Sunday, January 27, 2019
Friday, January 25, 2019
Wednesday, January 23, 2019
Repertoire
Cards
Impromptu:
Out of This World
Pre-Prefiguration
Out of Mine
Gemini Twins
Card Stab
Double Deal Tricks
Another Quick Coincidence
Impromptu:
Out of This World
Pre-Prefiguration
Out of Mine
Gemini Twins
Card Stab
Double Deal Tricks
Another Quick Coincidence
Biddle Trick
Card effects (included above)
Out of This World
Gemini Twins
Card Stab
Out of Mine
Pre-Prefiguration
Double Deal Tricks
Rhine's Revenge/Jazz Mentalism
Misc.
Ambitious Card
Shake change (ambitious card or find card)
Circus Card Trick
Oil and Queens (but I use aces)
French Twist
Dr Daley's Last Trick
Simple Sandwich Trick
Shake change (ambitious card or find card)
Circus Card Trick
Oil and Queens (but I use aces)
French Twist
Dr Daley's Last Trick
Simple Sandwich Trick
Tembus
Mentalism
Mentalism
Card effects (included above)
Out of This World
Gemini Twins
Card Stab
Out of Mine
Pre-Prefiguration
Double Deal Tricks
Rhine's Revenge/Jazz Mentalism
Misc.
Arm Twisting Illusion
Friday, January 18, 2019
Soul Survivor
See Eugene Burger Penguin Live Lecture Vol 2 @54:00
Script
Eugene: "A mystery based on the writing of Albert Camus. Dan, you and I will play a game in which together we represent the two hands of fate. Imagine the space between us is a village. And these few playing cards are people who live in the village. They go about their business, you can move them to. Some of them go to school, others go to work. Some of them go to the theater, others to the movies. Everyone goes shopping. And then, fate comes to our village in the form of a plague."
(1) "I will select two people who get sick. You decide which one dies." Dan selects a queen. "The school teacher."
(2) "You select two people that get sick. I say this one dies." King selected. "The town doctor."
(3) "I say these two get sick." Dan selects the jack. "The little boy."
(4) "You select two people that get sick. I say this one dies". King selected. "The shopkeeper."
(5) "I select two people." Jack selected "The town fool."
(6) "You select two people. I say this one dies." A queen is selected. "The widow."
"And so Dan, fate has come to our little village and rather tidied things up. The tidiness that comes with death. But one card remains, the sole survivor. The plague itself."
*I've made slight adjustments to the script.
Script
Eugene: "A mystery based on the writing of Albert Camus. Dan, you and I will play a game in which together we represent the two hands of fate. Imagine the space between us is a village. And these few playing cards are people who live in the village. They go about their business, you can move them to. Some of them go to school, others go to work. Some of them go to the theater, others to the movies. Everyone goes shopping. And then, fate comes to our village in the form of a plague."
(1) "I will select two people who get sick. You decide which one dies." Dan selects a queen. "The school teacher."
(2) "You select two people that get sick. I say this one dies." King selected. "The town doctor."
(3) "I say these two get sick." Dan selects the jack. "The little boy."
(4) "You select two people that get sick. I say this one dies". King selected. "The shopkeeper."
(5) "I select two people." Jack selected "The town fool."
(6) "You select two people. I say this one dies." A queen is selected. "The widow."
"And so Dan, fate has come to our little village and rather tidied things up. The tidiness that comes with death. But one card remains, the sole survivor. The plague itself."
*I've made slight adjustments to the script.
Thursday, January 17, 2019
Multiple Outs
Multiple outs relies on the use of alternate endings to an effect, by use of more than one potential method. Depending on how the effect proceeds, the appropriate ending is chosen and the necessary method is employed. The particular ending and method are determined by the choices made by the spectator during the effect.(1)
(1) Magic in Theory: An Introduction to the Theoretical and Psychological Elements of Conjuring.
Multiple Outs
(1) Magic in Theory: An Introduction to the Theoretical and Psychological Elements of Conjuring.
Multiple Outs
Wednesday, January 16, 2019
Fading Coin
Created by Tomoyuki Takahashi. Promoted by Eugene Burger.
See Performance and explanation on Eugene Burger Live Lecture Vol. 1 @55:00
Script:
Eugene: "Jacob, this is about that strange line between imagination and reality. So I want you to imagine that there is a coin right here. It's a US quarter, can you imagine it?:
Jacob: "I sure can."
Eugene: "Over here is a second coin, it's a dime. And here is a nickel. And so we have dime, quarter and a nickel. Three coins that exist only in our imagination."
"In a moment you're going to pick one up. But I want you to understand, that the coin you pickup is the coin you use. You will not be given a chance to change your mind. And so that no one in this room is confused when you pick up the dime, the quarter or the nickel, tell us in a nice loud voice what coin you are picking up. Jacob pickup a coin now."
*Dime or nickel picked up*
Jacob: "It's the nickel."
Eugene: "You've got the nickel. You can imagine it."
Jacob: "I can."
Eugene: "Put it in the palm of my hand. (pause) "That was imagination. This is reality." Drops nickel from his hand.
*Quarter picked up*
Jacob: "The quarter"
Eugene: "You've got the quarter. You can imagine it. You can imagine holding the quarter. I will pickup the nickel and the dime. Open your hand. That's imagination. This is reality" (as he opens his hands).
See Performance and explanation on Eugene Burger Live Lecture Vol. 1 @55:00
Script:
Eugene: "Jacob, this is about that strange line between imagination and reality. So I want you to imagine that there is a coin right here. It's a US quarter, can you imagine it?:
Jacob: "I sure can."
Eugene: "Over here is a second coin, it's a dime. And here is a nickel. And so we have dime, quarter and a nickel. Three coins that exist only in our imagination."
"In a moment you're going to pick one up. But I want you to understand, that the coin you pickup is the coin you use. You will not be given a chance to change your mind. And so that no one in this room is confused when you pick up the dime, the quarter or the nickel, tell us in a nice loud voice what coin you are picking up. Jacob pickup a coin now."
*Dime or nickel picked up*
Jacob: "It's the nickel."
Eugene: "You've got the nickel. You can imagine it."
Jacob: "I can."
Eugene: "Put it in the palm of my hand. (pause) "That was imagination. This is reality." Drops nickel from his hand.
*Quarter picked up*
Jacob: "The quarter"
Eugene: "You've got the quarter. You can imagine it. You can imagine holding the quarter. I will pickup the nickel and the dime. Open your hand. That's imagination. This is reality" (as he opens his hands).
Saturday, January 12, 2019
Thursday, January 10, 2019
Pinky & Thumb Break
How to hold a good pinky and thumb break- essential card sleight tutorial HD
1) Thumb Fan Control - Spectator returns selected card to fanned cards. You close the fan from the outside to creating an injog. Push the injog in from the top to thumb break to pinky break
2) Overhand Shuffle Control - Injog to thumb break to pinky break
3) The Charlier Cut Control - Injog to thumb break to pinky break
Monday, January 7, 2019
Magic in Theory: An Introduction to the Theoretical and Psychological Elements of Conjuring (Notes)
Introduction
There are generally speaking four fundamental aspects to a magic trick: Effect, Method, Misdirection & Reconstruction.
Effect is what the spectator sees, and includes an event that the spectator regards as incompatible with his view of how the world works (ex. magician places a coin into his hand. When he opens it, the coin has vanished).
Method is the secret behind the effect such as a secret move or 'sleight', or it may be a secret device or unknown procedure of some sort (ex. magician used sleight of hand to make it appear has if he placed the coin in his hand but actually didn't).
Misdirection are the physical and psychological ploys that the magician may use to enhance the effect and conceal the method. (ex. magician looks at and raises the hand which he appeared to place the coin into drawing attention away from the coin actually holding the hand).
Reconstruction is when, following a conjuring trick, the spectator attempts to reconstruct events with a view to understanding what happened. Magicians often times will do things to try and influence the reconstruction process.
Chapter 1 Magic tricks and how they are done
A Classification of Conjuring Effects
1. Appearance - An object appears where it was not (ex. rabbit from hat).
2. Vanish - An object disappears from where it was. (ex. coin vanishes from hand).
3. Transposition - An object changes position in space. (ex. coins invisibly travel from one hand to the other).
4. Transformation - An object changes form. (ex. coin changes into another coin).
5. Penetration - An apparently impossible case of matter through matter. (ex. linking rings)
6. Restoration - An object is damaged then restored. (ex. torn and restored newspaper).
7. Extraordinary Feats
a. Mental Feats - Display of extraordinary mental abilities. (ex. memory, rapid calculation feats).
b. Physical Feats - Display of extraordinary strength or invulnerability (ex. lying on a bed of nails.
8. Telekinesis - Apparent ability to control movement of objects without physical contact
9. Extrasensory Perception
a. Clairvoyance - The acquirement of information not known to others apparently via extrasensory means.
b. Telepathy - The acquirement of information from others apparently via extrasensory means (ex. mind reading effects).
c. Precognition - The apparent acquirement of information from the future (ex. any prediction effect).
d. Mental Control - The apparent control over another's mind. Rather than predicting the selection, the performer influences the selection process.
B. Methodological Strategies
1. Appearance
Three general strategies:
a. Object was already there but was concealed.
b. Object was secretly put in position.
c. Object is not actually there but appears to be.
2. Vanish
a. Object was not there but appeared to be there
b. Object was secretly removed
c. Object is still there but concealed
3. Transposition
a. Object appeared to be at A but was already at B
b. Object is still at A but appears to be at B
c. Object was secretly moved from A to B
d. A duplicate object was used
4. Transformation
a. Object A was secretly switched for B
b. Object B was already there but was disguised as A
c. Object A is still there but is disguised as B
5. Penetration
Methods generally the same as those used in transposition and restoration.
6. Restoration
a. The object was not really damaged
b. The object was not really restored
c. Duplicated object was used
7. Extraordinary Feats
8. Telekinesis
a. Action caused by external force
b. Action caused by internal force
c. Action did not take place but appeared to
9. Extrasensory perception
a. Forcing information
b. Discovering unknown information
c. Revealing information as if known (ex multiple outs, swami gimmick)
Chapter 2 Misdirection
Misdirection - That which directs the audience toward the effect and away from the method.
A student magician performs a new move. He shows a coin in his right hand, then apparently passed it to his left but secretly retained it in his right. He opened his left hand to show that it had vanished. But much to his disappointment, he realized the spectator was staring at his right hand.
Successful magic requires that the spectator perceive the effect and not the method. In this case, the spectator did perceive the effect, but he also perceived the method.
At any given time, the spectator will have a primary area of focus. From an infinite number of visible stimuli, the spectator must select what to see at any given moment. The magician simply influences this selective process through establishing certain areas as more interesting than others.
The method may then take place in an area of secondary interest, while the effect should take place in an area of primary interest.
I. Physical misdirection: directing the spectator's attention
A. Directing where the spectator is looking
1. Passive diversion: the use of natural conditions of primary and secondary interest using:
-Novelty - People are attracted to the novel (newly introduced object, unfamiliar action, etc)
-Movement - The eye is drawn to movement (moving hand vs stationary hand, larger movement vs smaller movement)
-Contrast - (court card among spot cards will stand out)
2. Active diversion: the creation of areas of primary and secondary interest using:
-Eyes - (if you want somebody to look at something, look at it. If you want someone to look at you, look at them)
-Voice - Use of patter to direct attention, addressing spectator by name, asking a question
-Body Language - Tension draws attention. Conversely, relaxation induces relaxed attention.
-External sources of diversion - Ex. action of assistant or member of audience. An appropriate magical surprise could direct attention away fro the area of method for a subsequent magical effect.
B. Directing when the spectator is looking
Reducing attention at the moment of method:
-Outside the effect
-Inside the effect
Increasing attention at the moment of magic:
-Separating the moments of effect and method
-Reinforcing the moment of effect
2. Psychological misdirection: directing the spectator's suspicion
a) Reducing suspicion
Naturalness
-Consistency
-Necessity
Justification
-Familiarisation
-Ruse
Conviction
-Charisma
-Self-conviction
-Reinforcement
b) Diverting suspicion
False solutions
False expectations
There are generally speaking four fundamental aspects to a magic trick: Effect, Method, Misdirection & Reconstruction.
Effect is what the spectator sees, and includes an event that the spectator regards as incompatible with his view of how the world works (ex. magician places a coin into his hand. When he opens it, the coin has vanished).
Method is the secret behind the effect such as a secret move or 'sleight', or it may be a secret device or unknown procedure of some sort (ex. magician used sleight of hand to make it appear has if he placed the coin in his hand but actually didn't).
Misdirection are the physical and psychological ploys that the magician may use to enhance the effect and conceal the method. (ex. magician looks at and raises the hand which he appeared to place the coin into drawing attention away from the coin actually holding the hand).
Reconstruction is when, following a conjuring trick, the spectator attempts to reconstruct events with a view to understanding what happened. Magicians often times will do things to try and influence the reconstruction process.
Chapter 1 Magic tricks and how they are done
A Classification of Conjuring Effects
1. Appearance - An object appears where it was not (ex. rabbit from hat).
2. Vanish - An object disappears from where it was. (ex. coin vanishes from hand).
3. Transposition - An object changes position in space. (ex. coins invisibly travel from one hand to the other).
4. Transformation - An object changes form. (ex. coin changes into another coin).
5. Penetration - An apparently impossible case of matter through matter. (ex. linking rings)
6. Restoration - An object is damaged then restored. (ex. torn and restored newspaper).
7. Extraordinary Feats
a. Mental Feats - Display of extraordinary mental abilities. (ex. memory, rapid calculation feats).
b. Physical Feats - Display of extraordinary strength or invulnerability (ex. lying on a bed of nails.
8. Telekinesis - Apparent ability to control movement of objects without physical contact
9. Extrasensory Perception
a. Clairvoyance - The acquirement of information not known to others apparently via extrasensory means.
b. Telepathy - The acquirement of information from others apparently via extrasensory means (ex. mind reading effects).
c. Precognition - The apparent acquirement of information from the future (ex. any prediction effect).
d. Mental Control - The apparent control over another's mind. Rather than predicting the selection, the performer influences the selection process.
B. Methodological Strategies
1. Appearance
Three general strategies:
a. Object was already there but was concealed.
b. Object was secretly put in position.
c. Object is not actually there but appears to be.
2. Vanish
a. Object was not there but appeared to be there
b. Object was secretly removed
c. Object is still there but concealed
3. Transposition
a. Object appeared to be at A but was already at B
b. Object is still at A but appears to be at B
c. Object was secretly moved from A to B
d. A duplicate object was used
4. Transformation
a. Object A was secretly switched for B
b. Object B was already there but was disguised as A
c. Object A is still there but is disguised as B
5. Penetration
Methods generally the same as those used in transposition and restoration.
6. Restoration
a. The object was not really damaged
b. The object was not really restored
c. Duplicated object was used
7. Extraordinary Feats
8. Telekinesis
a. Action caused by external force
b. Action caused by internal force
c. Action did not take place but appeared to
9. Extrasensory perception
a. Forcing information
b. Discovering unknown information
c. Revealing information as if known (ex multiple outs, swami gimmick)
Chapter 2 Misdirection
Misdirection - That which directs the audience toward the effect and away from the method.
A student magician performs a new move. He shows a coin in his right hand, then apparently passed it to his left but secretly retained it in his right. He opened his left hand to show that it had vanished. But much to his disappointment, he realized the spectator was staring at his right hand.
Successful magic requires that the spectator perceive the effect and not the method. In this case, the spectator did perceive the effect, but he also perceived the method.
At any given time, the spectator will have a primary area of focus. From an infinite number of visible stimuli, the spectator must select what to see at any given moment. The magician simply influences this selective process through establishing certain areas as more interesting than others.
The method may then take place in an area of secondary interest, while the effect should take place in an area of primary interest.
I. Physical misdirection: directing the spectator's attention
A. Directing where the spectator is looking
1. Passive diversion: the use of natural conditions of primary and secondary interest using:
-Novelty - People are attracted to the novel (newly introduced object, unfamiliar action, etc)
-Movement - The eye is drawn to movement (moving hand vs stationary hand, larger movement vs smaller movement)
-Contrast - (court card among spot cards will stand out)
2. Active diversion: the creation of areas of primary and secondary interest using:
-Eyes - (if you want somebody to look at something, look at it. If you want someone to look at you, look at them)
-Voice - Use of patter to direct attention, addressing spectator by name, asking a question
-Body Language - Tension draws attention. Conversely, relaxation induces relaxed attention.
-External sources of diversion - Ex. action of assistant or member of audience. An appropriate magical surprise could direct attention away fro the area of method for a subsequent magical effect.
B. Directing when the spectator is looking
Reducing attention at the moment of method:
-Outside the effect
-Inside the effect
Increasing attention at the moment of magic:
-Separating the moments of effect and method
-Reinforcing the moment of effect
2. Psychological misdirection: directing the spectator's suspicion
a) Reducing suspicion
Naturalness
-Consistency
-Necessity
Justification
-Familiarisation
-Ruse
Conviction
-Charisma
-Self-conviction
-Reinforcement
b) Diverting suspicion
False solutions
False expectations
Sunday, January 6, 2019
Saturday, January 5, 2019
FOUL PLAY , FAIR DICE
FOUL PLAY , FAIR DICE
Here is a fast-moving and novel variation on a betcha-can't racing game. It is similar to the 100 POINT RACE except that you use the face numbers on dice for your counting. Required: One pair of dice, the secret, and a willing Victim. Take turns adding any one side of a die to the accumulating total until the goal of 50 is reached. The winner reaches 50 first.
THE KNOW HOW
The secret is to choose the figures you show on your die so as to capture these key numbers for yourself : 8, 15,22,29 , 36,43. Note that after you reach 8 you control the addition so that your Victim's number plus yours equals 7.
THE SHOW HOW
Make the choice of figures on your die seem quite random. Be casual, shake the di e as if any number would do, but—to yourself—watch your adding! I'll bet you can't win if you don't!
Also see Mark Esldon Penguin Lecture @3:21
Here is a fast-moving and novel variation on a betcha-can't racing game. It is similar to the 100 POINT RACE except that you use the face numbers on dice for your counting. Required: One pair of dice, the secret, and a willing Victim. Take turns adding any one side of a die to the accumulating total until the goal of 50 is reached. The winner reaches 50 first.
THE KNOW HOW
The secret is to choose the figures you show on your die so as to capture these key numbers for yourself : 8, 15,22,29 , 36,43. Note that after you reach 8 you control the addition so that your Victim's number plus yours equals 7.
THE SHOW HOW
Make the choice of figures on your die seem quite random. Be casual, shake the di e as if any number would do, but—to yourself—watch your adding! I'll bet you can't win if you don't!
Also see Mark Esldon Penguin Lecture @3:21
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