II Art Formula and Society
Art Formula and Society 2019
Dieter W. Liedtke
ES-07157 Puerto de Andratx Mallorca
(Released for publication free of charge with images and graphics).
Interim report: From my own experience
After proving the graphic art formula as an innovation code in 1988, I already developed new exciting formats (TV, print and radio) with the art formula for the media from 1989 to 1993 in order to make the formula known to the public for increasing creativity as well as to prepare us for the new, foreseeable time of ever more rapid developments of innovations in the world and to simply and permanently epigenetically unlock the genetically existing, selective perception for innovations in the brain networks of the population;
a. Treasure hunt -searching for artworks at flea markets with the art formula
b. 1,000 works of art history and their innovations,
c. Shining Stars -The presentation of innovations in the works of young artists.
After I found that the media blocked the art formula for reports and did not want to publish it even with the new formats, I made the decision to decode a large art exhibition with 1,000 original works of visual art with the formula and to carry it out across different art epochs with works of music and literature in order to document the validity of the formula for all works of art, arts and art movements.
The privately organised and particularly large exhibition was intended to introduce the simple plain innovation formula, which every eight-year-old understands, to the public globally with internationally known patrons. At the time, I was under the mistaken impression that the exhibition could no longer prevent the introduction of the art formula.
From 1994 onwards, I organised the art exhibition "art open" on 23,000 square metres with more than 1,000 original works of art. As patrons, a German minister, the former President of Russia and the Queen of Spain as well as responsible directors of museums and collections from Russia, Poland, Spain, Sweden, France and Germany had become familiar with the art formula and had been convinced of its correctness. The museums gave me free loans of works by great masters of the visual arts. Among them were Dali, Picasso, Rubens, El Greco, Beuys, Malevich, Kandinsky and complete major exhibitions of the Stone Age, Voodoo art, the Russian Middle Ages, 19th century art as well as works by Christo, Giger and Ernst Fuchs, in order to explain the art formula with these works in the exhibition "art open - Art from the Stone Age to the Present" and to present its general validity across all periods and art movements to the public.
The "art open" was the first art exhibition in the world that spanned different epochs in terms of content and was able to explain the works with just one formula.
The works of art were documented by the art formula in their cultural innovation steps, which resulted for the first time in a comprehensive evolution-oriented overall view of successive developments. Afterwards, it was unmistakably clear to visitors to the exhibition: art without innovation / evolution does not exist. Works without innovation are epigonal decoration.
The formula has written cultural history unnoticed by the public.
As a consultant I was able to work with:
Prof. Niklas Luhmann
Prof. Karl Ruhrberg
Prof. Dr. Franz Müller-Heuser
Prof. Dr. Harald Szeemann
Prof. Dr. Manfred Schrey
Prof. Dr. Friedemann Schrenk
a number of academically and socially established experts. I was also able to convince other museum directors of the art formula and win them over for the "art open" art exhibition.
The exhibition opened on 10 July 1999 in the Essen exhibition halls.
Visitors were admitted free of charge and the presentation/exhibition was open day and night, i.e. 24 hours a day.
- 24 hours a day.
In discussions with the city of Essen, the demand was made in advance to charge an entrance fee of 20 DM per visitor if the exhibition were to continue. Only then could it be guaranteed that the support of the city would be maintained, which included on the one hand the financial side and on the other hand the assurance of a smooth operation, without obstructions or other disturbances or sanctions. I could not and would not agree to these conditions, since I had already rented the exhibition halls on the exhibition grounds with a total area of 23,000 square metres in 1996 for a fixed sum of 200,000 DM and the conditions for the opening in July 1999 had been contractually agreed and planned with all sponsors and lenders of the works.
included. I could not and did not want to accept these conditions, since I had already rented the exhibition halls on the exhibition grounds with a total area of 23,000 square metres in 1996 for 200,000 DM and the conditions for the opening in July 1999 had been contractually agreed and planned with all sponsors and lenders of the works.
As a reaction to my rejection, a wave of false reports and manipulative reporting occurred within the region with the aim of torpedoing the exhibition.
Messe Essen GmbH (a company of the city of Essen) offered me to organise the "art open" as an annual exhibition project in the name of the city with small changes (20 DM admission per person) and to postpone the first "art open" of 1999 by years into the future. Due to the existing contracts, a temporary relocation as well as charging 20 DM admission seemed unrealisable at the time. In March 1999, the city council then decided on a major extension to the exhibition halls of Messe Essen, which was started in the same month as the "art open" and dragged on for years. The rented exhibition halls were closed off with a board fence. The entrance to the exhibition was moved to a previously unknown hall entrance.
From my point of view today, the closure of "art open" was already planned before the opening. Because the exhibition was already obstructed and sabotaged during the set-up. A bomb attack was threatened in case of the opening. The office of the exhibition management was broken into, the computers with the correspondence and plans were stolen. Mail from the sponsors did not reach the organising office.
On the evening of 14 July, a presentation and demonstration of the art formula by means of the exhibited works took place on the occasion of a press conference at 10 p.m. in front of about 100 journalists from the Ruhr area (as it turned out later, the press representatives from out-of-town media were misled by an official security service of the city of Essen, so that they eventually left again). The following morning, at 10 a.m. local time, the "art open" was sealed off by changing the locks on all the doors of the exhibition halls. Visitors were not allowed to enter the halls and security guards additionally checked that no one could visit the exhibition. Foreign press representatives who came to the press conference were turned away by the city guards. At the same time, however, this prevented the global introduction of the art formula and a faster and sustainable development of prosperity through a strengthened innovative power in the peoples.
On flimsy grounds and contrary to existing laws, and regardless of the high-calibre works of art, the uniqueness of the exhibition, the art formula as well as the art-historical concept or the patronage by:
Queen Sofia of Spain
Dr. Norbert Blüm, Federal Minister
Michael Gorbachev, Nobel Prize winner
as well as ignoring the German Basic Law, the works of art were included with the formula.
The artwork insurance had made it a condition that the normal / old locks be replaced with new security locks. The fair management was aware of this insurance condition, as they had replaced the old locks with new security locks. Nevertheless, at great risk to the high-calibre works of art (old locks and cancelled insurance cover), the locks were exchanged back by Messe GmbH of the City of Essen. A court later confirmed that the closure and the exchange of locks on the doors of the exhibition halls were prohibited arbitrary acts by the landlord.
Adolf Hitler was already convinced that creative works of art change the neuronal brain networking of the viewer or reader. For this reason, particularly creative works with new perspectives or innovations were discredited to the population as degenerate art, their authors were persecuted or, if they were literary works, they were burned.
It was not possible to confiscate or burn the works of art. But locking up and cancelling the exhibition was possible so that the works with the art formula would not become public knowledge.
In the initial shock of 1999, it was completely incomprehensible to me why this closure had been ordered by the authorities in Germany with flimsy and fake justifications, when the Third Reich had no longer existed since 1945.
An art formula that explains art to the population and makes people more art-aware and creative, thus strengthening them and democratising all the arts, is still "degenerate art" today? In terms of art history, it can be classified as Pop Art (in Pop Art, the popular symbols of the people are depicted and the individual is elevated as a star). The art formula, in its sheer simplicity, declares Pop Art and all the arts to be innovation, thus making all art Pop Art as well as every human being a creator.
Where is the media outcry from the art historians, the art connoisseurs, the art critics, the philosophers and the intellectual pioneers?
"It seems to have escaped their notice that the art formula
is the emperor of pop art, democratising all the arts while disempowering itself."
It was only when I awoke from the rigidity of forced closure some time later and compared the context of the findings from my gene art works (from the 1980s) with the new epigenetic research findings on gene programming and its inheritance that they provided me with the clue and proof, what happened in Germany in 1999, as a former Nazi Hitler country, a stronghold and island of reprisals against art and the creators of modern works (who were mostly Jews), through the epigenetic programming of our ancestors and their descendants.
The epigenetic conditioning of the neuronal networks has directed an imprinting of the gene programmes through false information and unobjective media messages against innovations in art (Degenerate Art) as well as against the Jewish people, conditioning the consciousness of the Germans through the fears from the Nazi era.
The current view of some art historians; that it is impossible to explain art by a formula, supported by the art lover's own experience that art cannot be explained by a formula "because there is no such formula". Art is in the eye of the beholder is the popularised opinion of the educated bourgeois. This has changed the epigenetic conditioning, but has carried the collective fears of the future with these changes right up to the present day. 1.)
This gene-programming, as politics shows, has not been erased to a large extent until today, but can be collectively erased by the publication of the art-formula.
This possibility has been prevented by the epigenetically imprinted, unconscious subsequent obedience to the Nazi empire until today. 2.)
The German magazines "Prinz" and "Spiegel" reported on the art formula without discredit or malice.
Original text Spiegel by Ulrike Knöfel:
"Thus he has created the art formula "life + expansion of consciousness = art". And in Essen he wants to enlighten the consciousness of the masses - Liedtke reckons with "one million visitors plus XXL". Signs with record-breaking catchwords are to teach astonished laymen what new things famous artists have created: Next to a painting by the Mannerist El Greco is the plaque "Extension of Body Proportions", next to Kandinsky "Beginnings of Abstraction". Such "innovative inventions", Liedtke wants to know, are the only secret of great art. If the amateurs had understood this "language of art", they could then take up artistic action themselves in a creative studio. And thus do something for their heredity. Every realisation, the master believes he has discovered, has an effect on the genes." 3.)
The closure of art open and the art formula, which has been "tabooed" by the media until today, has been to the detriment of the creativity and IQ development of the population, and this despite the fact that it was already recognisable in 1999 that only creative and intelligent societies will have a chance to assert themselves on the world market in the future and that top politicians, authorities and the media were informed by me about the effects of recognised art at an early stage in a letter. If we do not open up art and creativity with the art formula to the population - like reading and writing in the 18th century - we will lose the innovation ground to be successful in the world market.
This behaviour not only violates democracy in general, the Basic Law or constitutions as well as criminal laws and the UN Charter of Human Rights. It is also harmful to the development of society, businesses and the country as a whole, anti-democratic and promotes the "slave trade in voluntary slaves" by reducing personality and intelligence and also locks up information of origin, culture and innovative power of a people as well as the innovative power and evolution of the world's population, such as the "locking away and storing in camps" of important art-historical works and the destruction as well as the theft of cultural property, which also served to separate defeated or dominated peoples from the innnovation of their fathers and to destroy the knowledge stored in the works and monuments of the mental and physical health as well as the power of ideas of a people (see, e.g., Carthage, Alexandria, Alexandria, and the Roman Empire). Carthage, Alexandria and more recently the actions of Stalin, Hitler, Mao). Or to confiscate and imprison the works of art and, as with the great monuments, to provide them with mystical, obfuscated explanations of their existence or their meaning with new and false content (Stone Age caves, pyramids, circular tombs, Stonehenge, Nebra sky disc, etc.). The subjugated population could thus develop little strength, creativity, innovations and should not have the health knowledge of the medicine applications of the wise women and medicine men (who were persecuted and killed). Man had to submit himself and his mind unconditionally to the dogmas of religion and the will of the rulers. Through false and suppressed information, the connection to the innovations stored in one's own old culture was prevented, so that the population could not reconnect to them and stand up as one people against the ruling structures. The people were kept without the power of ideas, in fear, sick and broken, so that the people and the land could be exploited more easily by the rulers. Through humanism, these closures of the mind were gradually lifted. Parliamentary democracy was introduced. With the uplifting of the lost knowledge about the "healing processes of the art and cultural innovations" of the ancestors, today's people can connect to the Enlightenment of the modern era through the demystification of the works of art and have the uncovered knowledge at their disposal. The 2nd Enlightenment (which shows that every human being is a creator) began as a signal with the art open art exhibition in Essen in 1999, which closed after five days.
Should the art formula only be accessible to insiders and art connoisseurs
and remain secret to the working population?
Galileo was condemned because he had written down and passed on his knowledge in Italian, the language of the people, and not in Latin, the language of the clergy, as the Vatican trial records of the time show.
An artificial formula for the people?
But to this day the people do not know, although at the art formula press conference on
14.7. 1999 at 10 p.m. in the exhibition rooms of the art open (in the presence of and in personal conversation about the art formula and its effects on the population with the Zeit editor Ursula Bode) and millions of media coverage through the reporting on the closing of the art exhibition "art open" on 15. 7. that there is an easy-to-understand, empirically proven art formula that can be applied to all art forms and that anyone can use to understand art simply by seeing it and, as a result of this process, increase their own creativity by means of natural neurobiological and epigenetic processes.
In "Die Zeit" on 15 July 1999, Ms. Bode wrote in an article tainted with conceit and discrediting under the headline: "Spinnerpotenz" ambiguously: "Liedtke is communicative" and explained the art formula with malice in one sentence.
Leonardo da Vinci, who created his works knowing how the formula worked, said about the process of working with this insight in art: "Seeing and understanding are the same thing".
In 2005, I wrote a book called "Code Liedtke" about the closure of the exhibition "art open", which explains the background of the closure from my point of view. The art formula was correct and stood up to any further empirical examination by research as well as by the best-known art historians. However, there has never been a public discussion about the formula. Awareness of its existence is simply non-existent in Germany and information about it has been withheld from the population - or if the formula has been mentioned, then it has been mentioned superficially and with malice, without engaging with the formula's message and effect.
Did the art formula and the art open exhibition burst upon art historians with the full force of the method of decoding all the arts too easily for the population, as a breach of the inhumane and centuries-long upheld wall of knowledge to protect the intellectual demarcation from the proletariat, that the latter could only react headlong with the unlawful closure of art open and with malice? The helpless and to this day antisocial behaviour of art historians and the media was, in the later view, the art historical accolade for the formula.
Is the free development of personality through creative intelligence and more democracy deliberately not wanted in Germany in 1999? If the leading politicians are not properly informed by their advising art historians, they must make the promotion of creativity among the population a top priority, because the development of the entire country depends on the introduction of the art formula. The EU has recognised this and declared 2009 as the year for promoting creativity among the people. It was of no use, because the existence of the art formula did not get through to the politicians.
A Nobel Peace Prize winner commented:
"The publication and application of the formula will poverty,
terrorism and the threat of war in the world."
"I hope that your pioneering approach will contribute to a wider, immediate acquaintance of many people with art.
I think that in our time it is a particularly important and noble task."
Nobel Peace Prize laureate / patron of the Código Universo art open art exhibition
Dieter Walter Liedtke
The "Brain Artwork
From 1989 to 1993 I built the Liedtke Museum in Puerto de Andratx, Majorca as the first building in the shape of a brain and as a sculpture for my works, which prove the research results - many confirmed by Nobel Prizes - that were decades ahead of my time through art. In order to keep these works coherently accessible, I brought them into the non-profit Fundación Liedtke in Puerto de Andratx.
The building I designed in the 1980s is in the shape of a human brain.
1.)The programming of fear for the future through the media as through thugs from the Nazi era is deeply anchored in the German population and epigenetically networked with the then existing reasons of a better life in the Nazi empire and the falsely seen improved possibilities of the collective, the danger for one's own life through sympathy and closeness and to the ideas of the persecuted, with the possibility to spend one's life in concentration camps until death or murder.
2) In the connection between epigenetics and art, the failure of the politicians in power in 1999 to stop the Second Enlightenment by closing the art exhibition art open can also be seen, so that the old epigenetic imprint of anti-Semitism, racism and the exclusion of those who think differently could not be eliminated with the art formula. The formula eliminates through symbiosis all unnatural limitations of genetics, neurobiology, cultures, societies and between rich and poor or old and young. It is the symbol of a unification of opposites that enters the subconscious as knowledge and from here shapes conscious thinking. Selective perception is once again attuned to curiosity, creativity, innovation and evolution in thinking and the subconscious. "Rubbish information" that does not contain any innovation and knowledge about evolution or causes fears rushes through in the consciousness, does not find its way into the subconscious and can thus only form the thought nest of a depression, neurosis or IQ reduced and externally determined programmed view with difficulty because this information of evolution is not perceived as significant by the selective perception after knowledge and even contradicts it. A global introduction of the art formula would dissolve racism in every country (and every country has its own history) as well as anti-Semitism and fascism through the epigenetic abolition of the demarcations within art and art to man through more creativity, intelligence and empathy in the populations.
3.)According to new, neuronal and epigenetic research results, the stored creativity from the artworks is transferred to the population through art recognition via mirror neurons in the brain, counteracting the reduction, dissociation and limitation of mind, empathy as well as genetic-psychological abilities. Eric Kandel received the Nobel Prize for Medicine in 2000 (together with Carlsson and Greengard, concerning the transmission of signals in nerve cells). Further research results on the interaction of mirror neurons in the brain with genetics and epigenetics confirmed the statement years later: information, art and imagination develop the epigenetic restructuring of the gene programmes so that we can develop prosperously in the changing environment.