Recent work in cross-topic argument mining attempts to learn models that generalise across topics rather than merely relying on within-topic spurious correlations. We examine the effectiveness of this approach by analysing the output of single-task a
nd multi-task models for cross-topic argument mining, through a combination of linear approximations of their decision boundaries, manual feature grouping, challenge examples, and ablations across the input vocabulary. Surprisingly, we show that cross-topic models still rely mostly on spurious correlations and only generalise within closely related topics, e.g., a model trained only on closed-class words and a few common open-class words outperforms a state-of-the-art cross-topic model on distant target topics.
Van Tijm and Victor Gremonsky, in their comparative monetary work, have
established two closely related, largely divergent approaches and research methods. The
first to follow the approach of EvelFeilmann to look at international literary relations
is a
certain historical causation (historical theory). And the second approach to the theory of
typology, influenced by the writings of A. Vesilowski monetary, influenced by German
philosophers, starting in the second half of the eighteenth century. The term similarities
and differences between literatures is presented as a result of similarity or difference in the
movement of the development of societies and their conditions.
However, their divergence in principle did not override their agreement on some
partial issues and their divergence in other matters. This is what the research will try to
look at, using extrapolation as a means to elucidate judgments, which were ignored by
scholars and interested parties, in the hope of giving each person the right, both impartially
and objectively, to adopt their texts.
The contemporary abstract art was one of the artistic trends which tried to destroy the reality form to get
into the substance and inner content. It represented non-objective art. Following this trend the lyrical
abstractionism of Kandinsky emerged
. Kandinsky attended to the color more than the form, and he called
his art the internal necessity art. Critics named this art a non-figurative or non-objective art and it
became one of phenomena of the plastic art in the beginning of the twentieth century. And this is in line
with the concept of abstractionism, which is non-figurative and non-representative. Kandinsky arrived at
painting by color only approaching the rank of musical melody systems.
