Deep canine topography explores canine navigational skills as an invitation to follow the nose, to engage in a more-than-human exploration of place, space, and time through sensory entanglement. As a practice it asks that we abandon upright, bipedal ocular-centric human points of view and embrace vibrant, chaotic space-time-mattering’s through affect, immanence, and playful improvisation. In this thesis I propose, perform, and reflect upon the practice of deep canine topography. In doing so I bring together walking as a contemporary artistic medium, by exploring psychogeography and the score as a critical generator of practice; And critical animal studies in art, as an exploration of human and more-than-human collaborative practice. I will do this by attending to the contact zones between human and canine, by positioning the walkies as a shared, co-authored art practice, which re-connects the human with more-than-human landscapes through a number of actions/events. In doing so I propose that through such collaboration the position of the human is troubled and destabilised, leading to the emergence of new radical cartographies, and human-more-than-human alliances. Deep canine topography explores affective connections, precognitive, and pre-linguistic flows and forces between bodies and objects. Here subjectivity is troubled, becomes fluid, as human-canine and landscape merge through what I refer to as hybridity. The artistic methods employed in deep canine topography seek to experiment with human-canine-landscape hybridity through to explore relational ontologies and sensory synaesthesia. Such radical cartographies enable a positive shift in human-canine-landscape encounters which challenges philosophical humanist concepts of the animal and the sublime.