Dr. H. Jost-Hof
Cultural-historical statement on the art exhibition
art open código universo – The Theory of Everything i = E = MC2
by Dieter Walter Liedtke
As early as 2006, I wrote an expert opinion on the work of the artist, philosopher and author Dieter Walter Liedtke, with the intention of placing it in the context of cultural history and presenting its artistic and social value.
These considerations essentially referred to the universal art formula developed by D. W. Liedtke as well as to the representation of his visionary entanglement of scientific knowledge and artistic creation through a few selected works.
This report is to be understood as a contribution based on this to the assessment of his now significantly expanded oeuvre; it is dedicated specifically to the project "art open código universo - The Theory of Everything".
The individual sections of the following presentation are each introduced by a quotation from Albert Einstein, whose brilliant mind, amazing intuition and unbroken humanistic conviction should not, in my opinion, be inspiration and model for every human being, but have found in Dieter Walter Liedtke an astonishing and significant counterpart in every respect. Especially since Liedtke's works of art complemented the famous formula of Einstein E = MC2 to i = E = MC2. Here I stands for information, so that the formula which his newer works of art express shows that information is the physical basis of energy and matter.
Dieter Liedtke designs a completely new approach in physics, an alternative image of energy, matter and thus the whole universe, which is based on information and the different speeds of information as the basic element of all energy or materiality.
His extremely complex thought model combines the theoretical foundations of quantum mechanics with Einstein's general theory of relativity. Information is assigned the same space- and time-negating properties as quantum mechanics assigns to subatomic particles, whose origin it represents and manifests itself in energy and matter to the diversity of appearances we know as the universe. It is accordingly based on information clusters and networks, the physical reification of which we can perceive, not least as carriers of information already known to us, such as the genetic material of living beings or other structures, such as energy, atoms, molecules or crystals.
Thus he extends Einstein's equation: E = MC2 by adding the component I (for information) to I = E = MC2 or I = M.
Liedtke's medium is art, which, however, has the same scientific and social significance for him.
His information theory described above has been depicted as the 4th dimension on screen prints made between 1982 and 1987 and on canvas in 1999 (in a limited edition of 100 pieces). His 4th dimension pictures describe time as a component of our three spatial dimensions and thus as a subfunction of matter, which can be mathematically made accessible as the difference between the total mass and the components of the spatial dimensions by extracting time.
When most of the special edition on canvas was affected by water damage, Liedtke reused the swollen and torn pictures in 2005: he intuitively processed them with paint, thus creating inspiration for his theory of information and creation. This is not only a vivid example of his unusual creative work and its inner networked intellectual diversity, but also illustrates his closeness to other thinkers and philosophers such as Einstein and their creativity.
One of these thinkers, the philosopher Niklas Luhmann, who died in 1998 and was described by the newspaper Die Zeit as Hegel of the 20th century, said of Liedtke's work: "Dieter Liedtke's insights and works of art require the construction of an observer, namely God, for whom time as the totality of all points in time is the present.
And as with many other great researchers and/or artists, Liedtke's work is not only a product of special inspiration, intuition and creativity, but part of a social consciousness that gives him drive and purpose.
Dieter Walter Liedtke - or: Art as a Social Obligation
The greatest scientists are always also artists. (Albert Einstein)
Einstein's sentence quoted above is certainly correct. This does not necessarily apply to the reverse conclusion. What artists and scientists have in common is curiosity, intuition and the need for creative change. In his current project, Dieter Walter Liedtke makes reference to one of those exceptional figures in the history of culture and thought in which artists and researchers have met in exemplary fashion and rightly admired each other to this day: Leonardo da Vinci. This is not surprising, since his own work shows very clear parallels to the universal genius, which remained unrivalled for centuries as a model of the Renaissance man as well as a scientist and artist.
The curator Harald Szeemann, who died in 2005, articulated the agreement between the two personalities as follows:
The positive energy of the inventor artist and Leonardo da Vinci of contemporary art, Dieter Liedtke, can be experienced by every exhibition visitor through the works. His works, theories and concepts are revolutionary, infectious and show art and science new ways to a humane society.
Liedtke's contemporaries are indeed distinguished from Leonardo da Vinci, who died a long time ago, not least by the fact that the insights and insights they gain can be made accessible to a broad public. What Leonardo would have done in possession of today's possibilities and freedoms remains speculation. What Liedtke does under these conditions, however, does not: he takes up the statement about his own person in order to relativize it in the sense of Joseph Beuys, who pointed out the creative abilities in every human being. Liedtke, connected to Beuys and with the creation of his art formula carrying on his thoughts, quickly declares everyone to be a Leonardo and thus underlines the statement regarding the spiritual potentials of all people. Behind this is the unshakeable expression of the belief in the innovative power of everyone and the will to democratize art and release the existing but unused creative potential in the population. A task that Liedtke already fulfilled with the art open opened in Essen in 1999, when he gathered 1,000 works of art history on 23,000 square meters and made the evolution of art comprehensible in the sense of his art formula - quite in the sense of Albert Einstein, who formulated: "The restriction of scientific knowledge to a small group of people weakens the philosophical spirit of a people and leads to its spiritual impoverishment. For Liedtke, art was and is a medium of enlightenment and the promotion of development; this is its social relevance and its transferring creative power.
In spite of the disturbances to which the art open project was subjected, it reached millions of people due to great media attention.
The power of the media - or: the liberation of the mind from the paralysis of fear
Most human actions have always been based on fear or ignorance. (Albert Einstein)
The enormous possibilities of the media to reach people through information as well as emotions, however, also hold a danger if negative, fear-provoking reports dominate for profit reasons. Liedtke has repeatedly pointed out that such information reduces the performance of the brain, thereby limiting and blocking people's creativity. His own works of art and his projects are intended to counteract this through positive intellectual input, through enlightenment instead of transfiguration, and through the imparting of knowledge instead of mystification.
This was already true for art open and the works represented in it, as for all works realized since then.
In this context, a statement by Professor Karl Ruhrberg, Director of the Museum Ludwig (Cologne) and President of the International Association of Art Critics - German Section, AICA, who participated in art open as a consultant: "The viewer experiences this philosophical level from the holistic comprehension of his works. For the natural scientist it opens up a level of information that can show him new approaches and theories for scientific experiments and new paths of knowledge from Liedtke's works".
He was right. Years after Dieter Liedtke published his works of art and theories, scientists from various disciplines, without having any knowledge of his work, confirmed the statements of his works of art or parts thereof through their own research achievements, which in turn were rewarded with 15 Nobel Prizes.
An open dimension of art - or: art open codigo universo – The Theory of Everything i = E = MC2
Tomorrow's problems were not solved with yesterday's answers. (Albert Einstein)
Liedtke's proposed solution is to reach from the present into the future in order to comprehend the present from the future ... to intervene from the present into the future.
In his new exhibition Dieter Walter Liedtke presents the vision of a Second Renaissance, an elevation of man against fear, oppression and war made possible by art, and of the previous competition-oriented form of capitalism.
The core areas of the new project are:
- Exhibition Area: The Art Historical Evolution of Art through Innovation
"Every human being is a Leonardo da Vinci through the use of his creativity."
- Exhibition area: Innovation and social systems
"Ethical capitalism will change society"
- Exhibition area: The dignity of life
"In the future all people can live in dignity, peace, health and eternity."
The themes of the exhibition are highly topical; they transcend the space of visual art, expand it and open it up for science and society as a level of consciousness and action. New impressions and levels of experience are offered to the individual as their thinking, decisive and acting core element; the exhibition is interactive and thus activating. The exhibition not only opens up personal participation to the individual, but also participation.
The conceptual part of the exhibition "Take Shape - The Principle of Conservation of Information or the world as a total artwork" involves the visitors, involves them directly and actively in the confrontation with society and its design processes, in order to clarify their possible role with regard to the development of a new world, and to motivate them as partners, in the social context of Joseph Beuys' Social Sculpture, to become shaping partners of society.
Dieter Walter Liedtke founded a public limited company under the name Globalpeace Inc in Florida, USA. With the purchase of the admission ticket, all visitors also have the opportunity - upon request - to receive one Globalpeace share free of charge in order to be directly involved in the process of peace between religions and a new ethical world. For Liedtke, the second renaissance, ETICAP, begins anew with the exhibition and gifting of shares in Globalpeace society in each country.
With this procedure, Liedtke creates the opportunity for all people to emancipate themselves for the first time from the function of the uninvolved, outside observer of art and to live out their personal legacy as co-developers and designers of the curiosity and creativity of Leonardo da Vinci, with the positive goal of an ethical revolution that enables everyone to live in dignity.
Liedtke is thus building on a reawakened sense of art as a means of shaping society. It is no longer just a beautiful or innovative appearance and image gain with increases in value, but is consciously becoming a tool and an indispensable means of human life, the shaping and unifying force of a concrete evolution of the population towards a peaceful society.
Dieter W. Liedtke's work thus gives art a deeper dimension, a comprehensible role that changes the present for the development of culture and the evolution of mankind as a whole.
The exhibition will be shown on all five continents. Globally, millions of direct exhibition visitors and billions of indirect observations mediated by the media can be expected; in Liedtke's understanding, this means an equal contribution to the healing of social systems.
For the populations of the countries in which the exhibition will be shown, it marks the beginning of ethical capitalism and an open society.
That an artist designs an ethical world in a bold plan as a total work of art is not only new, it is revolutionary for art and targeted and evolutionary for society. Liedtke calls this art movement he created Concrete Evolutionism A fusion of past, present and future, of art, science and social life, as Liedtke strives to achieve with his new project, is unprecedented.
Conclusion of an outbreak and departure - or: A new understanding of art
A new way of thinking is necessary if humanity is to live on. (Albert Einstein)
My conclusion as a cultural and media scientist after intensive research into the documentation of his new works and the exhibition is a confirmation of the uniqueness of Dieter Walter Liedtke's project and the meaningfulness of his approach. He consistently follows on from the enlightening, socially reflective and changing work already begun with art open and the art formula, which was judged by its patron at the time, the former Russian president and Nobel Peace Prize laureate Mikhail Gorbachev: The publication and application of the formula will reduce poverty, terrorism and the dangers of war in the world.
In any case, Dieter Walter Liedtke's work not only corresponds to Einstein's thought, which I have put in front of this last section; it fills it with life in an amazing, uniquely creative way, encouraging hope for the further development of global development. For more than 50 years Liedtke has repeatedly proven himself to be an inventor artist and philosopher, whose visions, theories and research results have manifested themselves in works of art, often anticipating the discoveries of science.
Dr. Herbert Jost-Hof, February 2015