Art Formula and Evolution 2020
Dieter W. Liedtke
ES-07157 Puerto de Andratx Mallorca
(Released for publication free of charge with pictures and graphics).

Introduction: Part I
What is art and does it have a meaning?
Are works of art just the king's new clothes, image and marketing or is there something behind the clothes that is to be hidden from the population? If everything is declared art, the contents become blurred and the clothes continue to take shape through the mental fog.
Has it not yet occurred to anyone that the mental effort with which the obfuscation and sensory deprivation that is practised for modern art is an alarm signal that shows that there must be more behind art, especially since dictators and their state propaganda departments with statements similar to those of today's art protagonists only intensify their influence on the populations with gloating and discrediting of modern art, up to and including the exclusion and punishment of the artists. Is art only used to speculate and make money? But then the question of the meaning of art remains open, why this tabooing effort by the state and art historians? What is wrong with it? It doesn't make sense to spend so much effort on propaganda by art historians and art magazines or by the state, even in school lessons, if there is nothing to discover behind art.
Does the sensory deprivation of art nourish an egoistic class consciousness with conceit and exclusions, or does it only obfuscate the real greatness of the human spirit, the art observer? Now that religions are less and less able to fulfil the task of subjecting their followers to God's word and church dogmas through the results of scientific research, is the educated bourgeoisie to be educated into disoriented, helpless believers in the state with the help of art? Can art historians become the new priests to whom the word must be believed unconditionally, otherwise the apostate and those who are not conformed to and subjected to its spirit will be excluded from the community of art and educated citizens. 1.)
Is it all just theory?
Or does art have a secret, scientifically and empirically comprehensible purpose for the development of our society or is it just that school systems (introduced at the beginning of the industrial age) are outdated. Is it perhaps even the case that both are true?
If one can prove the existence of an artificial formula, everything speaks for the fact that we are epigenetically manipulated.
These are the questions I wanted to explore in my search for an art formula, also on the basis of new neurobiological research findings.
My search for a formula for all the arts was rewarded in 1979, but it was not until 1988 that I had finally implemented the art formula as a graphic symbol for human creations, (which corresponded to Joseph Beuys' request to me in 1984 to explain to everyone all human creations, i.e. art across all epochs, in a very simple, clear and easily comprehensible way). In the book "Der Schlüssel zur Kunst - Kunsträtsel gelöst" (The Key to Art - Art Riddles Solved), I presented the art formula for subjective and objective art to the public in Germany in 1990.

Life + expansion of consciousness=art

(Formula rocho amarillio)

Objective art is everything that produces new objective cognition in art history, which through the work as a newly conceived, as a recognised or as yet unrecognised innovation in form and content, as well as through the history of art through the innovations in the work in the documentation of the evolution of art as cognition can be empirically proven by every observer of art history with the new work. This process of testing the innovations and the new neuronal networks does not only take place in the brain of the subjective viewer through the art formula, and is thus also of subjective effect, but is objectively documented in natural science through the innovations in art history, since the works of art publicly display the process of knowledge of the innovations in their history outside the brain of the viewer in the museums. The works in the museums thus document the objective art process of the evolution of art history. Accordingly, everything that can add innovations in form and content to art history can be objective art. Through the transmission of recognised creativity, the consciousness or IQ of the person who understands art is simultaneously developed through millions of new neurobiological networks in the brain. If this process is transferred to the population with the art formula, we get humanistic and economically prosperous, democratic societies.

Subjective art = innovations in art history / change in art history / a change in the consciousness of the viewer is possible through objective art, which, however, can trigger different subjective changes and insights in each viewer.
Subjective art is what is declared as art by art experts (without being objective art) or is perceived as art by the viewer and subjective experiences independent of art history for the consciousness of the individual, which triggers new thoughts in the consciousness of the viewer through what is perceived or through the work and enables reinforcing or new neurobiological brain networks through the mirror neurons.
Subjective art = decoration, non-art, copy = no innovation in art history / A change in the consciousness of the viewer is equally possible through subjective art. It is therefore up to the evolutionary state (which innovations of artworks the viewer is aware of) of the insights and images of the viewer's consciousness whether an innovation in a Subjective Artwork is recognised by him as new information. It is a biological evolutionary process: only new insights change the neuronal networking of the viewer.
Subjective art and objective art can trigger individually different thought processes and neuronal networking in each viewer. In contrast to objective art, however, in subjective art this artwork process can only be determined subjectively, primarily by the viewer himself or by new imaging procedures of the brain of the recognising viewer or by IQ tests of the viewer.
In Objective Art, on the other hand, the information of the innovation in the work of art is publicly and scientifically empirically available and comprehensible to all people in museums through the work itself and art history. To this end, the key to understanding the arts (an ABC theory of the arts and a graphic formula of the arts that can be easily understood by all people) as well as the information that understanding the arts is not a bread and butter luxury but immediately produces neuronal improvements in creativity, intelligence and health as well as a developing prosperity, has been lacking, favouring the establishment and maintenance of dictatorial systems of power and to the detriment of democracy.
The law of art is:
"The dissolution of the be-limits of the arts and art history or consciousness through art."

The law of art and the development of societies
"The public application of the law of art brings about the dissolution of the limitations of creativity, intelligence and health, and prosperous welfare in societies."

"The higher level of art is made clear by Hegel's dialectic with thesis, antithesis and synthesis applied to art in every work of art and thus itself constitutes a work of art as a process made visible in the picture."
To this day, the formula has not been published in Germany or introduced into the school curriculum.
Blocking the creativity of the population by not introducing the art formula and allowing the IQ to be reduced by information that spreads fear 2.) hinders democracy, evolution and the spiritual development as well as the prosperity of a people. The politicians act consciously or unconsciously by omitting to help as well as aiding and abetting not only against the Basic Law or the constitution of their country, but also against the "rules according to higher law", which ultimately stands above the legislator and led to the conviction of the Nazi criminals in Nuremberg.

Politicians and individual media could be held responsible today by the published research results in neurobiology and epigenetics for covert and active aiding and abetting slavery, exploitation, deprivation of liberty and bodily harm to the brain and violation of the "Rules according to Higher Law",

a. when media information that makes people ill and shreds the IQ by generating fear is disseminated without warning labelling (labelling and warning as with tobacco products),

b. if the repair of neuronal networking through art recognition and a restoration of people's health, creativity and increase in IQ is prevented by the art formula.

The correlation that emerges:

IQ lowering through negative information
plus shutting down gene repair and creativity transmission through the art formula creates societies with creativity locked in perpetual fear.

Politicians and the media are amazed
that in other countries, such as France and the USA, populism and racism, religions and segregation from other people are also gaining ground with the lowering of IQ.

Time headlines on 28 March 2019 and wonders:

"We used to be smarter. For decades, IQ rose in the industrialised nations, including in Germany. For some years now it has been falling. WHY?"

The reverse Flynn effect occurred. James Flynn discovered in the 20th century that IQ in industrialised nations rises every year. Apparently Germany is epigenetically blocked from recognising the art formula. As the IQ editorial by Nataly Beuel, Nike Heinen and Tanja Stelzer in the weekly newspaper "Die Zeit" clearly demonstrates. Despite all the research results from epigenetics, the art formula and its positive effects are still not reported on in Germany. In Spain - at least regionally - the formula was reported on in detail as early as 1992 and its principle was explained by a newspaper in 52 weekly articles under the title "Art Puzzle Solved".

At first I had to understand why - without a conspiracy theory and without conspiracies - we are running up against a dark wall in intellectual development, not only in Germany but also in other countries. As early as 1910, in his book "The Spiritual in Art", Kandinsky called this ethical evolutionary barrier against prosperity and against positive development for all people "the black hand".

Society, the media and politicians are in principle innocent of this, since one can assume that their actions are not clear to them and are thus not consciously controlled by them. There is also no collusion or tacit agreement in the interest of any secret groups to hinder the mental development of the population in order to exploit them better or to keep them incapable of thinking, to misinform them mentally so that they can be manipulated and used as an electoral mass in almost any direction with the help of the media. Parliamentary democracy was the most important step towards a better world with direct democracy until the development of the internet today. An attempt by the parliamentarians or the parties (as in dictatorial systems) to block the IQ of the population through fear and access to the new innovative works of art through false information so that they maintain their legitimation of rule for 1000 years and want to prevent a direct democracy is not recognisable. However, it is not possible to explain why the knowledge of what art is and that, despite this, 100,000s of art and copyright lawsuits all over the world in all the arts do not convey this empirically for all works of art legally as well as art-historically.

What is the attitude of those involved in the established art market to the publication of the art formula?
Art critic Kenny Schächter explains in the Arte film (from 2017 directed by Grit Lederer) about the international art dealer with 14 galleries; Larry Gagosian. Kenny Schächter's film quote:
"In the art world, it is still like in the mafia when the omerta is pronounced there.

"the secrecy" like in the mafia, there are rules that no one talks about. The art world turns over 60 billion dollars a year. Probably the biggest business with the least information about how the mechanisms work. Larry Gagosian the art dealer in the film: "If people don't understand that, they're not part of this world." (Omerta is the Mafia's code of honour. Mafia proverb: "He who is deaf, blind and dumb lives a hundred years in peace.") The reaction of the protagonists of the art market is that they are not only violating human rights and laws as well as contradicting the educational mission of museums, but that they are also thinking too short-sightedly and acting against their own profit expectations as can be seen in the comparison with the growing book market through the internet. The initiated art dealers see the art market as their own sealed-off monopool business and believe they have to protect the resulting profits through secrecy from an easy-to-understand art formula. This is selfish and hinders the development of creativity in the population. In addition, it is counterproductive and wrong for the development of the art market, because with a global opening of the art market to the population through the art formula, the market for artworks, artists and creative products will increase a hundredfold due to a higher demand as well as the prices for Objective Artworks (innovative real work of art history) and Subjective Artworks (decoration). The markets will separate into Objective and Subjective Art but both will grow faster. In order to open the way to art for museums, art lovers and the general public, the Fundacion Liedtke has developed an art certificate called "Artinvest" which, based on the innovations in the work, clarifies whether the work in question is a genuine work of art (objective art) or decoration (subjective art). (see also: www.freebocks.gratis)

But you have to dig deeper than the art market into behavioural research,
if you want to know why we are conditioned to a blocked access to our genetically available creativity. It turns out that even in the school system creativity is not represented or is misrepresented. Art is celebrated as a stroke of genius and not documented and trained as a learnable innovation process. An art formula that opens up easy access to the selective perception of innovations even for children (children are born as learning geniuses with their brains already finely wired) is withheld not only from children but from populations as a whole.

The genius in the child is being maimed or killed off with the 18th century information system. How much brain resources and sustainable innovation is society losing along the way?

It is evident that even in the art academies, the process of creation through an art formula is not taught, but the techniques of the past are in the foreground. The breakout to create art, to be creative, is very difficult for students under these conditions.

Engineer of innovations?
At universities and colleges, innovation engineering based on the formula is not taught. The student cannot acquire an engineer's diploma or a Dr. of Innnovations.

But just as in the 15th to 18th centuries, with the printing press, the population taught itself to read and write, an overall view of creation and innovations as well as their evolutionary continuation will be learned by the youth on the internet with the selective view of the formula in self-study. The spreading hyperactivity - as a way out of the old values of society that are in upheaval - comes to its aid.

What is the point of the old teaching technique.
Wrongly taught policy makers trained in the same system are doing a disservice to the state and the people by teaching the limited and administered in the Pavlovian system of
educational content (which began with the industrial age - thank God - and trained workers for the machines, but for the present time, for lack of future concepts, because you have not been trained in the application of the creativity formula itself). The old school concepts will not be sufficient for the new era that has dawned to provide all people with prosperity, health and to realise a democracy that guarantees human dignity.

Will there be more social unrest in the medium term?
What are people supposed to do in the future whose creativity has been suppressed by the state and its school system and machines, computers, and ever-evolving programmes take over the permanently repetitive work?

We have only one option if we do not want to sink into revolutions, wars of distribution and divisions of societies with backward-looking or right-wing ideals:
Open up creativity with the art formula in schools and among the population,
label fear-producing, negative media information (like tobacco products),
ensure a basic level of prosperity for all people.

Research results show: Genetic and cognitive abilities are inherent in everyone's genes to revive their genius. The average IQ in populations will rise again.

The effect of the revival of man's genius abilities can be seen within three to six months.

Politicians still believe (despite experience to the contrary with the internet and social media) that too much creativity in the population will throw the state (or politicians) into chaos.

It doesn't. The opposite is the case.
States and companies are prospering with a power for the future that was previously unknown, as we can see, for example, in the internet companies. This can frighten those thinking in the old school system and lead to lockdowns. To the new-thinking person, it brings joy and opens up the future. With a basic income, people will only take on work that they see as pleasurable or meaningful. In Germany today, 5 million people already do voluntary work. People's weekly working hours are decreasing, as we can see from the figures of the last 100 years. The state will have to move away from the companies being the controllers of working hours and the "tax collectors" for the workers and employees. New models of work will be developed that capture inclination, sense-making, working hours, education, current mental and physical state, accountability via shared metadata, and the privilege of working for the common good by allowing employees to regulate and allocate their own working hours as they see fit. Here, too, online companies can already draw on experience. Work becomes a hobby and a reward. The first approaches to this are the NWoW - New World of Work or New Way of Working.

The art formula is being introduced in school lessons. The constitution or the Basic Law guarantees creative protection and includes the right to be educated with the art formula as well as that negative brain-injuring IQ reducing media information, films, photos and games must be marked and may not be mixed with normal information as articles in the constitution or the Basic Law.

The new national sport is called inventing, making art and developing new better sustainable and ethical concepts for today and tomorrow. Be creative, become creators and lead a meaningful life as well as materialise positive ideas and bring them into the world.

Dieter Liedtke

1) As in the Middle Ages: The Church had claimed the sovereignty of interpretation and the sole claim to represent creation. The believer had to believe. Nothing more. He had to submit his mind to the dogmas of the church. If the self-thinking or free-thinking person did not submit, he was excluded from the religion as a heretic or burned or executed in some other way. The history of the Church also shows that the highest representatives of the faith distanced themselves from creation through dogmas and the interpretations of faith in the times of the Inquisition, contradicted creation in its essence and dissolved creation with the interpretative sovereignty they claimed in this world. The spiritual and health development of the population in the Middle Ages stopped or declined. This could only be ended with the long process of the Enlightenment and the revolutions because the populations taught themselves to read and write from the beginning of printing until the end of the 18th century.

Today, the non-believer in art who doubts the words of art historians: "That there is no simple way and no art formula for the understanding of art for the population, but only the belief in the definitions of a certain work of the art historian produces art" and expresses this is subjected to a kind of bullying or ignorance process. But this also proves the art historian's claim to sole representation and sole interpretative authority for human creations and will lead, not least through arbitrariness, to limitations (instead of freedom to the essence of creation) in the production of works of art by artists, the evolution of art history as well as IQ development and the power of innovation in the population.

Art historians do not deny that art is creation. However, a distinction must be made between objective art that contains information that is new in the history of fine arts and represents an evolution in art history and works that do not contain any innovation in terms of art history but only evoke or trigger new individual information as a subjective work of art in the various viewers worldwide. No work of art history, no objective work of art, is created by a subjective interpretation of the art historian or the art observer of a subjective work of art in the visual arts if the work itself does not exhibit any innovations in the visual arts. Subjective + Subjective = Subjective Work of Fine Art. In contrast, a subjective interpretation of a work of visual art that has no innovation in art history itself can be an Objective Work of Art in literature through its interpretive textual innovations.

The interpretations of artworks can establish an art movement in literature, but they cannot identify subjective art, copies, plagiarism, and decoration of visual art as Objective Artworks because the works lack the necessary two interlocking and mutually justifying innovations for Objective Artworks of form and content.
The dividing line that provides clarity in the visual arts is between Objective Art and Subjective Art, and between the visual arts and the literature of "interpretive art" as a possible independent art movement. Art historians should know these dividing lines through their studies, otherwise they have not paid attention in class. For those art historians who are aware of the dividing lines in art and do not take them into account in their interpretations and do not publish them in their evaluations of works of art, this is fraud through misinformation and in the overall context of genetics, epigenetics, health, democracy and freedom as well as in relation to social development; ASOCIAL as well as aiding and abetting slavery and exploitation of the population and violates the German Basic Law, the constitutions and criminal laws of most states as well as the UN Human Rights Charter.

This should not be misunderstood. All arts, art movements and art interpretations are necessary and important to pick up the society from their different levels of education and creativity, from their platforms of consciousness of their age, culture and previous education and to uncover and stimulate the innovative power or creativity in the population with the art formula for creations that transcends all platforms. However, this will not succeed if the boundaries of innovations, creativity and creations in the arts become blurred, since the genetically existing, selective perception for innovations cannot grasp or comprehend them and thus the mirror neurons in the brain cannot fulfil their task for the preservation of the species and the evolution of man to become more creative himself by adopting understood innovations. The fog of arbitrariness, which contradicts the inner core and principle of creations, dissolves through the comprehension and application of creative power in the consciousness of the art observer through the blurring of art boundaries mixed with false information. According to Joseph Beuys, for our further evolution of society (social sculpture) we need a clearly defined art formula that makes the creation in the work visible to everyone in the simplest way. Since the state, the school systems and the classical media have not published the art formula until today, further enlightenment can be provided by the art exhibition with the formula i = E = MC2 and presented in the new media.

Just as people had to teach themselves to read and write without state help for over three centuries after the printing press, the populations of the countries will liberate themselves from the neuronal transmission of creativity through the art formula with the help of the new media. This will not be another process of over 300 years but can happen in every country with the exhibition in the museums or with the help of the new media with the art formula in 3 months.

With the transfer of creativity and creation to the population, aggression, depression, illness, poverty, war, terrorism, fascism, racism, exploitation, exclusion and crime will be further dissolved. The holistic education, humanism, health, prosperity and freedom in the populations grows clearly measurable in a few years and gives democracy the decisive renewing power for an ethical holistic future for man and nature.

2) Information that permanently generates fear of the future causes mutations in the nerve cells - the IQ of the recipients is temporarily strongly, but latently permanently lowered in small steps despite the Flynn effect. See also the scientific research studies on the Internet on: Anxiety, Depression, Chronic Suffering, Aggression, Suicide, IQ Lowering, Terrorism, Wars and Genocides.

In 2020, the Fundacion Liedtke will begin an independent scientific study lasting many years, which will summarise the conglomerate of causes and their effects, as well as the interaction of the various fears and creativity blockages on humans from numerous scientific empirical studies. The content and aim of this study is a catalogue of countries that records and classifies the states of fear and impediments to creativity in the populations and puts them in relation to the human rights granted in the country, the average IQ of the populations, suicide cases, crime, racial and xenophobia, populism, the freedom of the media, the results of the Pisa studies in relation to the democracy and politics of the country and evaluates them in order to gain new insights and solutions on how we can shape the world more ethically and how all people can live better in it.