My process and work find its foundation in experimental risk. Specifically, through my investigation of how the interdisciplinary nature of performance can rearticulate the rigidity of neuroscience research and suggest alternative methodologies in the field's aesthetic applications.  My creative process is founded in the delineation of philosophical quandaries concerning the interplay between body and mind, focusing on the relationship between perception and affect, and the role of choreography in eliciting recursive meta-analysis. Within this context, my process begins with a review of neuroscience literature searching for findings that point to a facet of human cognition that I believe needs to be known.  The study methods become the seeds of my choreographic exercises and narratives. My novel approach acknowledges and welcomes the risk of dismantling the sterile and compartmentalized histories of empiricism. This approach introduces Neurochoregraphy as a practice of movement-based interpretations of the contemporary understanding of the psychological self.