Cette thèse de doctorat en littérature et arts de la scène et de l’écran examine les écritures scéniques de la catastrophe humaine dans le théâtre contemporain. Elle explore les dynamiques qui sous-tendent la représentation de la barbarie au sein de formes spectaculaires marquées par une forte dimension visuelle. Divisé en deux volets – un premier, critique et un second, pratique –, le travail s’articule d’abord autour d’un corpus composé de trois spectacles : Kamp du collectif Hotel Modern, Rwanda 94 du Groupov et Rouge décanté signé par Guy Cassiers. En observant les oeuvres à la lumière de la complexité et en les abordant à l’aide d’une approche systémique,l’étude tente de révéler les mouvements – esthétiques, perceptifs et thématiques – qui animent ces écritures hétérogènes. La seconde partie de la thèse rend compte d’un processus d’expérimentation mené dans l’espace scénique. Ce dernier, consacré à esquisser une création artistique originale, questionne les mémoires occidentales du génocide des Tutsi du Rwanda.L’expérience pratique fait écho à plusieurs des problématiques soulevées par l’investigation critique et propose une autre forme de réflexion, menée directement sur le plateau. / This doctoral thesis in performing arts looks into scenic writings of human disasters incontemporary theatre. It examines dynamics underlying the representation of barbarism withinspectacular forms imprinted with a visual dimension. Split into two parts – a first one, critical anda second one, practical -, the work is firstly structured around a corpus composed of three shows :Kamp of the Hotel Modern group, Rwanda 94 of Groupov and Rouge décanté by Guy Cassiers.Through the observation of the works in the light of the complexity and by analysing it with asystemic approach, the study attempts to reveal the moves – aesthetic, perceptive and thematic –that drive these heterogeneous writings. The second part of the thesis deals with a process ofexperimentation led in the scenic space. The latter, dedicated to outline an original artisticcreation, questions occidental memories on the Tutsi genocide in Rwanda. The practicalexperience echoes back to several issues raised by the critical investigation and proposes anotherform of reflection, directly led on the stage.

Soutenue par les progrès récents et rapides des techniques d'acquisition 3D, la reconnaissance d'objets 3D a suscité de nombreux efforts de recherche durant ces dernières années. Cependant, il reste à résoudre dans ce domaine plusieurs problématiques liées à la grande quantité d'information, à l'invariance à l'échelle et à l'angle de vue, aux occlusions et à la robustesse au bruit.Dans ce contexte, notre objectif est de reconnaitre un objet 3D isolé donné dans une vue requête, à partir d'une base d'apprentissage contenant quelques vues de cet objet. Notre idée est de formuler une méthodologie locale qui combine des aspects d'approches existantes et apporte une amélioration sur la performance de la reconnaissance.Nous avons opté pour une méthode par points d'intérêt (PIs) fondée sur des mesures de la variation locale de la forme. Notre sélection de points saillants est basée sur la combinaison de deux espaces de classification de surfaces : l'espace SC (indice de forme- intensité de courbure), et l'espace HK (courbure moyenne-courbure gaussienne).Dans la phase de description de l'ensemble des points extraits, nous proposons une signature d'histogrammes, qui joint une information sur la relation entre la normale du point référence et les normales des points voisins, avec une information sur les valeurs de l'indice de forme de ce voisinage. Les expérimentations menées ont permis d'évaluer quantitativement la stabilité et la robustesse de ces nouveaux détecteurs et descripteurs.Finalement nous évaluons, sur plusieurs bases publiques d'objets 3D, le taux de reconnaissance atteint par notre méthode, qui montre des performances supérieures aux techniques existantes. / There has been strong research interest in 3D object recognition over the last decade, due to the promising reliability of the 3D acquisition techniques. 3D recognition, however, conveys several issues related to the amount of information, to scales and viewpoints variation, to occlusions and to noise.In this context, our objective is to recognize an isolated object given in a request view, from a training database containing some views of this object. Our idea is to propose a local method that combines some existent approaches in order to improve recognition performance.We opted for an interest points (IPs) method based on local shape variation measures. Our selection of salient points is done by the combination of two surface classification spaces: the SC space (Shape Index-Curvedness), and the HK space (Mean curvature- Gaussian curvature).In description phase of the extracted set of points, we propose a histogram based signature, in which we join information about the relationship between the reference point normal and normals of its neighbors, with information about the shape index values of this neighborhood. Performed experiments allowed us to evaluate quantitatively the stability and the robustness of the new proposed detectors and descriptors.Finally we evaluate, on several public 3D objects databases, the recognition rate attained by our method, which outperforms existing techniques on same databases.

abstract: This research contributes to emergent body of knowledge regarding the understanding of relationship between visual elements and E-learning outcomes. Visual images and texts are the main visual elements within the study. A literature review was conducted on E-learning situations, and a discussion on the role of visual elements in E-learning. Data collection was also conducted by way of a test, which randomly placed participants into three groups and assigned them to three different E-learning courses. The texts for the three courses were the same font, but the first course had text only, the second course had text and "bad" images, and the third one had text and "good" images. Every time participants finished a short course, they were requested to do a short quiz based on what they had learned. In addition, every participant needed to do a survey based on his or her E-learning experience. Research data was finally collected through the test scores and surveys. Key findings of this research are: (1) The combination of text and "good" image materials in E-learning can greatly enhance the learning outcomes; (2) the "good" images in learning materials can add to the value of the text content as well as improve the satisfactory level of learners in E-learning; (3) "bad" images do not enhance E-learning outcomes; and (4) E-learners will spend a longer time to complete learning materials containing images, no matter how good or "bad" the images are. / Dissertation/Thesis / Masters Thesis Design 2015

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-04Bitstream added on 2014-06-13T19:27:53Z : No. of bitstreams: 1 travisani_tg_me_ia.pdf: 2449318 bytes, checksum: 3292e9571a4159da36b4a5591c796aee (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho reúne análises sobre as imagens digitais com questões estruturais e poéticas do movimento, fazendo um levantamento histórico e artístico desde os primeiros experimentos em cronofotografia, até as manifestações atuais, do universo digital, que incorporam o movimento como temática. A imagem digital tratada não é de cunho sintético, mas sim que passou por algum processo de captura analógica, por meio de câmeras, e após isso, foi digitalizada. A partir daí, a pesquisa reflete as transformações estéticas e sinestéticas que as imagens podem sofrer de acordo com as possibilidades oferecidas pela tecnologia digital. Procuramos discutir os processos e precedimentos artísticos sob a luz desse caráter tecnológico, em que as imagens ganham novas formas dinâmicas e novos padrões de movimento. Buscamos incluir os principais fatores que são singulares ao universo digital e permitem concepções artísticas inovadoras através das novas mídias surgidas. Entre as características estão a convergência, desmaterialização, ubiqüidade e a replicabilidade dos remixes e samplers. Três obras foram discutidas com maior profundidade por oferecerem suporte conceitural, visual e nova proposta estética: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) e as Live Images (Luiz Duva). Durante a pesquisa, a autora também elaborou três obras construídas em momentos distintos, que acompanhavam os questionamentos feitos ao longo do processo: convergência, gradeativa e passagens. As obras sugerem um estreitamento intenso entre arte e pesquisa, pratica e teoria, no intuito de atingir complexidade sobre o tema, para contribuir com estudos contemporâneos sobre as manifestações artísticas nas novas mídias. / This work analyses the digital under the structural and poetical issues of the movement, making a historical and artistic retrospective since the first experiments in cronophotography, to the current manisfestations of the digital universe, that incorporate the movement as thema. The treated digital image is not asynthetic matrix, but the one that passed for some process of analogical capture by cameras and then digitalized. Further on, the research reflects about the aesthetic and synesthesic transformations that images can receive with possibilities offered by the digital technology. We look for debate the processes and artistic procedures and its techological features, when the images gain new dynamic forms and new standards of movement. We try to include the main factors that are singular to the digital universe and allow innovative artistic comceptions through the new appeared medias. Some of the features are the convergence, dematerialization, ubiquity and the replicability of remixes and samplers. Three artistic creation had been deeply analysed because of its conceptual visual and new aesthetic proposal support: Stop Motion Studies (David Crawford), Soft Cinema (Lev Manovich) and the Live Images (Luiz Duva). During this work, the author also elaboreted three creactions built in different times, that accompany the debates made throughout the process: Convergência, Gradeativa and Passagens. These creations suggest an intense relationship between aty and research, practical and theory in intention to reach complexity on the subject, to contribute with contemporaneous studies on artistic manisfestations in the new medias.

Made available in DSpace on 2014-06-11T19:22:33Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-25Bitstream added on 2014-06-13T18:49:33Z : No. of bitstreams: 1 silva_jf_me_ilha.pdf: 1508098 bytes, checksum: a71768d52f587fb0eddda6d0c43e13e9 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste trabalho é apresentado um sistema interativo para o processamento e armazenamento de imagens no domínio wavelet e uma interface para processamento de imagens digitais. A proposta apresentada baseia-se na transformada wavelet e em métodos de limiar. O sistema de armazenamento tem como objetivo a otimização do espaço computacional, tanto para armazenamento como para transmissão de imagens. Sendo para isso necessário a aplicação da Transformada Wavelet nas respectivas imagens e dos diversos métodos de limiar a serem escolhidos. Estas aplicações permitem extrair informações relevantes para o armazenamento de uma imagem com um menor custo computacional e com uma margem de erro muito pequena quando se compara as imagens, original e processada, ou seja, não há perda de qualidade ao aplicar o sistema de codificação apresentado. Os resultados obtidos a partir das informações extraídas das imagens são apresentados numa interface gráfica. É através da interface gráfica que o usuário usa os arquivos para visualizar e analisar os resultados dos programas diretamente na tela do computador sem a preocupação de lidar com os códigos fontes. A interface gráfica, os programas de processamento de imagens via Transformada Wavelet e os métodos de limiar foram desenvolvidos no ambiente do MATLAB, possibilitando uma troca direta de informações entre eles e o usuário. / In this work an interactive system processing and storage of compressed images in the wavelet domain, and an interface for digital image processing are presented. The storage method proposed is based on the wavelet transform and a threshold method. It has the objective of optimizing the computational space, for storage and for transmission of images. It is necessary first a pre-processing routine and after, the characterization through the application of the wavelet transform to the respective images and the several threshold methods to be chosen. These applications allow the extraction of relevant information for an image compression or storage image with a smaller computational cost and with a very small of error when the original and processed images are compared, in other words, there is no quality loss when applying the codification system presented. The results obtained from the extracted information of the images are presented in a graphic interface for image processing. The graphic interface, the programs for image processing using the wavelet transform and the thresholding methods were developed in a MATLAB environment, making possible a direct change of information between them and the user, without the concern of working with source codes. Through this graphic interface the user can use files which permits him visualize and analyze the results of the programs in the computer screen.

Elaboré dans les premières décennies du XIIe siècle, le tympan central du portail de la nef de Vézelay est l’un des témoins privilégiés du renouveau iconographique que connaît l’art roman entre la fin du XIe et le début du XIIe siècle. Maintes fois étudiée, son iconographie demeure pourtant énigmatique par la rareté de son thème – la Pentecôte – et plus encore ses scènes périphériques, portant l’image des peuples de la terre. C’est à ce motif, dans sa relation au contexte qui l’environne, que cette étude est dédiée. Le premier chapitre envisage les circonstances historiques, intellectuelles et monumentales qui ont vues l’élaboration d’un tel programme, lequel se révèle fortement ancré dans le renouveau que connaît la communauté au XIe siècle. Le second chapitre, consacré à l’iconographie tympanale, en livre l’étude matérielle et descriptive avant de la replacer au sein de la tradition iconographique de la Pentecôte. Une analyse qui démontre combien le tympan, nonobstant sa rareté, se conforme aux principes de cette tradition. Le dernier chapitre, enfin, aborde le motif des peuples de la terre. Il en livre tout d’abord une définition affinée par l’analyse générale de ses formes et traditions iconographiques, littéraires et conceptuelles depuis l’antiquité. Révélant une prédilection pour le champ ornemental et divertissant au Moyen Âge, le motif accède, au tympan, à une valeur symbolique et sémantique rare propre au cadre religieux au sein duquel il prend place. Objet de curiosité et image d’altérité, il fonctionne ici tel un point d’entrée pour le fidèle, autant qu’il unifie l’iconographie tympanale et renforce les notions inhérentes au thème de la Pentecôte / Designed in the early decades of the twelfth century, the central tympanum of the the nave portal of Vezelay is one of the privileged witnesses of the iconographic revival of Romanesque art between the late eleventh and early twelfth century. Repeatedly studied, its iconography yet remains enigmatic by the rarity of its theme – the Pentecost – and more, by its peripheral scènes, bearing the image of the peoples of the earth. It is to this pattern, in its relation to its surrouding context, that this study is dedicated. The first chapter considers the historicals, intellectuals and monumentals circumstances that have witnessed the development of such a program, which reveals deep roots in the revival the community knew in the eleventh century. The second chapter, devoted to the tympanum’s iconography, perfoms its descriptive and material study before replacing it in the iconographic tradition of Pentecost. An analysis which demonstrates how the tympanum, despite its rarity, is consistent with the principles of this tradition. Finally, the last chapter discusses the pattern of the peoples of the earth. It first delivers a refined definition through the general analysis of its iconographics, literaries and conceptuals forms and traditions since antiquity. Revealing a predilection for the decorative and entertaining fields in the Middle Ages, the tympanum’s pattern accesses a rare symbolic and semantic value peculiar to the religious framework within which it takes place. Object of curiosity and image of otherness, it works here as an entry point for the worshippers, as well as it unifies the tympanum’s iconography and strengthens inherents concepts to the theme of Pentecost.

Certaines œuvres théâtrales de ce XXIème siècle semblent inscrire au cœur de leur projet esthétique une mise en question de l’ordre perceptif en créant de nouvelles manières de voir, d’entendre et d’être affecté. Le drame ‒ comme action ‒ s’y trouve réactualisé dans une forme s’adressant aux perceptions du spectateur au travers d’une dramaturgie visuelle, voire perceptuelle, prenant appui sur une fabrique d’images scéniques. Notre étude propose d'investir dans le champ du théâtre une part de la recherche sur l’image en mettant en perspective les questions esthétiques, philosophiques, voire politiques que soulève la notion d’image scénique. L’œuvre du metteur en scène italien Romeo Castellucci est représentative de la spécificité du plasticien qui trouve sur la scène un nouveau support de création d’images, un médium particulier mettant en jeu le corps, l’espace, la forme et où le texte, pourtant largement muet, hante la scène. Ce théâtre plastique remet en cause les fondements du théâtre traditionnel (action, personnage, fiction), invente un drame proprement figural et cherche à déplacer le regard du spectateur. Dans une oscillation entre apparition et disparition du visible, représentation et ineffable, il offre au spectateur un processus expérientiel au sein d’un laboratoire où l’image joue contre l’image, inquiète le regard et les perceptions convenues de la réalité.Le déplacement de la théorie de l’image dans le champ du théâtre nous permettra, au travers de la démarche singulière de Romeo Castellucci, d’apporter notre contribution à l’analyse des modalités opératoires de son efficace esthétique et des enjeux critiques et politiques du théâtre contemporain. / Some theatrical pieces from this 21st century seem to include in their esthetical project a question of the perceptive order by creating new ways of seeing, hearing and being affected. The drama ‒ as an action ‒ finds itself updated in a form addressing to the spectator’s perceptions through visual dramaturgy, even perceptive, based on a factory of scenic images. Our study offers to invest in the theater field a part of the research and thoughts about the image by putting into perspective the esthetical, philosophical, and even political questions that the notion of scenic image raise.The particular piece from the Italian director Romeo Castellucci is representative of the visual artist’s specificity who finds on the stage a new creating support for images, a particular way of involving body, space, shape, matter and where the text, although especially mute, is haunting the stage. This plastic theater questions the foundations of traditional theater (action, character, fiction), creates a properly figural drama and tries to move the spectator’s sight. In an oscillation between visual appearance and disappearance, representation and unspeakable, he offers to the spectator an experiential process in a laboratory where image plays against image, worries the sight and the accepted perceptions of reality.The displacement of the image’s theory in the theatrical field will allow us, through Romeo Castellucci’s singular approach, to make our contribution to the operating procedures analysis of his aesthetic’s efficiency, reception mechanism of the spectator and critical and political skates of the contemporary theater.

On a qualifié de « migration des images » le déplacement des images en mouvement depuis les salles de projection jusque dans les salles des musées. Cette « migration » a d’abord constitué le socle initial de ce travail, en fixant les pourtours de son contexte : les images en mouvement, le musée et ses collections, leur dialogue depuis le milieu des années 1990. Délaissant ce sens premier de l’expression, cette étude met au travail son sens figuré : l’idée de migration convie une économie, un système d’échanges, de circulation, un type d’activité propre aux images en mouvement qui élargit ce contexte de départ. La force de ces images se loge dans un geste de décentrement. Leur mobilité les empêche d’accéder à un statut ou à une position dominante. Une résistance à la saisie globale accompagne ces images qui préfèrent les interstices, l’entre-deux, les failles, voire une certaine forme de clandestinité : elles échappent aux normes. Le décentrement qualifiera ici une méthode d’analyse, le choix d’un corpus qui va des années 1970 à nos jours, et la construction générale de cette recherche. Il permet de mesurer des distances, de saisir les sinuosités, les accidents, qui ponctuent l’histoire des images en mouvement. Point de départ : ce travail s’arrime au décentrement historique constitué par la rupture d’avec le discours moderniste dans les années 1970. Les œuvres contemporaines réunies héritent de cette éviction et la discutent. Les trois chapitres, thématiques, commentent ce décentrement qui bouscule les principes muséaux incarnés par l’institution du white cube. L’archive, le document et le jeu : trois façons de contourner les réflexes de l’essentialisme. Fondé sur des études d’œuvres, qui sont autant d’études de cas, accueillant sur un plan qui se veut tabulaire les images, les textes et les films, ce travail rend compte du savoir, étoilé et ramifié, que dispensent, de façon si singulière, les images en mouvement. / The dislocation of images in motion from screening rooms to museum rooms has been addressed in terms of a « migration of images ». This « migration » was the initial foundation of the present work, determining its perimeter: images in motion, the museum and its collections, the dialogue between them from the mid-1990s onwards. Leaving behind the literal meaning of the expression, this study explores its fi gurative senses: the notion of « migration » calls for an economy, a system of exchange and circulation, an activity specific to images in motion that broadens its initial context. The power of images in motion relies upon a gesture of decentering. Th eir mobility prevents them from reaching a dominant position or attaining an important status. Th ese images resist to global analysis, preferring the interstices, the in-between, the faults, and what resembles to a form of underground activity instead. In other words, they resist the standards. Th e notion of « decentering » describes here three different dimensions: an analytical method, the constitution of a corpus ranging from the 1970s to the present-day, and the general conception of this research. Th e concept allows for the measuring of distances, the grasping of certain infl exions, or accidents, which rhythm the history of images in motion. Our starting point is the historical « decentering » illustrated by the break with modernist discourse in the 1970s. Th e contemporary works that we discuss inherit this eviction and comment on it. Our three thematic chapters comment this shift that challenges the museological principles embodied by the whitecube. Th e archive, the document and staging : three ways of circumventing the refl exes of essentialism. Based upon the close study of works, conceived as case-studies, accommodating for images, texts and films within a tabular plan, this work accounts for the singular knowledge provided by images in motion.

Cette thèse a pour objet l’examen des manifestations poétiques et poïétiques du corps dans la poésie de Jules Supervielle. Le texte est marqué par le sceau de la disparition et du manque, contre lesquels il s’érige pour tenter de combler les corps défaillants. Les recueils, agrégés au long du premier XXe siècle, présentent une écriture affectée à la fois par l’histoire mondiale et l’histoire individuelle. Le poète passe de l’acceptation d’une déchirure constitutive singulière à la mise au jour d’une résonance corporelle cosmique. En créant des images évolutives, en confrontant son propre corps au réel et en inventant une réalité poétique par l’imaginaire du rêve, il reconnaît la multiplicité de ses ancrages, et se relie à l’univers. Si le sujet installe ses assises grâce aux relations qu’il noue avec l’extérieur, il désire aussi connaître ses propres rouages en retournant son regard au-dedans. Notre étude interroge les différents états perceptifs du corps que les poèmes figurent, s’appropriant la métamorphose permanente et cherchant à circonscrire les troubles physiologiques. L’instabilité et le mouvement sont capturés par le texte qui, d’instant en instant, passe du corps au non-corps et tente de rapatrier les formes privées de corps dans la matière. L’analyse révèle que le corps se renouvelle en transgressant et en estompant les frontières. La dialectique entre le corps vivant et la forme évasive de l’âme des morts serait résolue par une ontologie poétique de l’entre-deux. Grâce au souvenir remémoré du divin dans une nature de laquelle Dieu s’est retiré, l’homme se réapproprie la responsabilité de sa continuité et de la continuité du monde, par la mise en œuvre de sa puissance de création. / This thesis holds its objective to study the poetic and poietic manifestations of the body in the poetry of Jules Supervielle. The text is imprinted with the mark of disappearance and absence, against which it arises to make amends for the defaulted bodies. This anthology, edited through the first half of the 20th century, presents a writing influenced by a history both universal and individual. The poet travels from the acceptance of a constitutive singular implosion, reaching out for an ever-evolving resonance of the cosmic body. By creating evolving images, by rubbing against "the real" at the expense of his own flesh and blood, by inventing a poetic reality with his dreamy fantasy, he has revealed his multiple extensions, as to find his way to be connected with the universe. If the subject owns his firm footing to his relationships with the outside world, he is equally eager to comprehend his own mechanism by winding his observation towards the inside. Our study inquires into the different perceptive depths of the bodies that the poems illustrate, by making use of the permanent metamorphosis, in order to come to terms with the physiological aberrations. Instability and movement are captured by the text which, from a moment to the other, pass from body to absence of body and tries to unify shapes without body into the matter. The analysis reveals that the body renews itself by breaking and borrowing boarders. The dialectic between the living body and the evasive shape of the soul of the dead would be resolved by a poetic ontology of the interspace and period in between. Thanks to the reminded recollection of the divine presence in a nature from which God took off, the mankind takes again the responsability of his continuity and the continuity of the world, by using his power of creation.

L’objectif de ce travail est de réaliser, en premier lieu, une cartographie de l’évapotranspiration à l’échelle régionale et de cerner, en deuxième lieu, un zonage de la déficience d’évaporation dans le bassin versant de Mejerda. Cet objectif s’appuie sur l’amélioration de la performance du modèle de la FAO-PM, et ce par la combinaison de ce modèle avec les données satellitales (MODIS-Terra). Ce travail concerne le bassin versant Mejerda, considéré comme « le château d’eau de la Tunisie », il occupe une place de premier ordre dans la stratégie de mobilisation des ressources en eau et il compte le plus important potentiel agricole.La cartographie de l’évapotranspiration a permis de caractériser la variation spatiale et la variabilité temporelle de ses trois formes (ETP, ETM et ETR) dans le bassin versant Mejerda et de bien distinguer les sous-régions qui n’étaient connues que de manière très empirique. Les fluctuations temporelles sont assez importantes : les valeurs de janvier représentent en moyenne 15% de celles de juillet. La variation spatiale est surtout liée à la carte de l’occupation des sols dans la mesure où la végétation forestière évapore plus que la végétation annuelle et les effets du relief et du site. Les secteurs abrités se caractérisent par un pouvoir évapotranspérant le plus élevé (plaine de Jendouba, dépression de Siliana).Le zonage de la déficience d’évaporation, élaboré par la méthode de classification non supervisée, a montré un nouveau découpage du bassin versant de Mejerda. À ce propos, des sous-régions, légèrement différentes à celles connues la plupart du temps, ont été distingué. C’est le cas de la moyenne Mejerda qui se trouve souvent annexée à la haute Mejerda et une opposition très nette entre les versants sud de la Kroumirie et les versants nord de la Dorsale. Cette configuration est associée à l’effet de l’exposition, le comportement de la végétation et l’état de la teneur en eau du sol. Le zonage de la déficience d’évaporation montre aussi deux gradients du stress hydrique den la végétation. En effet, l’intensité du stress diminue du Nord au Sud de la région et des stations d’altitude vers les fonds de vallées. / The objective of this work is to realize, first, mapping evapotranspiration at the regional level and to identify, secondly, a zoning of the evaporation deficiency in the watershed Mejerda. This objective is based on improving the performance of the FAO model-PM, and the combination of this model with the satellite data (MODIS-Terra). This work concerns the Mejerda watershed, considered "the water tower of Tunisia", it occupies a prime position in the water resource mobilization strategy and it has the largest agricultural potential.Mapping evapotranspiration allowed to characterize the spatial variation and temporal variability of its three forms (FTE ETM and ETR) Mejerda in the watershed and to distinguish between the sub-regions that were known only to a very empirical. Temporal fluctuations are quite important: the values for January averaged 15% of those of July. Spatial variation is mainly related to the land use map since forest vegetation evaporates more than annual vegetation and the effect of terrain and site. Sheltered sectors are characterized by a power évapotranspérant highest (plain of Jendouba, Siliana depression).The zoning of the evaporation deficiency, developed y the clustering method, showed a new division of the watershed Mejerda. In this regard, the sub-regions, slightly different to those known for the most part, have been distinguished. This is the case of Mejerda average that is often attached to high Mejerda and a sharp contrast between the southern slopes of Kroumirie and the northern slopes of the Dorsal. This configuration is associated with the effect of exposure, vegetation behavior and the state of the soil water content. The zoning of the evaporation deficiency also shows two gradients den water stress vegetation. Indeed, the stress intensity decreases from north to south of the region and altitude resorts to valley bottoms