Contemporaneity and micropolitics in the processes of Perception Frames

The article discusses the written work Perception Frames, a collection of choreographic scores, which is one creative outcome of the author’s larger research project addressing non-representational poetics of twentyfirst-century western choreography. This project takes Gilles Deleuze’s critique of representation and his concern with thinking without recourse to recognition as provocation, orientating these concerns to the practices of choreography. The article gives an account of the research activities undertaken in the development of Perception Frames, followed by an explanation and discussion of its written structure. The perspective of practice is privileged in the articulation of the (experiential) perceptual sensing processes through which Perception Frames operates. The article argues that the scores generate conditions for modes of nonrepresentational thinking on the part of the performer: modes of thinking that operate through the conjoined and processual operations of agency and relations, in an immediacy of perceptual sensing, so producing the choreographic event. The article concludes with the suggestion that the scores stage contemporaneity, understood as a being-with time, and that they offer means for practising a micropolitics of producing in the immediacy of occurring relations.