The ideology of "unraveling", the putting into practice, the knowledge learned "on the job", the forms of self-organization and transmission are characteristic of punk who set them more generally in the way of life, if not in rules. Our study aims to question the transmission of practices called DIY - Do It Youself, to understand how individuals manage to mobilize resources needed to achieve their objectives, on the sidelines of institutions.

As part of our research conducted at the university and our participation in a research project supported by the ANR (http://pind.univ-tours.fr/), we realized that a report essentially " ethno-centered "to the transmission of knowledge makes us observe the processes of transmission (and education) within the framework of institutionalized forms of social life. Our research work (a thesis is under the co-direction of Luc Robène, U-Bordeaux and Solveig Serre, CNRS) aims to analyze the punk scene in its own pedagogical and educational dimensions, in order to interrogate, on the margins of society, alternative ways of building and transmitting knowledge. Our study seeks more generally to conceptualize the notion of "punk intelligence". It focuses in particular on what we will call punk careers: actors enter punk and eventually come out of it; they are able to report the benefits gained during this period of their life. This assumes that punk could also be a form of decisive ontological matrix for all or part of the life of the individuals surveyed, in the construction of their relation to the world and to social life as well as in their way of "succeeding " their life.

The role of actor participating in the scene that we occupy as a musician for years, is an asset to lead a research on punk (Robène & Serre: 2017). It allows us to have privileged access to this environment and thus to collect results from empirical work and empirical work centered on the ethnology of a concert tour, incorporating methodological tools such as: Participatory observation, the exploratory video, the very tight holding of an ethnographic notebook, the whole completed by twenty semi-directive interviews with various punks of all ages.

This work allows us to show that a social reproduction is at work in an unexpected perspective. Because beyond the accepted ideas, the punk scene would answer to a specific public, certainly in refusal, but nevertheless socially and culturally endowed with a capital adapted to the school culture (Hein (2012) raises on another level the paradox of a reproduction of entrepreneurial careers in a microcosm that nevertheless values an anti-capitalist ideology). In fact, the "punk career" offers unexpected opportunities: it seems to allow forms of catch-up or hang-up where the school fails; by creating new forms of fulfillment, and allows these individuals to build life paths by reinjecting social meaning. Punk is a decisive prism to understand the functioning of our contemporary society (central hypothesis of the PIND project, Robène / Serre). This problematic is articulated with other scientific perspectives, such as that of Becker (1963) who proposed a new approach to sociology through deviance by studying "counter-cultures" or those of Hebdige devoted to "subcultures" (Hebdige: 1979). This epistemological stance and this problematic are essential to understand the phenomena of normalization inherent in social life. Because it is through its modes of innovation and resistance that punk succeeds in transgressing norms and that it invites us to re-examine their validity and their legitimacy while reinventing new conditions of existence. The stage is, by its creative force, producing the potential societal changes of tomorrow and we postulate that the in-depth study of these transmissions practices, seized at the margins of society, allows, in fine, to question what we could call the "Normal forms" of education and the transmission of knowledge as well as academic dysfunctions, and can provide answers to our educational institutions.

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