To Be Seen & Unseen is an attempt to travel beyond the linguistic barriers and national boundaries. It uses artistic expression and intercultural dialogue to overcome the prejudices and limitations of language and the ignorance of the other. In this context the walk also functions as a performative mediation where dialogue and exchange generate the marking of a phenomenological path. Now, perhaps more than ever, there is a need for ”movement, sensation, and qualities of experience” to be put back into our understanding of embodiment. Contemporary society comprehends bodies, and by extension the world, almost exclusively through linguistic and visual apprehension. Bodies are defined by their images, their symbols, what they look like and how we write and talk about them. To Be Seen & Unseen, “engages with continuity,” to encourage a processual and active approach to embodied experience. With this walking performance I propose to let our theories ”feel” again by extending Husserl’s account of the lived body (as opposed to the physical body), and drawing from the notions Merleau-Ponty resisted regarding the traditional Cartesian separation of mind and body. For the body image is neither in the mental realm nor in the mechanical-physical realm. Rather, my body is, as it were, me in my engaged action with things I perceive including other people. Merleau-Ponty succinctly captures his embodied, existential form of phenomenology, writing: Insofar as, when I reflect on the essence of subjectivity, I find it bound up with that of the body and that of the world, this is because my existence as subjectivity [= consciousness] is merely one with my existence as a body and with the existence of the world, and because the subject that I am, when taken concretely, is inseparable from this body and this world. 
Merleau-Ponty, M., 2012, Phenomenology of Perception, Trans. Donald A. Landes. London and New York: Routledge. Prior translation, 1996, Phenomenology of Perception, Trans. Colin Smith. London and New York: Routledge. From the French original of 1945.