Art and healing
Art and healing
Culture as medicine ...? - Is there a connection or even better: can this connection be scientifically proven or even shown in art exhibitions?
A revolutionary exhibition under the title "i = E = MC2" shows for the first time works of a Second Enlightenment, which document - according to the artist - that the healing of man and society is achieved through the understanding of creativity and the transmission of knowledge, through their neuronal and epigenetic effects, which enable an ethical evolution of our social systems and a positive future.
We get to the bottom of this statement by the curator and artist.
For the development and mediation of creativity in the population, the German artist Dieter Liedtke has developed an art formula and an art exhibition on behalf of Joseph Beuys, so that the creativity stored in works of art is transferred neurobiologically and epigenetically into the genes and gene programmes of the viewer and thus to society by means of the game neurons in the brain. This principle and its functioning has been proven by scientific research, albeit decades later.
Together with consultants (as well as lenders of complete exhibitions and important individual works of art) such as Prof. Niklas Luhmann, Prof. Dr. Harald Szeemann, Prof. Dr. Müller Heuser, Prof. Karl Ruhrberg, Prof. Dr. Friedemann Schrenk, Prof. Dr. Manfred Schrey, Dieter Liedtke curated the art formula exhibition entitled "art open" in Essen/Germany at the time, which was held on 23,000 square metres of exhibition space and featured 1,000 originals of art history from European museums from the Stone Age to the 20th century. It was opened on 10 July 1999 and was under the patronage of Queen Sofia of Spain, Nobel Peace Prize Laureate Michael Gorbachev and the German Minister Dr. Nobert Blüm.
The "art open" exhibition was closed by the authorities on 15 July, after only five days, on the pretext of safety concerns.
Notwithstanding the correct rental and preparation of the exhibition area, the project was completed, depriving its potential visitors of the free experience of the most revolutionary art-historical exhibition of the 20th century.
This closure of the "art open" remained incomprehensible from a legal point of view as well as according to the German Basic Law, in which "the freedom of art is guaranteed". All the more so since the educational mandate of the German state governments, the free development of the personality, the freedom of research, the sciences and the arts are guaranteed not only in the German Basic Law but also in the constitutions of all democracies.
The open questions
Neither history, research and new social studies, nor books or the texts of laws could provide reasons or plausible explanations for the closure of such an exhibition dedicated to education and social enlightenment in a democracy.
The question remains: What has gone wrong in our development where, why and when, that an exhibition that is free of charge for the visitor to promote creativity, democracy and prosperity in the population is closed without the contradiction to the spirit of the laws, to ethical principles being noticed in public and the suppression of creativity being addressed, which leads to an obstruction of the further development of society and democratic evolution?
It should be emphasised that German media ignore the existence of the art formula to this day, even though leading art historians and museum directors from Europe have participated in the exhibition with original works of art on free loan, thus confirming its message, and the meaningfulness of the art formula has been clearly proven by art history for all its epochs.
The question of "why?" remains open for the time being, both for the closure of "art open" and for the rejection of the art formula and its potential. Both contradict the expectations of democratic states and the self-image of their media.
Back to the start of art
To find answers, to find possible origins, you can go back to the beginning of our cultural development: the Stone Age.
In the "art open" art exhibition of 1999, a supplementary special exhibition of voodoo art (with ceremonial performances by voodoo dancers and a medicine man from Benin) was shown to explain the Stone Age rituals. The aim was to use today's means and possibilities to give a face to the early history of mankind with its innovations and cults and thus to illustrate the beginning of a development that stretched from the origins of the rituals of light and creativity, through the epochs reified in exhibits, to the present.
This was not only the representation of the artistic and social evolution of mankind, but also the visualisation of the epigenetic development behind it, whose principle of action is expressed in the art formula. Human creativity is both its key and its medium; it is the source of cultural and social wealth and of total destruction.
In the "art open" exhibition, it was shown for the first time continuously for all art epochs, from the oldest evidence of human culture to the present, how works of art could and can also be interpreted as healing, tribal and ruling rituals.
It can be assumed that the shamans of the stone age were aware that only creative, new information and information processes could unfold the desired God-effect (as we know today: neuronal and epigenetic effects). Once these innovations had been used up as the basis for their effects, new creative key processes had to be developed consciously or unconsciously by individuals or the entire tribal community. In extreme cases, old temples and ritual sites were abandoned and buried, the ritual objects desecrated and/or buried.
On the basis of the cultural and civilising evolution and its innovations, on the basis of the exhibited original works of art in the "art open", in connection with the old, hitherto enigmatic cultural monuments and their new interpretation, anyone can use the historical data of the respective time epoch as well as the possible tribal or population controls by means of information and information rituals (up to wars) to understand the cultural and social history of mankind as a whole and to close their individual information gaps.
The supplemented concept of "art open" has been integrated in a new exhibition "i = E = MC2" of the Second Renaissance and Enlightenment that documents these connections and is to be shown as a touring exhibition in 12 countries with large populations. (see also the Liedtke Essays: I Art and Evolution, II Art Formula and Society, III The Second Enlightenment and IV Creation
Like Dieter Liedtke in the exhibition catalogue
"New Renaissance - The Second Enlightenment: i = E = MC2"
shows, for the first time the exhibits in the exhibition have made it possible to curate a coherent revolutionary General Information Theory, in which nature, the works of art and monuments of our culture reveal their secrets for shaping the future. Among them are for example
the picture caves,
the temples of Göbekli Tepe,
the Kreisgraben facilities,
the Stonehenge facility,
the pyramids,
the fog disk,
the spiritual symbols of faith,
the religions,
the works of art of all epochs,
health systems and their placebo and nocebo effects,
the media information,
the scientific theory of the conservation law of information,
the General Information Theory.
The German social philosopher Niklas Luhmann summarised his opinion of Dieter Liedtke's new theories on the evolution of social systems as follows:
"Liedtke modifies and dissolves the framework of known theories. His new scientific theories are both a condition and a product of their own operation. One might think of an evolutionary achievement which, once invented and introduced, makes itself possible. If one transfers the result to the system of modern society, which puts its structures into effect and out of effect through decisions, one sees a result of evolution".
Every information ritual, from early cultures and feudal systems to the health systems of modern dictatorships and democracies, proves that media information about the generation and control of fear or hope can manipulate peoples neuronally and epigenetically.
The knowledge about social and media rituals can make us aware of where we have taken an ethically wrong turn in our epigenetic development, contrary to our social imprint, and how negative information rituals have paved the way for the murderously selfish, only self-limiting thinking groups and systems (societies and states) acting in the same way until today.
The scientific discovery as well as the use of mirror neurons in the human brain documents that cognitively processed cognitive information for increasing creativity (especially through recognised creativity) can be stored epigenetically and used for the development of innovative thoughts. They prove the possibility of accelerating the mental evolution of humans and social systems. But a look at research and our history, from today to the Stone Age, also shows that and how the reverse path of state systems can be taken by media information to generate fear, to promote anxiety neuroses and anxiety hysteria in populations. It shows how division, encapsulation and separation of people, fragmentation of groups, is connected with a reduction of IQ, creativity, empathy and tolerance and was used to expand positions of power.
The possibility of designing neuronal networking as well as epigenetic gene programmes and the resulting behaviour through information has been confirmed many times in the new millennium by empirical research results in genetics, epigenetics, neurobiology, behaviour and evolutionary research. As a result, there is a ray of hope, a new and conscious way to make the world a lasting paradise with a respected nature and environment, to create a Second Enlightenment for a growing world population with growing creativity and new sustainable resources for all people.
What is needed now is action, development and implementation.