ON ART:

Edward De Bono in his book I Am Right You Are Wrong write that art is directly concerned with redirecting existing perceptions and changing them, but does not encourage perceptual skills. In the end art is a form of communication while in his book Water Logic he writes that art need to highlight, to deepen perception and to open up insights. This is done by disrupting the patterns, by juxtaposing patterns by providing new pattern framework and he give us the example that when anything new arise such as Impressionism it was first was judged ugly, hideous by most art critic. This was because it was “ugly” when viewed through the frames of expectation of existing and traditional painting. He continues that people had to be trained to look at the painting in a different way to appreciate their beauty. Carrying this to the extreme is Andy Warhol Brillo Boxes or put a pile of scattered bricks in an art gallery and you ask the people as a work of art then they really do become a work of art. Our normal perception patterns treat bricks and treated the Brillo boxes as mundane material but if we break the loop of our perception pattern we see them differently but still keep a faint echo of their constructive value. This is because when we explore a rouse clearly we set perception but then we pass that perception as we just see it and put it somewhere generally and we don't break any pattern anymore. 

Meditation what it does is halt the flow of attention and unravel the stable perceptual loops Edward De Bono writes in Water Logic such as poetry.

Jean-François Lyotard in particular discussed the sublime. The "sublime" which is a term in aesthetics revived again under post-modernism after a century or more of neglect. It refers to the experience of pleasurable anxiety that we experience when confronting wild and threatening sights like, for example, a massive craggy mountain, black against the sky, looming terrifyingly in our vision. He also found particularly interesting the explanation of the sublime offered by Immanuel Kant in his Critique of Judgment. Sublime, were our sense of physical danger should prompt an awareness that we are not just physical material beings, but moral and (in Kant's terms) noumenal beings as well. The body may be dwarfed by its power but our reason needs not to be. This explains, in both cases, why the sublime is an experience of pleasure as well as pain. For Lyotard, in Lessons on the Analytic of the Sublime, but drawing on his argument in The Differend, this is a good thing. Such generalities as 'concepts' fail to pay proper attention to the particularity of things. What happens in the sublime is a crisis where we realise the inadequacy of the imagination and reason to each other. What we are witnessing, says Lyotard, is actually the differend; the straining of the mind at the edges of itself and at the edges of its conceptuality.

Thus in the end Ludwig Wiggenstein was right in his Culture and Value while Wittgenstein also turns to the idea of a science of aesthetics which the Six Thinking Hats permits us. Scientist also have flow experiences in the end such as painters and any person that have a passion of what he is doing. While Eli Siegel, American philosopher and poet, founded Aesthetic Realism, the philosophy that reality itself is aesthetic and that "The world, art, and self explain each other: each is the aesthetic oneness of opposites." And so with such a new attitude science will not remain a methodology for testing beliefs driven mainly by the "cause and effect" idiom created by Immanuel Kant Edward De Bono stated when he wrote the book I Am Right You Are Wrong and thus I add using these method thus science thus not remain weak on the perceptual side in the end and also becomes a form of art.