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can be evidenced that scholastic knowledge nourishes their work as a producers of visual culture. This common ground, although not perceptible for Ana and Pablo, tell us something else: they have learnt to appreciate the artistic value of things considering the aesthetic categories fostered in their school (the work should resemble the original, should be well lit, detailed, tuned and nicely finished). This fact leads to several consequences:
González Vida, María Reyes (2015) “Young people as visual culture producers: similarities and differences between their experiences inside and outside school.”
a) Pablo and Ana don’t appreciate as artistic those personal creations which don’t have these qualities. b) They don’t acknowledge the importance of other categories such as emmotion, moral or affection although they use them to describe their personal creations. Finally, acknowledging that there is a difference between what they do inside and outside school, they don’t want to work on their own productions at school, because these productions do not attend the concept of “art” that is followed there. 5. What can we learn from their ways of learning? The previous reflections motivate us to reconsider the role of school in the acquisition of artistic knowledge. It is not our intention to have our findings in this research study be considered a portrait of young people -but rather, an observation of what occurs in the case of these young people. In this regard, and as a conclusion, following are a number of contradictions that we have found exemining the simmilarities and the differences in their process of learning knowledge within and outside the school, which can open areas of analysis and knowledge and could help us to rethink what we can learn from their ways of learning: a) Knowledge of art which is present in and, at the same time, unrelated to their lives. Ana and Pablo recognize a gap between what they do in school and what they are interested in doing. As they said, in Visual and Plastic Arts class, students rarely have the opportunity to draw subject matter of interest to them, rely on the media to find references, or explore handicraft techniques. The proposals used are dictated by the text book, the curriculum or the ideas that occur to the teaching staff. Both are apathetic towards this situation: