i = E = MC2

Research panel
Formula symbols
in works of art by
Dieter W. Liedtke

Scientific Advisory Board of the New Renaissance i = E = MC2  Art World exposition Trust Avenida Roosevelt Edeficio Stradivarius, apto 1605, Punta del Este-Maldonado Uruguay

Punta del Este 25.3. 2024

Art historical and scientific expertise on works by the artist Dieter Walter Liedtke

I hereby acknowledge the following essay on the art exhibition “New Renaissance i = E = MC2 ” of the Museum Fundaci├│n Liedtke from February 2024 as art-historically well-founded and scientifically substantiated. The new scientific findings in Dieter Liedtke’s artworks presented in his exhibition demonstrate a new step in basic research, provided that the premises presented in the works can be confirmed as empirical and evident through further research. His works also document ground-
breaking innovations in the fields of art history, philosophy, the natural sciences and medicine. Liedtke opens up new horizons for research and art, as the art historian, President of the German Art Critics’ Association and Director of the Ludwig Museum in Cologne Prof Karl Ruhrberg explained in a 1997 essay on Liedtke’s works.

With the exhibition New Renaissance i = E = MC2 , the artist and curator Liedtke has created a consistently new image of our world from an art-historical and scientific perspective in over 50 years of work. The art historian Prof. Dr Harald Seemann – Director of the Documenta Kassel, Lyon Biennale and Venice Biennale – described Liedtke in press conferences in 1999 as an “inventive artist, creative through and through and a work of art”.

In his works, Liedtke presents a radically new philosophy of consciousness. In them, a revolutionary holistic theory of information emerges that has overcome the scientific separation of mind and matter as well as dualism in philosophy. His work documents the connection between quantum mechanics and the theory of relativity as well as the networking of information that influences each other in a holistic
holistic evolution – which he calls haemological evolution – with a new dimension of zero. According to his works, this overall evolution of information is based on an ethical, system- and species-preserving law of a conscious universe, with a natural intelligence programme, direct democracy and eternal existence without beginning. According to Liedtke’s work, this foundation establishes “existence in the now” as co-
creators and obliges us to shape the world for all participants according to ethical,
species-preserving principles.

Liedtke embodies an unprecedented synthesis of Leonardo da Vinci, Georg Wilhelm Friedrich Hegel, Albert Einstein and Joseph Beuys.
This characterisation of Liedtke’s synthesis deserves a brief explanation.
Leonardo da Vinci – Liedtke
Liedtke shares a passion for innovation with Leonardo da Vinci. The works of both artists can be understood as records of innovations and solutions. Both Leonardo and Liedtke came from humble social backgrounds. Both are not only artists, but also researchers, scientists, inventors, master builders, authors and philosophers and developed their knowledge through self-study. Like Leonardo, Liedtke devoted
himself to technical development solutions and the further development of art. Leonardo offered his innovative services to the princes and patrons of his time. From the age of 16, Liedtke presented his developments and the “inventions to order” service to companies at home and abroad in order to earn a living. Marketing his own technical inventions gave him financial independence at the age of 27. This
enabled him to see himself as a patron of his own research and to pursue art and his obsessions with knowledge through works of art and studies independently of patrons: evolution through innovations in art history, philosophy and the natural sciences. Through further art historical studies, he documented the innovations of his work in art history, medicine, philosophy, the natural sciences and the development
of the Enlightenment in catalogues. In between, like Leonardo, he developed new ideas. Including patents for wind energy generation and sustainable engines. Based on his works of the 80 years about genes, neuronal and epigenetic imprints, he developed health-promoting and cell-rejuvenating computer programmes in the 20 years of studying his work. In the art movement of “Concrete Evolutionism”, as he
calls his art movement, which is based on the essence of the Renaissance, qualitatively condensed and further developed in terms of creations and humanism, he presents a new image of man and his social systems in series of works.
Georg Wilhelm Friedrich Hegel – Liedtke
Liedtke recalls Hegel through his profound philosophical thinking, in which he developed the Hegel-Liedtke graphic art formula in 1988, a marker symbol for creativity in works of art, as well as Hegel’s dialogue, which he transfers to creation, time, space, energy, matter, the universe, man and his social systems. For both Hegel and Liedtke, the development of new philosophical ideas and theories takes
place in the creative process of the works and through the intuitions of the statements already made in the works. For Liedtke, these works and pictorial observations give rise to new philosophical, theoretical and work causal chains, which he combines through processes of symbiosis and synthesis into innovations in new works and chains of thought about the world and curates in the exhibition into
an anticipatory Hegel-Weltgeist.
Albert Einstein – Liedtke
Like Einstein, Liedtke is concerned with innovations and the gradations of their creative heights. Einstein on the side of the authorities as a patent office employee in Bern and Liedtke on the free inventor and artist level. In Liedtke’s concept pool of artworks for physical innovations, he, like Einstein, develops new theories and ultimately a new theory of information, which he outlines in his works and combines
quantum mechanics with the general theory of relativity. Liedtke uses Albert Einstein’s famous formula for this: E = MC2, as a basis and adds an i to his equation to form: i = E = MC2 or i = E. By introducing the i (for information) into this formula, he, like Einstein, draws a physically new picture of the universe and solves the paradoxes that have arisen for Einstein and physicists for over 100 years to date. By
synthesising Einstein’s formula, quantum mechanics and his small added i, he leads to a holistic theory of information through his works of art.
Joseph Beuys – Liedtke The connection between Beuys and Liedtke can be seen not only in the ideas and works of these artists, but in particular in their endeavours to integrate art into life and society: To integrate art into life as well as society and to democratise art as creativity and capital. In his 1982 book “Das Bewusstsein der Materie” (The Consciousness of Matter), Liedtke presented the art-historically
evidenced and empirical art theory of a formula of innovation that applies to all the arts. After discussions with Joseph Beuys in 1983 and 84, he developed his Hegel- Liedtke graphic art formula on Beuys’ behalf until 1988, which enables the transfer and democratisation of the complex topic of creativity and art to society using simple graphic symbols of innovation and creativity from works of art. Liedtke then brings
the art formula into society as a legacy mission of Beuys, who died in 1985, in his expanded art concept of “social sculpture”. Liedtke initiated the process of the democratisation of art with the exhibitions “Kunstformel 1989” and “art open” 1999 in Germany, the Liedtke Museum in Puerto de Andratx and through his books, art catalogues in English, Spanish and German, press publications and exhibitions in
Spain and Italy.

With the ten most valuable Liedtke key works in art history, which have an art- historically certified value of 13 billion US dollars and are available as guarantees to the Artinvest Trust Uruguay, Liedtke is developing new ways of capitalising on art in the spirit and on behalf of Beuys. He is thus completing the work of Beuys, who said: “Everyone is an artist” and “Art = Capital” and that everyone can transform art and creativity into capital and freedom. The Liedtke collection of key works thus serves the double Beuysian purpose and as the foundation for the first artwork guarantee “Artinvest” and a global “art exchange”. The collection is democratised through crypto Art Coin investments and the owners of the Art Coins can participate in art- historically secured and certified works of art. Liedtke’s aim is to enable better wealth creation and distribution among the population through small, fragmented Art Coin artwork shares with guaranteed profits from the high price increases of certified artworks and art collections and the capitalisation of creativity. With Liedtke, Beuys, his art and the appreciation of the value of creativity have also arrived in the breadth of society or social sculpture.

New works, new paths With the symbiosis of his four spiritual ancestors, Liedtke enables permanently repeating future openings into the overall work of art of a constantly reshaping evolutionary world through new concepts and strategies for the global realisation of an open future and ethical world.

The exhibition and neurobiological research also show that creativity can be transferred from the works of artists in museums to the viewer through the graphic art formula. According to Liedtke, it is the promotion of creativity that makes sustainable, peace-oriented, free and evolutionary as well as more just and prosperous social systems possible*

However, the graphic art formula and neurobiological research also document a humanistic and species-preserving evolutionary function of museums for the development of an ethical and healthy society and our global future, which goes far beyond the presentation of works of art (see also the scientific studies that Liedtke’s works have been actuating for decades).

In collaboration with twelve museums presenting his exhibition, Liedtke is curating the world art exhibition New Renaissance i = E = MC2 , which will take place on four continents from 2027, and is launching the Gesamtkunstwerk of an ethical, holistic recovery that will open up a long overdue path to a new future for global society and young people in particular.

Michael Gorbachev in a letter to Dieter Liedtke:

“I hope that your pioneering approach will contribute to a wider direct acquaintance
of many people with art. I think it is a particularly important and noble task in our time.”


Michael Gorbachev

Nobel Peace Prize Laureate Patron of Liedtke’s 1999 World Art Exhibition

Decades ahead of the world art exhibition New Renaissance i = E = MC2 , his works are among the most innovative and valuable works of art of the highest quality that art history has produced to date. Liedtke’s works, through their innovations, innovative heights and art-historical value, have opened up paths to a new level of evolution in the history of mankind for art and an ethical society.

Liedtke goes further, as always, and sends an architectural signal to the newly dawning ethical age with the “Globalpeace Campus” peace symbol he has designed, and gets to the heart of the future:

In every baby, in every person, there is a genius or Leonardo da Vinci genetically and neuronally. However, we should not, like Leonardo, keep our creative insights in mirror writing and coded or, like rulers, keep their knowledge secret from the population, but rather form a “we” with all people. Because this genetically present Leonardo can be reawakened in every human being through the transfer of
creativity, with the art formula, from works exhibited in museums, neuronally through the mirror neurons and epigenetically existing gene programmes. Creativity is an automated natural genetic process that is stimulated by knowledge, activated and shaped by newly forming neurons and networks as a process of evolution set up in nature for the preservation of the species. When this happens on a global level, we live in the best of all worlds.

His works are characterised by an unprecedented level of innovation of outstanding scientific, philosophical and art-historical quality. With his works, he introduced a philosophy of consciousness and, through his holistic information theory, abolished the dualism with the separation of mind and matter. His work also proves that idealism, innovation, i.e. information, is the basis of all existence and evolution.

“Dieter Liedtke’s artworks have a mind-expanding effect.
Functions. They open up to the viewer, art historian and researchers a new world.”

Prof Karl Ruhrberg 1997

Art historian and art book author former director of the Museum Ludwig Cologne
President of the International Association of Art Critics (German Section, AICA) and consultant and collaborator
the Liedtke art open exhibition in Germany 1999 (see Wikipedia)
The internationally renowned art historian and philosopher Niklas Luhmann

Niklas Luhmann Dieter Liedtke

“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 present.”

Prof Niklas Luhmann, 1996,

Social philosopher and systems theorist, honorary doctorates from the universities of Ghent, Macerata, Bologna, Recife, Guadalajara,
Lecce, Leuven and Trier. 1997: Amalfi Prize. 2000: Renaming of the St├Ądtisches-Gymnasium Oerlinghausen to Niklas-Luhmann-Gymnasium.
Advisor to Dieter Liedtke for the world art formula exhibition “art open” (see Wikipedia)

Research panel Formula symbols in works of art by Dieter W. Liedtke