This chapter examines William Burroughs’s cut-up method, proposing that cut-ups serve not only as experimental literary techniques but as phenomenological representations of embodied perception. While cut-ups have often been viewed as avant-garde critiques of language and control, this study repositions them as cognitive tools that model how thought, memory, and sensory experience operate in fragmented, situated, and relational ways. Drawing on enactivist theories of mind and cognitive narratology, the chapter argues that Burroughs’s cut-ups enact mental processes rather than merely represent them. Situating cut-ups within the wider context of twentieth-century media shifts, montage aesthetics, and artistic experimentation, the chapter connects Burroughs’s work to both literary and visual practices. A close reading of BATTLE INSTRUCTIONS demonstrates how cut-ups transform reading into an embodied, participatory process, offering new insight into Burroughs’s engagement with perception, subjectivity, and a process-based poetics.