Homo Non Intelligit

Aquinas Triumphant

Saint Thomas Aquinas, Triumphant

I.

I forget when the following happen, yet it happened sometime during the time I was an elementary school student. This event occurred at some point during third, fourth, fifth, or sixth grade. Although both my twin brother also went to the same school, we rarely walked together. He much enjoyed taking shortcuts and running to school. Whereas I preferred to take the sidewalk to the light, turn left, and make my way the third of a mile to the school itself. As it turns out one day I could have used his protection.

Everyday, coming in the opposite direction and headed toward the large Catholic school located three quarters of a mile in the opposite direction, were its denizens. One day, walking alone to school, I was jumped by two boys, tackled to the ground, and roughed up a bit. I ended up with one of the boys sitting on my chest, with my upper arms pinned to the ground. He looked into my face, spat in my eyes, and told me,

You know you’re going to hell!?

It was shouted in a combination of mockery, exhortation, and, at the same time, it retained its questioning facet. I have no idea if I answered, and tend to think almost fifty years after the fact that I likely did not answer affirmatively. I didn’t understood what my brusque antagonist was even speaking about.

Although my family wasn’t the least bit religious, I do recall asking my parents about what the question meant. Most of the time, questions like that caused both my dad and mom to send me back to the 1960 World Book Encyclopedia, (whose many volumes served as my closest early confidant, in a autodidactiv sense–ever since I had skimmed/read my way through each volume.) I read about the Catholic Religion, the Holy Roman Church, The Bible; who knows–maybe this is why religion came to interest me so much.

Scroll ahead thirty years or so and its the nineties and I’m in my forties. By this time I have a fairly modest, and nevertheless, informed, grasp of the situation of Christianity as a world religion. My principal fascination was with religious experience and, what I came to term, artifactual religion. My curiosity was fulfilled by my learning a bit about how the different religions came to be constituted into their multi-various forms from, as-it-were, scratch.

 

As a matter of my own arm chair interests, this anthropological frame is for me the central primary feature of religion in historical context. Religions arise from their historical-sociological antecedents. So, for example, if one scrolls backward in time from the arrival of the Summa Theologica (1274 CE) of Saint Thomas Aquinas in the overall scheme of worldly time, one scrolls back before the time of the eventuation of the Old Testament, and, soon enough one scrolls back through those antecedents. Up to a point such antecedents would be specific to the historical development of the Abrahamic religions in a particular location and at a specific time, and then past this point, older antecedents would seem to a knowledgeable traveler (gone back in time, or, simply competent with the evidence,) to become more primitive and increasingly unhinged from what are the recognizable domains of (what strike we contemporaries,) to civilized religions and sophisticated religiosity.

Then, around (very roughly) 500,000 years ago BC, the evidence, so far, for anything resembling symbolic behavior disappears. However, 4.5 billion years of planetary history, prior to this disappearance, remain unscathed by symbolic or religious behavior.

Stephen Calhoun artist

II.

Related to the anthropological perspective is religion’s manifestation as a consequence of human behavior, cognition and experience, for which the frame expands to encompass psychology and sociology. Although I became interested in the work of the psychologists William James and Carl Jung for reasons unrelated to my interest in religion, each in their distinctive ways came to deeply influence my working through to a modest extent the constitution of religion as an intentional individual and social phenomena.

Then, moving to the next viewpoint, the historical, the careful investigator inspects the timeline for religiosity as it unfolds locally over thousands of years in manifestations so brilliantly diverse that it would be ridiculous to then groan that the constituent religions are ‘at odds with one another.’

The fact of the usefulness of first and second order religious behavior is apparent, and at the same time, the investigator’s  second order framing and third order analysis is off the side, removed from the local social phenomena. However, to note that a social behavior with a religious motive or objective constitues a “ritual,” “tradition,” or, going farther, reflects the structuring of human purpose in accordance with a priori “propositions, “principles,” or “laws,” is to choose from some menu given by a third order framework.

This is crucial to teasing out the differentiation between the local phenomena of pragmatic mythologizing, and, the properties of “Mythology” as a category of human culture and its intentional artifactual life.

The blunt ramification is simply derived from the basic understanding: as one goes back in time, very soon, the idea and representation of God, or of Gods, of of the sacred, or of the divine, goes “poof!”

 

 

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When Is A Single Run Not One?

FreePlayOCt-2-16

Sunday, Free Play Soft Ball league enjoyed a funny game amidst: the mildness of early autumn, the goose shit, the late rolling ballers.

My ‘worst ever since 1970’ hitting slump continued, yet, because I can play all fielding positions in a mediocre manner, I pitched a scoreless inning. Lost a one run game–that is a win in my book.

Never will you reach that silver mountain which appears, like a cloud of joy, in the evening light.

Never can you cross that diamond of dirt which treacherously smiles at you in the morning mist.

Every step on this road takes you farther away from home plate, from flowers, from spring. Sometimes the shade of a cloud will dance on the way. Sometimes you rest in a ruined caravanserai seeking the truth from the blackish tresses of smoke

Sometimes you walk a few steps with a kindred soul only to lose him again.

You go, and go torn by the windy disputes about what actually happened, burnt by the sun, and the shepherd’s flute tells you “geese have flown”

until you laugh no more

until the puddles in the grass is only your dried-up tears which mirror the mountain of joy that is closer to you than your mitt.

apologies to Ms. Schimmel, for this version adapted from:
~Annemarie Schimmel ‘Nightingales Under the Snow’ Variations on Rumi’s Thoughts

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Legacy Art Post #3 – A Green Man

A-Green-Man-12x12

A Green Man 12×12″ Stephen Calhoun 2013

A Green Man (2013)

The journey of Moses with his servant Joshua is a life­journey (it lasted eighty years). They grow old together and lose the life-force, i.e., the fish, which “in wondrous wise took its way to the sea” (setting of the sun). When the two notice their loss, they discover at the place where the source of life is found (where the dead fish revived and sprang into the sea) Khidr wrapped in his mantle,48 sitting on the ground. In another version he was sitting on an island in the midst of the sea, “in the wettest place on earth,” which means that he had just been born from the maternal depths. Where the fish van­ished Khidr, the Verdant One, was born as a “son of the watery deep,” his head veiled, proclaiming divine wisdom, like the Babylonian Oannes-Ea (cf. fig. 18), who was represented in form and daily came out of the sea as a fish to teach the people wisdom. (pp 197-198, C.G.Jung, Symbols of Transformation)

CF 18 p199

CF 18 p199

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Success & the Infinite

Stephen-Calhoun--work-under-inspection

SUCCESS AND THE INFINITE
(originally published on LinkedIn)

The following question was pitched my way recently: how long does it take you to produce a finished piece of art?

Obviously there can only be a generalized answer to this question. On average. . .

The query motivated me to consider how long different steps take, to break the total time down, even if the exercise ends up a matter of estimating an average or mean time.

But, soon enough, being a systems’ thinker, my reflection wandered toward more vague territories, and then into territories where concepts such as interval, or beginning-and-end, come to be defeated close to the outset.

Back up from the moment of one of your own greatest successes. If someone asked you, ‘how long did it take you to produce this success?’ what would go into your answer?

My own reflection on this question-and, for me, a produced art work is always a moment of great success–wandered soon into intriguing considerations which take into account crucial aspects that tend to break apart mere regard for the time interval mechanical elements required.

I’m going to mention a few aspects. Before I do so, my hope is you’ll do a short exercise and reconsider an example in your own life under the light of the following different lenses.

An aspect of any success clearly is defined by all the learning from experience, and, learning from mistakes. If asked how long something took, do we usually sever from our consideration all most necessary but unplanned prior preparations?

Similarly, how much of a time factor in a great success is all of our formal and informal training?

When I turn to the fact of inspiration, and so turn to the genesis of a great success, and consider its origin and the starting point given long before this success was assured, I cannot help but be impressed by how discrete time is inadequate to the task of measuring inspiration.

My brightest ideas emerged from an unfolding story and its colorful conditions. This becomes doubly impressive if we then regard the nature of inspiration to have been a collaborative effort and see, then, a streaming of stories, and, conditions about conditions, all unfolding through a kind of mysterious coordination until these flex and fulminate together into the emergent a-ha, and, up and out comes the bright idea. Tell me, how long did this take?

I next bring into resolution the aspect of the spontaneously fortuitous contingency, what we of course better know as serendipity, and instantly the inadequacy of even the concept of intervalic time, is defeated. At this point our greatest success is seen to be an aspect of an almost cosmic element of lucky timing, of not only being in the right time and place in the concrete sense, but in the right time and place in the sense of an ecology of timing and various places, and, grooved by precedents both planned and unplanned.

Finally, look at the relational genealogy of a success. This is what is meant by the trope, standing on the shoulders of giants. This element is woven into serendipity too, because if we track a success backward in time to where its eventual subject is founded in the past by our: interest, or obsession, or mission, or capability, it is inevitable that we will see these centering commitments to have themselves a founding story. Very often the creation story in the background of our future devotion starts with the happiest of accidents. Those accidents land us: in the right community, around the right people, bring us to our mentors/teachers/guides, with the supporting partner, living amidst the most terrific, and helpful, neighbors, colleagues.

We also see that we can no more separate out from our current success, any of these required prior successes, and failures, and, any small yet required learning, and any chance yet required encounter or precedent.

So it is a web of relationships comes to the front and center, in our regard of what was required for this small or major success. The genealogical current defies both time itself and timing. It provides the awesome “just so” in the deep background of every success.

Yes, one should count themselves a little bit lucky, or maybe, a lot lucky, to stand at the apex of a great success. You and your great success are at the summit of an iceberg, whereas the hidden, necessary, contingent assembly of elements cannot be temporally measured.

To rephrase a Zen aphorism for my purposes here:

the infinite is in the finite of every success

– – – – – – – – – –

|| Stephen Calhoun’s creative successes are being exhibited in a one man show of his photographic and generative art work, The Grasp of Order, at The Gallery At Gray’s, 10717 Detroit Ave – through September 30. open 9/24 noon-4pm – open during the work week, call 216-226-3300 for hours.

galleryatgrays.com
artiststephencalhoun.com

 

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Observers

FB-Stephen-Calhoun-African Alchemy Totem #3-48x72

All of us are watchers–of television, of time clocks, of traffic on the freeway–but few are observers. Everybody is looking, not many are seeing. P.M. Leschak)

The Gallery At Gray’s is located on the west side about 30 minutes from where I live in Cleveland Heights. Over the past five months my one man show, The Grasp of Order, has been installed, I haven’t spent very much time hanging out at the gallery. Yet, I did so on Saturday.

I knew some friends were going to stop in, and, I hoped some complete strangers would also drop in too. Several of this latter type did indeed stop in and the encounters were both gratifying and edifying.

Certainly, I like to talk about my work and creative processes, but I much more enjoy hearing people tell me about their experience with my experiential art work.

My art works, by intention and by design, provide open ended opportunities for experiencing their effect, rather than for deciphering their import. My work doesn’t enjoin any authoritative import at all.

Laura and Gary Dumm are longtime, well known, Cleveland artists; and their collaboration includes being married. I didn’t know them. However, in a rather audacious act of social media hunting and gathering I started to request connections to artists and others–for which Facebook reported to me numerous mutual friends.

As a consequence, the Dumms showed up at the gallery. This affirmed my social media move was worthwhile. What great people, what a pair!

Gary Dumm wrote this later on FB:

Today Laura and I stopped by Grey’s Auction House to view the large digitally enhanced photographic works of Stephen Calhoun. They are, in general, mind-blowing: a symphonic collection of the debris and detritus of nature and civilization restructured by the artist in such a way that these supposedly dead things dance energetically. Simpler designs are mandala-like. Some (like the attached image) appear as Bosch and Bruegel inspired dreams while others vibrate, figures destroying and reforming themselves as in the “Matrix” movies. To me they are pictures of the dancing Wu Li masters, where physics meets mysticism: all is energy, and nothing is ever lost.

Dummart

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Legacy Art Post #2 – Painterly

Stephen Calhoun, artist (2005)

(2005) Painterly

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Legacy Art Post #1 – Quinttych On Essentials

Stephen Calhoun, artist 2008 Quinttych On Essentials (2008)

Starting with this post, I have established a page LEGACY ART (1993-2012) on this blog that in turn provides links to a selection of my art work from 1993-2012. Other art works will be removed from the old My Naive Art blog. Posts link to the older posts.

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In the Age of Plasticene

Henry Hudson: Anger, Anxiety and the Apocalypse (Gallery S|2)
h/t Sotheby’s

Bonus: more Lori Nix

What Would the Room You’re In Right Now Look Like In the Apocalypse

Nix + Gerber from The Drawing Room on Vimeo.

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Most Interesting Man

Stacy

Stacy

Two notes: yesterday the game was won when a throwing error on a successful force out at home allowed three runners to score in the top of the first extra inning. This is the kind of unusual stuff that helps make Free Play Softball Great, again.

I’ve mentioned before that as far as I know, in our core group of twenty or so players, two have earned pages in Wikipedia, an astronomer, and an educator/theorist, (the “DaVinci” in his field.)

But, I will put my money on Andre being the most interesting man in our world. He is a chef, actor, director and wicked left handed pull hitter.

Andre, one of his daughters, grandkids

Andre, one of his daughters, grandkids

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Poetry Of the Tear

KW

Kenneth Warren (1953-2015)

To be in different states without a change
is not a possibility (Charles Olson)

I visited, with Dan Slife, the Saturday 9/3 event in Buffalo, A Celebration of Ken Warren. It was held in The Poetry Collection of the University of Buffalo, at Lockwood Library. The brutalist University architecture led to an initial ‘esoteric’ moment, as we tried to find the The Poetry Collection, and the room given over for an afternoon to the legacy of the great esotericist/American poetics/guardian of the punk hole/and master of the House Organ.

You see once in the Lockwood Library, the friendly fellow at the service desk had no idea where The Poetry center was located. We found a flyer and saw it was in Capen Hall, but we understood that Lockwood Library itself occupies Capen Hall. Luckily, for a moment, we noted it was in room 420, so we hopped into the elevator and took it to the fourth floor. No room 420.

We returned to the ground. A co-ed had stopped at the bottom of the stairs and we confessed our minor desperation and asked her if she knew where The Poetry Center was, or was room 420 in the very building this exchange was taking place within.

I have no clue about the poetry stuff, but room 420 is probably accessible by either the front elevator or the elevators down the corridor that reach another section of the fourth floor.

Dan and I gave each other a look. Sure enough the second set of elevators reached a corridor on the fourth floor that was inaccessible by way of the elevators facing the front doors.

Ken Celebration (1)

Cube O’ Olson

A probe generated by Stephen Calhoun April 13, 2014. I did two random rolls in series. This was submitted to House Organ in April 2015, six weeks before Ken Warren suddenly died of a heart attack.

Learning Intention:

Tell Charles Olson Something He Needed to know, But, Alas It Is Too late

submission to House Organ April 15, 2015 - unpublished

submission to House Organ April 15, 2015 – unpublished

Steve Lewandowski wondered if I would like to get in line and speak to Ken’s memory. As it happened I went last. In this very good spot I spoke a little bit of how Ken’s interests and my own overlapped, told a Sufi teaching story, and reminded everyone that Ken’s sincere interest in how you are doing often first met a fresh report with the temporary observation,

You’re fucked.

Parker and Beckett spoke, a high point, Dan played a song, and a long line up of poets and literary types brought some A Game to the afternoon’s delightful, and bittersweet proceedings.

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Roger’s Blues

Without wishing it, we human beings are placed in situations in which the great principles entangle us in something, and God leaves it to us to find a way out. C.G. Jung (Good and Evil In Analytical Psychology, Civilization In Transition)

My neighbor Roger Talbott recently retired from his post as a Methodist minister. I’m following his new blog Fear Not Online. At the moment he understands it will be concerned with the second half of life.

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Artist Stephen Calhoun

artiststephencalhoun

My new web site features my art, art based in symmetries and surprise. It’s live today!

ARTISTSTEPHENCALHOUN.COM

I’ll be highlighting some of its features over the next few days and on twitter.

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The Way Nobody Looks

FreePlay

It was not a close game Sunday. …except one team won the first three innings, and the other team won the last four innings. This is what is meant by the underlying score.

Nobody keeps score this way!

A Necessary Autumn Inside Each
You and I have spoken all these words,
but as for the way we have to go,
words are no preparation.
There is no getting ready, other than grace.
My faults have stayed hidden.
One might call that a preparation!
I have one small drop of knowing in my soul.
Let it dissolve in your ocean.
There are so many threats to it.
Inside each of us, there’s continual autumn.
Our leaves fall and are blown out over the water.
A crow sits in the blackened limbs and talks about what’s gone.
Then your generosity returns: spring, moisture, intelligence,
the scent of hyacinth and rose and cypress.
Joseph is back! And if you don’t feel in yourself the freshness of
Joseph, be Jacob! Weep and then smile.
Don’t pretend to know something you haven’t experienced.
There’s a necessary dying, and then Jesus is breathing again.
Very little grows on jagged rock. Be ground.
Be crumbled, so wildflowers will come up where you are.
You’ve been stony for too many years.
Try something different. Surrender.

Rumi, source of version unknown

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Lori Nix

The Discovery Channel Visits the Studio from Lori Nix on Vimeo.

via Newsweek: Post-mankind Vision of Photographer Lori Nix

Lori Nix web site

6. In your opinion, what are the most important things (whether bad or good) that photography should offer/convey to viewers?

Photography is very subjective and every person will come away with something different from the same picture. My personal opinion is that photography should elicit some form of emotion in the viewer, be it awe, anger, or humor. Photography should also introduce the viewer to a new perspective. (Lori Nix Q&A)

Lori Nix Photo Instagram

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Not Close to the Beginning

artiststephencalhoun.com

This small acrylic painting took me six years to complete.

My project for the near future is to move my artist’s web site to a new hoster and a new domain artiststephencalhoun.com.

Eventually all my various web sites attached to squareone-learning.com will be united at inmotion hosting.

This means I have to decide what to do with the legacy art works. Most of these are not based in mirror symmetries, yet, one of these pieces provoked Deba Gray to begin to fashion my becoming a public, rather than an attic, artist.

Short term, my favorite older pieces will be posted here under the new category, art – legacy works.

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Artist’s Statement, Part II. & III.

Hat Thangka II (Stephen Calhoun 2016)

Hat Thangka II (Stephen Calhoun 2016)

Secondary and Tertiary Contexts and Multiplicities

ARTIST’S STATEMENT (middle section)

II.

I came to this as a matter of my lifelong drive to satisfy my curiosity. This mission demands that I wander, experience, explore, do experiments.

III.

To steep ourselves in a subject-matter we have first to plunge into it.— John Dewey

If you have not experienced a thing, it is not true!— Kabir

The goal of life is rapture. Art is the way we experience it. Art is the transforming experience.
— Joseph Campbell

Follow the perfume, not the tracks.— Shams of Tabriz

Commentary: My art isn’t post-modern. This doesn’t mean that a post-modern trip is impossible. All trips may be possible. From my personal outlook, there is a cybernetic reaction possible and so I’m doing the only thing I know how to do. What gets read into this counter-normativity my work supposes? Whatever it is, it is tertiary. It would interest me. There are some bridges which could be fashioned. These would join the secondary to the tertiary!

What’s the best explanation of what you are seeing? This is a very hard question.

I’m working a cybernetic formula too. It has three constituents. It would shock and delight me were anyone to figure this formula out from the reflection on experience, or, (easier,) from the background.

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Free Play At Bat

Actions have consequences. Skilful actions have beneficial consequences. Patient, enduring effort in skilfulness of body, speech and mind brings about spiritual progress. Patient, persistent effort in ethics, meditation and study brings about spiritual growth. Patience is a Perfection (paramita) because it is an aspect of Reality, an aspect of Wisdom. The Wisdom of Enlightenment is expressed in the concept of the law of conditionality. The law of conditionality states that everything arises in dependence on conditions. Spiritual progress too arises in dependence on conditions, and in the absence of those conditions it does not arise. We need to patiently and persistently create and put in place the conditions for spiritual growth to arise. This is in accordance with the law of conditionality. – Ratnaghosa

Free Play 8-21_0099

After seven weeks that saw seven games decided by seven runs, the regression shifted. A rout was evoked. This is in accordance with the law of conditionality.

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Zeitgeist, Summer 2016

four-horsemen_zeitgeist

Buddha&Cat

The risk of inner experience, the adventure of the spirit, is in any case alien to most human beings. ~Carl Jung; Memories, Dreams and Reflections

trumpwich

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Artist’s Statement, Part I.

FB-Landing Cage 36x27-Stephen Calhoun

Ongoing, and maybe, never ending project aims to describe what I’m up to, as an artist. In my case, my hope is that the statement unhooks the viewer from its priming effect. My artistic goal hopes to invert the conventional idea that the viewer is supposed to correctly decode the artist’s authoritative objective, itself intentionally encoded in the so-called global unified material object. I do not encode my work with this end in mind, so there cannot be anything but authoritative experiences.

ARTISTIC STATEMENT

I.

My art’s aim is to grip the viewer, and then inspire the viewer to seek their own unique discoveries in each piece. The pieces present deep opportunities for visual serendipity by drawing the viewer into experiential, insightful, seeking.

I do not create images to pre-program or encode the viewer’s experience. Each piece is underdetermined up to the point of the viewer’s enactive presence and constructive experience.

The pieces aim to invoke a kind of pareidolia. (Pareidolia–the grasp of order from seeming randomness–is the psychological phenomenon where people see recognizable shapes in clouds, rock formations, or otherwise unrelated objects or data.)

The engaged viewer completes the image’s possible program by virtue of their own subjective and unique experience.

My artistic intention is evoke the truth of spontaneous discovery. Each piece captures an experimental result. The viewer’s unique encounter and seeking completes the experiment.

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The Wonder of Decay

Art of the Collection: The Photography of Rosamond Purcell from Hans Weise on Vimeo.

An Art That Nature Makes, Molly Bernstein’s new film about the artist Rosamund Purcell, has opened, and closes tomorrow. Clearly this will be a must see once the Film Forum in NYC receives its due.

Ms. Purcell doesn’t count as an influence on my own art, although we work in related veins. I’m a naive artist after all! But, I’m relieved one of the world’s finest photographers never became animated by mirror symmetries! Many of her photographs possess qualities worthy of their being cut and re-coalesced.

Still, as it is with most (of us) artists working with photographic set-ups, Purcell is famously a scavenger and collector.

Wunderkammer

Collectors of our sort do end up with their own cabinet of curiosities.

from the article An Eye For Anomaly,

The rotted book, along with the other objects she has amassed in her studio, reflects her fascination with “things that are transitional — between natural and artificial,” as she puts it, and with decomposition’s way of forming strange and symbolic juxtapositions.

Yes. Same rotted page.

Note her comment during this Q&A about randomness. This would be the subject I would engage her on if I ever had the chance. I couldn’t make out the question about kitsch, also a concerning subject.

She’s not in the collection of the CMA. (Shakes head)

No (!) Wikipedia – her books:

Egg & Nest (Harvard, 2008)
Owls Head: On the Nature of Lost Things (Quantuck Lane, 2007)
Bookworm (Quantuck Lane, 2006)
Ricky Jay: Dice: Deception, Fate and Rotten Luck (Quantuck Lane, 2002)

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