Sistematización y diseño de galerías digitales como estrategia de aprendizaje significativo en la pasantía de la licenciatura en artes plásticas del CAU Bogotá

Abstract

This undergraduate thesis project, conducted under the internship modality, presents the systematization and development of two interactive virtual environments designed for the Bachelor’s Degree in Plastic Arts at Universidad Santo Tomás (CAU Bogotá). The first project involved creating a centralized platform using Adobe Express to compile and organize the documentary and audiovisual records of 69 historical academic presentations from the program's pedagogical practice levels. The second project focused on the three-dimensional design and curatorial management of a virtual gallery on the Metasteps platform, preserving and exhibiting 135 artworks produced in various techniques by students during the 2025-II and 2026-I academic terms. Methodologically, this research is grounded in Óscar Jara's Systematization of Experiences and Educational Action-Research (EAR), utilizing a technical adaptation of the ADDIE instructional design model. The conceptual framework draws directly from Jean Piaget's active learning theories, Lev Vygotsky's social constructivism, and David Ausubel's meaningful learning theory, all applied to the field of pedagogical virtual museology. The results demonstrate that digital technologies serve as effective cognitive scaffolds and advance organizers. These tools transition the spectator from a passive observer to an active agent while mitigating the loss of the program's academic memory and enhancing the dissemination of artistic knowledge. Finally, the document details the creative process behind the degree artwork titled "El jardín de las delicias criollas" (The Garden of Creole Delights). This piece consists of a triptych painted in acrylic on traditional canvas (approx. 2.20m x 1.10m) that reinterprets the structure of Hieronymus Bosch through the visual lexicon of pop art and comic books. Its purpose is to deliver a profound pedagogical and social critique of consumption patterns and historical impunity in contemporary Colombia by employing the ironic and reflective use of commercial and nostalgic iconography from the 1980s and 1990s.