We investigate the use of the concept of indiscernibilityand vagueness in spatial information systems. To representindiscernibility and vagueness we use rough sets, respectivelyfuzzy sets. We introduce a theoretical model to supportapproximate queries in information systems and we show howthose queries can be used to perform uncertain classi.cations.We also explore how to assess quality of uncertainclassi.cations and ways to compare those classi.cations to eachother in order to assess accuracies. We implement the querylanguage in an SQL relational language to demonstrate thefeasibility of approximate queries and we perform an experimenton real data using uncertain classi.cations.

<p>We investigate the use of the concept of indiscernibilityand vagueness in spatial information systems. To representindiscernibility and vagueness we use rough sets, respectivelyfuzzy sets. We introduce a theoretical model to supportapproximate queries in information systems and we show howthose queries can be used to perform uncertain classi.cations.We also explore how to assess quality of uncertainclassi.cations and ways to compare those classi.cations to eachother in order to assess accuracies. We implement the querylanguage in an SQL relational language to demonstrate thefeasibility of approximate queries and we perform an experimenton real data using uncertain classi.cations.</p>

Indiscernibility, interchangeability and resemblance relations may be named as weak-identity relations or identity-like relations. Indeed,identical objects can be thought to satisfy all these three relations. According to realist view, these relations are defined on the basis of properties of objects. While indiscernibility is a context-independent relation, since indiscernibility is defined in terms of all properties of objects, interchangeability and resemblance relations are defined in terms of some significant properties of objects and thus they should be regarded as context-dependent. We should consider the following points while comparing rivalling theories of resemblance: 1. The theory explaining resemblance relations between objects should cover as many domains as possible. Instead of simply admitting that objects of a given type may resemble each other, the theory should explain how these relations are possible. 2. Objects do not just resemble or they do not / resemblance is a relation that admits degrees. Thus the theory providing a finer analysis of close and weak resemblances should be preferred. In comparison to resemblance nominalism, realist theory of resemblance is strongerwith respect to both points. The criticism that realist view may not explain degrees of resemblance can be rejoined by removing the indeterminacy as to the nature of this notion.Among knowledge representation systems, property and attribute systems provide a simple but strong models for analytic ontology. Weak identity relations can easily be defined in these systems and the results following from these definitions can be seen to conform to our intuitions about weak identity relations.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo principal deste trabalho será investigar algumas das teses de Arthur Danto, que reconhece nas práticas artísticas contemporâneas um ponto de inflexão a partir do qual um novo paradigma artístico, ainda hoje em plena vigência, teria se imposto. Abordaremos a obra de Danto a partir do ponto de vista de Gilles Deleuze e Felix Guattari, que em O que é a Filosofia? Afirmam ser a filosofia uma criação que consistiria de três elementos fundamentais, quais sejam: o plano de imanência, os conceitos e os personagens conceituais. Assim, utilizaremos esta perspectiva para definir o plano de imanência de Danto, bem como seus conceitos e personagens, aproveitando para refletir sobre a relevância e validade filosófica de associar escolas filosóficas antagônicas, tais como a filosofia americana e a filosofia francesa. / The main objective of this work is to investigate some of the thesis of Arthur Danto, who recognizes in the contemporary artistic practices an inflection that establishes a new artistic paradigma, which validity persists until today. Our intention is to approach Dantos ouvre through Gilles Deleuze and Felix Guattaris philosophy, wich says, in What philosophy is?, that philosophy is a creation consisting of three fundamental elements, namely: the immanency plan, the concepts, and the conceptual characters. Thus, we will be using this theoretical perspective to define Dantos immanency plan, as well as his concepts and characters, using the opportunity to consider the philosophical relevance of associating antagonical philosophycal schools, such as american and french philosophy.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo principal deste trabalho será investigar algumas das teses de Arthur Danto, que reconhece nas práticas artísticas contemporâneas um ponto de inflexão a partir do qual um novo paradigma artístico, ainda hoje em plena vigência, teria se imposto. Abordaremos a obra de Danto a partir do ponto de vista de Gilles Deleuze e Felix Guattari, que em O que é a Filosofia? Afirmam ser a filosofia uma criação que consistiria de três elementos fundamentais, quais sejam: o plano de imanência, os conceitos e os personagens conceituais. Assim, utilizaremos esta perspectiva para definir o plano de imanência de Danto, bem como seus conceitos e personagens, aproveitando para refletir sobre a relevância e validade filosófica de associar escolas filosóficas antagônicas, tais como a filosofia americana e a filosofia francesa. / The main objective of this work is to investigate some of the thesis of Arthur Danto, who recognizes in the contemporary artistic practices an inflection that establishes a new artistic paradigma, which validity persists until today. Our intention is to approach Dantos ouvre through Gilles Deleuze and Felix Guattaris philosophy, wich says, in What philosophy is?, that philosophy is a creation consisting of three fundamental elements, namely: the immanency plan, the concepts, and the conceptual characters. Thus, we will be using this theoretical perspective to define Dantos immanency plan, as well as his concepts and characters, using the opportunity to consider the philosophical relevance of associating antagonical philosophycal schools, such as american and french philosophy.

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The subject of this work is the analysis of the content of the fictional and essayistic production from the writer Jorge Luis Borges, mainly that one made during the 1930s and 1940s and thematizing metaphysical subjects. The aim is to investigate if is there a philosophical project underlying it, and what are the general lines of this project. The introduction includes brief remarks about the importance of the work of Borges to Western thought in the second half of the twentieth century. The first chapter discusses the limitations that are imposed to a philosophical project included in a fictional work, and of its critical efficacy. The next chapter investigates the metaphysical essays Borges wrote during the period in analysis, searching for their philosophical roots. This effort focuses on interpretations by Borges of the systems built by George Berkeley, David Hume and Francis Herbert Bradley, and leads to the discussion of the refutation of the conception of time that permeates British idealism, promoted by the writer through the application of the principle of the indiscernibility. The borgian refutation of time, however, undermines the notion of personal identity, which is self-evident. The third and final chapter shows up that Borges tried to solve this paradox by means of a critical plunge in Gottfried Leibniz´s philosophical system, no longer by means of the essayistic discourse , but through fictional prose. Accordingly, the final chapter includes an outline of the method by which Borges, drawing on the resources of modal fictional discourse, contests speeches such as philosophy itself, supposed to have higher truth- value. It includes, as well, the review of those short stories written by Borges which reverberate leibnizian categories, in order to show the application of that method and hence the meaning of those narratives, which is, according to our hypothesis, to display, each under a different point of view, the fundamental contradiction of Leibniz´s conceptual system. This contradiction is that, despite all the efforts of the philosopher in safeguarding human freedom before a perfect and infinite mathematical cosmology, and of the assertion of the independence of the individual monad, the human condition which emerges from this order is humiliating for men, reducing them to a single piece in a stiff cosmic system. / A presente dissertação tem por objeto o conteúdo da produção ficcional e ensaística do escritor Jorge Luis Borges, mais especificamente aquela composta durante as décadas de 1930 e 1940 e que tocam ou tematizam temas metafísicos. O objetivo é investigar se existe ali, subjacente, um projeto filosófico, e quais são as linhas gerais desse projeto. A introdução inclui breves considerações a respeito da importância da obra de Borges para o pensamento ocidental da segunda metade do século XX. O primeiro capítulo discute as limitações que se impõem a um projeto filosófico inscrito numa obra ficcional, e o horizonte de sua eficácia crítica. No capítulo seguinte, investigam-se os ensaios metafísicos que o escritor redigiu ao longo do período analisado, em busca de suas raízes filosóficas. Esse esforço concentra-se nas interpretações feitas por Borges dos sistemas edificados por Georges Berkeley, David Hume e Francis Herbert Bradley, e conduz à discussão da refutação, promovida pelo escritor por meio da aplicação do princípio dos indiscerníveis, da concepção de tempo que permeia a corrente idealista britânica. A refutação borgiana do tempo traz consigo, no entanto, o solapamento da noção de identidade pessoal, noção que, no entanto, é autoevidente. Tal paradoxo, demonstra-se no terceiro e último capítulo, Borges tentará resolvê-lo por meio de um mergulho crítico no sistema de Gottfried Leibniz, não mais pela via do discurso ensaístico, mas por meio da prosa ficcional. Nesse sentido, o capítulo final inclui um esboço do método pelo qual Borges, valendo-se dos recursos modais do discurso ficcional, coloca em discussão discursos de valor veritativo pretensamente superior, como é o caso da filosofia; bem como a resenha de contos escritos por Borges que ecoam categorias integrantes do sistema de Leibniz, com o objetivo de evidenciar a aplicação desse método e, por conseguinte, o sentido daquelas narrativas, que é, segundo nossa hipótese, de exibir, cada qual sob um ponto de vista diferente, a contradição fundamental do organismo conceitual leibniziano. Essa contradição consiste em que, malgrado todos os esforços do filósofo em resguardar a liberdade humana diante de uma cosmologia matemática perfeita e infinita, e não obstante a afirmação da independência individual da mônada, a condição humana que decorre dessa ordem é humilhante e nulificadora para o homem, pois o reduz a uma simples peça de um rígido sistema cósmico. / Mestre em Filosofia