Prof Dr. Manfred Schrey


on the General Theory of Information for combining the theory of relativity with quantum mechanics by the artist Dieter Walter Liedtke


The purpose of this report is not to make an assessment on the research methods of the inventor-artist Dieter Liedtke or to take a position in any other way on how he comes to his results. The point is rather, in my capacity as a professor of physics, to check the consistency of the “Unified Theory of Information“ developed by Dieter Liedtke under the premises he postulated of the physical origin of information, space, time, gravitation, energy, matter and the universe and give a brief summary description of this theory.

To get closer to the research conducted by Dieter Liedtke, his thinking and his innovations, at this point I first resort to a different area, art, whose core feature is innovation. I do this with respect for science and art, but especially for the probably most notorious physicist of the twentieth century, Albert Einstein, who wrote the following about the relationship between the two disciplines: “Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking and observing, there we enter the realm of Art and Science. If what is seen and experienced is portrayed in the language of logic, we are engaged in science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively as meaningful, then we are engaged in art.“

Here are the words of art historian Karl Ruhrberg about Dieter Liedtke‘s works:

“It is the higher manner of perception which he finds important, not the detail. It is also reflected in the creative process, in the fact that he seems to be negligent and intuitive with the materials. This is the religious, metaphysical, timeless level of Dieter W. Liedtke. The fourth dimension. The viewer perceives this philosophical level by the holistic perception of his works. The natural scientist perceives it as a level of information that on the basis of Liedtke‘s works may provide new approaches and theories for scientific experiments and new paths to knowledge“.

The Swiss curator Harald Szeemann compares him with the greatest and most innovative artist of the Renaissance:

“Dieter Liedtke is ideology-free positive energy, through and through creative and himself an artwork. Leonardo da Vinci has found a successor in him.“

With Dieter Liedtke, the person can not be separated from the work, even to a lesser extent than with other artists, since he is not only active as an artist but also as a researcher and inventor/creator, and his artworks play a vital role as a means of communication and reflection that he uses to describe and to depict, to record impulses as well as to present his complex ideas. It is therefore appropriate first to dedicate a few sentences to his person.

I know Dieter Liedtke as an artist and inventor of the art formula and as curator of the “art open“ art exhibition since 1996.
Based on the topics chosen by my students for their theses, I have come even closer to his work. Here we should specifically mention a project in which the aim was to create a CD-ROM program with Dieter Walter Liedtke‘s art formula in order to decrypt the works of art history through the visual representation of the innovations represented therein and thus show the evolution in art for the first time for all people with a software program.
This project is based on the art formula developed by Liedtke, which was also the key element taken as a basis for the art exhibition “art open“.

In addition, in 1999 I myself took part in the “art open“ art exhibition “The innovations and the evolution in art from the Stone Age to the present day“ in Essen, where he was presenting his revolutionary formula to the population, with a presentation of my own.
Dieter W. Liedtke‘s work gives art a new dimension, an evolutionary, comprehensible function for the culture, the innovations and human evolution in general.

The art of Leonardo da Vinci and his achievements as an inventor are widely known to me.
The examination of Dieter Liedtke‘s innovations as an artist and inventor and of the comparison with Leonardo da Vinci required several years of conscientious analysis of Liedtke‘s works, scientific theories and inventions, a task to which I have devoted myself since 1996, accompanied by intensive personal conversations with Dieter Liedtke about his art, his inventions and research results in physics.

Inventions and art accompany Dieter Liedtke since the early 60s of the last century. At that time he photographed and painted; he also opened an office for “Inventions on request“ in Essen. So he invented, for example, many household appliances, POS systems and audiovisual advertising systems that were implemented by him or sold as patent application. With some, such as the data bracelet that anticipated the development by decades, which is why he did not further pursue it, he was ahead of his time.

After 1999, I have repeatedly dealt with his technical inventions and analysed their potential for implementation, and I am surprised by the revolutionary solutions he suggested. For example, the generation of renewable energy by the air stream on motorways and rail roads by means of vertical wind rollers with noise reduction for local residents close to the tracks and direct energy savings in vehicles by the suction effect in the lee of the rolls, or the social network “aimeim“ for free cell rejuvenation on the Internet through information.

Thus Dieter Liedtke also draws a new image of physics and biology, reveals a different conception of matter and DNA. His approach to this and to the origin of the entire universe is information.

With his formula, which combines the quantum theory with the theory of relativity and contains the law of conservation of information, Dieter Liedtke vividly turns existing scientific theories upside down in his artworks, providing revolutionary theories in physics and astrophysics, the understanding of a new concept of the universe.
If I have understood him correctly - and that‘s not always easy - he has developed his theory so that the information is incorporated in natural sciences as a physical variable. For him, there are two sides to information, like quantum mechanics: on the one hand, it is not subject to space, matter, or time, that is, it exists simultaneously and everywhere, on the other hand, it is manifested in energy or matter. By introducing the distinction of information and the physical categorization of this strict separation and based on the idea that both forms of information merge into information clusters, information families or, as he also calls them, “self-sustaining information networks“ - and in this context he assumes that these two forms of information are interrelated by entanglements - it seems that in his theory he has managed to extend Albert Einstein‘s equation: E = MC2 into: i = E = MC2 (i = information)

In this theory, the information is converted by the entanglements and the growing information networks into space, gravitation, energy and matter.

In its simultaneity and its ability to be anywhere, in its speed by its self-sustaining qualities oriented to the growth of the information networks (similar to the genes and the DNA in biology), the information is integrated and decelerated in the information family.
Through the endless stream of information in the universe, the information evolves into waves - information networks that constantly densify with additional information and decelerate as they densify.

As information continuously evolves into physically measurable background radiation (which can lead to the measurable inference that the already measured irregularities in the background radiation are proof of the growth of information in the universe) these condensations of network and cluster information become elementary particles with possible entanglements with non-materialized information and information networks (see Einstein-Rosen-Podolsky EXPERIMENT whose results indicate that the information in the universe is exchanging and building information networks without delay) that make up a holistic universe.

The abbreviated formula for his revolutionary theory of the universe:

i = E = MC2 or i = M.

The path to his new theories on information as a physical variable led to the “law of conservation of information“ long sought by science; intermediate stations were, among others, his interpretation of the creation process, which he painted under the title “Supernothing“ and revealed in his theses for physics, and also his intuitive reinterpretations of known scientific terms such as “time“, “space“, “gravitation“, “black holes“, “dark matter“, “dark energy“, “background radiation“, “Big Bang“, “mass“ and “energy“.

Based on his intuitive/philosophical/artistic findings repeatedly illustrated in his works, he has been able to resolve paradoxes that have been troubling science in the last hundred years. His theses have been repeatedly confirmed by scientific research.
Dieter Liedtke assumes that, in the future, all the contradictions scientifically researched according to the old theories (which occur outside the combination of the theory of relativity and quantum mechanics) may be explained by information with his “Unified theory of the origin of energy in the universe“.

With reference to this procedure of research through art, the philosopher Niklas Luhmann said:

“Liedtke modifies and extends the scope of well-known theories. His new scientific theories are both condition and product of their own activity. His formula is an evolutionary achievement. Once invented and introduced, it becomes viable by itself.“

Outcome of the analysis

The theory of the Unified Information is logical and understandable, but the way in which Dieter Liedtke obtains these results can not be explained with the classical research methods and is not empirically understandable, because carrying out scientific research and developing new theories through representation in works of art, presenting the research results to the public as artworks in museums and art exhibitions, is a novelty in every way.
But his theories and research results are revolutionary, not only in art but also in natural sciences and humanities, and under the premises established by him they draw the new picture of a universe without mysteries.

For the first time in art history, statements expressed in Dieter Liedtke‘s artworks and theories have been acknowledged decades after their creation and publication as research results through research carried out by scientists with no previous knowledge of his artworks; the researchers in question were awarded 15 Nobel prizes in the fields of “medicine“, “physics“ and “economy“.
So far, with the contents of his works Liedtke has anticipated two Nobel Prizes in physics.

a. The evolution of the universe

In exhibitions and in his book ‚The consciousness of matter‘ of 1982, Liedtke represents his artworks from the 70s in images that have their own consciousness as information and induce in the form of expanding spirals as “Kosmoran“ the expansion of the universe through new information; in this process, through entanglements of information with energy and matter, the increasing awareness of the “Kosmoran“ leads to the generation of space, whereby the universe expands.

Bild und Kosmoran/Übernichts 2005
Bild und Kosmoran/Übernichts 2005
  • The universe and its expansion New definition with the resolution of the expanding universe paradox Published in 1982, 1987, 2007. Scientific confirmation of the new definition by the general theory of relativity, quantum mechanics, the connection of these two theories, the ERP experiment and the proton paradox for the new explanatory model of physics.

Scientifically confirmed since 2011 / Nobel Prize in Physics.

The information causes space to expand to the point where space cracks and these cracks create new space, which in turn enters the universe and thus enlarges it.

Acryl auf Leinwand mit übermaltem Siebdruckuntergrund der 4. D.

Pictorial series Supernothing 2006
Acrylic on canvas with overpainted silkscreen base of the 4th D

The Supernothing

The Supernothing represents cracks in space, through which space, time, energy and mass enter the universe in a one-dimensional and bidimensional way as information and as energy; it is an imaginary state that can be understood only as an accompanying concept of creations or new information.
The Supernothing and the birth of Kosmorans, nothingness, time, gravitation and matter.

The Supernothing is spaceless, timeless and free of information, without existence or reality. Again, this is an imaginary concept that only makes sense in the context of creations and new information.

Saul Perlmutter, Brain P. Schmidt and Adam Riess shared the 2011 Nobel Prize in Physics for the discovery of the accelerating expansion of the universe through observations of distant supernovae.


b. The formation of mass

In his works of the years 1970-2006 Liedtke publishes in exhibitions and in his books “The consciousness of matter“ and ‚“World Formula“ of 2007 the thesis that energy and matter are formed by information mergers and thus form in the Kosmoran the origin of mass and gravitation in the elementary particles and in the universe.

Information and information networks - the basic building block of matter
New definition with the resolution of the information paradox.
Published in 1982, 1987, 2007
Scientific confirmation of the new definition by the general theory of relativity, quantum mechanics, the connection of these two theories, the ERP experiment and the proton paradox for the new explanatory model of physics.

Scientifically confirmed since 2013/Nobel Prize in Physics.

Liedtke also examines the question of how to combine both the Higgs boson, energy and any matter as well as the theory of relativity and quantum mechanics.

After his painting ‚The 4th Dimension‘ from 1982 to 1988 he developed the formula of innovation and a new 4th dimension.
In his exhibitions as from 1988, 1989 and 1999 in Essen and in his book “art open“ of 2000 he presented this theory as well as the corresponding artworks as its manifestation.

Die 4. Dimension
“The 4th Dimension“ 
After his picture The 4th Dimension from 1982 to 1988 he developed the innovation formula and a new 4th dimension. In his exhibitions from 1988, 1989 and 1999 in Essen and in his book art open of 2000, he presented this theory as well as the corresponding works of art as their manifestation.

In 1988 he developed from his artworks to the consciousness of matter of the 1970s and the new The 4th Dimension the art formula for innovation and evolution, ultimately the formula of information in art.


Based on the art formula, from 2005 onwards, after the creation of the first “Supernothing“ works, he applies the evolution principle of information and of its interconnections to space, energy, matter and the universe as well as to the symbiosis of theory of relativity and quantum mechanics, from which he can derive the formation processes of mass and the universe.


this results in:

i = E = MC2

His recommended philosophical and physical formula for the universe is:

NG* + In + i = i x V ∞+ i=T, V, G = i²V ∞... + i = iV c = E + i = iV c...= M

Information and its dimension meshes in the 1st dimension with the 2nd, 3rd and 4th dimensions and their entanglement in the event horizon

  • NG = Natural laws (self-organization and law-preserving organization by structuring of initial information) / In = information networks (self and the kind-preserving organization of information networks or groups in accordance with the laws of nature dictating the evolutionary guidelines and an open future / i = information / E = energy / The equation i = E combines the theory of relativity with quantum mechanics.
Die Einheit der Welt - Die Allgemeine Informationstheorie -

The Unity of the World - The General Information Theory -

If “everything“ is information and consists of open and self-sustaining initial networks and information networks, then the laws of nature, space, time, dark energy and dark matter, matter and antimatter, the universe, genes and cells, life, evolution, creativity, intelligence, the
I‘ and ‚We‘ consciousness, the feeling, the knowledge, the forms of life, man, the vision, the intuition and the society as well as its freedom and ethics, health, life expectancy and prosperity of people can be defined by information and its media.
Painting: Networking formula in 2013 for the creation of space, mass, universe, DNA and their evolution through information.

The Nobel Prize in Physics 2013 was awarded jointly to Peter Higgs and François Englert for the theoretical discovery of a mechanism that contributes to our understanding of the origin of mass of subatomic particles, which recently was confirmed through the discovery of the predicted fundamental particle by the ATLAS and CMS experiments at CERN‘s Large Hadron Collider.
The works and theses of Liedtke are proactive, so that more discoveries of scientists and art historians can be expected in the works.
I can not predict which of his new physical theories will be confirmed in the near future, because this requires additional research results in the fields of physics, astrophysics and information, but I assume that in the future researchers in quantum physics will attach a new, theoretically and physically justified importance to information for the origin of the universe and that also Dieter Liedtke, in Harald Szeemann‘s words, as an “inventor artist“, has anticipated research in physics by decades in his artworks.
The way he gains new knowledge and builds new theories in physics through the intuitive creation of his artworks remains a mystery.
I have written this report on the theories in physics of Dieter Liedtke in good faith, by consulting his books and patent applications, as a participant in the “art open art exhibition of innovations“ and by thoroughly studying his artworks.

Prof. Dr. Manfred Schrey