One of the aims shared by the teaching innovation project "DIY philosophy at the University. Pedagogical and technological implications to promote independent learning and formative assessment” (2014PID-UB / 075) and the European project “DIYLab - Do It Yourself in Education: Expanding Digital Competence To Foster Student Agency and Collaborative Learning” (543177-LLP-1-2013-1-ES-KA3MP) was to promote and analyze the 'visual digital objects' (VDOs), generated by the students in which they make explicit their learning paths during a course or developing a research project, so that others could learn from their learning processes.

These projects seek to explore the changes (and their educational effects) which have taken place in the last decade regarding digital competencies, especially in relation to the emergence of a culture of collaboration, that connects young people’s learning, technology and DIY philosophy (Kafai & Peppler, 2011). Young people's efforts to create and disseminate digital media have been associated with the growing of the do-it-yourself (DIY) movement (Spencer, 2005). Starting in the '90s (Halfacree, 2004) with arts, crafts, and new technologies (Eisenberg & Buechley, 2008; Lankshear & Knobel, 2010), it is now prevalent in curriculum contents both at school (Guzzetti, Elliott, & Welsch, 2010) and higher education (Kamenetz, 2010), giving educators and students the opportunity to create, share and learn in collaboration.

One of the more concrete outcomes of these projects is the production of open-source learning materials (VDOs), developed by students and teachers in the participating institutions. These resources will serve as tools for other learners, linking the work carried out in the project to other schools, universities and broader DIY communities. What form these materials will take, how they will circulate, and what type of audience they will generate are questions that we will address along in the projects (Sancho-Gil, Hernández-Hernández & Fendler, 2015).

Our interest is studying what happens when universities opt to actively support DIY learning practices. Particularly when learning is considered, in our perspective, a slippery experience (Fendler, 2015) connected with Atkinson’s notion of ‘real learning’ that “involves a movement into a new ontological state; it defines a problem of existence, in contrast to more normative learning in its everyday norms and competences” (Atkinson, 2012, p. 9). This movement, we think, is what students experience when they are developing the visual digital objects, because they are able to “produces a new alignment of thinking and action” (Atkinson, 2012, p. 9). They experience learning as part of a subjectivization process that generated “a disruption of established ways of knowing, through learning events” , because they are able “to handle states of uncertainty as new knowledge and (where) new competences begin to emerge” (Atkinson, 2012, p. 10). From this perspective to learn is what disturbs and questions the established places, producing an event (which transforms the learner ) and that becomes a real learning. Regarding pedagogical relations, as we have noted (Hernandez, 2012, 2013), is taking into account to the positionality teachers assume when, as Paulo Freire said, they also learn along with the students.

Atkinson, D. (2012). Contemporary Art in Education: The New, Emancipation and Truth. The International Journal of Art & Design Education, 31 (1), 5-18. Bach, H. (2007). Composing a visual narrative inquiry. In Clandinin, D. J. (Ed.), Handbook of narrative inquiry: Mapping a methodology. (280-307) . Thousand Oaks: Sage. Eisenberg, M., & Buechley, L. (2008). Pervasive fabrication: Making construction ubiquitous in education. Journal of Software, 3(4), 62–68. Fendler, R. (2015). Navigating the eventful space of learning: Mobilities, nomadism and other tactical maneuvers. Barcelona: University of Barcelona. Unpublished Doctoral dissertation. Guzzetti, B., Elliott, K., & Welsch, D. (2010). DIY Media in the Classroom. New York, NY: Teachers College Press. Halfacree, K. (2004). ‘It could only do wrong’: Academic Research and DIY Culture. In D. Fuller & R. Kitchin (Eds.), Radical Theory/Critical Praxis: Making a Difference Beyond the Academy? (68–78). Victoria, British Columbia: Praxis Press. Hernández, F.  (2012). El desafío de aprender, investigar y enseñar a partir del encuentro entre sujetos. In Porres, A., Relaciones pedagógicas en torno a la cultura visual de los jóvenes (17-25). Barcelona, Octaedro. Hernández-Hernández, F. (2013). Pensar las relaciones pedagógicas en la universidad desde una perspectiva transdisciplinar. In Paredes, J., Hernández, F., & Correa, J. M. (eds.) (2013), La relación pedagógica en la universidad, lo transdisciplinar y los estudiantes. Desdibujando fronteras, buscando puntos de encuentro (26-29). Madrid: Depósito digital UAM. http://hdl.handle.net/10486/13152 Kafai, Y.B., & Peppler, K. A. (2011). Youth, Technology, and DIY: Developing Participatory Competences in Creative Media Production. Review of Research in Education, 35, 89-119. Kamenetz. A. (2010). DIYU: Edupunks, Edupreneurs, and the Coming Transformation of Higher Education. Chelsea Green Publishing Lankshear, M., & Knobel, C. (Eds.). (2010). DIY media. Creating, sharing and learning with new technologies. New York, NY: Peter Lang. Sancho-Gil, J.M., Hernández-Hernández, F., & Fendler, R. (2015). Envisioning DIY learning in primary and secondary schools. Seminar.net - International journal of media, technology and lifelong learning, 11 (1). http://seminar.net/volume-11-issue-1-2015/231-envisioning-diy-learning-in-primary-and-secondary-schools Spencer, A. (2005). DIY: The rise of lo-fi culture. London, England: Marion Boyars.