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Modeling Theory and Composing
Process Models
Michael A. Pemberton
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Modeling Theory and Composing Process Models 41
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42 College Composition and Communication 44 (February 1993)
research data and the sheer number of models which exist to describe writing
behaviors. The explicit cognitive models proposed by Hayes and Flower, John
Gould, Charles Cooper and Ann Matsuhashi, Beaugrande, and Scardamalia and
Bereiter as well as the implicit expressive and social-constructionist models
offered by Peter Elbow, Alice Brand (Psychology), Charles Bazerman, and Ken-
neth Bruffee at once point out the variety of composing process models avail-
able and underscore the increasingly urgent need to articulate and comprehend
the epistemology of model-building or "formalist" inquiry, as it is called by
Stephen North. Before we can accurately interpret, evaluate, or employ any
model of composing processes-or fully understand how several such models
can coexist-we must be thoroughly informed with the knowledge of exactly
what a model is, how it can be used effectively, and what its limitations are. My
purpose in this article is, therefore, to broaden the discussion of epistemology
in composition studies by connecting it to research in the branch of scientific
philosophy known as modeling theory. In doing so, I will suggest some of the
important implications modeling theory has for composition studies, and also
provide a context for discovering what it means to construct models of writing
processes.
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Modeling Theory and Composing Process Models 43
Local - L Global
Data -------Models -------Theories -------Paradigms
Figure 1. Conceptual Frameworks
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44 College Composition and Communication 44 (February 1993)
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Modeling Theory and Composing Process Models 45
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46 College Composition and Communication 44 (February 1993)
In this respect, models will carry false information about their subjects and ma
therefore, unintentionally mislead researchers who try to make inferences fro
the model.
To see what this means in concrete terms, imagine, for example, a model of
the solar system that uses gears and pulleys to simulate the rotation of planets
on their axes as well as their movement around the sun. A model of this sort
will likely share a number of features with the actual solar system, among them
relative planetary size, relative location of the planets with respect to the sun,
and relative orbital periods. These shared features form the basis upon which we
can use a mechanical construct as a model of the solar system. Yet the solar
system has many additional features such as asteroids, comets, and manmade
satellites which will probably not appear in the model, while the model itsel
will likely have such features as gears, pulleys, chains, and an abundance of
plaster of Paris, which are not, in turn, constituent features of the solar system.
I use this illustrative example guardedly, and at the risk of reinforcing the
misconception that all writing process models are, at the heart, mechanistic. To
believe so would misconstrue the point I make about all attempts to describe
and represent writing processes. Clearly, the act of composing is a more complex
and problematic phenomenon than the more easily modeled motion of planets
around the sun. Nevertheless, the representational principles and concomitant
weaknesses inherent in descriptions of writing processes remain the same, re-
gardless of whether researchers prefer to engage in the "deep description" of
ethnographic research and case studies or the more overt modeling which results
from cognitive approaches. Certain features are distinguished, represented, and
characterized in relation to one another; other features are not.
Each of these epistemological weaknesses-one in which the source lacks
some properties that the subject entails (simplification) and the other in which
the source has properties that the subject does not (misrepresentation)-is
inherent to the modeling relationship and suggests a line of argument which can
be used to critique any model we might propose to represent any given subject.
The value of such critiques-when taken in context-should be immediately
apparent. They force us to admit that models are imperfect representations; they
are limited by their paradigmatic assumptions and are subject to constant
revision, reconsideration, and elaboration. The purpose of a model (and of the
very act of modeling) is to provide a starting point for our understanding,
simple, logical framework for guiding future research and interpreting experi-
mental data. Models are not intended to be thought of as anything more than
potential and reasonable explanations for observational data, explanations that
will either succeed or fail when subjected to further testing and careful research.
We must be careful, therefore, to guard against the urge to dismiss, pre-
emptively, the value of a model merely because it contains imperfections. Such
a tendency, reminiscent of Duhem's views, is unreasonable and shortsighted, yet
it nevertheless remains a practice that is subtly encouraged by some of th
common argumentative strategies we employ in our professional discourse. In
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Modeling Theory and Composing Process Models 47
Models as Simplifications
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48 College Composition and Communication 44 (February 1993)
against that of the social constructionists, whose interests lie in the domain of
"local" knowledge and the detailed characterization of specific situational con-
texts. Because socially oriented writing researchers valorize local, highly-contex-
tualized descriptions of individual writers and writing situations, they are
frequently among the most prominent critics of cognitive methodologies and
models (265-66).
Cognitivist researchers are generally well aware of the restrictions their para-
digm and its accompanying epistemology impose. Mike Rose, known in part for
his descriptions of the cognitive factors which contribute to writer's block, refers
specifically to the dangers of "cognitive reductionism" in studying remedial
writers. Similarly, Flower has begun to address in concrete terms the limitations
of her model as well as the limitations which are natural to any model which is
"theory-based." Referring to cognitive theory as a "partial position" for the
study of writing behaviors, she says that
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Modeling Theory and Composing Process Models 49
Such dangers are clearly evident in (though by no means exclusive to) cognitive
writing process models, and composition journals abound with critiques which
refer to this particular epistemological weakness. In general, the arguments may
take two forms: (1) the terminology used to describe the models may lead to
faulty conclusions about the writing process, and (2) the "preferred analogy"
used to construct the model may carry epistemological assumptions which do
not accurately characterize writing behaviors. The first argument is perhaps the
easiest to exemplify. Consider the well-known diagram of the Flower and Hayes
composing process model.
Figure 2 is the representation Flower and Hayes offer to characterize major
components of the composing process. Since 1980, when this representation
was first offered, Flower and Hayes have elaborated extensively on many of the
model's features, particularly in the areas of PLANNING and REVISING, but
as an overview of their perceptions about the components of the writing process,
this diagram is reasonably accurate. (As a side note, I should point out that
although this model has a graphic representation, a diagram is not a requisite
for something to be considered a model. A model may be presented, for
example, in purely textual form.) In addition to the TASK ENVIRONMENT
(everything "outside the writer" which influences the development of a written
text) and the writer's LONG TERM MEMORY are the actual WRITING
PROCESSES which include GENERATING, TRANSLATING, and REVIS-
ING. Each of these major components and processes is separated from the
others by closed boxes with descriptive names, the graphic representation sug-
gesting that these aspects of the composing situation can each be considered in
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50 College Composition and Communication 44 (February 1993)
TASK ENVIRONMENT
Topic PRODUCED
Audience
Exigency SO FAR
WRITING PROCESSES
THE WRITER'S
MEMORY
LONG-TERM PLANNING TRANSLATING REVIEWING
MONITOR
Figure 2. The Flower and Hayes Process Model of Composing (From Flower and H
"Cognitive," p. 370)
isolation and that their activities can be described accurately by the terms
are used to label the boxes.
Several critics of this model observe the dangers which underlie these as-
sumptions. North, for instance, takes issue with the use of terms such as
"GENERATING" and "PLANNING" to describe the broad range of activities
which writers are observed to engage in at various stages of their writing process.
Not only do these categories tend to conflate a wide variety of discrete activities
whose similarities have not yet been conclusively demonstrated, but the term
used to label the categories are also in "ordinary" use and carry with them an
number of connotative meanings.
The principal danger of ordinary language models [my emphasis], then, is
the potential for confusion they create in these areas for investigator and
reader alike . . . Despite the all-caps designation of the various processes
(which I assume is intended to mitigate the effect), such a formulation of
the model tends to lead us to fill our own experience into its terms, and so
to see "empirical" evidence in support of its validity everywhere: "Yes, I
plan, translate, and review, I generate, organize, and set goals," and so on.
But as the definitions they offer later in the same paragraph at least try to
make clear, the terms as used here actually have very special, much more
restricted meanings. They do not correspond to observed psychological
states or entities or processes. Rather, they indicate relations among the
as-yet unspecified elements of the model system being proposed. (249-50)
What North contends, in other words, is that the terms used to label many
the processes in the Hayes/Flower model carry semantic features that are, if not
entirely inappropriate for the writing processes they are being used to describe,
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Modeling Theory and Composing Process Models 51
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52 College Composition and Communication 44 (February 1993)
Looking back on the argument I have presented in this essay, I might be accuse
of participating in an all-too-popular pastime in our field: carping at the
cognitivists. To this charge, I must plead a resounding "not guilty," though I do
feel obliged to justify my focus on cognitive models in this article. It is a virtu
truism that one of the main goals of cognitive research is the construction
models, and this goal has clearly been adopted and sustained by scholars w
study the writing process using cognitivist tools. A survey of the literatur
composition studies seems to reveal, in fact, that cognitive models are the only
type of formal models which have been proposed to describe writing processes.
This was the conclusion Stephen North came to when he lamented that "all
Formalist [model-building] work in Composition I can find has treated writ
as a cognitive process" (245).
Although one might argue with this assessment, I believe it is fair to say th
cognitive models are generally easier to distinguish as models with explici
stated premises and representations that define and quantify the "rules" of tex
production. Because the cognitivists' area of inquiry is narrowly defined,
cause their methodologies frequently adopt the empirical conventions of tr
tional scientific experimentation, because they are prone to present their mode
explicitly-either in graphic or textual forms-and because their represent
tions of writing processes tend to be "rule-governed," the epistemological tenet
of cognitive models are often easier to identify and therefore easier to critique
than the tenets which underlie other kinds of writing process models or th
ries. It is primarily for this reason that I chose to focus on cognitive models as
illustrative examples.
But the points I make about modeling per se are equally applicable to a
representations of writing processes, whatever their epistemological underp
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Modeling Theory and Composing Process Models 53
A closer look at Brand's own work confirms this. In her discussion of research
methodology and goals, Brand explains that she draws heavily on the work o
Joel Davitz, a psychologist who has generated a matrix of"twelve dimensions of
affective meaning within which fifty separate emotions are grouped" (63).
Adapting this matrix to the purposes of her own study, Brand clusters a number
of "emotion items" into three distinct categories: positive (adventurous, affec
tionate, excited, happy, etc.), passive negative (ashamed, bored, confused, de
pressed, lonely, shy), and active negative (afraid, angry, anxious, disgusted,
frustrated). At various stages of the writing process, respondents are asked t
indicate how strongly they feel each of these emotions, and results are correlated
according to a variety of statistical, situational, and demographic features.
Without question, Brand is very careful to consider the potential flaws in her
own methodology, particularly the difficulties inherent in having subjects self-
report on psychological states (69-75). She raises important questions about th
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54 College Composition and Communication 44 (February 1993)
Conclusions
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Modeling Theory and Composing Process Models 55
Notes
1. Ending this continuum with "paradigms" at the highest level is, of course, an
arbitrary decision on my part, and even extending it this far presents epistemologi
difficulties. As Connors has pointed out, the concept of paradigm has fallen into so
disrepute, even in the domain of the physical sciences to which it was first intended t
apply. It might be possible to extend this continuum to include even more abstract
knowledge structures such as "disciplines" or "Weltanschauungs," but the problem
inherent in ascribing features to amorphous conceptual frameworks such as these a
nearly insurmountable.
2. Achinstein provides not only an explanation for the frequent confusion betwe
these two terms, but an indication of the crucial epistemological difference betwe
them. He suggests that a model and a theory are closely linked because they share t
same basic set of assumptions; they differ primarily in the implications which can
drawn from each. To propose something as a model, says Achinstein, is "to suggest it
a way of representing X which provides at least some approximation of the actu
situation .... "; to propose something as a theory "is to suggest that X's are govern
by such and such principles" (103). In other words, while models portray a best guess,
plausible explanation for a set of observations, a theory purports to be the actua
explanation, a description of the way things truly are.
It is possible to characterize the nature of this difference further by drawing from the
work of Thomas Kuhn, who suggested that models comprise "preferred analogies" a
"ontologies." By preferred analogies, Kuhn means the representational system bein
employed to construct the model, examples being the movement of water through pip
to represent the flow of electricity through wires or, in the case of cognitivism, t
principles of information processing and problem-solving to characterize writing pr
cesses. By ontology, Kuhn refers to the degree of "metaphysical commitment" which
assigned to the model. Though metaphysical commitment is rather loosely defined
Kuhn's overall scheme, it reflects the degree to which a given scientific community (o
interpretive community) believes a certain representation to be "true," an accurat
reliable description of objects and processes. By applying Kuhn's terminology to
Achinstein's definitions, then, we can say that the greater the degree of metaphysi
commitment given to a model by an interpretive community, the closer it gets t
achieving the status of theory.
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56 College Composition and Communication 44 (February 1993)
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58 College Composition and Communication 44 (February 1993)
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