The philosophies of Friedrich Nietzsche and Sri Aurobindo Ghose are instructive examples of philosophy becoming artistic in its style and way of thinking. Both used artistic practices and poetic modes of writing in their philosophical works and also developed philosophical concepts of a philosophy of a future, in which a new kind of philosopher will be historically forced to integrate artistic practices into their way of thinking to trigger sensible modes of thinking, in which thoughts are constantly aligned with one's own feelings and taste. As if a thought must be not only logically, but also sensually coherent to be accepted as true. Nietzsche consequently distinguished the promised species of artist-philosophers with their converted sensitized hearts from their classical ancestors, who practiced an ascetic, rather than an aesthetic mode of thinking. In the second part of my performative lecture I will juxtapose Nietzsche's concepts of the artist-philosopher and his aesthetic image-of-thought (Deleuze) with the ancient Vedic concept of the Kavi (poet), who was considered also to be a seer. Aurobindo therefore translated the word Kavi as poet-seer. It was believed that the Kavis, driven by their poetic genius (pratibhā), were the bearers of a gnostic consciousness (vijñāna) that allowed them to see satyam, the truth of being, directly. The famous creation hymn (Ṛgveda 10.129.1-5) emphasizes that they have entered the gnostic plane-of-awareness by virtue of their rigorous mindful research into their heart (hṛdaya). The awakening of their gnostic heart released the fiery rivers of clarity within them, allowing them to glimpse satyam. A revelation that goes hand in hand with the feelings of righteousness (ṛtam) and brightness (bṛhat). It was this conversion of their heart, that gave the ancient arts a sacred character. In such events, something healing happened.