Prof. Dr. Harald Szeemann 1998
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
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.
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.
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.
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.
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.
Conclusion:
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