea of polar extremes needed a new form. At the moment the most important task of West European culture consists in search for its own symbol of thought, which would hold the man in the world and connect him with the world. Our culture must look for it consciously, mobilizing its best, i.e. complementary forms of truth search, which are called art and science. When combined, they will disclose the humanity inherent in our culture. But this invention is still to be made. It would surely be of more importance than any other event in the past 2000 years both in the world and in the minds of people." The result of addition in the formula – the cross - is a symbol of connection between spirit and matter, man and nature, the younger and the older generation, mankind and peace, ethics and capital, employers and work-hands, government and people, nerve networks and experience; it shows the way antagonisms and hatred can be eliminated and is far more powerful than the symbol sought by Ernst Peter Fischer to represent this complementarity in West European philosophy. The cross unites natural science and art into a single whole and opens both the spheres to the broad public, to the second Renaissance, a cross, a branching of possibilities with new genetically programmed models of life, society and future. The cross blends red and yellow colors into the orange of Buddhist monks, the Ying Yang symbol with its red and yellow basis yüanck'i (pra-chaos), thus showing a level of the Universe, in which art, creativity and creative power reveal the basis for substance, energy and evolution of life. The artist proves by his graphics that a creator may be connected with his recognizable creations that can become the symbol for a new society of prosperity, freedom and peace. Liedtke promotes with his works the development of concrete evolutionism, a creative humane society of prosperity, freedom and peace for all people.

Internationally famous museums, collectors and artists have offered numerous works of art-historical value for Liedtke's exhibition art open, in Essen, 1999. For the first time at an exhibition art was shown in general context from the Stone Age till today, classified for visitors with the help of the art open art formula, and in the context of Liedtke's works. By promulgation and application of his graphic formula the author wants to give an impulse for creating a new world. Liedtke: " The use of art formula can help eliminate creativity limitations. Every amoeba, every plant, every animal and every virus is creative - only the man is an exception." He thinks that the main reason for poverty, terrorism, class and race hatred and war is the reduction of the natural evolutionary gene programmed creativity of a man. That takes away from a man his dignity, makes him helpless, depressive, unconscious and aggressive. For Leo Tolstoi art is a natural and catching means of human communication through experience and art transmission can fight creativity limitations.

Count Leo Tolstoi: "Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them". For Nietzsche a man may himself become a work of art if he gets involved in art, moves his spiritual barrier to a larger consciousness field. Nietzsche: "Now a slave is a free man, now all rigid, hostile discrimination, misery and despotism is gone, or impudent mode is established among people... A man is not an artist any more; he has become a work of art". Dieter Liedtke has elaborated the noble aim set by Joseph Beuys, to show the society the way to a creative humane world.

Dr. Herbert Jost-Hof

Reference on the development and significance of the
works by Dieter Walter Liedtke, their art-historical pattern
and hence, spiritual and material value.

1. Preface

The spiritual work of culture and communications researcher Dieter W. Lietdke expressed in his pictures, sculptures and writings, is interesting and valuable for me, as it opens access to the creative potential of every individual, to the exchange of ideas, thus leading not only Germany, but all the humankind to a more peaceful and prosperous future.

Having met Dieter W. Liedtke at a press conference at the beginning of 2005, I have plunged myself into his ideas and works; so I was quite often invited to make speeches at the opening days of Liedtke exhibitions. At these events I had a chance to make sure how directly and intensively his words and pictures affect people, no matter whether they were just visitors or the press, who provided feedback to the public. I am writing this reference with deep respect to Dieter W. Liedtke and his work and in consciousness that propagating his experience as soon as possible is vital for the well-being of all people. Since I am aware that this publication will bring on certain changes at the art market, not only in spiritual, but also in material value of his works, I will also express my opinion on the subject, although I am not an art historian.

Here I enclose an art evaluation by an expert, Dr. Thomas Föhl, the director of Weimar art collection, deriving my conclusions from his assessments of 2001- 2002 and a supplement of 2005. The following statements, concerning the personality of Dieter W. Liedtke and his work, can help estimate this artist in the context of spiritual history and of the history of art.

Dieter Walter Liedtke, born in 1944 in Essen, is a versatile and talented man. His gifted nature revealed itself in him devising concepts in marketing and event spheres as well as in educating artists and writing. Liedtke is a philosopher and researcher, whose partly intuitive, partly conscious access to cognition of different humanities and fields of science is a source of inspiration for his paintings and books. In other words, as an artist and author Liedtke imparts the experience of his perception, interpretation and intuition in different forms and using different media. He strives to find an adequate form for the content given. In this way he has created pictures and collages and other works of art that synthesize complex scientific processes and conditions.

Thus Lietdke's creative work reminds of artists like Leonardo da Vinci, who used their creativity in an interdisciplinary way in order to eliminate the usual division between substance and spirit, scientific cognition and artistic fantasy. Liedtke's works, like those by da Vinci, reveal his prophetic properties, show that his findings are years ahead of those of scientific research. It's not yet clear how such a thing is possible. But there is decisive evidence that it is possible.

"Art formula", devised by Dieter W. Liedtke between 1969 and 1988, is not only an instrument providing for all people a simplified access to interpretation of paintings of all styles and epochs, but also an intensive stimulus for unveiling creative potential of its users. Scientific findings prove this effect. His latest book on "world formula", to be published in 2007, will represent the next stage of cognition in Liedtke's work.

New prophetical works by Liedtke appeared in the context of the book on "art formula", and, being connected with the book, they have a special art-historical value.

If "world formula" is contended in natural science, the same will happen to all prophetic works by Liedtke - and even on a greater scale.

1. Evaluation of Liedtke's works in the context of humanities

Virtually Dieter W. Liedtke's works, which reflect his vision of art as creating abstractions power, are in some way similar to the sketches and models by Leonardo da Vinci, as they recorded and represented important scientific findings, when science was still far from them. Here are the facts that prove it: · In 2000 American neurobiologist Professor Dr Eric Kandel got Nobel Prize for medicine for his research results which were anticipated by Dieter the W. Liedtke's works 20 years before and documented in his book: The consciousness of the substance (1982).

· In 2006 researchers Dr Andrew Fire and Dr Craig Mello received Nobel Prize for their discovery in 1998 of the way information controls genes. This result confirmed Dieter W. Liedtke's works of art of the 80-ies: genes and gene programs can be switched on and off. Liedtke since 1986 (till the 90-ies) has gone in his works further and stated that "pure", not materialized information, art and visions can cause positively or negatively controlled changes in gene programs, genes and cells. (these ideas are to be found in his books "The consciousness of the substance", 1982 and "The key to the art", 1990 as well as art open catalog, 2000), the fact has been empirically proven by epigenetics and gene researches since 2006.

The above-mentioned assumptions, being confirmed by scientific researches, laid the foundation of Liedtke's "art formula" and prove its validity. Internationally acknowledged researchers, like German sociologist and communications researcher Professor Dr Niklas Luhmann, who called in 1996 Liedtke's works "an evolutionary achievement", confirm the fundamental importance of "art formula".

Among the scientists who maintain the formula, is the anthropologist, art historian and deputy director of Hessen State Museum Professor Dr Friedemann, who defined in 1999 "art formula" as a possible "theoretical concept for bio-cultural evolution of the man". Important public figures like Soviet ex-president and Nobel peace prize winner Mikhail Gorbachev and Spanish queen Sofia support Liedtke's activity and therefore testify international public acknowledgement of his ideas.

2. Evaluation in the context of history of art

Internationally renowned art historians, for example, ex-director of "Museum Ludwig", Köln, Professor Karl Ruhrberg, and Professor Dr Harald Szeemann have assessed Liedtke's works as innovative, democratizing and changing the history of art. The recognition of Liedtke's works in natural science and his acknowledgment as artist-educator by internationally famous people and institutions can't but cause appropriate appreciation of his work. Spanish art historian and expert Professor Don Juan Oliver Fuster, president of "Assosiacio Independent de Galeristes de Baleares" (AIGAB), at the court examination in Palma in 2005 evaluated two deliberately destroyed Liedtke's works of art at minimum 24.000 euro per work.

However, the above-mentioned pictures are NOT the ones that communicate prophetic messages of the artist in the context of his interdisciplinary work. The value of such works is more than 1 million Euro per picture. (in this context it is indicative that Professor Dr Föhls assessed two sculptures of the artist in 2002 at € 400.000 - €450.000; meanwhile their value since then has significantly increased due to the confirmation of scientific contents expressed in the sculptures artistically; the exact cost is yet to be calculated considering his new findings and the series of paintings dedicated to world formula).

The value of these works will rise significantly in the years to follow, if new scientific researches show to what extent Liedtke's vision corresponds to the facts and how his ideas of "art formula" and "world formula" can be applied in the life of a single man and of the humankind.

Da Vinci's works in aerodynamics, anatomy or statics, since they reveal a spirit anticipating its time, are now considered to be a part of world cultural heritage; similarly, Dieter W. Liedtke's works will rise in their value as his ideas will be promulgated.


Dieter Walter Liedtke, due to his unique gift is able to discover the structure of the world and its functions both intuitively and consciously, and impart to this knowledge artistic form, which proves that he is an extraordinary person whose work can affect the inner world of people and make their life better. This evaluation is still to be confirmed by prominent personalities and institutions of the world. The cost of his works will gradually rise in the coming years as the significance of his work is realized; it's especially true for the prophetic works, which cost more than 1 million Euro today. Their price will rise a few times.

If Dieter Liedtke's works dedicated to the world formula are, as the previous ones, confirmed by discoveries in nature science or humanities, especially by researches leading to Nobel Prizes, then a totally new value and price situation will arise. After the results of the research into the world formula are confirmed empirically, not only the value of his art for culture and evolution, but also the price of his works will rise; this regards in particular the works, which reveal the research way to the world formula.

December 19, 2006
signed by Dr. Jost Hof