Cosmetic Surgery, photography, and image manipulation have been intertwined since the inception of the medical field. The before and after surgery photo is central to the way surgeons communicate their goals to patients, who are overwhelmingly women, and to the public at large as a marketing tool. With computers and digital image manipulation programs, a third type of image has emerged—the simulated post-op photo. In this simulation, a photo is taken before a plastic surgery. The patient discusses with the doctor how she or he would like to look after the surgery and what parts of the body they would like to change. The doctor then takes the their photo and digitally manipulates it to the patient’s specifications—either by changing the shape of the nose, enlarging the breasts, decreasing the size of the stomach or any of a number of other digital plastic surgery operations. In the process of creating these images, patients are able to test out their potential new bodies and learn more about how plastic surgeons discuss and evaluate the human form.

As the title of this panel suggests, these papers largely dealt with the strong and often playful effect of cybernetics and cyberspace on the ways we conceive of gendered and queer bodies. It is also fitting that the title uses the slightly dated term “cyber” instead of “new media” or “digital,” as James Hixon started the panel with a paper on the genealogy of information studies and its continual focus on its relationship to the body. Titled “Bodies Into Bits: A Reparative Approach to Informationalizing the Body,” Hixon’s paper discussed such luminaries as Claude Shannon, Warren Weaver, and Katherine Hayles, with the main thrust of his argument addressing the works of Gille Deleuze and Felix Guattari. In Anti-Oedipus and A Thousand Plateaus, as Hixon eloquently described, Deleuze and Guattari break down some of the central issues of digital culture and embodiment through an exploration of the similarities between the natural body and information. Hixon’s discussion focused on the “body without organs,” a phrase used to describe the virtual dimensions of the body. Deleuze and Guattari point out that people are made up of an endless number of virtual personae and possibilities, and by performing these different personae, we are actively experimenting with different ways of representing ourselves. This pre-digital idea is particularly resonant with both the age of the avatar, and the queer body—a body that actively investigates its own potentialities—a body without organs. As such, Hixon helpfully pointed out that digital media often encourages people to rethink and reform their bodies and subjectivities as bodies without organs.

Over the past 12 years, Ellen Harvey (www. ellenharvey.info/) has exhibited her art pieces around the world, from Berlin, Germany to Lahore, Pakistan. In the process, she has garnered an impressive reputation for both her intriguing uses of materials, from Polaroid™ film to etched mirrors, and her playfully devastating institutional critiques. She is an artist, though she has never felt comfortable with the term, and seems at times to question the term’s relevance in a society where everyone seems to be creative. As someone who has taught and lectured in a number of prestigious universities, such as Yale and the University of Michigan, she is also currently concentrating on a number of exhibitions and her one-and-a-half-year-old son, who delightfully interrupted the interview on a number of occasions to discuss his impressive collection of hats.

In this dissertation, I argue that digital recommendation systems - a relatively recent technological innovation - fundamentally reconfigure the very notion of "self" in and for the digital era. Many popular websites, including Google, Netflix and Amazon, employ these systems to assist the user in making decisions of all types, by offering recommendations based on particular algorithms. Throughout the dissertation, I engage the ways that these recommendation systems facilitate contemporary notions of agency and identity as they are constructed through acts of choice. I examine how these systems have enabled the emergence of what I call the culture industries of choice. These industries use digital recommendation systems to lead users toward certain decisions and objects and away from others. In doing so, these automated recommendations, derived from an analysis of user data, shape the contemporary self through a rhetoric that equates conformity with equality and consumerism with freedom. Now a part of today's most popular and influential websites and digital technologies, these digital recommendation systems articulate self-representation and modulation as an integral part of electronic consumption; further, they articulate new networks and conceptions of community. Thus, the need to understand how they affect the way we represent ourselves and think ourselves, as well as how we construct our local and global communities, grows increasingly urgent.

By focusing on how recommendation systems are used by a wide range of sites and technologies, I suggest that the notion of the "recommendation" may serve as a means of critically examining the intertwined relationship between postfeminism, neoliberalism, and digital culture. While many theorists have written extensively about the pervasiveness of choice and the anxieties that result from the need to choose in a neoliberal and postfeminist context, my project shifts the frame by exploring how digital recommendation systems have developed to help people manage and make these choices. My dissertation focuses on how discourse and technology have interacted from the birth of the World Wide Web (W3) in 1992 to the present and how digital technologies and algorithms are presented as lifting the "burden" of choice, a sense of burden upon which neoliberal and postfeminist discourses depend, and in so doing offer greater "freedom." These technologies both figuratively and literally shape user profiles through this instrumentalization of choice.

I begin in Chapter One with a discussion of digital recommendation systems in relation to the postfeminist, neoliberal workplace and the female professional. Many of these technologies were developed by Professor Pattie Maes in the early 1990's at the Massachusetts Institute of Technology specifically to help female professionals manage the many difficult everyday choices that having a family and a career often entails. Maes's recommendation systems organized schedules, sorted email, searched for music and other media, and helped academics find others with similar interests. In Chapter Two, I focus on how postfeminist discourses centered around citizenship, gender, and sexuality are at play on media recommendation sites like Netflix and Digg.com and in relation to Digital Video Recorders like TiVo. Chapter Three explores how these same discourses and a strong focus on postfeminist self-management affect personal relationships through recommendations on dating websites that use matchmaking software, with a special focus on eHarmony. Chapter Four examines how neoliberal and postfeminist paradigms of choice, individuality, and traditional gender norms are transforming the human body through websites and technologies that analyze, judge, and rate a person's appearance in order to recommend "make-overs" including plastic surgery operations. Throughout, I show how these recommendation technologies and their varied uses transform and complicate our relationship to our very senses of "self" in our current media landscape.