Some context: Maurice Merleau-Ponty (French: [moRis meRlo poti]; 14 March 1908 - 3 May 1961) was a French phenomenological philosopher, strongly influenced by Edmund Husserl and Martin Heidegger. The constitution of meaning in human experience was his main interest and he wrote on perception, art, and politics. He was on the editorial board of Les Temps modernes, the leftist magazine established by Jean-Paul Sartre in 1945. At the core of Merleau-Ponty's philosophy is a sustained argument for the foundational role perception plays in understanding the world as well as engaging with the world.
In his Phenomenology of Perception (first published in French in 1945), Merleau-Ponty developed the concept of the body-subject (le corps propre) as an alternative to the Cartesian "ego cogito." This distinction is especially important in that Merleau-Ponty perceives the essences of the world existentially. Consciousness, the world, and the human body as a perceiving thing are intricately intertwined and mutually "engaged." The phenomenal thing is not the unchanging object of the natural sciences, but a correlate of our body and its sensory-motor functions. Taking up and "communing with" (Merleau-Ponty's phrase) the sensible qualities it encounters, the body as incarnated subjectivity intentionally elaborates things within an ever-present world frame, through use of its pre-conscious, pre-predicative understanding of the world's makeup. The elaboration, however, is "inexhaustible" (the hallmark of any perception according to Merleau-Ponty). Things are that upon which our body has a "grip" (prise), while the grip itself is a function of our connaturality with the world's things. The world and the sense of self are emergent phenomena in an ongoing "becoming."  The essential partiality of our view of things, their being given only in a certain perspective and at a certain moment in time does not diminish their reality, but on the contrary establishes it, as there is no other way for things to be copresent with us and with other things than through such "Abschattungen" (sketches, faint outlines, adumbrations). The thing transcends our view, but is manifest precisely by presenting itself to a range of possible views. The object of perception is immanently tied to its background--to the nexus of meaningful relations among objects within the world. Because the object is inextricably within the world of meaningful relations, each object reflects the other (much in the style of Leibniz's monads). Through involvement in the world - being-in-the-world - the perceiver tacitly experiences all the perspectives upon that object coming from all the surrounding things of its environment, as well as the potential perspectives that that object has upon the beings around it.  Each object is a "mirror of all others." Our perception of the object through all perspectives is not that of a propositional, or clearly delineated, perception; rather, it is an ambiguous perception founded upon the body's primordial involvement and understanding of the world and of the meanings that constitute the landscape's perceptual gestalt. Only after we have been integrated within the environment so as to perceive objects as such can we turn our attention toward particular objects within the landscape so as to define them more clearly. This attention, however, does not operate by clarifying what is already seen, but by constructing a new Gestalt oriented toward a particular object. Because our bodily involvement with things is always provisional and indeterminate, we encounter meaningful things in a unified though ever open-ended world.
Which philosopher theory did Maurice Merleau - Ponty follow ?
A: Merleau-Ponty developed the concept of the body-subject (le corps propre) as an alternative to the Cartesian "ego cogito.
Some context: Seether are a South African rock band founded in May 1999 in Pretoria, Gauteng, South Africa. The band originally performed under the name Saron Gas until 2002, when they moved to the United States and changed it to Seether to avoid confusion with the deadly chemical known as sarin gas. Disclaimer is their original album and major label debut. They gained mainstream popularity in 2002 with their US Active Rock number one single "Fine Again", and their success was sustained in 2004 with the single "Broken" which peaked at number 20 on the Billboard Hot 100.
In August 2002, Seether launched their first official album, Disclaimer, which earned the band three singles: "Fine Again", "Driven Under", and "Gasoline", in which only the first managed significant success. The year 2002 was very trendy for Seether. After the release of Disclaimer, the band toured constantly. Near the end of the Disclaimer Tour, the band decided to return to the studio to record their second album, a project that had to be delayed by almost a year, since at that time Seether was on world tour with Evanescence. "Fine Again" was also included in the video games Madden NFL 2003 in 2002 and 1080deg Avalanche in 2003.  Following the release of Disclaimer, the band toured continually in order to increase sales and name recognition. A planned second album was delayed for nearly a year when Seether was selected as the support act for an Evanescence worldwide tour. Seether reworked their acoustic ballad, "Broken", as an electric ballad with guest vocals by Amy Lee of Evanescence. Favourable audience response led the band to record the revised version, with Lee on vocals. The track, along with a new song entitled "Sold Me", was featured on the soundtrack for the 2004 film The Punisher, and became a major success for the band, particularly in the United States, the United Kingdom, and Australia. A romance developed between Lee and Morgan during this time.  Morgan has stated that the reworking of "Broken" was due to the wishes of the record company, rather than those of the band. An alternate version of the original album, with many of its songs remixed or re-recorded, was released in June 2004 and entitled Disclaimer II. The alternate version also featured eight extra tracks.
Did it work?
A:
The track, along with a new song entitled "Sold Me", was featured on the soundtrack for the 2004 film The Punisher, and became a major success for the band,