Our purpose is to present the process of research experiences workshops at Lisbon University run mainly by Ph.D. students in Art Education (Caetano et. al, 2019). The workshops are taking place in GEPPAIE (Study Group of Participative and Artistic Processes in Research and Education), a community of learning researchers that can break out standard research methods. Developing proposals to collaborate on each other's research, reflecting on its methodologies to boost community involvement into visualizing research upon observation and felling as spontaneous devices while thinking, that are documented and returned to the group (Hernández, 2008). Based on a theme, anchors on a creative and collaborative process inspired by art based research methods (Irwin, 2013), interwoven rhizome experiences (Deleuze & Guattari, 2011); uses real time documentation, developing skills of making (writing, drawing, assembly), that all combined result in a research object showed afterwards in exhibitions1 around Universities, curating a network of artistic body research. Due to worldwide pandemic GEPPAIE had to reconsider a passage from physical presence to digital presence. This was neither an imposition from the institution, nor the fear of coming together, but rather the experience result from the workshop (2/10/2020) at room 7, where we weren’t allowed to move our bodies or transform the space where we were gathered to (re)search. The willingness to occupy a space of learning through movement, experiment and creation in a relational way, took us to explore an online body that could use digital platforms (Moddle, Padlet, Canvas2, Zoom), to perform live dynamics, a true and authentic dialogue as a spatial cartography thinking across borders. Following a/r/tography (Bickel, Springgay, Beer, Irwin, Grauer & Xiong, 2010) that combines visual and nonvisual methods in a creative and collaborative practice, performing live dynamics by visualizing research we were visualizing (in a synchronous way) our online bodies moving to compose visual narratives. This led us to the question: how could we co-create a spatial cardography of the process of playing back meaning making within experiences workshops, combining the idea of bodies and books as places of learning? As a rhizomatic movement within the entangled connections between researchers, Transparent Cube is being designed to be part of a nomadic-tangible installation that occurs as a pedagogical event (Atkinson, 2014), and as a result of a visual research interwoven replay to the question(s) to be answered.

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