Even this supposedly postmodern textual form of writing that the MOO provides calls into being the independent individual of free choice, the very form of literary subjectivity imposed on the student of composition in a non-computer classroom. Susan Miller argues in Textual Carnivals that studies in literature and composition arose in the same context during the late 19th century and invariably condone these same individual values. And not surprisingly, she sees the product/process "debate" in the same light [-]. "[P]roduct theory appears to have been created at the same time that process theory was, to help explain process as a theory pitted against old practices" (110). Essentially, the notion of a "process paradigm" functioned as a myth compositionists told themselves about themselves for the end goal of disciplinarity (a decidedly modern goal). In almost all other respects, it mirrors "product" approaches. Both "focus on the author/writer" as set outside of social relations; both participate in the Western paradigm of presence, of a writer/speaker who can control the meaning of language; and both see writing as a container for speech and thought rather than a structuring medium (111). The binary of literature and compostion starts to become meaningless at the level of ideology.