This article falls into two parts. The first, which serves as an introduction to the second, is a first-hand consideration of the significance of Orlan's Conférences to the reception and comprehension of both her earlier and best known works, the surgical Interventions, and to the most recent manifestation of her artistic project, the digitally-manipulated photo-works in the series that she has dubbed Self-Hybridation. It contrasts these latter works with intervening static works which took the Interventions as their subject matter and (...) concludes that they somewhat ironically release Orlan from her self-imposed obligation to maintain a performative element in her work through the Conférences. The second part of the article is an edited transcript between the author and Orlan in which the Self-Hybridations are subjected to technical, methodological and technical analysis. Orlan refers them to her previous work, particularly the Interventions, discusses their cultural and art historical roots, and speculates on her future art projects. (shrink)

THIS ARTICLE CONTAINS AN EXPLICATION OF THE FOLLOWING: (1) PEIRCE’S USAGE OF THE TERM "MIRACLE"; (2) HIS CRITIQUE OF HUME AND MILL WITH RESPECT TO PROBABILITY AND INDUCTION; (3) HIS CONCLUSION THAT SCIENCE CAN NEITHER DENY NOR AFFIRM MIRACLES, AND (4) HIS CLAIM THAT MIRACLES ARE INTRINSIC ELEMENTS OF A GENUINE RELIGION. THE CONCLUSION IS THAT IN (4) "MIRACLES" REFERS NOT TO INTERFERENCE IN NATURE BY A "DEUS EX MACHINA" BUT TO THE APPEARANCE OF CREATIVE EVENTS AND GENIUSES IN HISTORY (...) DUE TO THE AGAPEISTIC ACTIVITY OF GOD. THIS NEED NOT CONFLICT WITH THE WELL-ESTABLISHED THOUGH PROVISIONAL LAWS OF SCIENCE. (shrink)