Structural Abstraction as an Inductive Bias for Non-Stationary Language Model Training
Organizations: University of Southern California
Abstract
A foundational principle in cognitive science holds that intelligent agents do not learn by storing experiences as isolated instances, but by forming abstract schemas that capture relational structure shared across situations. Even though this claim is well supported by behavioral and neuroimaging studies, its role as a computational training signal in language models remains underexplored. We target this gap in the setting of non-stationary language model training, asking does biasing learning toward structural abstraction reduce catastrophic interference and improve relational generalization as predicted by human results? To study this question, we introduce Abstraction-Augmented Training (AAT), a lightweight loss-level modification that jointly optimizes over concrete instances and their structural abstractions, and two benchmarks, the Relational Cycle Benchmark (RCB) and the Narrative Abstraction Benchmark (NAB). These resources operationalize core cognitive constructs: entity masking as a computational analog of relational alignment, and proverbs as vehicles for implicit abstract meaning that must be inferred across surface-dissimilar situations. Our empirical results demonstrate that AAT consistently reduces forgetting and improves generalization in a pattern that aligns with cognitive predictions for schema-based learning. Beyond the practical implications for continual learning, these results offer preliminary computational evidence that structural abstraction is a signal for stable learning in non-stationary environments.
Figures & tables
| Method | ||||
| Random | 0.4756 | 0.3898 | 0.1163 | 0.0845 |
| Category | 0.5403 | 0.4059 | 0.0713 | 0.0657 |
| Mask | 0.5452 | 0.4086 | 0.0679 | 0.0643 |
| Method | ||||
| Normal SFT | 0.8674 | 0.6086 | 0.0565 | 0.1460 |
| Buffer-100 | 0.8940 | 0.5965 | 0.0631 | 0.1730 |
| AAT | 0.8683 | 0.6143 | 0.0557 | 0.1429 |
| Model | Method | |||||||
| Normal SFT | 0.4194 | 0.5487 | 0.0707 | 0.0767 | 0.4032 | 0.5330 | 0.4924 | |
| Qwen-1.5B | Buffer-100 | 0.4023 | 0.5656 | 0.0626 | 0.0635 | 0.3835 | 0.5515 | 0.4990 |
| AAT | 0.4220 | 0.5568 | 0.0643 | 0.0679 | 0.4086 | 0.5452 | 0.5025 | |
| Normal SFT | 0.4115 | 0.5730 | 0.1166 | 0.0496 | 0.3828 | 0.5552 | 0.5004 | |
| Qwen-3B | Buffer-100 | 0.4115 | 0.5818 | 0.1161 | 0.0483 | 0.3802 | 0.5721 | 0.5112 |
| AAT | 0.4141 | 0.5708 | 0.1035 | 0.0507 | 0.3880 | 0.5552 | 0.5021 |
Appendix figures & tables8 assets
Supplementary material from the paper’s appendix.
Appendix
| Domain | Total | Derivable | % Deriv. | Known Edges | Unknown Edges |
| Genealogy | 500 | 200 | 40.0% | 700 | 500 |
| Profession | 180 | 180 | 100.0% | 900 | 180 |
| Arts | 115 | 50 | 43.5% | 280 | 115 |
| Science | 100 | 25 | 25.0% | 125 | 100 |
| History | 100 | 100 | 100.0% | 200 | 100 |
| Music | 100 | 25 | 25.0% | 125 | 100 |
| Model Size | RCB | NAB | ||||
| Unknown | Known | Total | Unknown | Known | Total | |
| 1.5B | 0.3469 | 0.4695 | 0.4311 | 0.5420 | 0.5103 | 0.5134 |
| 3B | 0.3020 | 0.4537 | 0.4062 | 0.5222 | 0.5266 | 0.5262 |
| 7B | 0.4357 | 0.6062 | 0.5528 | 0.5157 | 0.5198 | 0.5194 |
| Model | Method | |||||||
| Buffer-50-lp1 | 0.4176 | 0.5699 | 0.0792 | 0.0833 | 0.3934 | 0.5275 | 0.4856 | |
| Qwen-1.5B | Buffer-100-lp1 | 0.3772 | 0.5283 | 0.0950 | 0.0817 | 0.3450 | 0.5051 | 0.4551 |
| Buffer-50-lp5 | 0.4014 | 0.5679 | 0.0723 | 0.0689 | 0.3844 | 0.5515 | 0.4993 | |
| Buffer-100-lp5 | 0.4023 | 0.5656 | 0.0626 | 0.0635 | 0.3835 | 0.5515 | 0.4990 |
| Proverb | Narrative Context | Correct Ending | Distractor Ending |
| Jam tomorrow… | The man believed his friend when he kept borrowing money from him, telling him he would pay him tomorrow. Every day he told him he would pay him soon. | He kept giving him money, thinking of the future, but never saw the loans repaid. | He finally got fed up with the constant requests and decided to save all his money for emergencies. |
| Keep your powder dry | Margo always knew to start any trip with a spare tire, emergency cash, and a car repair kit. She stayed calm and prepared for any catastrophe. | She was yet to need any of this, but she always figured she’d be best prepared if catastrophe ever struck. | With all the supplies in her car, Margo felt ready for anything and drove off, never expecting to encounter issues. |
| Laughter is the best medicine | My grandfather was ill and in a somber mood. I read him a funny speech about a plagiarism scandal, and his eyes lit up with fascination. | The somber mood in the room dissipated like dew as we all wondered loudly, and mirthfully, how that was possible. | The somber mood in the room dissipated as my grandfather’s eyes lit up with curiosity about the scandal. |
| Procrastination is thief of time | My son put off an oil change that would have taken 20 minutes. 6 months later, he was sitting at the side of the road with a seized-up engine. | Ultimately, we figured the delay resulted in over 29 hours of combined waiting, extra travel, and car searching. | Fortunately, my son managed to get the engine fixed quickly by borrowing a friend’s car, saving him from delays. |
| It takes two to tango | Jeff and Jane were getting into a fight. Jane pointed the finger, saying it was all Jeff’s fault. Their mother knew better though. | She knew that they both were causing trouble and Jeff and Jane were both punished. | She quickly intervened and helped Jeff up off the floor, advising him to apologize to Jane. |
| Text Context | Known Edges (Sample) | Unknown Edge (Target) |
| Ljubljana is in Slovenia. Academy of Theatre, Radio, Film and Television is in Ljubljana. Polde Bibič works for University of Ljubljana and was educated at the Academy. | (Polde Bibič, works for, Univ. of Ljubljana), (Polde Bibič, educated at, Acad. of Theatre…), (Ljubljana, country, Slovenia) | (Univ. of Ljubljana, based in country, Slovenia) |
| Closing time is a dance film and has Mette Ingvartsen as a cast member. | (Closing time, cast member, Mette Ingvartsen), (Closing time, genre, dance) | (Mette Ingvartsen, field of work, dance) |
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