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effects of phonological transparency on reading derived words, TheThe purpose of this study was to determine whether poor readers have more pronounced problems than average-reading peers reading derived words the base forms of which undergo a phonological shift when a suffix is added (i.e., shift relations as in "natural"), as compared to derived words whose forms are phonologically and orthographically transparent (i.e., stable relations, as in "cultural"). Two computer-based word recognition tasks (Naming and Lexical Decision) were administered to children with reading disability (RD), peers with average reading ability, and adults. Across tasks, there was an effect for transparency (i.e., better performance on stable than shift words) for both child groups and the adults. For the children, a significant interaction was found between group and word type. Specifically, on the naming task, there was an advantage for the stable words, and this was most noteworthy for the children with RD. On the lexical decision task, trade-offs of speed and accuracy were evident for the child reader groups. Performances on the nonwords showed the poor readers to be comparable to the average readers in distinguishing legal and illegal nonwords; further analyses suggested that poor readers carried out deeper processing of derived words than their average reading peers. Additional study is needed to explore the relation of orthographic and phonological processing on poor readers` memory for and processing of derived words. INTRODUCTION Current literature abounds with documentation of a relationship between phonological awareness and reading development, with extensive evidence to suggest that reading disabilities arise from underlying phonological deficits (Liberman, Shankweiler, & Liberman, 1989; Stanovich, 1986). While studies have shown that children with reading disabilities have significant problems with word reading accuracy and speed (Compton & Carlisle, 1994), such studies have generally focused on words of one morpheme. Of considerable interest is whether morphological structure plays a role in word reading speed and accuracy, and whether students with reading disabilities have greater problems reading morphologically complex words than morphologically simple words. Moreover, studying morphology as it relates to reading in the school-age years is important because of its educational relevance. Nagy, Anderson, Schommer, Scott, and Stallman (1989) found that after the fourth grade, over 60 percent of the words that children encoun ter through reading are morphologically complex. Employing an alphabetic strategy for reading morphologically complex words is bound to be only partially successful in providing access to meaning, as the addition of one or more suffixes often results in phonological changes in the base word (e.g., revise to revision), and the pronunciation of the suffix is not the sum of the parts (e.g., -sion). There is evidence that the phonological properties of words affect morphological processing, and phonological aspects of morphological processing are related to reading achievement (Carlisle & Nomanbhoy, 1993; Fowler & Liberman, 1995; Shankweiler et al., 1995; Singson, Mahoney, & Mann, 2000; Windsor, 2000). The demands of phonological processing are most evident on tasks that include morphologically complex words that undergo a shift in pronunciation when a derivational suffix is added to the base form. For example, the long vowel sound in nature is shortened when the suffix -al is added to the base word to make natural. Recognizing that children with reading disabilities have difficulty with the phonological aspects of reading, we might suspect that they encounter particular difficulties reading derived words whose base forms may be obscured by such phonological shifts. Shankweiler et al. (1995) found reading disabled children to be deficient in generating morphologically complex forms in an oral production task. These researchers found strong correlations between phonological skills and morphological skills. Their results suggested that underlying phonological deficits could be largely responsible for these children`s difficulties in generating derived forms. Furthermore, children`s facility with words that reflected shifts in pronunciation from base to derived form (e.g., five/fifth) more clearly separated poor readers from normal readers than words for which pronunciation remained stable (e.g., four/fourth). Similarly, Fowler and Liberman (1995) found that poor readers differed from good readers in the oral production of words that undergo phonological shifts and that students` sensitivity to morphologically complex words on an oral production task was related to their reading and spelling abilities. Additionally, Champion (1997) and Leong (1989) both contrasted good a nd poor readers. Leong showed that poor readers and spellers were slower at producing derived and base word forms than good readers/spellers, particularly when the words involved both phonological and orthographic changes from base to derived form. Champion found that while poor readers differed from good readers in awareness of the semantic and syntactic aspects of derived forms, the differences were more pronounced on reading than on oral tasks. These studies provide evidence for the importance of phonology as it relates to morphological processing, and they show connections between impairment in one or both of these processes and below average skills in reading. Philippe Parreno: Friedrich Petzel Gallery - New York - Alien Seasons exhibition features a compendium of filmic and graphic images ArtForum , Oct, 2003 by Meghan DaileyIn December 2002, Philippe Parreno and Pierre Huyghe retired Annlee, the Japanese anime character they`d bought the rights to in 1999 and who`d embodied personalities, narratives, and ideas for them and a slew of other artists. Her final incarnation as a fireworks display--sad-eyed head-and-shoulders only--took place at an art fair, the perfect place for a commercially acquired icon to bid us adieu. But it`s hard to imagine such a useful tool (or "shell," as Annlee was called, and gloomily called herself) disappearing completely. And because repetition with alteration is a constant in Parreno`s work, she showed up in his most recent solo show, titled "Alien Seasons," last May. The exhibition constituted less a group of works per se than a compendium of tropes and images--filmic and graphic--that had already appeared elsewhere (sometimes considerably altered, sometimes not). "Alien Seasons" was in fact a reprisal of the survey exhibition of the same name, on view at the Musee d`Art Moderne de la Ville de Paris in the summer of 2002. So, while Annlee made an appropriately ghostly appearance on a glow-in-the-dark poster, the gallery show`s wall labels were in the same skinny gothic script of the captions in the Paris exhibition catalogue. To really see each element, timing was everything. Even the labels for the artworks were mini light boxes, as if specially intended to be read when the ceiling lights went out. The works" appearance and disappearance made for an obvious commentary on our attention span (especially when it comes to contemporary art), but Parreno`s careful choreography implied, or at least involved, something more. Take El Sueno de una Cosa (The dream of a thing), 2001, comprising a film, the white panels on which the film is projected, and the silence that follows the projection of the film. The moving-image element, clocking in at exactly sixty seconds, consists of brilliant post card views of a rocky, tundra-coated Norwegian hillside and is set to music by French composer Edgard Varese that feels like a sci-fi movie score (in the movie`s final frames, stems and flowers push their way through the ground at time-lapse speed). Reading the press release, we learn that the five white panels on which the film is projected, re vealed after the lights go up, are a replication of Robert Rauschenberg`s White Painting, 1951. We also find that during the four minutes and thirty-three seconds before the film starts again, the viewer could be said to experience a sort of disembodied version of, yes, John Cage`s 4 minute 33 second silent score, 1962 (itself inspired in part by Rauschenberg`s painting). It`s crucial to know how different El Sueno--or, rather, its film component--was originally. Conceived for movie theaters throughout Sweden in 2001, it was shown between the battery of short advertisements and the feature films. Duplicating exactly the duration of the commercials, it was truly an "alien" intrusion into the realm of advertising. But while Parreno confronted the expectations of the movie theater, he conformed to those of the gallery by layering the film between two impeccable works from the history of art. The truly radical action was not, perhaps, to use a monochrome as a movie screen hut to quietly project that strange and beautiful sixty seconds for the crowd at the Swedish multiplex. But maybe for Parreno the "radicality" of this or that context is not the point. He may simply be seeking an infinite recess of reproducibility for four or five of his alien signs COPYRIGHT 2003 Artforum International Magazine, Inc. COPYRIGHT 2003 Gale Group Speed reading index
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