Le web et les images qui y foisonnent font désormais partie de notre quotidien et ils façonnent notre manière de penser le monde. Certaines œuvres d’art permettent, semble-t-il, de réfléchir à la fois sur l’image, les technologies web, les relations qu’elles entretiennent et les enjeux sociopolitiques qui les sous-tendent. C’est dans cette perspective que ce mémoire s’intéresse aux travaux de la série des Googlegrams (2004-2006) de Joan Fontcuberta, particulièrement à deux œuvres qui reprennent les photographies de torture de la prison d’Abu Ghraib devenues iconiques. Ce sont des photomosaïques utilisant ces images comme matrices dans lesquelles viennent s’insérer des milliers de petites images qui ont été trouvées dans le web grâce au moteur de recherche d’images de Google, selon certains mots-clés choisis par l’artiste de façon à faire écho à ces photographies-matrices. Ces œuvres sont ici considérées en tant qu’outils d’études actifs nous permettant de déployer les assemblages d’images et de technologies qu’elles font interagir. Il s’agit de suivre les acteurs et les réseaux qui se superposent et s’entremêlent dans les Googlegrams : d’abord les photographies d’Abu Ghraib et leur iconisation ; ensuite le moteur de recherche et sa relation aux images ; finalement les effets de la photomosaïque. Cette étude s’effectue donc à partir des interactions entre ces différents éléments qui constituent les œuvres afin de réfléchir sur leurs rôles dans le façonnement de la représentation de l’information. / The Web and its proliferating images have become part of our daily lives, thereby shaping the way we think about the world. It seems that some artworks allow us to ponder on the role of the image, Web technologies and their intricate relationship, as well as underlying socio-political issues. In this regard, this thesis examines the works of Joan Fontcuberta’s Googlegrams series (2004-2006), more specifically two artworks that are reworking iconic torture photographs of the Abu Ghraib prison. Thousands of smaller images are inserted into the photographs to refashion them into photomosaics. The images are found on the Web using Google Images search function with key words chosen by the artist in order to echo the source photographs. Considered here as tools of active study, these artworks allow us to unfold the assemblage of images and technologies that they are making interact. The aim is to follow the actors and the networks that are superimposed and interwoven within the Googlegrams: the Abu Ghraib photographs and their iconization; the search engine and its relationship with images; as well as the effects of the photomosaic. This study is driven by the interactions between these various elements that form the artworks as a means of reflecting upon their shaping roles in the representation of information.

Le web et les images qui y foisonnent font désormais partie de notre quotidien et ils façonnent notre manière de penser le monde. Certaines œuvres d’art permettent, semble-t-il, de réfléchir à la fois sur l’image, les technologies web, les relations qu’elles entretiennent et les enjeux sociopolitiques qui les sous-tendent. C’est dans cette perspective que ce mémoire s’intéresse aux travaux de la série des Googlegrams (2004-2006) de Joan Fontcuberta, particulièrement à deux œuvres qui reprennent les photographies de torture de la prison d’Abu Ghraib devenues iconiques. Ce sont des photomosaïques utilisant ces images comme matrices dans lesquelles viennent s’insérer des milliers de petites images qui ont été trouvées dans le web grâce au moteur de recherche d’images de Google, selon certains mots-clés choisis par l’artiste de façon à faire écho à ces photographies-matrices. Ces œuvres sont ici considérées en tant qu’outils d’études actifs nous permettant de déployer les assemblages d’images et de technologies qu’elles font interagir. Il s’agit de suivre les acteurs et les réseaux qui se superposent et s’entremêlent dans les Googlegrams : d’abord les photographies d’Abu Ghraib et leur iconisation ; ensuite le moteur de recherche et sa relation aux images ; finalement les effets de la photomosaïque. Cette étude s’effectue donc à partir des interactions entre ces différents éléments qui constituent les œuvres afin de réfléchir sur leurs rôles dans le façonnement de la représentation de l’information. / The Web and its proliferating images have become part of our daily lives, thereby shaping the way we think about the world. It seems that some artworks allow us to ponder on the role of the image, Web technologies and their intricate relationship, as well as underlying socio-political issues. In this regard, this thesis examines the works of Joan Fontcuberta’s Googlegrams series (2004-2006), more specifically two artworks that are reworking iconic torture photographs of the Abu Ghraib prison. Thousands of smaller images are inserted into the photographs to refashion them into photomosaics. The images are found on the Web using Google Images search function with key words chosen by the artist in order to echo the source photographs. Considered here as tools of active study, these artworks allow us to unfold the assemblage of images and technologies that they are making interact. The aim is to follow the actors and the networks that are superimposed and interwoven within the Googlegrams: the Abu Ghraib photographs and their iconization; the search engine and its relationship with images; as well as the effects of the photomosaic. This study is driven by the interactions between these various elements that form the artworks as a means of reflecting upon their shaping roles in the representation of information.

Made available in DSpace on 2015-02-24T19:48:44Z (GMT). No. of bitstreams: 1 AndersonMS_TESE_inicio_pag69.pdf: 4445825 bytes, checksum: 1053632581a0015bab09d4146df22458 (MD5) Previous issue date: 2013-01-31 / Petr?leo Brasileiro SA - PETROBRAS / The aim of this work was to describe the methodological procedures that were mandatory to develop a 3D digital imaging of the external and internal geometry of the analogue outcrops from reservoirs and to build a Virtual Outcrop Model (VOM). The imaging process of the external geometry was acquired by using the Laser Scanner, the Geodesic GPS and the Total Station procedures. On the other hand, the imaging of the internal geometry was evaluated by GPR (Ground Penetrating Radar).The produced VOMs were adapted with much more detailed data with addition of the geological data and the gamma ray and permeability profiles. As a model for the use of the methodological procedures used on this work, the adapted VOM, two outcrops, located at the east part of the Parnaiba Basin, were selected. On the first one, rocks from the aeolian deposit of the Piaui Formation (Neo-carboniferous) and tidal flat deposits from the Pedra de Fogo Formation (Permian), which arises in a large outcrops located between Floriano and Teresina (Piau?), are present. The second area, located at the National Park of Sete Cidades, also at the Piau?, presents rocks from the Cabe?as Formation deposited in fluvial-deltaic systems during the Late Devonian. From the data of the adapted VOMs it was possible to identify lines, surfaces and 3D geometry, and therefore, quantify the geometry of interest. Among the found parameterization values, a table containing the thickness and width, obtained in canal and lobes deposits at the outcrop Pared?o and Biblioteca were the more relevant ones. In fact, this table can be used as an input for stochastic simulation of reservoirs. An example of the direct use of such table and their predicted radargrams was the identification of the bounding surface at the aeolian sites from the Piau? Formation. In spite of such radargrams supply only bi-dimensional data, the acquired lines followed of a mesh profile were used to add a third dimension to the imaging of the internal geometry. This phenomenon appears to be valid for all studied outcrops. As a conclusion, the tool here presented can became a new methodology in which the advantages of the digital imaging acquired from the Laser Scanner (precision, accuracy and speed of acquisition) were combined with the Total Station procedure (precision) using the classical digital photomosaic technique / Neste trabalho s?o apresentados os procedimentos metodol?gicos necess?rios para realizar o imageamento digital 3D da geometria externa e interna de afloramentos an?logos a reservat?rios, e elaborar seus Modelos Virtuais de Afloramentos (MVA). Para imagear a geometria externa foram utilizados o Laser Scanner, o GPS Geod?sico e a Esta??o Total, enquanto que para imagear a geometria interna foi utilizado o GPR. Nos MVA elaborados foram acrescidas ainda as informa??es geol?gicas e as obtidas nas perfilagens com raios gama e de permeabilidade. Como estudo de caso, para exemplificar os procedimentos metodol?gicos propostos, foram escolhidos dois conjuntos de afloramentos na borda leste da Bacia do Parna?ba. Na primeira ?rea ocorrem rochas de origem e?lica da Forma??o Piau? (Neocarbon?fero) e plan?cie de mar? da Forma??o Pedra de Fogo (Permiano), que afloram em um amplo corte de estrada, situado entre Floriano e Teresina (Piau?). A segunda ?rea, situada no Parque Nacional de Sete Cidades, tamb?m no Piau?, envolve rochas da Forma??o Cabe?as depositadas em sistemas fl?vio-deltaicos, durante o Neodevoniano. Com os MVA elaborados foi poss?vel identificar, linhas, superf?cies e geometrias 3D e, assim, quantificar as geometrias de interesse. Dentre as parametriza??es mais relevantes, ressaltam-se a tabela com valores de espessura e largura, obtidas em dep?sitos de canais e em lobos, nos afloramentos Pared?o e Biblioteca. Esta tabela pode ser utilizada como entrada (input) para simula??o estoc?stica de reservat?rios. Um exemplo da aplica??o direta dos radargramas interpretados foi a identifica??o de superf?cies limitantes, em dep?sitos e?licos, da Forma??o Piau?. Apesar dos radargramas oferecerem apenas dados bidimensionais, a aquisi??o de linhas distribu?das segundo uma malha acrescentou a terceira dimens?o ao imageamento das geometrias internas em todos os afloramentos estudados. ? ainda proposta uma nova metodologia que busca conciliar as vantagens obtidas com o imageamento digital com Laser Scanner (precis?o, acur?cia e velocidade de aquisi??o) e a Esta??o Total (precis?o), com o uso cl?ssico de fotomosaicos digitais