Fig. B: Sampling microbes. The Labracadabra performance embodied the social science of microbes and offered scholars moments of laboratory aesthetics. The initial absence of microbes in the laboratory felt sterile and strange, but soon the laboratory was filled with laughter and dirty fingerprints. Somewhat performative equipment made us feel we were conducting a serious task: we started our project by collecting microbial specimens from different parts of the writers’ skin, without knowing what to do with them. We just wanted to be engaged with the materialities between microbes, human bodies and laboratory practices and to give space to think and live with our small companions, let them guide the way and disturb and construct our improvisation. By means of using laboratory materials alternatively, maybe even incorrectly, a method emerged for letting microbial agency channel our collaboration: more-than-human i-magickining at the lab happened as an ongoing situation between the seminars where this book was partly written. Each intuitive step was dedicated to microbial agency without trying to rationalise it. We felt we offered entanglement between people, and at the same time tiny microbes were lured to become more animated (photograph by the Labracadabra team).