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Residual connections have been proposed as an architecture-based inductive bias to mitigate the problem of exploding and vanishing gradients and increased task performance in both feed-forward and recurrent networks (RNNs) when trained with the backpropagation algorithm. Yet, little is known about how residual connections in RNNs influence their dynamics and fading memory properties. Here, we introduce weakly coupled residual recurrent networks (WCRNNs) in which residual connections result in well-defined Lyapunov exponents and allow for studying properties of fading memory. We investigate how the residual connections of WCRNNs influence their performance, network dynamics, and memory properties on a set of benchmark tasks. We show that several distinct forms of residual connections yield effective inductive biases that result in increased network expressivity. In particular, those are residual connections that (i) result in network dynamics at the proximity of the edge of chaos, (ii) allow networks to capitalize on characteristic spectral properties of the data, and (iii) result in heterogeneous memory properties. In addition, we demonstrate how our results can be extended to non-linear residuals and introduce a weakly coupled residual initialization scheme that can be used for Elman RNNs.
Beyond well-established difficulties with working memory in individuals with attention deficit hyperactivity disorder (ADHD), evidence is emerging that other memory processes may also be affected. We investigated, first, which memory processes show differences in adults and adolescents with ADHD in comparison to control participants, focusing on working and short-term memory, initial learning, interference, delayed and recognition memory. Second, we investigated whether ADHD severity, co-occurring depressive symptoms, IQ and physical fitness are associated with the memory performance in the individuals with ADHD.
We assessed 205 participants with ADHD (mean age 25.8 years, SD 7.99) and 50 control participants (mean age 21.1 years, SD 5.07) on cognitive tasks including the digit span forward (DSF) and backward (DSB), the Rey Auditory Verbal Learning Test (RAVLT), and the vocabulary and matrix reasoning subtests of the Wechsler Abbreviated Scale of Intelligence. Participants with ADHD were additionally assessed on ADHD severity, depression symptoms and cardiorespiratory fitness. A series of regressions were run, with sensitivity analyses performed when variables were skewed.
ADHD-control comparisons were significant for DSF, DSB, delayed and recognition memory, with people with ADHD performing less well than the control participants. The result for recognition memory was no longer significant in sensitivity analysis. Memory performance was not associated with greater ADHD or depression symptoms severity. IQ was positively associated with all memory variables except DSF. Cardiorespiratory fitness was negatively associated with the majority of RAVLT variables.
Individuals with ADHD showed difficulties with working memory, short-term memory and delayed memory, as well as a potential difficulty with recognition memory, despite preserved initial learning.
Despite the recent popularity of predictive processing models of brain function, the term prediction is often instantiated very differently across studies. These differences in definition can substantially change the type of cognitive or neural operation hypothesised and thus have critical implications for the corresponding behavioural and neural correlates during visual perception. Here, we propose a five-dimensional scheme to characterise different parameters of prediction. Namely, flow of information, mnemonic origin, specificity, complexity, and temporal precision. We describe these dimensions and provide examples of their application to previous work. Such a characterisation not only facilitates the integration of findings across studies, but also helps stimulate new research questions.
Recent findings indicate that visual feedback derived from episodic memory can be traced down to the earliest stages of visual processing, whereas feedback stemming from schema-related memories only reach intermediate levels in the visual processing hierarchy. In this opinion piece, we examine these differences in light of the 'what' and 'where' streams of visual perception. We build upon this new framework to propose that the memory deficits observed in aphantasics might be better understood as a difference in high-level feedback processing along the ‘what’ stream, rather than an episodic memory impairment.
The Atlas Group created a digital mixed-media archive of contemporary Lebanese history, made up of produced and found documents. These archives look immediately ambiguous: they don't collect historical documents; they actually contain visual artefacts created by the Lebanese artist Walid Raad. These digital mixed-media archives - partly accessible on the web but also physically exhibited and performed - are not intended to preserve the memory of the past, but they become indeed useful to actualize history by giving it back in the form of a historical fiction. What if archives should not deal with memory, but with amnesia? And what kind of historical temporality do they re-activate?
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls 'political-timing-specific' artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
Als Ausgangspunkt dieser Arbeit dienen Ansätze, die eine narrative Perspektive für das Verständnis von Psychopathologie und die psychotherapeutische Praxis vorschlagen. Im Hinblick auf die Fragen, welche Vorteile die Analyse von Patient*innenerzählungen bieten kann, und durch welche Merkmale psychopathologische Narrative sich auszeichnen, wird ein Überblick über ausgewählte Fallberichte, empirische Untersuchungen und theoretische Überlegungen gegeben. Diese werden unter den drei Kategorien Kohärenz, „Agency“ und Perspektiven beschrieben. Die Arbeit mag einen Impuls geben, ein tieferes Verständnis für narrative Dysfunktionen zu entwickeln und ihre Ursprünge sowie ihre Bedeutung für psychische Störungen und deren Behandlung vermitteln.
Neste artigo, proponho a aproximação do poema "Engführung" (1958), do poeta Paul Celan, com o ensaio "Cascas" (2011 [2017]), do historiador de arte francês Georges Didi-Huberman, tomando como ponto de partida a ideia de percurso que atravessa ambas as obras. Para tanto, baseio-me nas leituras que Joachim Seng faz do poema de Celan (1992; 1998), nas quais lê "Engführung" como um trajeto do eu-poético pelo campo de concentração (Auschwitz) que é, ao mesmo tempo, campo da memória e linguagem. Em "Cascas", Didi-Huberman relata o percurso da sua visita a Auschwitz, enfocando o papel do olhar na realização do trabalho da memória. Nesse sentido, ao posicionar lado a lado o poema e o ensaio, estes parecem apontar para modos de olhar e dizer Auschwitz que colocam para o leitor as tensões inerentes a este movimento, não se omitem desta tarefa ética e refletem criticamente a postura individual e coletiva diante da lacuna do testemunho e do que resta do campo de concentração.
Este artigo propõe-se a analisar a trajetória do escritor austríaco Fritz Kalmar e seu conto "Der Austrospinner" ("O austro-louco"), incluído na antologia "Das Herz europaschwer", de 1997, à luz das identidades surgidas no contexto da emancipação e da assimilação judaicas na Áustria. Georg von Winternitz, protagonista desta narrativa, encarna, em seu exílio boliviano, os fundamentos de uma identidade austríaca cultivada na velha Monarquia Habsburga, legatária do Sacro Império Romano Germânico, e organiza sua existência no novo país de acordo com valores éticos e com princípios católicos, humanistas e universalistas, cultivados, sobretudo, por literatos austríacos do fim do século XIX e do início do século XX, que se dedicaram à construção da identidade imperial austríaca. Esse sistema de valores, particularmente caro aos judeus austríacos da época do Kaiser Franz Josef, revela uma surpreendente sobrevida nos Andes bolivianos depois de 1938. Ao adotar um menino indígena que está em vias de tornar-se um ladrão, esse personagem não só pretende educá-lo como, sobretudo, pretende fazer dele "um austríaco", o que significa, para o personagem, nele instilar um sistema de valores vinculado à extinta Áustria imperial. A discussão sobre esse conceito, "o austríaco", presente na literatura austríaca do século XIX e do início do século XX, é trazida à tona para tentar compreender o que se encontra por trás deste projeto. Para além dessa questão surge, ao longo da narrativa, uma alusão ao fato de que tanto o narrador quanto o protagonista da narrativa são descendentes de judeus que também "se tornaram" austríacos. "Tornar-se austríaco", assim, e com isto o conceito de 'gelernter Österreicher', temas inextricavelmente ligados ao processo de emancipação e assimilação judaica na Áustria do século XIX, são questões que ressurgem, de forma distópica e anacrônica, na Bolívia dos anos 1950, na trajetória de Kalmar tanto quanto na de seu personagem.
This essay argues for the philosophical standing of Walter Benjamin’s early work and posits a deeper continuity between this early work as a philosopher and the subsequent development of his work as a writer. When these fragments are read in proper relation to each other, they reveal for the first time many of the key innovations of Benjamin as a philosopher, as well as his points of influence on Horkheimer and Adorno. His early ‘Program’ critiques the Enlightenment conception of experience as a means for gaining empirical knowledge, and announces the need for a new concept of experience. Benjamin follows through on this program with a method of philosophical enquiry that is by turns fragmentary and constellational, developing a series of provisional notions of experience, which form a constellation with one another: perception, mimesis, language as a medium of experience, observation and memory.