CADAVRE EXQUIS (Fr.) originated as a form of inquiry; as a game of sorts. It was played by a group, who would each write/draw in turn,whereby a collection of images and/or words would be progressively and collectively assembled. Each person was only permitted toview the end segment (slice/fragment) of what the previous person had drawn/written. The resultantconstruct/composition/story/poem/image/etc. came to be known as the CADAVRE EXQUIS.

In Visual Journal, as a class‐as‐a‐whole, we undertook a collaborative drawn/image version of CADAVRE EXQUIS.This ‘game’ was to be yet one more vehicle for each participant in the class to combine their thinking and making relative to some of thekey lines of inquiry being posited and probed in the course. There was no general prior agreement about what the resulting imagewill —or will not— be; as this would inhibit inquiry and defeat the nature of the process(es): creative play. As with the othercomponents of Visual Journal, this was a process‐focused, experimentally‐driven, and theoretically‐situatedendeavour