By Marcus Cheng Chye Tan (auth.)
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In addition, this return must attempt to dissolve the dichotomies of mind and body. A bodily phenomenology advances while subverting the Husserlian concepts of the noema (object-as-it-is, object as-it-isintended) and noesis (object as product of intentional consciousness) by refiguring their juxtaposed positions. The object is as much as it is the conscious intentionality that prescribes its is-ness. Likewise, to return to the classical Cartesian dichotomy, the mind is as corporeal and the body is not merely what is physical.
It is for hearing. It is not legible, but audible. Our science has always desired to monitor, measure, abstract, and castrate meaning, forgetting that life is full of noise and that death alone is silent: work noise, noise of man, and noise of beast. Noise bought, sold, or prohibited. Nothing essential happens in the absence of noise. 3 Ihde espouses a similar view to move away from a ‘visually based epistemology’ and taking an auditory turn. This turn to the ‘auditory dimension’ is necessary for it can decentre a dominant tradition to discover how thought, and the history of thought, can be further comprehended if the metaphors of vision and visualism were consigned to the field of philosophy (Ihde, Listening and Voice 14).
Comprehending the cosmopolitics of intercultural performance is consequently constructive for evaluating theatre as a globalised phenomenon. As Gilbert and Lo propound, theatre’s material aspects thus enable us to apprehend the contingencies of cosmopolitanism as a form of cross-cultural praxis as well as a discourse about cross-cultural engagement […] we can also begin to isolate cosmopolitanism’s normative and/or evaluative functions as a regime of value that regulates particular practices and their meaning at various times within specific communities.