How does practice shift between artistic disciplines, slipping the confines of ‘dance’ and ‘music’? This course investigates shared praxeological landscapes – zones in which the body of the dancer and those of instrument and musician resonate with each other, becoming other than ‘themselves’. Our investigation centers modes of listening as fundamental to experiment and experience and as a commonality that threads performance practice and research together. In the course, we respond to these networks of sounding bodies by focusing on anthropologies of performance practice.We will read a corpus of writings that rewires performing arts praxeological relations between bodies, instruments, voices, and machines – including Actor Network Theory, cyborgism, and posthumanist Black accelerationism. Our live art touchstone will be the opera Einstein on the Beach (1976), by the composer Philip Glass, choreographer Lucinda Childs, and dramaturg Robert Wilson. We will analyze the piece from different angles and theoretical approaches /standpoints that each shed different light on the work, thus highlighting praxeological differences in theory itself.This course will provide you with insights into a palette of performance research methodologies. Drawing from Digital Humanities network analysis methods, we will rearticulate the compositional form of art through its emanations in artistic communities in time, tracing how Einstein on the Beach emerged from communities of practice, as well as the consequent networks of artists and practices that emerged in its wake.